TIFF 50: Between Spain and the Sahara in "Nomad Shadow," "Sirât" and "Calle Málaga"

by Cláudio Alves

Histories of colonialism were omnipresent at TIFF, even in films that, at first glance, might not seem to be in dialogue with these imperial pasts and legacies. Consider the matter of Spanish occupation in North Africa, how it has influenced tensions in the region long after the purported triumph of decolonial movements and still lives, haunting-like, in the contested partition of the Western Sahara between Morocco and Mauritania. Sometimes, it's something as simple as the children of colonial rule living in a limbo of their ancestors' making, caught in cultural intersections that feel bound to unravel any day now. 

In his feature debut, Nomad Shadow, Eimi Imanishi touches on some of these realities through the story of a Sahrawi woman deported from Spain, while Oliver Laxe's Sirât dances entranced across a minefield on the disputed desert. Finally, Maryam Touzani sings a song of displacement in Calle Málaga, where Carmen Maura – the original Chica Almodóvar! – must abandon the life she's always known in Tangiers after her daughter arrives from Madrid with terrible news. These latter two are their countries' submissions for the 98th Academy Awards, with Sirât representing Spain and Calle Málaga Morocco…

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NEON out there trying to hog the entire Best International Feature Film category!

by Nathaniel R

Dear reader, every time I've attempted to write anything regarding the Best International Feature Film race, another film was announced. Can't keep up! We're now up to 64 official submissions (the number is likely to top out in the 80s so 20ish films to go) with dozens of announcements since we last tried to get something on the main page. The big news is that France chose Jafar Panahi's It Was Just An Accident (We wonder what the average Frenchmen makes of two films in a row that aren't in French being submitted!), Spain chose Sirat by Oliver Laxe, and Brazil made it official with The Secret Agent by Aquarius / Bacarau director Kleber Mendoca Filho. All three films were sensations at Cannes and all three will be distributed by NEON in the US over the next two months.  NEON is poised to utterly dominate conversations around this Oscar race since they now have five super-buzzy contenders for this category including previously announced titles from major auteurs: Norway's Joachim Trier is back with Sentimental Value and South Korea's Park Chan-wook is in the house with No Other Choice. 

At this writing (Friday, Sept 19th, around 3:00 pm) 26 of the 62 films have secured distributions so more on when they're arriving after the jump...

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Cannes Diary Finale: Jury of One (Elisa's Choices)

Elisa Giudici

With Cannes a week behind us, a look at my own personal favourites, and who would have won each prize if I were the sole juror.

Despite my overall disappointment with the 78th edition, there were strong films. Óliver Laxe's Sirât was a breathtaking piece of cinema, a true original that dared to be different. Its unpredictable narrative and masterful execution made it a highlight. Otherwise, my personal affection lies with Pillion, a film that managed to be both provocative and deeply insightful about the nature of love and vulnerability, wrapped in a rom-com-gone-rogue package...

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Cannes Winners: Palms from Panahi to "Panda"

by Nathaniel R

Still from "Sentimental Value"

Herewith a list of all the films that won prizes at Cannes. Some of these will come to the US this year. Others will surely be held until 2026 (the whims and vagaries and troubles of distribution). A select few will probably compete for attention at the Oscars in one category (Best International Feature Film) or another (what's this year's Anatomy of a Fall?) 

The winners, what the films are about, and possibilities for Oscar submissions are after the jump... 

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Cannes Diary 06: "Sirât" derails expectations

by Elisa Giudici

Film festivals remain the last true sanctuary for an endangered species of film experience: going in cold. Armed with little more than a title, director, an evocative still, or a whisper of plot, you surrender to the unknown. The magic of Sirât is that even this meager intel offers no real map for the territory director Oliver Laxe is about to unveil; not even the most seasoned cinephile will be able to predict the journey ahead. The bittersweet truth, however, is that in describing this film, I am surely chronicling an experience that will be increasingly hard to replicate. Like its protagonists, Esteban and Luis, you must lose yourself in Sirât, allowing the unexpected to detonate within you. But can such a pure encounter survive an age where every narrative tremor is seismically registered and dissected online mere hours after a world premiere?

Nevertheless, I'll endeavor to convey the thrill of what has been, for me, the most electrifying jolt in this year's competition...

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