Best International Feature: Vietnam, United Kingdom & Singapore's contenders

by Cláudio Alves

The Oscar shortlists are almost here. On December 16th, we'll finally know which are the 10 films that go forward in the race for the Best International Feature award. To whittle down the record-breaking number of 91 submissions into a sparse 10 won't be an easy feat and there are bound to be many snubs causing controversy and discussion among Oscar buffs. While we wait for that most anticipated date, I invite you to continue our adventure through those 91 submissions. This time around, we're focusing on films that are currently available on Netflix.

There's Vietnam's story of a vengeful mother in search of her kidnapped daughter; the UK's tale of human perseverance in Malawi; and Singapore's oneiric reveries about disappeared drivers and insomniac detectives…

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Doc Corner: The Thrilling Failure of 'Shirkers'

By Glenn Dunks

Apologies once again for the recent absense, but working 12-to-15-hour days in an office somewhat curb one's ability to sit down and write reviews. However, we're returning to regularly scheduled programming with one of the best documentaries of the year.

Documentaries about moviemaking aren’t uncommon. We see several released each year, usually offering creative insight and historical context to works of art both great and terrible – and in the case of those like American Movie even surpassing the reputation of the movie they’re about. Documentaries about failed movies are less common, although no less fascinating and often allow their subject to attain something of a mythical status. The latest addition to this sub-genre of non-fiction is Sandi Tan’s Shirkers, a thrillingly assembled combination of cinematic mystery, sombre tribute, and aching paean to lost potential.

“Shirkers” is not only the name of the documentary, but also the name of the film that Tan made in 1992 with her friends Jasmine Ng, Sophia Siddique and the mysterious older man named George Cardona. The original Shirkers was to be the first Singaporean film directed by a woman and was a radical change from the sort of film that the island nation was typically known for like 1972’s They Call Her Cleopatra Wong.

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Interview: Director Boo Junfeng on Why He Focused on Empathy in Singaporean Oscar Submission 'Apprentice'

Jose here. Boo Junfeng’s harrowing drama Apprentice focuses on the fascination a young prison officer (Firdaus Rahman) develops with the Chief Executioner (Wan Hanafi Su) who becomes his mentor. Besides the unique professional bond they share, there’s also a secret about their past that lingers over their relationship. This is only Junfeng’s second feature film, and he displays the storytelling confidence of veterans. Despite the film dealing with capital punishment it’s not a film about this, but rather a complex character study which invites us to wonder why so many people make choices we wouldn’t do in a million years. The film which Nathaniel reviewed at TIFF, is Singapore’s official Oscar submission, so I spoke to Junfeng about creating the characters, casting the actors and why it’s important we watch films about dislikable characters.

Read the interview after the jump.

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