How Have International Features Fared in Oscar Screenplay Categories?

By: Christopher James

In a banner year for International cinema, can "The Worst Person in the World" or "Drive My Car" win a Screenplay Oscar?As was discussed in the recent Screenplay Oscar Volley, there is the potential for there to be two international feature winners in Adapted and Original Screenplay this year. Best Picture nominee Drive My Car had an incredibly strong showing on nomination morning, and Adapted Screenplay could be the place where the Oscars chooses to honor writer/director Ryusuke Hamaguchi. If it wins, it will be the first international feature to win Best Adapted Screenplay.

On the Original Screenplay front, Joaquim Trier’s The Worst Person in the World hopes to be a surprise upset. The comedy-drama from Norway may not be in Best Picture, but it has amassed a strong art house following and grown steadily since its opening last month.

Do these movies actually have a shot though? Let’s take a look at the track record for International Feature in the Screenplay categories.

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Spain's big mistake

by Cláudio Alves

Throughout the recent awards season, I wrote several pieces about the Best International Feature race, an Oscar category that's very dear to my heart. It's also a source of endless frustration for I am Portuguese and Portugal remains the country that holds the record for most submissions without getting a single Oscar nomination. To be fair, that's not always the Academy's fault. Sometimes, the choice submission is so mind-bogglingly misguided, it kills any hope of a nomination the minute it's announced. It's not always that the submitted films are lacking in quality, but, sometimes they're productions that were little seen outside of Portugal and received no buzz whatsoever.

This is by no means a strictly Portuguese problem, mind you. In fact, since we're celebrating the 2002 movie year, it seems like a good time to explore one of Spain's most misjudged bits of Oscar selection…

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Top Ten: The Aughts

Last year I was throwin' up quickie top ten lists for each decade for archival and discussion purposes and tonight wI realized that I'd never finished the run skipping the Aughts and the 1920s and the 1910s (the latter two because I'd hoped to see more silent films before top ten'ing it). So herewith a revisit / rework of a "best of the aughts" list originally published in 2010 but many of you have joined us since!.

Care to share yours?

01 Moulin Rouge! dir. Baz Luhrmann (2001)

The party of the decade. The inspired mashup conductor (Baz) and his darling stars (Nicole, Ewan, Jim) put on the messiest craziest livelest funniest tearjerking "Spectacular! Spectacular!" show on earth. I'd never claim it's a perfect movie but flaws are endearing when you love madly and deeply. and Love Is All You Need.

02 Brokeback Mountain dir. Ang Lee (2005)
A love story for the ages. And one that quietly enrages.

03 Eternal Sunshine of the Spotless Mind dir. Michel Gondry (2004)
The Eyes: a singularly imaginative visualist in Gondry. The Brain: the twisty intellect of Charlie Kauffman. The Body: a great acting ensemble operating as one powerful machine. The Heart: a comic (Jim Carrey) positively aching with true drama. The Soul: one of the most elemental faces and emotional forces in cinematic history (Kate Winslet); It's the collaborative miracle movie of the decade, all its parts made greater by their interconnectedness.

04 Dancer in the Dark dir. Lars von Trier (2000)
The story of the Aughts for this particular moviegoer was the rebirth of the musical. To yank the dead genre from its unfortunate grave, fearless visionary filmmakers and prodigiously gifted musicians were required. The impish deconstructionist (von Trier) provoked such genius from a totally modern composer (Björk) that a decade later you can still be transported with just a bar of "New World" or "I've Seen It All".

05 Far From Heaven dir. Todd Haynes (2002)
Of all the things we have to thank Todd Haynes for: new ways of looking at Barbie dolls, Bob Dylan splintered, restless experimentation as cinematic life-blood, a mini Douglas Sirk revival, Ewan MacGregor naked and covered in glitter... this is the gift I cherish most: Julianne Moore in a purple scarf, waving love goodbye.

06 In the Mood for Love dir. Wong Kar Wai (2000, released in 2001)
In a perfect world, I would always be fetching noodles or trying on cheomsangs with Maggie Cheung. Either that or writing wuxia and smoking with Tony Leung Chiu Wai. I'd gladly pay the price of heartbreak in the end.

07 Talk To Her  dir. Pedro Almodovar (2002)
So imaginatively structured, exquisitely controlled, and enigmatically moving that it's nearly impossible to wrap your head around in one go. It's a good thing then that Pedro's movies miraculous improve with repeated viewings... even when they were brilliant to begin with. "Cucurrucucú paloma, cucurrucucú no llores."

08 Rachel Getting Married dir. Jonathan Demme (2008)
God grant me the serenity to accept the things I cannot change... like the fact that so many people don't love this movie. Their loss. I'm ready to dive back into this immersive, noisy, eclectic, spontaneous, superbly acted, wonderfully sustained, bleeding heart of a movie right this very second. Pass me the DVD.

09 Crouching Tiger Hidden Dragon dir. Ang Lee (2000)
Ang Lee is the only filmmaker with two movies in the top ten.  How glorious was/is this utterly transporting adventure?

10 A History of Violence dir. David Cronenberg (2005)
In the past I've likened this movie to a machine, it's so finely calibrated and efficient. But that doesn't get at its emotional fire, its guttural poetry, and its savage eroticism. It's more like a cyborg.

ten other beloveds
Requiem for a Dream, Mulholland Dr, There Will Be Blood, The Lord of the Rings, Vera Drake, Y Tu Mama Tambíen, WALL•E, Volver, The Class, The Hurt Locker, and Before Sunset.

Previous Top Ten Quickies
1930s | 1940s | 1950s | 1960s | 1970s | 1980s | 1990s | 2000s | 2010s (thus far)  
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Thoughts I Had... While Looking at the Nymphomaniac Teaser

A day or two ago I casually linked to the first poster for Lars von Trier's Nymphomaniac though this flippant "oh and..." way of dealing with it doesn't do its succinct brilliance justic. So, it gets a whole post.

• Classic Lars pranksterism
• Although... does Lars love or hate Charlotte Gainsbourg's punani? This is difficult to suss out. I mean he obviously hated it in Antichrist (rusty scissors anyone?) but despite this tagline "Forget About Love" this strikes me as a very affectionate nod to Charlotte's private parts
• Best use of the parenthetical since Me and You and Everyone We Know

))<>((
Back and Forth Forever

• Pedro Almodovar probably already has this poster framed... (The Shrinking Lover anyone?)
• I don't see how this would work for a matching penis poster. No, I was not just trying to figure that out on my keyboard. Shut up.
• There's been a lot of talk about "real sex" rather than simulated sex on the set of this movie but we heard that before with Lars von Trier's The Idiots and he actually used body doubles for that so who knows if the starry cast (Shia Labeouf, Willem Dafoe, Connie Nielsen, Jamie Bell, Udo Kier, Stellan Skarsgård, Uma Thurman, etcetera) are being spared the grunt work (get it, "grunt" work? no, never mind) 
• Remember when Charlotte Gainsbourg was married to Heath Ledger in I'm Not There and how great she was in their scenes together? She's so undervalued as an actress but at least Lars gets her.
• In real life Charlotte is married to Yvan Attal who once made a picture co-starring Charlotte in which they played "Yvan" and "Charlotte" called My Wife is an Actress. The plot involved him worrying about her being unfaithful on set. I demand a sequel that takes place during the shoot of Nymphomaniac.

Oscar Submissions: Japan, Sweden and Germany's "Pina"

Three more films have been announced for this year's foreign film Oscar competition, and all are from countries with a fairly large degrees of success with Academy's foreign nominating committee. Though the Academy always has a veritably orgy of films to choose from (usually sixty-plus) for its five-wide profile boosting arguably hit-making honors, they do tend to prefer European pictures. They also tend to prefer Japanese films to other countries when it comes to Asian cinema. Will they choose any of these three pictures?

JAPAN (12 noms, 1 win, and 3 honorary awards before the foreign category existed)
Postcard, an anti-war film about a soldier (Etsushi Toyokawa) returning home from World War II to see his family devastated, comes from the 98 year old director Kaneto Shindo. He has already stated that this will be his last film. 

SWEDEN (14 noms, 3 wins)
Beyond is the directorial debut of the actress Pernilla August (More and more actresses are making the leap: see also Vera Farmiga and we're loving it. Why shouldn't they?) The actor-centric heavy drama stars Noomi Rapace as the adult survivor of alcoholic parents in the 1970s. Noomi's real life husband Ola Rapace co-stars. Beyond opened at last year's Venice Film Festival but didn't premiere in Sweden until December 2010, placing it safely within the eligibilty period for this year's submission.

Wim Wender working on his documentary homage "Pina"

GERMANY (18 nominations, 3 wins)
Pina is a high profile 3D documentary on the work of the influential German dance artist Pina Bausch who died two years ago -- it was not intended, originally, to be a posthumous film. Dancers convinced the acclaimed filmmaker Wim Wenders to continue with the project which is now an homage to Bausch featuring several of her most acclaimed pieces performed by dancers onstage and outdoors.

Honestly dance is a great use of 3D if you must use 3D at all. Unfortunately the dance movies that have used it previously have rarely understood that to get 3D to work its spatial relations magic and what that means to choreography (a lot), you need to actually not cut every second to a different camera angle so that the eyes can observe the physicality, distance, and depth. I haven't yet seen Pina (very soon I hope) but I'm assuming Wim Wenders understands this in a way, say, the makers of Glee the 3D Concert Movie would not. Just a hunch.

This is not the first time a filmmaker has been inspired by Pina or used that inspiration to really heartbreaking affect. Remember the way Pedro Almodóvar used Pina to set the stage for the ineffable emotional pull of Talk To Her?

My guess right now is that the documentary Pina may have enough acclaim and novelty interest to make the finals (at least). But documentaries have a tough road for Oscar acclaim in any category other than Documentary. To my knowledge no documentary -- and at least one is submitted each year in this category -- has ever been nominated for Best Foreign Language Film. (Unless you count Waltz With Bashir which you could; it strikes me more as an uncategorizable hybrid film.)

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