NYFF: "Amour" & "No" Are Worthy Oscar Contenders

The Oscar race for Best Foreign Language Film is particularly exciting this year. We have more contenders than ever (71!) and so many strong films that the Academy's always controversial foreign language branch will undoubtedly piss various contingencies off when they announce the finalist list and then the nominees. They could lessen the size of the outcry each year if only their finalist list were 12 films long. It's so strange that they make it small enough (9 films) that those films which miss the nomination are in the minority and, thus, look particularly snubbed... numerically speaking. I've already raved about the Pinoy movie "Bwakaw", and here are two other worthy candidates for this annual honor. Don't miss them if you get a chance to see them

AMOUR (Austria)
“Ladies and Gentlemen, people die. That’s all you need to know.” This line, a recurring catchphrase from aging chanteuse Kiki (Justin Bond) in the now departed Kiki & Herb act, used to make me howl with laughter. It was a perfect punchline, soaked as it was in booze and tragicomic matter-of-factness. People do die. Death is a fact of life but we spend so much time denying it that it often feels completely abstract, an imagined fate rather than an eventual one. But as Anne (Emmanuelle Riva), the elderly woman at the heart of Michael Haneke’s new film reminds us:

Imagination and reality have little in common.”

At first Haneke keeps his customary distance. Were it not for early publicity or the disturbing pre-title sequence that shows us a woman's decomposing body surrounded by flowers, we wouldn't even know who the principle characters were during the post-title opening shot, a crowd watching a piano recital. As in the finale of Haneke's best film (Caché) the director doesn't help you decide where to look; it's your job to find the narrative. But one of the strongest directorial impulses in Amour is Haneke's barely perceptible but undeniably tightening focus on the couple. Each scene seems to bring us closer to Anne and Georges (Jean-Louis Trigninant), a happy well-off couple in their eighties who enjoy literature, cultural events, and visits from their daughter (Isabelle Huppert) and Anne's former student (the pianist Alexandre Tharaud who appears to be playing himself). The first close-ups of note, an utterly captivating shot/reverse shot of the couple as Anne all but vanishes from a conversation in progress, is the bomb dropping...

Michael Haneke with his actors on the set of "Amour"

I don’t want to go on”

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12 Word Reviews: Pitch Perfect, Gayby, Frankenweenie...

The screenings are everywhere. It's harder and harder to keep up. Herewith some twelve word reviews of things I've seen recently in order to catch up. Naturally, I cheat (sort of) a couple of times. Twelve words is so few... just you try it!

Gayby (OPENS FRIDAY!)
Best friends from college, gay Matt and straight Jenn, decide to have a baby together... the old fashioned way. Hilarity ensues. Personal lives get confused.

12WR:  Plotty but very funny. Celebrates rather than regurgitates stereotypes. Awesome Showgirls joke! B+
Oscar? Not weighty enough even for Spirit Awards but warm and funny enough to age well on DVD shelves despite the "now" topic. It's best hope for awards is turning itself into a sitcom for the Emmys. I'd totally watch this crowd weekly (and it'd be way better than The New Normal which suffers from Ryan Murphy's now familiar Preachy Bull in Broadly Caricatured China Shop voice)

Pitch Perfect
College freshman Beca (Anna Kendrick) joins an acapella group The Bellas. They need to break free of their lame repertoire if they ever hope to win a competition. 
I loved this one while I was watching it and didn't love it in the morning so two reviews...
12 WR (Positive) Weak story, weaker filmmaking; FUN anyway. Key cast shines with great lines. B
12 WR (Negative) Lazily constructed on vastly superior Bring it On template. Funny quick fade. C
Oscar? It's 'Aca-Awkard' to even bring that up. No.

Frankenweenie
Young science-loving Victor resurrects his dead dog Sparky in a Frankenstein like experiment. Once the word gets out the townsfolk lose it.
12 WR: Inventive setpieces, surprises, awesome character design ("Whiskers!") justify expansion of classic short. B/B+
Oscar? It would surprise me if it wasn't nominated for Best Animated Feature and it could also feature into sound categories but the lukewarm response at the box office has me suddenly doubting its frontrunner status.

Our Children
Belgium's Oscar submission! A bicultural family slowly crumbles through dependency and depression.
12 WR: Fascinating thematic subtext undermined by miserabilist March-Toward-Doom structure. Suffocating close-ups. C+
Oscar? I doubt it as its very dour without much in the way of catharsis. But I've been wrong before about this always fascinating category.

Secret Life of Arrietty
Arrietty is a "borrower" a little person living inside a house. Will a new sickly human living in the house expose her and her family?
12 WR: Delicate, lovely, quiet... but too much so! Needs more pizazz. Limited characterizations  B-
Oscar? Ineligible for the Animated Feature race

Golden Horse Nominees Include Two Oscar Contenders

Subtitled fare always seems to consume me in September and early October as the Foreign Language Submission List for Oscar takes shape (it's not quite official yet but the submission deadline has passed). This is also the time of year when The Golden Horse, the preeminent Chinese/Taiwanese film awards, announce their nominations. Rather than a huge Academy vote, the Golden Horse is determined by a jury. Andy Lau who starred in Hong Kong’s Oscar submission A Simple Life last year and is best known internationally for two hits from the Aughts (The House of Flying Daggers and Infernal Affairs which was later remade into The Departed) is the president of this year’s jury. 

Caught in the Web, China's Oscar submission, was apparently not eligible.

BEST PICTURE NOMINEES

• Beijing Blues -a police procedural 
• Mystery - is the leader with 8 nominations. It's a thriller from Lou Ye, who is most known for erotic dramas like Summer Palace and Cannes hit Spring Fever.
• Life Without Principle - This Johnnie To film about a loan shark is Hong Kong's Oscar submission this year.
• Gf*Bf -a decade long love triangle between three intimate friends with some gay elements. I included the trailer below
• The Bullet Vanishes  -a period piece and whodunnit

Flying Swords of Dragon’s Gate, which recently played in the states, won some technical nominations but none of the headline categories. 

Best Actor
Nick Cheung – Nightfall
Ching Wan Lau – Life Without Principle
Joseph Chang  - Gf*Bf
Chapman To –Vulgaria
Nicholas Tse –The Viral Factor 

Taiwan's Oscar submission "Touch of the Light" was only nominated for Best Actress

Best Actress
Baihe Bai –Love is Not Blind
Lei Hao - Mystery
Denise Ho –Life Without Principle
Lun-Mei Gwei – Gf*Bf
Sandrine Pinna –Touch of the Light

You can see the rest of the nominees at the official Golden Horse Awards site.

NYFF: "Bwakaw" is a Film Festival's Best Friend

Seventy year-old Rene (Eddie Garcia) is an elderly gay man who fits quite neatly into the crowded movie trope of "Grumpy Old Man." He doesn't have a lawn but he'd clearly want his neighbors to get off of it if he did. He doesn't seem to love anyone or anything other than his dog Bwakaw.

Eddie Garcia and Princess star in "Bwakaw", an Oscar contender from The Philippines

They say that a dog is a man's best friend but I don't think that it's usually meant quite so literally.  Rene is so grumpy that you aren't always sure he loves his faithful canine shadow. In one stinging heartbreakmidway through the film a veterinarian asks him "don't you ever touch your dog?" and it occurs to you that you've rarely seen him do so.

But Bwakaw isn't a demanding girl. She follows Rene everywhere he goes… except inside his house. She's been banned for making a mess the last time she was there and one imagines that was long ago; Rene doesn't let things go easily. He still sleeps, for example, in his boyhood home and he's still quite attached to all of his mother's things including her devout Catholicism though he isn't religious himself (This dichotomy informs several of the film's sharpest comic beats but that's a topic for a much longer piece.) So each night Bwakaw curls up sadly in the dirt at the bottom of the stairs leading to the sad man's bedroom and waits until morning to see her master again.

It's important to note here that Bwakaw the dog is a sandy girl. She'd be barely perceptible from Bwakaw the movie, with its terminally washed out light, colorless rooms, and graying characters, were it not for her happy trot and zest for life. Her name translates to "Voracious" though she's curiously slim and bony for a dog that likes to eat. 

Initially it's not at all clear why this film, a true gem from director Jun Lana and an absolutely worthy Oscar submission, is titled as it is. Bwakaw is not so much an active participant as a shadow, or a sidekick if you're feeling generous. For a good hour the film is little more than a perceptive character study -- not that those aren't welcome -- of a lonely gay man who's angry that he missed out on a full life.  In many ways Rene is a shadow in his own movie. Most of the colorful subplots, broad comedic bits, and vibrant personalities belong to other members of the cast.  Rene's "friends" (I use the term loosely given that he's consistently at odds with most of them) are two flamboyant gay men, a co-worker planning a trip to Canada, a rough taxi driver, a local priest who hears his confessions, and a woman losing her memory in a nearby old folk's home.

But when Bwakaw becomes ill Rene is finally shaken out of his ornery complacency and gradually begins to feel his life again instead of just planning for his death. The film beautifully and fluidly shifts to compliment his journey, letting more light and color and vibrancy into the images.

Many "feel good" inspirational movies boost the spirit synthetically by glossing over life's darkest moments or wishing them away with tunnel vision on the triumphant stuff. Rene's story, however harsh and lonely in its particulars, contains far richer inspiration at its core. Rene is so focused on mortality that he keeps forgetting to live but there's no point in climbing in the coffin before your time. Embrace whatever tiny happiness comes your way. Live. B+/A-

Related Pages
2012 Foreign Film Oscar Submissions Pt. 1: Albania to Italy
2012 Foreign Film Oscar Submissions Pt. 2: Japan to Vietnam
Foreign Film Finalist Prediction List just a little guesswork 

More NYFF
Lincoln's Noisy "Secret" Debut
The Paperboy & the Power of Nicole Kidman's Crotch 
Frances Ha, Dazzling Brooklyn Snapshot
Barbara Cold War Slow Burn
Our Children's Death March 
Hyde Park on Hudson Historical Fluff 

NYFF: "Barbara" Cold War Slow Burn

Michael C. here with another dispatch from the New York Film Festival. This time it’s Barbara, Germany’s submission to the Foreign Language Oscar race. 

When you read as many movie reviews as I do you begin to pick up on certain code words critics will occasionally use, not unlike the way a real estate agent will describe an apartment as “cozy” instead of  “so small you have to open a window to use the microwave.” The reviews for Christian Petzold’s Barbara, for example, will no doubt refer to its “deliberate pacing” or its “slow-burning tension”. They will praise the admirable “subtlety” of the storytelling. All of these descriptors are accurate, no question, but they also dance around a simple blunt truth, which is that for long stretches Barbara is more than a bit boring.

Critics are forbidden to come right out and say this. First, because it makes the writer sound like he or she has zero attention span and wishes the film had more car chases and velociraptor attacks, and second, because the word is so damning it essentially negates the rest of the review. Might as well post the words DON’T SEE THIS in “Man Walks On Moon” sized letters if you are going to bring the word boring into the discussion.

In point of fact, Barbara is quite a good film...

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