'Worst Person...' and the 10 most successful Norwegian films in the US

by Nathaniel R

Talking about weekend box office isn't as much fun as it was pre-pandemic since it matters less and less with more films opting for streaming only. So let's get super niche instead. With the Oscar nominated The Worst Person in the World doing terrific business in the nation's arthouses -- I even heard strangers talking about it on the subway in NYC, always a great sign that an arthouse film has caught on -- let's talk about how Norwegian films fare at the Oscars and with US moviegoers...

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The One Inch Barrier: 'Nights of Cabiria' and 'The Seventh Seal'

by Nathaniel R

While we're sad about the current state of Oscar we still have 93 other years of Oscar history to obsess over. So I'm happy to share that I was invited back for a final appearance on "The One-Inch Barrier". Juan Carlos Ojano's podcast has looked at every Oscar race for Best International Feature Film while moving backward in time. Well almost every. There's still a few episodes to go. For this episode Juan Carlos and I talked about the nominated films of 1957 including The Gates of Paris (France), the noir The Devil Strikes at Night (Germany), the musical melodrama Mother India (India), the WW II survival drama Nine Lives (Norway), and the winning film Federico Fellini's enchanting Nights of Cabiria (Italy).

Ingmar Bergman's influential early classic The Seventh Seal was also submitted for the Oscars that year but the Academy unwisely passed. I have words about that. Hope you enjoy...

AFI Diary #1: "The Worst Person in the World," and More

Christopher is covering the 2021 AFI Fest Film Festival. Follow along for his reviews.

The 2021 AFI Fest Film Festival began Wednesday, November 10th with the World Premiere of Netflix’s Tick, Tick... Boom! (which got raves from Nathaniel). My festival began on Thursday with three films: one documentary feature, one international Oscar contender and a romantic anthology that had a splashy Cannes debut. It already feels great to be back in-person at a film festival. AFI is doing a hybrid of in person and virtual screenings this year, offering a nice variety for festivalgoers.

Without further ado, the reviews:

The Worst Person In The World (Joachim Trier) - Norway's Official International Feature Film Oscar® Submission...

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"Flee", "Worst Person...", and more join the Best International Feature Film Oscar competition

by Nathaniel R

It's official. Finally. Two truly excellent Scandinavian films are joining the Oscar competition. Norway's Cannes sensation Worst Person in the World, a romantic dramedy from the great Joachim Trier (Reprise, Oslo August 31st, Thelma), and the animated documentary Flee about a gay Afghan refugee who made his home in Denmark are now officially in the hunt for Oscar glory. The Best International Feature Film category is always hugely competitive and the voting system is complex so there are never any "locks" but both films have a headstart at making the 15 wide finalist list; they're already widely seen and wildly acclaimed from their multiple festival outings. Flee will actually be gunning for multiple nominations as it could theoretically compete for the two other specialty feature categories:  Documentary and Animated Feature.

Norway and Denmark aren't the only countries to announce over the past few days. After the jump twelve other Oscar hopefuls from around the Globe...

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SXSW: Portraits of motherhood in "Ninjababy" and "Bantú Mama"

by Cláudio Alves

Motherhood is one of cinema's favorite subjects, ever since narrative pictures emerged as a force to be contended with. One can go so far as saying that ever since the origins of drama, of storytelling, tales of mothers have dominated audiences' attentions, defined cultures, were made into the foundations for moral and religious belief. Perhaps because of such history, such conceptual weight, mainstream cinema rarely attempts to subvert or question the precepts of dramatized maternity. Even in more independent circuits, there's still reverence there, a willingness to prop up the mother figure into a saintly paragon, idealized caretaker, matriarch of humanity.

Because of it, one feels grateful when artists turn their back on all that baggage and decide to subvert what cinematic mothers are, what they look like, what they represent. The irreverent Ninjababy and the beautiful Bantú Mama, both presented at the SXSW film festival, are prime examples of this…

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