"Hope" and Norway's Oscar History

by Nathaniel R

The Norwegian Film Institute has selected Maria Sødahl's cancer drama Hope to represent them at the Oscars. The film stars Bræn Hovig and the ever-ubiquitous Stellan Skarsgård (who works as often in Scandinavia as he does in Hollywood, which is to say, a lot) as the couple thrown by a terrible diagnosis. Hope was selected over two other finalists which were: Disco by Jorunn Myklebust Syversen about a young girl mixed up with a Christian cult (which we reviewed at TIFF last fall), and Margreth Olin's documentary The Self Portrait about an acclaimed photographer struggling with anorexia. (Olin was submitted 11 years ago for her second narrative feature Angel though she's primarily a documentarian.)

1987 Norwegian nominee "Pathfinder"Norway has been perpetually overshadowed by Sweden and Denmark in terms of the cinema. They have a smaller film industry than their Scandinavian neighbors but the other problem is a noticeable lack of internationally-adored auteurs. We hoped that the rise of Joachim Trier would change that but, alas, the Oscars aren't helping in that regard as he's been submitted twice from his three Norwegian language films and the Academy passed both times.

Oscar stats and great Norwegian films after the jump...

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Streaming YA Randomnees: Locke & Key and Ragnarok

What entirely random thing have you found yourself watching lately? With every streaming service showing content from all over the world, it's increasingly rare for everyone to be on the same viewing journey...

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Best International Feature: Norway, Taiwan & Mexico's contenders

by Cláudio Alves

In a few days, we'll know the ten finalists for the Best International Feature Oscar. Until then, I shall continue exploring some of the 91 submissions. This batch includes last year's champion, Mexico, a prize-winning literary adaptation from Norway and a queer tragicomedy from Taiwan that's currently on Netflix. They're a varied bunch and represent the offerings of countries that have previously achieved great success with the Academy.

First, let's peruse the wintry wonders of the Scandinavian submission…

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TIFF Quickie: Crazy White Women!

by Nathaniel R

For this last batch of short TIFF reviews, let's look at three films about mysterious and/or psychologically complex female characters. The post title was glib but the films aren't. 

DISCO (Jorunn Mykelbust Syversen, Norway)
This puzzling drama centers on a champion dancer whose mom and step-dad run some kind of evangelical church. Apparently in Scandivania -- as with America -- conservative faith movements are on the rise. Syversen shows empathy for her characters but chills it with a clinically detached rhythym to the cutting. The lost protagonist Mirjam (Josefine Frida Pettersen) has mysterious physical troubles and vacant psychology that can bring flickers of Todd Haynes' Safe (1995) to mind.

Syversen's strongest skill seems to be in observational mode. In one escalating series of scene at a Jesus camp the choices in camera distance are particularly compelling. In medium shot we observe a group of boys being told to breathe quickly in and out of paper bags to drive out the demons inside them. Cut to a long shot as we watch them comically pass out as they hyperventilate. This is a followed by a not at all comical baptism that is shot more like a drowning. Despite Syverson's obvious skill and a tight running time (94 minutes), Disco is far too repetitive and its point of view remains as opaque as Mirjam's psychology. It's not enough, always, to merely observe. C

EMA (Pablo Larraín, Chile)
The first image is a startling one: a still working traffic light engulfed in flames...

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"Out Stealing Horses" wins Norway's Top Film Prizes

by Nathaniel R

Out Stealing Horses

You may recall that when we posted our April Foolish Oscar predictions we suggested that the Norwegian film Out Stealing Horses could well compete for the Best International Film Oscar. That was a blind call based solely on its pedigree (a lush adaptation of a best-seller with a known director) since a) we hadn't seen the picture, b) Norway hadn't submitted it, and c) there weren't many industry reactions yet. Those things are still true save the latter which is now emphatically untrue. It's obviously well liked since it just took the top prize at Norway's annual Amanda Awards. Early critical reaction via Berlinale in February was also positive. 

More about the Amanda Awards and that film after the jump...

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