Best International Feature: Norway, Taiwan & Mexico's contenders

by Cláudio Alves

In a few days, we'll know the ten finalists for the Best International Feature Oscar. Until then, I shall continue exploring some of the 91 submissions. This batch includes last year's champion, Mexico, a prize-winning literary adaptation from Norway and a queer tragicomedy from Taiwan that's currently on Netflix. They're a varied bunch and represent the offerings of countries that have previously achieved great success with the Academy.

First, let's peruse the wintry wonders of the Scandinavian submission…

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Best International Feature: Italy, Palestine & Indonesia's contenders

by Cláudio Alves

We're just two weeks away from knowing the 10 finalists for the Best International Feature Oscar. It'll happen on December 16th and, as we wait away the days, it's a good time to investigate the 91 submitted films. Some of them have already been reviewed here at The Film Experience, like Senegal's Atlantics, South Korea's Parasite and Spain's Pain and Glory, among others. Still, there are many less talked about films that deserve attention too, spanning from nationalities that have been overrepresented in the Academy's history to others that have still to conquer their first nomination.

Think of Italy's newest crime epic, Palestine's offbeat comedy or Indonesia's lyrical reveries through a dancer's memories…

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The Whistlers: Film Noir Romanian-Style

by Cláudio Alves

As Noirvember comes to an end, it's interesting to peruse the current Awards hopefuls in search of some examples of film noir. Lynn Lee already defended the merits of Edward Norton's Motherless Brooklyn, but my attentions were drawn, as usual, to the Best International Feature category. Amid the record-breaking 91 submissions, we can find a peculiar experiment of deconstructed noir archetypes and mechanisms. It comes from one of those countries whose historical lack of a nomination is an absurdity and reflects poorly on the Academy.

I'm talking, of course, about Romania's The Whistlers…

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Mati Diop on 'Atlantics' and the most haunting scene of the year

by Murtada Elfadl

In the press notes that come with Atlantics, director Mati Diop mentions something that touched me in a deep way. She is talking with a young man named Serigne in Dakar, Senegal whose sea crossing story she featured in her short film, Atlantiques (2009). He tells her about migrating and leaving one’s country of birth

 when you decide to leave, it’s because you’re already dead

That reminded me of a quote from Tracy Chapman’s "Fast Car" that struck me at a young age and was part of my decision to leave Sudan in the late 1990s. I remember saying it to my friends at the time as a reason to leave.

leave tonight or live and die this way

People migrate for many different reasons. For economic hardship, for political persecution, or when their values no longer match the values of the places they live in. I left because I wanted to live openly as a queer person and not continue being closeted or live on the margins of society, the two choices affored me at the time. Perhaps this personal connection with a story about migration is why I have not able able to stop thinking about this film...

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Austria's "Joy" is out of the Oscar race

by Cláudio Alves

...And then there were 91...

As we predicted back when Nigeria's Oscar submission was disqualified from the Best International Feature race, the same fate has befallen Austria's Joy. Despite some German dialogue, most of the film is in English, due to the fact it tells the story of Nigerian immigrants living in Europe. After all, Nigeria's official language is English. Once again, such news makes us ask ourselves if this is a fair predicament. One thing's for sure – it's ridiculous that the Academy doesn't vet the country's submissions before announcing the list of eligible films. It'd certainly avoid a great deal of scandal.

Even if it's amply justifiable, such disqualification is unfortunate, even a bit sad, because Joy's an achingly poignant triumph. The sort which deserves to be celebrated by the Academy, but seldomly is…

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