Best International Feature: Chile, Mexico, South Korea

by Cláudio Alves

Nathaniel has recently shared the Best International Feature Contenders List and given us an overview of the stars and directors and stats. Like last year, I'll be reviewing as many of the contenders as I can get my hands on, beyond the reviews already shared here at The Film Experience for the submissions from Czech Republic, Georgia, Guatemala, Ivory Coast, Kenya, Palestine, Romania, Switzerland, Taiwan, and Venezuela. The number of contenders is at an all-time high!

To start our voyage around the world, let's take a look at the submitted films from the last three champions of the category: Chile (2017, A Fantastic Woman), Mexico (2018, Roma), and South Korea (2019, Parasite)… 

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AFI Fest: New Order

By Abe Friedtanzer

 

It’s not often that I truly regret watching a movie. The rare occasions on which it does happen make me question my policy of reading as little as possible about a film before I see it. I might have, for instance, read these important disclaimers from Elisa’s brief rave review of Venice Film Festival Silver Lion Grand Jury Prize winner New Order: “it feels like your hope for the future of humanity is being beaten to death” and “‘Chilling’ does not even begin to describe the act of witnessing this story play out. Do not get attached to any of the characters.” I agree fully with those warnings and would add a few of my own when it comes to breaking down this brutal film…

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"I'm No Longer Here" wins big at the Ariel Awards

Mexico's own Oscar-like film awards have been handed out with I'm No Longer Here prevailing with 10 trophies. That's quite a haul. The drama is about a member of a dancing street gang (played by Juan Daniel Garcia Treviño, pictured left) who is forced to immigrate to the US to escape a local cartel. The cast was non-actors, hired for their dancing ability and authenticity. The film is currently streaming on Netflix if you're curious.

ARIEL AWARD NOMINEES & WINNERS

Picture

• Buy Me a Gun
• Dust
• I'm No Longer Here ★
• Suffocation
• This is Not Berlin

We believe all of these* are eligible to be Mexico's submission this year as none were on their finalist list last year for consideration (though some of the other films nominated in craft categories were). This probably means I'm No Longer Here is the likely submission but you never know. Since it does take place partially in the US it has some English in it (movies run into trouble with this particular category if the English dialogue is dominant or roughly equal to the non-English dialogue). * Clarification: All except This is Not Berlin which would not be eligible as it did have a US theatrical run in 2019.

The nominees and winners are after the jump. If we've previously written about the film there's a link...

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NYFF: Yulene Olaizola's "Tragic Jungle"

by Jason Adams

M. Night Shyamalan's name has become synonymous with cinematic puzzlery, but there can be a dulling obviousness to the way he approaches the concept of Mystery, at least in his weakest moments. He genuinely thinks he can explain the unexplainable. His "twists" mostly seem to mash the Unknown into tight little balls we can hold in our hand to exit the theater with. And so it's only the opening passages of his film The Happening, about Mother Nature seeking vengeance against the humans who've abused her so, that retain any sort of power -- Shyamalan spends the remainder of that film piling plot contrivances on top of his original interesting idea until it's the audience who can't breath from the sheer weight of nonsense pouring off the screen.

I'll admit I thought of The Happening while watching the breeze move gently through the rainforest trees of Mexican director Yulene Olaizola's captivating and hypnotic new film Tragic Jungle...

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NYFF: Nicolás Pereda's "Fauna"

by Jason Adams

The title of Fauna, the latest film from Mexican-Canadian director Nicolás Pereda, turns out to be good enough a punchline that I'd never spoil it, but it's one of those punchlines where the characters themselves get to burst into laughter at it -- it's extra-textual enough for everybody to recognize its ridiculousness all at once, even as it exists within the narrative. There are many such laughs in the film but highlighting that distinction up-front matters. The space between the people on-screen and the people watching? Well, Pereda's having a heap of fun wigglin' all around in that uncanny void...

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