It's "Two of Us" for France. With so many Oscar nods will they ever win again?

by Nathaniel R

In something of a surprise move, France has selected the lesbian seniors drama Deux  (or Two of Us) for Oscar submission rather than their higher profile titles Summer of '85 with its EFA director nomination or Cuties with its hot potato festival run and Netflix controversy. This suggests that Two of Us might do very well in a month or three at the César Awards but for now let's talk France and Oscar as there's a LOT to discuss.

France is of course a total powerhouse at the Oscars. The Best International Feature Film category has existed as a competitive category for 64 years (as of last season) and France has been nominated in 59% of those races.

What's more they've tried to factor in to the competition 100% of the time! In point of fact, France is the only country that's never skipped an Oscar submission year.

FRANCE'S OSCAR STATS and key submissions after the jump...

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The Furniture: "À Nous la Liberté" and Freedom from Industrial Design

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Once upon a time, the Oscars were in November! Well, thrice upon a time. The 3rd, 4th and 5th Academy Awards were held in the fall - the last of them on November 18th, 1932. Nathaniel covreed the biggest piece of trivia from that night earlier this morning. But there were also a few firsts, including the debut of the short film categories and the first-ever foreign-language nominee. René Clair’s À nous la liberté was nominated for Best Art Direction, an award it lost to a cruise ship comedy called Transatlantic.

But it’s Clair and art director Lazare Meerson who have the last laugh, as their losing film is now largely regarded as a classic and Transatlantic barely has a Wikipedia page. A nous la liberte is a charming little oddity, a musical comedy about the alienation inherent in modern industry. It opens in a prison, where cellmates Émile (Henri Marchand) and Louis (Raymond Cordy) are at work hand-carving toy horses. The cavernous space evokes the ominous architecture of the modern prison, its high balconies a reminder of constant surveillance...

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Review: "Deerskin" on HBO

by Cláudio Alves

Fashion kills in one of Quentin Dupieux's latest absurdist comedies, the loony nightmare that is Deerskin. After blessing moviegoers with the nonsensical sight of a homicidal tire in Rubber, the French director has now imbued a fringed jacket with the power to unravel the human mind and precipitate its wearers into paroxysms of murderous madness. Jean Dujardin's Georges is the victim of such demonic influence, though, at the start, he, like all things in Deerskin, appears unnervingly mundane…

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The genius of "The Umbrellas of Cherbourg" ending

by Cláudio Alves

Back in the 1960s, unlike now, a film could be recognized in the Best Foreign Language Film category one year and still compete for the other Oscars the next. Such a strange fate befell Jacques Demy's The Umbrellas of Cherbourg, an intoxicating love letter to the classic Hollywood musical by one of the most inventive auteurs of the Nouvelle Vague. In 1964, the picture was a nominee for Best Foreign Language Film and would go on to conquer four other nods in 1965, the year of our next Supporting Actress Smackdown.

While it's easy to resent the Academy for not fully embracing the flick (it won nothing), the citations it received, for Demy's script and Michel Legrand's music, were fully deserved...

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Jean Gabin: French Superstar

by Cláudio Alves

The 11th Academy Awards marked an important first in Oscar history. Jean Renoir's Grand Illusion, a French drama about class hierarchies and political strife in World War I, received a Best Picture nomination. It became the first non-English language film to ever do so. As we all know, it'd take 81 years for one such picture to win Hollywood's most coveted trophy, but we're not here to talk about Parasite's glorious victory as tempting as that is. Instead, our subject matter is one of French cinema's greatest stars, a brilliant actor that grew to be a cultural monument, the leading man of that historic '38 Best Picture nominee. Jean Gabin was a divinity of the Silver Screen, as magnetic as he was devastating…

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