Is the "One-Inch Barrier" Falling?

by Eric Blume

Since Parasite's historic Best Picture win this past Sunday, the heat surrounding it has not let up. Though the movie is already available on DVD and Blu-Ray, it will expand to 2000 screens this weekend in US theaters and a Criterion Collection release has also been announced (along with Memories of Murder, Bong's original breakthrough title). Given the hoopla, the industry trade magazines are falling over themselves to write stories about the change that may come for international titles.  The Hollywood Reporter has an interesting article proclaiming that we'll be seeing many more foreign film titles in the American marketplace in the next few years.

This article gives big credit to Netflix for "global programming" that is helping people get over the "one-inch barrier" (i.e., subtitles) that has plagued marketing of foreign product over the decades.  It's an interesting take...

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1999 with Nick: When "All About My Mother" triumphed over ???

In advance of the Oscars, Nick Davis has been looking back at the Academy races of 20 years ago, spotlighting movies he’d never seen and what they teach us about those categories, then and now.

After that trip back to the Documentary race, we're ending the week by spotlighting the other category that's taken the hugest strides to adjust its nominating process and champion better work. It’s also no accident that I’m ending with a category that Nathaniel has tracked with unusual care and detail since Oscar-focused websites have existed—indeed, long before many of his peers paid more than cursory attention. The 72nd Academy Awards took place eight years before the transformative addition of an Executive Committee to the vetting process that produces the annual roster for "Best Foreign Language Film," which of course this year got rebranded as "Best International Film". This category used to be heavy with inoffensive mediocrities, or sometimes offensive ones. Tracking down the contenders, which was often difficult to do, rarely felt like making contact with the best of world cinema in any given year, and with very few exceptions the winners across the 1990s were an undistinguished lot. (Or maybe you’re a major devotée of Mediterraneo or Kolya?)

By that standard, 1999 was a pretty good year, since I imagine that Pedro Almodóvar's All About My Mother would be most people's choice as the best film to cop this prize during the whole decade. This critical and popular favorite needed no help from any Executive Committee to stay alive during the balloting. In fact, the only mystery is why the movie couldn't make more inroads into admittedly competitive races like Actress, Supporting Actress, Director, Screenplay, Production Design, Costume Design, Editing, or Picture...

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"An Officer and a Spy" and "Les Miserables" battle it out for the César

by Nathaniel R

France's Oscar parallel competition, the Césars, have finally announced their nominations for the film year. Roman Polanski's adaptation of Robert Harris's novel An Officer and a Spy leads the nominations. It's based on the Dreyfus affair and Emile Zola's "J'Accuse!" letter, both of which are also the topic of one of Oscar's earliest Best Picture winners The Life of Emile Zola (1937).  The drama leads the Césars with 12 nominations while the Oscar-nominated Les Miserables and the riveting queer romantic drama Portrait of a Lady on Fire were right behind with 10 nominations each. After the jump all the nominations and a few notes...

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"Ema" at Sundance

by Abe Fried-Tanzer

Chilean director Pablo Larraín was last at the Sundance Film Festival with frequent collaborator Gael García Bernal in 2013 for the Oscar-nominated No. Since then, he’s earned two additional bids from the Golden Globes in the foreign language category for The Club and Neruda. He even made his first film in English: Jackie. Now, Larraín is back with another Bernal film, showing in the Spotlight section after its premiere at the Venice International Film Festival.

Though Bernal plays a substantial role, this film is all about actress Mariana Di Girolamo. She stars as the title character, who is married to Bernal’s choreographer character...

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Almost There: Michelle Yeoh and Zhang Ziyi in "Crouching Tiger, Hidden Dragon"

by Cláudio Alves

History repeats itself, especially when it comes to the Academy Awards. Throughout its 92 years, very few Asian actors have been recognized, even when their films were otherwise embraced. This year, the victim of the insidious trend was Parasite, which won the SAG for Best Ensemble but couldn't muster enough support for a single acting nomination at the Oscars. Thinking back to the last non-English speaking Asian production to score a Best Picture nomination, we see the same phenomenon.

In 2000, Ang Lee's Crouching Tiger, Hidden Dragon conquered a remarkable 10 nominations, including for Picture and Director but none of the nods were for acting. In the end, the blockbuster won four of its categories. Despite the acting branch's oversight, Michelle Yeoh and Zhang Ziyi received many nominations elsewhere, including the BAFTAs. The younger actress even conquered the Independent Spirit Award for Best Supporting Actress…

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