Pt 2: International Feature Race - Auteur Spotlight

by Nathaniel R

SOUTH KOREA's Park Chan Wook & Lee Byung Hun [image via Lee Byung hun's Instagram]

To broaden your appreciation of this year's Best International Feature Film Oscar race we already looked at some overall trivia. Before we get to the movie stars (the finale of this three-parter), let's look at some stats involving the artists behind the camera. It's auteur season! We're highlighting 8 directors due to their critical reputation, being a cinephile fetish object, or having previous Oscar history... or in some cases all three! We'll start with...

3 ICONS

• Park Chan-wook (South Korea's No Other Choice) 
Remarkably this 62 year-old auteur and Academy member has only been submitted twice by South Korea  despite a rich filmography...

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Oscar Volley: Best Director is an embarrassment of riches

The Oscar Volleys are back! Tonight, it's time for Cláudio Alves Eric Blume to discuss the Best Director race...

ONE BATTLE AFTER ANOTHER, Paul Thomas Anderson | © Warner Bros.

CLÁUDIO: This early in the season, every race is somewhat volatile, prone to radical changes down the road to Oscar. However, I think that Best Director feels especially mercurial as far as nominations are concerned, though not for a lack of contenders - quite the opposite! Voters are spoiled for choice from a roster of strong candidates, all with mighty campaigns behind them, sterling reviews and eye-catching narratives. So much so that only PTA feels secure in his nomination bid, all but locked for the honor unless AMPAS pulls a 2012 on us.

Personally, I can't complain, even if he has been way more worthy of these plaudits in the past and should have already won a couple of Oscars - There Will Be Blood and Phantom Thread come to mind. Of course, One Battle After Another is excellent, not some mediocrity destined to win apologies in the form of unwarranted trophies. The "River of Hills" chase sequence alone will surely be played in all tributes to PTA's career in a couple of decades. And yet, my mind can't help but wander to The Departed when pondering OBAA at the Oscars...

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TIFF 50: "Sentimental Value" falls victim to high expectations

by Cláudio Alves

To be loved so intensely, showered in adoration by a captive captivated crowd and the world beyond, can be as much of a curse as it is a blessing. Those who follow film festivals and the awards that come after are very familiar with such pitfalls. After all, who among us hasn't gone to the theater, hyped on months of exhaustive praise for a title that, when all is said and done, isn't as special as you thought it would be? Last year at TIFF, I wrote about my disappointment with Anora and loathing of Emilia Pérez, which was made worse by the reputation both films had accrued at Cannes and the palpable affection you could feel emanating from the Toronto crowd. 

This year, I come to you with a similar experience, another Cannes darling that failed to meet the high expectations placed upon it. Sorry, folks, but Joachim Trier's Sentimental Value left me cold…

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New Oscar Charts: Can Norway finally win "Best International Feature Film"?

by Nathaniel R

possible submissions from Japan & Norway

Counterintuitively, we begin this year's April Foolish Predictions (two months late --- woot!) with a category for which we currently have no proof of eligibility for. No country that competes in Oscar's annual Best International Feature Film category has (yet) announced their submission. But we do know, from past experiences, that many of the submissions each year will have premiered at film festivals ranging from last fall in 2024 through the fall of 2025. So we looked at recent editions of Sundance, Berlinale, and Cannes for clues. This is great fun to do as anything is possible this early; you don't even need a US distributor to compete (though of course it doesn't hurt)...

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Cannes at Home: Champions of the Neon God

by Cláudio Alves

Let's hope Neon gives Panahi's Palme winner a proper release. No LA CHIMERA nonsense, please.

Neon is on a hot streak. Jafar Panahi's It Was Just an Accident marks the sixth Palme d'Or winner in a row that the distributor will handle for its US release. Then again, they achieved this by leaving nothing to chance, going on a shopping spree of perceived frontrunners. To the point where they have American distribution rights for four of the eight prizewinning films. The other heavy-hitter was Joachim Trier's Sentimental Value, which took the Grand Prix, tantamount to second-place honors. But, of course, we shouldn't forget about the films that got no trophy. In between the two big champions, Mario Martone presented Fuori, and Carla Simón moved audiences with her Romería. If Oliver Hermanus' The History of Sound wasn't as acclaimed as one would hope, remember that much can change as far as critical consensus is concerned once more people see these Cannes titles. 

For the penultimate Cannes at Home special, let's examine some of these auteur's earlier efforts, all character studies in their own way. There's Panahi's The White Balloon, Martone's Nostalgia, Simón's Summer 1993, Hermanus' Moffie, and Trier's Reprise…

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