Barbara

While waiting to be able to see movie, completely forgot about plot and I'm really glad this happened as believe that when you know nothing about story the experience with this movie has to be different than when you do. Since I feel that you should go virgin to the story, I'm forced to not analyze anything about this layered story that could touch you in many levels if you are willing to peel the layers and enjoy the slowly built slight tension that director Christian Petzold masterly impregnated to his film.

I met Petzold with his puzzling Gespenster (Ghosts) and while found film strange -especially for a lesbian interest film- I was highly impressed with his filmmaking and storytelling style. Then saw Yella, another strange movie that absolutely captured my interest as a darkish but very intellectual exercise. Then came Barbara a film that I found not strange at all and perhaps it's Petzold's most accessible film of all I have seen but know that many will find the pace extremely slow, especially Academy members that will see film as is Germany submission to 2013 Oscar.

Pace is so slow and narrative evolves so slow, that is inevitable for viewers to start wondering what is happening here. If you are patient soon you will start to uncover clues to where they are, what time-period story is set, who is Barbara, why she is harassed and why she end up there. But if you blink while watching there are chances that you could miss the clue. Still I believe that Perzold's storytelling style is so interesting that even if you cannot identify any of the above because you are captured by only the evident narrative, you could still enjoy the film that will motivate you to fill the gaps as you wish. To me this is amazing and is the reason why I suggest you see movie without knowing about the plot.

Then film is so good that after watching once and learning what movie is about you could go back and watch again to surely uncover many more layers to film and story. I bet that some will see a different story than the one you imagined the first time. Still the message will or could be the same, what is to live under very difficult circumstances and still be able to behave like a human being. Is all about trust.

Impeccable warmish cinematography -different to Petzold's usually cold visuals- plus an outstanding performance by Nina Hoss that delivers a great -but very slowly- transformation in front of our eyes, from cold and misanthropic to a warmer more living woman that cares no matter the damage she has endured. Truly impressive and a strong reason to make this movie must be seen.

Film premiered in competition at 2012 Berlinale to great reviews in German press, not so in other languages, and while traveling the fest circuit has collected more honors but none like the ones collected in German awards where Petzold got the Silver Bear for Best Director at the Berlinale, Film Award in Silver for Outstanding Feature Film at 2012 German Film Awards and Jasna Fritzi Bauer (Stella) won the New Faces Award for Best Actress. The above makes me think that film perhaps is "too German" for world audiences but if you are familiar with Petzold work I know that movie has to be must be seen for you and surely will enjoy this film that is both about the voyage as the destination.

Have seen it twice, have seen two different stories, maybe will see it again and surely will discover more; but what blew my mind the most, first and second time, is the amazing Nina Hoss performance, truly mesmerizing and in my opinion, superior to highly awarded Yella performance.

Enjoy!!!

Watch trailer @MOC

De rouille et d'os (Rust & Bone)

A magnificent love story! Yes film is all about love. Love, Audiard style of course. Not really what I imagined as was expecting a female-centered story and is not. In a way Audiard again tells a male-centered story but this time a female character goes tête-à-tête with the male character and together they dance a magnificent pas de deux. But you have no idea how spectacular Audiard tells his love story that in hands of a different director easily could have become a sentimental melodrama of the worst kind.

Story tells about two different people, opposites, Stéphanie (Marion Cotillard) the Orca whale trainer that has her "controlled" world turn upside down after a whale disobeys her "controlling" orders, and Ali (Matthias Scoenaerts) the man that has nothing but his son and a brutal force. The beauty and the brute, the perfect match. But nothing is easy for both and Audiard brilliantly show us through several metaphors and most of all with the most impressive cinematography where what you see is more important than what you hear, how they end up helping each other in the most non-sentimental, crude and direct way. All this while exploring our contemporary world, the huge differences between those that have and have not, and proposing that perhaps nowadays all we have left is no more than ourselves, our feelings, our emotions or -if you wish- love. Amazing.

Had no clear idea how to explain what movie is about as whatever I wrote sounded ridiculous and maybe the previous paragraph still suggests a story that can be considered as silly, risible, unbelievable; but let me assure that film and story are not any of the later words. First film is so well crafted that seems impossible to imagine the above story told the way Audiard tells it, but his master approach is extraordinary. Just as an example let me share that the scenes where Stéphanie has the "accident" are an impressive expressionist collage where you see nothing of the "accident" and you see all, inside your head. Second, story is told in a very raw, realistic way, especially when telling about Ali, but also when telling about Stéphanie as her emotions are raw and realistic too. Film is truly visceral.

I was very curious about the special effects and maybe in the beginning was approaching the scenes where Cotillard has no legs too brainy but film -and special effects- are so good that soon, very soon, absolutely forgot about the special effects as became more concern with feeling whatever emotions the scenes provoked. Fantastic and in my opinion, extraordinary use of special effects that I wish many emulate, as not often these kind of effects are used to generate emotions.

Performances have the excellence that awards reward. Marion Cottillard's character is full of emotions and she gives a perfect performance, similar to the one that gave her an Oscar. Matthias Schoenaerts' performance is so good that now I'm willing to see Rundskop (Bullhead), a film I've been avoiding to see as I imagine with too much violence, but now after seeing how good he is -even in the most raw violence- will see it. No doubt that Jacques Audiard masterful direction makes their extraordinary performances possible as well as gives us a raw expressionism in his film images.

I am a huge Audiard and Marion Cotillard follower that with this film got my expectations (see Cannes preview) surpassed as never imagined that a love story (first surprise) could be told like is told here (second surprise) with so much emotions and the raw violence that characterizes Audiard. Still, have to remind you readers that this is a very French movie in form and style; where the voyage is more relevant than the destination. So I hope some of you will enjoy this fantastic voyage into love.

No doubt that film could be for general adult audiences as believe that film story could appeal them; but wonder if film could motivate them to see beyond the evident, to peel the layers, to see more with emotions than plain sight. Maybe.

Last but not least film premiered to great reviews at 2012 Cannes and just a few days ago collected the top award at BFI London Film Festival, in between the two events and while travelling the fest circuit collected many more honors. Truly regret that France did not send film to Oscar, but let's hope that Cotillard gets some more Oscar love.

Big Enjoy!!!

Watch trailer @MOC

49th Golden Horse Awards Nominations

A while back the Golden Horse Film Academy announced the nominations that came from a total of 213 entries, including 122 feature films, 67 short films, 20 documentary films and four animated features.

Both Yang Ya Che's Gf * Bf and Lou Ye's Mystery lead with seven nominations each closely followed by Johnny To's Life Without Principle and Guan Hu's Design of Death with six nominations each.

These are the nominees for some categories.

Best Feature Film
神探亨特張 Beijing Blues, Gao Qunshu, China
浮城謎事 Mystery, Lou Ye, China and France
奪命金 Dyut meng gam (Life Without Principle), Johnnie To, Hong Kong
女朋友。男朋友 Gf * Bf (Girlfriend Boyfriend), Yang Ya Che, Taiwan
消失的子彈 Xiao shi de zi dan (The Bullet Vanishes), Lo Chi Leung, Hong Kong and China

Best Director
Gao Qunshu for Beijing Blues
Lou Ye for Mystery
Johnnie To for Life Without Principle
Yang Ya Che for Gf * Bf
Doze Niu Chen-Zer for 愛 Love

Best New Director
Yang Yi-Chen and Jim Wang for Cha Cha for Twins, Taiwan
Fung Kai for Din Tao: Leader of the Parade, Taiwan
Hero Lin for Silent Code, Taiwan
Tsai Yueh Hsun for Black & White: The Dawn of Assault, Taiwan and China
Chang Jung-Chi for Touch of the Light, Taiwan, Hong Kong and China

Best Leading Actress
Bai Baihe in Love Is Not Blind
Hao Lei in Mystery
Denise Ho in Life Without Principle
Gwei Lun-Mei in Gf * Bf
Sandrine Pinna in Touch of the Light

Best Leading Actor
Nick Cheung in Nightfall
Lau Ching Wan in Life Without Principle
Joseph Chang in Gf * Bf
Chaman To in Vulgaria
Nicholas Tse in The Viral Factor

Best Documentary
China Heavyweight, Yung Chang, China
Hand in Hand, Juang Yi-tzeng and Yen Lan-chuan, Taiwan
Money and Honey, Jasmmine Lee Ching-hui, Taiwan
Voyage in Time, Chou Tung-Yen, Taiwan

Best Short Film
6th March, Wong Chun, Hong Kong, 32'
My Graduation Travel, Hung Po-Hao, Taiwan, 30'
The Home Gleaners, Zhang siqing, China, 32'
The Present, Hsieh Weng-Ming, 16'

The Outstanding Taiwanese Filmmaker of the Year
Chen Po-Wen
Liao Su Jen
Jimmy Huang
Huang Yu-Siang

Lifetime Achievement Award: Shih Chun

This year there were no nominees in the Best Animation Film category as none of the four films qualified. To check nominees in all categories plus info and trailers (all films have trailers, many with English subtitles) for each nominated film go here.

Most interesting is to notice that Hong Kong and Taiwan submissions to Oscar have been honored with nominations but China's submission is not. From the five films nominated for Best Feature Film no doubt that 2012 Cannes Un Certain Regard Mystery is must be seen for me; also because I enjoy Sandrine Pinna's performances think will give a try to Touch of the Light but know that story could be too melodramatic for my taste.

The judging process consists of three phases. The first round was overseen by film critics and scholars from Taiwan, China, and Hong Kong: including Tan Tang-Mo, Li Yongquan, Liang Liang, Thomas Shin, and Wei Xidi. The second round was reviewed by outstanding filmmakers still active in this field, mostly past Golden Horse winners or nominees, such as Kong Jinlei (editor), Jack Shi (animation director), Wu Mi-Sen (director), Lin Yu-Hsien (director), Lin Jong (cinematographer), Lim Giong (musician / actor), Chen Yi-Wen (director/actor), Chen Ru-Shou (film scholar), Shirley Chan Ku Fang (makeup and costume designer), and Lu Yi-Ching (actress); they spent a month watching all the brilliant Chinese-language films made in the past year, from which they elected this year's finalists. In the final round, the judging panel will be joined by the two-time Best Leading Actor winner Andy Lau, as well as renowned writer Chang Ta-Chun, veteran actor/director Liang Hsiu-Shen, and the equally talented Jiang Wenli. Serving as the chairman of this year's jury, Andy Lau said that it was a great honor to take on such a task and he was looking forward to watching the nominated films and discussing with his colleagues. He also congratulated all the nominees of the 2012 Golden Horse Awards.

The 49th Golden Horse Awards ceremony will be held on November 24 in Luodong Cultural Working House, Yilan County and will be broadcast live exclusively on TTV. At present it is confirmed that the ceremony will be broadcast to Canada, the United States, China, Hong Kong, Malaysia, Singapore, and Macau.

25th European Film Awards Documentary Nominations

The European Film Academy announced today the nominations in the category European Film Academy Documentary 2012.

A committee consisting of Nik Powell, director of the NFTS and deputy chairman of the EFA Board (UK), EFA Members Francine Brücher (Switzerland) and Despina Mouzaki (Greece), and the documentary experts Claas Danielsen (Germany), Ally Derks (the Netherlands), and Jacques Laurent (Belgium) selected the nominees.

These are the three (3) nominated films.

Hiver Nomade (Winter Nomads), Manuel von Stürler, Switzerland
London - The Modern Babylon, Julien Temple, UK
Le thé ou l'électricité (Tea or Electricity), Jérôme le Maire, Belgium, France and Morocco

Manuel von Stürler's documentary was premiered at the 2012 Berlinale in the Forum section, collected honors in the festival circuit and went to win the Grand Prix for best Swiss Documentary Feature Film at the Visions du Reel International Film Fest, the following is the jury statement:

"For revealing through this engaging journey the impressive touch of his director, who is able to exploit the cinematographic potential of the film’s two main characters and of their incredible chemistry. These contemporary nomads live an adventure out of time, but still deeply rooted in our present. The director of this first feature documentary creates through the power of his photography, the subtleness of the editing and the use of music, a magic of simplicity."

Premiered on BBC Two during the Olympics Julien Temple's documentary went to be screened at 2012 Toronto Film Festival where Piers Handling wrote the following:

While looking unabashedly at London’s blemishes, Temple also cites many triumphs. He does an exemplary job confronting what immigration meant for the city, as waves of newcomers landed and British industry fired back up in the postwar period. As figures from the past bubble with energy — flappers, debutantes, Teddy Boys, rock stars, models, punks and more tumble across the screen — Temple picks his way through London’s past with dexterity and a stunning grasp of its archival heritage. This effervescent documentary embraces the complexity of a great city, and its final punctuation mark, The Kink’s iconic ode "Waterloo Sunset," provides the perfect summation of a city forever in transition.

Jérôme le Maire's documentary travelled the festival circuit where collected honors like diploma and the medal for the Best Film from the Student Jury at XXII International Film Festival Message To Man in Saint-Petersburg, Best Film on indigenous people at Parnü, Estonia among others and is still being screened as official selection in more festivals to come.

The Academy nominated three highly honored feature films that have and still are collecting honors in general and documentary-only festivals. All have quite interesting stories and from trailers seem to have great visuals.

The nominated documentary films will be made available to the 2,700 members of the European Film Academy. They will vote for the winner who will be presented at the 25th European Film Awards on 1 December in Malta.

You can read more information about each film as well as watch trailers @MOC

The Girl

Sometimes is safer to admire the oeuvre of a master filmmaker than learning about the person behind the movie, the personal life of much admired directors. I am completely torn with this movie, wishing that I never saw it and at the same time somehow glad that I did not skip it. But whatever I resolve later, I sincerely hope that what I saw in this film and what I been reading will not spoil Hitchcock for me. Then truth is that I have seen almost all his films and even if for a moment I thought about seeing again one of his great masterpieces, Marnie, definitively will not now that have this story too fresh in my mind.

Film is not the story of the filming of The Birds as I suspected thanks to trailers and headlines. This is the story of Tippi Hedren and how in the hands of Hitchcock she learned to act, she became a movie star thanks to the two movies she did with Hitchcock and the probable reason why, after getting out of her contract, she never was able to work in big productions again.

My spontaneous reaction was to try to find what was true and what was not; unfortunately seems that what we see here is mostly true. Still is a good dramatization of truth that know will highly impact you if you admire Hitchcock and especially if you're a woman. If you are not familiar with Hitchcock then probably story will bore you before reaches the key turning point and will be glad that is a made for TV movie as you can stop watching just by changing the channel.

Film is shockingly disturbing. Shocking because tells a side of Alfred Hitchcock that I never imagined, a side that could easily come from many of the stories told in his movies, a side that seems fiction more than truth. But as far as I was able or willing to see and read, seems that is not much fiction.

Disturbing because I find film very well built; starts fine, evolves fine and after a key scene in a car while filming The Birds story turns dark and Toby Jones' Hitchcock characterization starts to produce in front of you layers of unthinkable cruelty and mental abuse like not often you are able to see in the screen, big or small. From that key moment film takes a very disturbing downturn that does not stop until Hitchcock explicitly request sexual services from Hedren, a scene that I will have edited out as in my opinion deludes the highly disturbing element to make film pedestrian for the last few minutes before the end. There was no need to be explicit, we already knew it, there was no need to be spelled out for us. See what bothered me less in this film was everything about his sexual overtures, what is really disturbing is the manipulation, the use of power, the mental abuse.

But have to admit that is a good movie that will make you feel lots of emotions, most of the non-positive kind. To be honest there were a few moments that I forgot I was watching a movie about Hitchcock and started to feel like I was watching a movie directed by Hitchcock, that's how good this movie can be at times. Performances are good with Tobey Jones slowly transforming in front of you and probably is the best of Sienna Miller I have seen; great as always in smaller roles Imelda Staunton and Penelope Wilson.

A film that I suggest women should decide before watching IF they are willing to see a disturbing movie about how a man destroys a woman and to those Hitchcock hard fans I strongly suggest you skip film, even if you already know about the director darker side.

Not a film to enjoy but to keep the rating system here goes the closing line.

Enjoy!!!

Watch trailer @MOC

7 Días en La Habana (7 Days in Havana)

Seven shorts compilation about Havana that could have been more like a tourist bureau advert for Cuba if it was not for some shorts fabulous directors with great storytelling style. But to be fair, each of the seven shorts show different aspects of what life in Cuba could be or is right now.

I did not enjoyed all shorts but wasn't expecting to do so as the eclectic group of directors had one I'm not familiar with, one I dislike and the rest are extraordinary directors, storytellers and filmmakers in my book. So let's be brief and start with the ones I like.

Thursday - Dairy of a Beginner by Elia Suleiman

Absolutely fabulous but I am a huge Elia Suleiman fan that always goes crazy for his deadpan performances as Suleiman not only directs but also performs. Believe that in the surface story is about a foreigner that comes to Havana to interview a prominent Cuban figure and to kill time wanders around town; but to me short is a very spiced critique that imagine Cuban sensors did not get as film is included in collection.

Tuesday - Jam Session by Pablo Trapero

Again I'm truly surprised that Cuban sensors allowed this short to be in the compilation as while on the surface tells a very simple story about a well-known director travelling to Cuba to receive an award in a film festival, short message depth goes from awards disdain to show a bitter glimpse in the life of a musician. Then in always peculiar Trapero style short is great and realistic plus the well-known director role is played by none other than Emir Kusturica. In all shorts music plays a great role, but none like the one it plays here.

Sunday - La Fuente by Laurent Cantet

A very elegant tale considering the short theme as is about Santeria with an old woman dreaming Oshun asking for a celebration the same evening and the whole neighborhood helping to make it happen. Story is the excuse to show people ingenious ways to survive, which yes is also a surprise short is in compilation. Very interesting work that in my opinion shows Cantent's different filmmaking style while the storytelling style is absolutely his.

Friday - Ritual by Gaspar Noé

A more normal tale about Santeria darkish side portraying a "limpia" (cleaning) in a lesbian young girl as parents want to get the "devilish" lesbian tendencies away from her. Very dark cinematography that perfectly shows Gaspar Noé very peculiar great style.

Wednesday - La tentación de Cecilia by Julio Medem

In the most melodramatic Medem's style a tale about decisions to leave or leave not the island. Short has what I find not so great performance by Daniel Brühl (usually like his performances) probably due to him speaking Spanish. Not surprisingly this is the hotter short in the compilation. Short is entertaining but nothing more.

Saturday - Dulce Amargo by Juan Carlos Tabío

Not familiar with director but very familiar with Jorge Perugorría that always gives great performances and in here is not the exception. To me short has a style similar to Latin American soap operas, which I do not like but it is watchable as tells about life of what elsewhere could be called upper-middle class family while in Cuba is regular working class. Indirectly related to Santeria but you only know until you see the finished cake. With this short you notice that all short stories have a relationship.

Monday - El Yuma by Benicio del Toro

Don't enjoy Benicio del Toro acting or directing and this short is no exception as not only has the silliest story about how dumb Americans are in foreign lands but short style is truly awful. Ted Atkins performance is not that bad but definitively this story in the hands of a more accomplished director would have look and feel a lot better. Still, I know this is about the ONLY short that surely will be more understandable and enjoyable to general audiences.

As mentioned music is an important element in the shorts and worth mentioning that also cinematography is remarkable in some of the shorts. In general production values are good in all shorts.

Now I am thinking that maybe Cuban sensors have become more relaxed and are allowing out stories that show how life in Cuba, even if could seem hard for foreigners, is very normal/enjoyable for the island citizens. Yes, that's it... probably.

Nevertheless if you enjoy the work of many of the great directors included in this compilation I suggest you don't skip their shorts, but highly recommend you watch them in the compilation as there is a thin relationship between the shorts stories and the order each short is shown -which is not how I listed them here- has an intention. Film was screened in competition at Un Certain Regard section of 2012 Cannes Official Selection.

Enjoy!!

Watch trailer @MOC

Moonrise Kingdom

I am not a Wes Anderson fan as find his movies "strange", always with a "strange" cast and the kind of movie with stories that you do not really know what to think but you keep watching until the end. In this movie he has his usual "strange" cast with some of his regulars and keeps his also "strange" filmmaking style BUT this time his storytelling style was a lot more accessible for me to enjoy it, which was a huge surprise.

Think is the first Anderson film that I truly enjoy because story absolutely fits his peculiar storytelling style, his strange characters plus actors odd performances become quite entertaining and in general, watching film becomes a great ride into the two young lovers "sweet" romance. Then perhaps the most surprising for me was that film allows to feel emotions, which absolutely is not characteristic of this director. Yes, I felt emotions while watching this film, including melancholy about long gone from my life situations, when innocence prevailed.

Now I understand why 2012 Cannes opened with this very unusual film that definitively highly surpassed my expectation in my Cannes Preview plus has become the first and up-to-date ONLY Wes Anderson film that I truly like. So if you are like me that tend to dislike Anderson's films suggest to give film a try and maybe you will enjoy it.

Film tells how a small town in an island off the coast of New England in the 1960's is turned upside down while searching for a young boy and young girl that fell in love and due to their own oddness are moved to run away together. Quite a credible story which also is not characteristic of this director. But obviously is how he tells story what makes film entertaining while reflecting his peculiar filmmaking style.

Most unusual for me is to find Bill Murray, Bruce Willis, Edward Norton, Frances McDormand, Harvey Keitel and Jason Schwartzman very enjoyable as usually I do not enjoy their performances but here their very odd performances absolutely fit Anderson's style. Tilda Swinton's performance was great as always but too short for me.

Let's hope that Wes Anderson with this film found his "true call" as film definitively shows an evolved, more mature and more accessible storyteller and filmmaker; a hope that comes so he continues travelling and evolving into same or similar directions. I don't really want this to be the only Wes Anderson film I like.

Enjoy!!!

Watch trailer @MOC

The Angels' Share

When Ken Loach does his particular kind of realism his films are not easy to watch especially when you consider the implications of what you are seeing. This film is no exception but what really surprises viewers familiar with director films is that movie is very funny! I was no exception. I really laugh hard with this movie and as some of you know, is not easy to make me laugh.

Humor has always been a great vehicle to portrait difficult matters but as we know humor is also a very personal matter. I believe that the kind of humor that Loach uses in this film is of the more universal kind that could appeal to wider audiences while still get the strong message about the bleak future that many young people currently face all over the world and especially in the so-called "First World" countries, those countries were young people used to have a future and now they don't.

Consider that I laughed hard even when know that surely didn't get most of the funny things happening with language as I am not Scottish and was impossible for me to get the many subtleties related to their culture and the use of language. This is one movie that wish could have seen with some Scottish friends that could -later- tell me more nuances about this great film. So if you have the opportunity to watch film with Scots around you I highly recommend you do it. Still, if you don't also know that movie could and will make you laugh enough to enjoy the ride and get the strong message.

Film tells the story of Robbie that barely escapes a prison sentence and goes to do some community service where he finds some pals that are all in a similar situation as himself. He and his small group of friends were given a last chance and you have no idea how well they take advantage of it. If I tell you more perhaps you could question the story plausibility but I can assure that while watching and after you will not as you have to remember that you are in the hands of a master filmmaker that plays with non-actor Paul Branningan (Robbie) extremely well as he also does with us viewers.

Actors performances are incredibly good and think that urban Scotland never looked so great as in this film that obviously has high production values; but is how Loach was able to almost perfectly assemble all the pieces what makes this film a very enjoyable ride. Can't help but tell you that perhaps this is the most mainstream Loach film but in this case I really do not mind as he made me laugh while highly enjoying the ride.

This 2012 Cannes in competition film is a must be seen movie from master storyteller and filmmaker Ken Loach, both to director's fans as well as to those that are not familiar with his movies as I know that after watching this film some will be interested in seeing his previous ones.

Enjoy!!!

Watch trailer @MOC

On The Road

Was reading my Cannes preview for this film and to my surprise found that I was expecting something very specific, take a look:

Great visuals ... a non-traditional narrative style (done in the editing room), hopefully interesting enough to find some similarities to the written style of the book -but I know this will be hard, still will be a great surprise. Last, good performances by actors that I know can do great character interpretations.

The most interesting thing is that I found in this movie exactly what I was expecting, which of course I absolutely forgot until I read the preview today.

First let me give a brief background. I am very familiar with Jack Kerouac, have read the On The Road novel a long time ago, know quite a lot about the Beat Generation, both as a literary movement as well as a cultural expression. The very first cultural expression that influenced and marked me was this one and I was extremely young, a kid. With all this in mind I have to admit that I highly enjoyed this Walter Salles film as yes, has great visuals, editing is just FANTASTIC, and performances are quite good with very special mention to Garret Hedlund that absolutely steals the movie.

But think I figured out why this movie has so many non-positive reviews from professionals as well as from many viewers. Seems that those that have seen movie and are familiar with Kerouac, as an era icon and/or the author of the novel, did not like the movie because the book has something the movie doesn't have: very rich language. I agree with them. Then those that are NOT familiar with Kerouac and/or the novel, find film without a narrative, fragmented, episodic, and boring. I understand them.

So, why did I liked this movie so much? In my opinion screenwriter José Rivera did an outstanding work with very difficult material, but Walter Salles was able to do with the script something that I find even more extraordinary. Salles was able to capture and show the "spirit" of the Beat Generation as a cultural expression. That's exactly what hit me hard while watching this film; maybe not from the beginning as yes, I started watching with a very analytical and skeptic eye. Honestly I was expecting NOT to like film. But there was a moment when I stopped seeing the great visuals and following the short sketches or fragments -if you wish- as I was completely lost, immersed into the "spirit" of what I was seeing. To me, this is shockingly surprising and truly amazing, as never imagined that Salles could be able to understand and so effectively transmit/show a primordially American culture expression.

Won't get into explaining how the Beat Generation manifested as a cultural expression but will share that what you literally see in movie has some "modifications" done probably to please this century audiences. I'm talking about the female characters that are too strong while in those years, in the Beat Generation literature, in the novel and in reality, were not as then cultural expressions were very male chauvinist oriented. The major consequence is that we see Dean Moriarty as a far less attractive figure than he is when seen exclusively from Kerouac's point of view. Besides this issue, I find that what literally was shown is a good interpretation of the Beat Generation "spirit".

More than the story of Sal Paradise (character channeling Jack Kerouac) to me this film tells the story of Dean Moriarty (character channeling Neal Cassady) so we are literally exposed to manifestations of sexual freedom -including homosexuality-, drugs consumption, jazz as body expression, rules/laws disdain, despise economic materialism, vigorously express a desire to live the moment as intensely as possible and more. To me those (and more) are elements that compose the "spirit" of the Beat Generation.

I know this film is NOT for general audiences, not even for those that enjoy non-mainstream, art films; tend to believe that this film has what I think is a very small niche target group as surely nowadays the Beat Generation is forgotten, left to history annals, gone into oblivion. Yes, I believe film could only move those that still recall the Beat Generation "spirit". Then surely will displease Kerouac fans, the novel fans, and everybody else, especially those that see movie looking forward to watch all the sex scenes, including the gay interest ones, as I think all sex scenes are truly not pleasant to watch.

I saw the shorter version which I highly regret as definitively I could have watched more fragments which were shown in the original version at 2012 Cannes. Tend to believe, according to the map in the preview, that the shorter version cut the trip to Canada and maybe more. Really hope that in the future we are able to watch the full version, the original version as shown in Cannes. Sigh.

Once I got into the film "spirit" I was absolutely mesmerized, doubt that many of you will have my experience that after the end left my head spinning for a long while; still, IF you dare to see film, I hope you will be able to enjoy this outstanding film.

Enjoy!!!

Watch trailer @MOC

38th César Awards - Short Films Official Selection

For the first time the French Academy has published a schedule of their activities for the 2012-2013 award season which makes me think that they are becoming more "online professional" as not only recently changed and improved their official site but also now they are sharing with the world information about all their activities, voting process and more. Very interesting and most welcomed by us that love French cinema of the great kind.

Most interesting is to discover that next year the César Awards ceremony will be on Friday, February 22, 2013 two days before the American Academy awards and one day before the Spirit Awards, so February last weekend will be very busy for many of us. Also, worth noting is that the press conference where the nominations will be announced will take place on Friday, January 25, 2013.

Now we officially know that the voting process includes two rounds, the first to select the nominees and the second to select the winners. The first round starts on Wednesday, January 2, 2013 and closes at midnight Thursday, January 24. The second round starts on Friday, February 1, 2013 and closes on Friday, February 22 at 4pm for online voting and Tuesday, February 19 for paper voting. Can't deny that is interesting to notice that online voting is closed the same day the award winners will be announced as suggests that the Academy has gone "full force" into believing in the power of the Internet. Great.

As the Academy becomes more tech savvy, covering these awards becomes more interesting for me as now information will be available and to start the more detailed coverage of a cinema I truly love, today I'm sharing the first available information regarding short films.

Short Films Official Selection

The Academy Short Films committee selected the following twelve (12) short films that will be screened to Academy members at Le Balzac in Paris from December 1 to 8, 2012. Screenings ALSO are open to the public, so if you are near Le Balzac theater I suggest you do not skip this great opportunity. Last, Academy members will receive the DVD will all the shorts at the end of December for private viewing. This is the voting first round that will select the five (5) nominees that will be announced on January 25, 2013

These are the short films

Ce n'est pas un film de cow-boys (It's Not a Cowboy Movie), Benjamin Parent, 12'
Ce qu'il restera de nous, Vincent Macaigne, 40'
Le cri du homard (The Lobster Cry), Nicolas Guiot, 30'
Cross, Maryna Vroda, 15'
Et ils gravirent la montagne, Jean-Sébastien Chauvin, 35'
Fais Croquer, Yassine Qnia, 35'
Jeunesses françaises (French Kids), Stéphan Castang, 19'
Les Meutes, Manuel Schapira, 14'
Oh Willy..., Emma de Swaef and Marc Roels, 17'
Sur la Route du Paraids, Houda Benyamina, 44'
La Vie Parisienne, Vincent Dietschy, 36'
Vilaine fille mauvais garçon (Two Ships), Justine Triet, 30'

As we can see the short films category includes short and medium-lenght films; worth noting that some short films come from famous festivals. Read films info and see trailer or photos @MOC

25th European Film Awards Discovery Award Nominations

The European Film Academy announced today the nominees for the EUROPEAN DISCOVERY 2012 – Prix FIPRESCI, an award presented annually as part of the European Film Awards to a young and upcoming director for a first full-length feature film.

This year’s nominations were determined by a committee comprised of EFA Board Members Helena Danielsson (Sweden) and Els Vandevorst (Netherlands), EFA Members Pierre-Henri Deleau (France) and Jacob Neiiendam (Denmark), as well as Alin Tasciyan (Turkey), Paulo Portugal (Portugal), and Mihai Chirilov (Romania) as members of FIPRESCI, the International Federation of Film Critics.

These are the five (5) nominated films

10 Timer Til Paradis (Teddy Bear), Mads Matthiesen, Denmark
Broken, Rufus Norris, UK
Kauwboy, Boudewijn Koole, Netherlands
Портрет в сумерках Portret V Sumerkhak (Twilight Portrait), Angelina Nikonova, Russia
Die Vermissten (Reported Missing), Jan Speckenbach, Germany

Among the nominees we find the 2012 Sundance Festival Directing Award to Mads Mathiensen for his film Teddy Bear about a 38-year-old bodybuilder Dennis would really like to find true love. He has never had a girlfriend and lives alone with his mother in a suburb of Copenhagen. When his uncle marries a girl from Thailand, Dennis decides to try his own luck on a trip to Pattaya, as it seems that love is easier to find in Thailand. He knows that his mother would never accept another woman in his life, so he lies and tells her that he is going to Germany. Dennis has never been out traveling before and the hectic Pattaya is a huge cultural shock for him. The intrusive Thai girls give big bruises to Dennis' naive picture of what love should be like, and he is about to lose hope when he unexpectedly meets the Thai woman Toi.

The opening film of the 2012 Cannes Semaine de la Critique with a very interesting cast and story about a young girl in North London whose life changes after witnessing a violent attack, Broken by award-winning theatre director Rufus Norris. Synopsis: Skunk is 11, diabetic, and pretty cool. The summer holidays have just begun and her days are full of easy hopes. Then Mr. Oswald, the ugly man who lives opposite, beats up Rick, the sweet, but unstable boy next door after his daughter accuses the boy of rape, and Skunk's innocence begins to be drained away at a speed and in a way she cannot control. Her home, her neighborhood, her school - all become treacherous environments where the happy certainties of childhood give way to a fear-filled doubt, and a complex, broken world fills her future. Skunk seeks solace in the last remaining place where she knows she can find it - the unspoken friendship with sweet, damaged Rick - and falls into a chaos where suddenly, joyfully, she has choice thrust back into her hands. The choice to remain in this place she was never promised, or to leave it entirely - to live or to die. Film is currently in competition for Best British Newcomer Award at 2012 BFI London Film festival.

The 2012 Berlinale Deutsches Kinderhilfswerk Grand Prix winner and First Movie Award, Kawboy by Boudewijn Koole that also won 2012 EFA's Young Audience Award, is Netherlands' submission to Oscar, has more honors in the festival circuit and a story about a lively 10-year-old with a difficult home life marked by a volatile father and an absent mother, finds solace in an abandoned baby jackdaw. Through the special friendship he builds with the bird, the wall between him and his father will be brought down.

The winner of the Golden Puffin at the 2011 Reykjavik IFF, Golden Alexander and Hellenic Association of Film Critics Award at 2011 Thessaloniki Festival, Grand Prize winner of the 2011 Cottbus Film Festival of Young East European Cinema: Twilight Portrait by Angelina Nikonova with what seems has to be a hard to watch story about Marina, an upper-crust social worker with a doting husband and an enviable downtown apartment, is suddenly transformed into a bizarre twilight version of herself when she is raped by three policemen.

The 2012 Berlinale Perspektive Deutches Kino official selection Reported Missing by Jan Spekenbach with the following story synopsis: All of a sudden, 16-year-old Martha vanishes. Her father Lothar, who for years has had no contact with her or his ex-wife, sets off unwilling to find her. He soon realizes other young people are also vanishing from the city inexplicably. Lothar follows their trail across the country. He meets the occasional young person but the trail goes cold. In the next city he encounters militia groups and a reinforced police presence. Children are forbidden to be on the streets unless accompanied by adults. The world has changed...

As we can see nominees have quite impressive credentials, compelling stories (some surely not easy to watch) and debut directors with films that show their great master potential.

6th Annual Asia Pacific Screen Awards Nominations

As stated by organizers, an unprecedented total of 264 films were entered in this year's competition and 34 films from 18 Asia Pacific countries/areas were honored with a nomination.

The following are the nominated films.

Best Feature Film
Bumchoiwaui Junjaeng (Nameless Gangster: Rules of the Time), Jong-bin Yun, Korea
Khers (Bear), Khosro Masoumi, Iran
Орда Orda (The Horde), Andrei Proshkin, Russia
Tepenin Ardi (Beyond the Hill), Emin Alper, Turkey and Greece
Wu Xia (Dragon), Peter Chan, Hong Kong and China

Best Animated Feature Film
Happy Feet Two, George Miller, Gary Eck and David Peers, Australia and USA
Kokurikozaka Kara (From Up on Poppy Hill), Goro Miyazaki, Japan
Momo e no tegami (A Letter to Momo), Hiroyuki Okiura, Japan
Nijiiro Hotaru (Rainbow Fireflies), Kōnosuke Uda, Japan
Ookamikodomo no Ame to Yuki (Wolf Children), Mamoru Hosoda, Japan

Best Children's Feature film
Australia Sheli (My Australia), Ami Drozd, Poland and Israel
Gattu, Rajan Khosa, India
Kiseki (I Wish), Hirokazu Koreeda, Japan
Launt Bercemin (The Mirror Never Lies), Kamila Andini, Indonesia
Orchim Lerega (Off White Lies), Maya Kening, Israel

Achievement in Directing
Anurag Kashyap for Gangs of Wasseypur, India
Brillante Mendoza for Sinapupunan (Thy Womb), Philippines
Cheng Er for Bian jing feng yun (Lethal Hostage), China
Khosro Masoumi for Khers (Bear), Iran
Reis Çelik for Lal gece (Night of Silence), Turkey

Best Performance by an Actress
Cho Min-soo in Pieta, Kim Ki-duk, Korea
Darya Ekamasova in Жила-была одна баба Zila bila odna baba (Once Upon a Time There Lived a Simple Woman), Andrey Smirnov, Russia
Humaima Malick in Bol, Shoaib Mansoor, Pakistan
Nora Aunor in Sinapupunan (Thy Womb), Brillante Mendoza, Philippines
Vidya Balan in The Dirty Picture, Milan Luthria, India

Best Performance by an Actor
Choi Min-sik in Bumchoiwaui Junjaeng (Nameless Gangster: Rules of the Time), Jong-bin Yun, Korea
Lior Ashkenazi in Hearat shulayim (Footnote), Joseph Cedar, Israel
Manoj Bajpayee in Gangs of Wasseypur, Anurag Kashyap, India
Tamer Levent in Tepenin Ardi (Beyond the Hill), Emin Alper, Turkey and Greece
Wu Tianming in Fei Yue Lao Ren Yuan (Full Circle), Zhang Yang China

Achievement in Cinematography
Charin Pengpanich for Bunohan (Bunohan: Return to Murder), Dain Said, Malaysia
Chin Ting-Chang for Seediq Bale (Warriors of the Rainbow: Seediq Bale), Te-Sheng Wei, Taiwan
Jake Pollock and Lai Yiu-fai for Wu Xia, Peter Chan, Hong Kong and China
Touraj Aslani for Fasle Kargadan (Rhino Season), Bahman Ghobadi, Iraqi-Kurdistan and Turkey
Yury Raysky for Орда Orda (The Horde), Andrei Proshkin, Russia

Best Screenplay
Cheng Er for Bian jing feng yun (Lethal Hostage), Cheng Er, China
Chris Martinez for Ang Babae sa Septic Tank (The Woman in the Septic Tank), Marlon Rivera, Philippines
Emin Alper for Tepenin Ardi (Beyond the Hill), Emin Alper, Turkey and Greece
Reis Çelik for Lal gece (Night of Silence), Reis Çelik, Turkey
Shoaib Mansoor for Bol, Shoaib Mansoor, Pakistan

Best Documentary Feature Film
Hamesh Matzlemot Shvurot (Five Broken Cameras), Emad Burnat and Guy Davidi, Israel, Palestine and France
In My Mother's Arms, Atea Al Daradji and Mohamed Al Daradji, Iraq, UK and Netherlands
Negeri di Bawah Kabut (The Land Beneath the Fog), Shalahuddin Siregar, Indonesia and Germany
Planet of Snail, Yi Seung-jun, Korea, Japan and Finland
Shiton Hachok (The Law in These Parts), Ra'anan Alexandrowicz, Israel, USA and Germany

My first impression from those films I was not aware is that the one that really called my attention is the story of a female convict on death row with her last wish to tell her story to the media in Shoaib Mansoor's Bol. Also because of trailer and photos know that epic Andrei Proshkin's Orda (photo) has some breathtaking visuals.

A six-member International Jury headed by acclaimed Australian producer Jan Chapman will determine the winner of Best Feature Film as well as winners of the five major craft awards, the Screen International Jury Grand Prize and the UNESCO Award for outstanding contribution to the promotion and preservation of cultural diversity through film. APSA Academy members will determine the winners in the Best Children’s, Documentary and Animated Feature Film categories.

All winners in the sixth annual Asia Pacific Screen Awards will be announced at a ceremony on Friday November 23 in Brisbane, Australia.

85th Academy Awards Documentary Short Subject Shortlist

AMPAS today announced that the field of Documentary Short Subject contenders for the 85th Academy Awards has been narrowed to eight films, of which three to five will earn Oscar nominations. A total of 31 films were submitted and the 8 films are the following.

Inocente, Sean Fine and Andrea Nix, USA, 42'
Kings Point, Sari Gilman, USA, 40'
Mondays at Racine, Cynthia Wade, USA, 39'
Open Heart, Kief Davidson, USA, 39'
Paraíso (Paradise), Nadav Kurtz, USA, 10'
Redemption, Jon Alpert and Matthew O'Neill, 35'
The Education of Mohammad Hussein, Heidi Ewing and Rachel Grady, USA, 38'
The Perfect Fit, Tali Yankelevich, UK, 9'

As noted before the nominations will be announced on Thursday, January 10, 2013 at 5:30 a.m. PT.

The above films tell stories about immigrants, retirees in Florida, ballet shoemakers and more; take a look at some info about each film.

Inocente: A personal and vibrant coming of age story about a young artist's determination never to surrender to the bleakness of her surroundings. At 15, Inocente refuses to let her dream of becoming an artist be caged by being an undocumented immigrant forced to live homeless for the last nine years. Color is her personal revolution and its sweep on her canvases creates a world that looks nothing like her own dark past. Both a timeless story about the transformative power of art and a timely snapshot of the new face of homelessness in America: children. The challenges are staggering, but the hope in her story proves that the hand she has been dealt does not define her, her dreams do.

Kings Point: In the 1970s and 80s, hundreds of thousands of senior citizens migrated from New York City to Kings Point, a typical retirement community, located just outside West Palm Beach, Florida. Lured by blue skies, sunshine, palm trees, and the promise of a rich social life, they bought their way to paradise for just a $1,500 down payment. Now, as an aging community faces its own mortality, paradise has begun to exact a higher price. Through the experiences of six longtime residents, 'Kings Point' captures both the allure and the darker complexities of living in a world where 'nobody gets too close.' Poignant, funny and dark, 'Kings Point' is a deeply empathetic portrait of the last act of the American Dream.

Mondays at Racine: Every third Monday of the month, two bold, brassy sisters open the doors of their Long Island hair salon to women diagnosed with cancer. As locks of hair fall to the floor, women gossip, giggle, weep, face their fears, and discover unexpected beauty

Open Heart: Eight Rwandan children leave their families behind to embark on a life or death journey seeking high-risk heart surgery in Sudan. Their hearts ravaged by a treatable disease from childhood strep throat, they have only months to live. Open Heart reveals the intertwined endeavors of Dr. Emmanuel, Rwanda’s lone government cardiologist as he fights to save the lives of his young patients and Italian Dr. Gino Strada, the Salam Center’s head surgeon, who must also fight to save his hospital, Africa’s only link to life-saving free cardiac surgery for the millions who need it.

Paraíso: Three immigrant window cleaners risk their lives every day rappelling down some of Chicago's tallest sky-scrapers. Paradise reveals the beauty and danger of their job and what they see on the way down.

Redemption: New York City's canners - the men and women who survive by redeeming bottles and cans they collect from curbs, garbage cans and apartment complexes

The Education of Mohammad Hussein: An intimate look at how the largest Muslim community in America responds to the provocations of an anti-Islamic preacher. Through the eyes of children, the film examines what it is like to come of age as a Muslim in the United States ten years post 9/11.

The Perfect Fit: Ballet shoes might be worn by delicate girls, but they are crafted by burly men, whose hands tell a different story. A perfectionist shoemaker pounds his soul out making each pair, as he tries to ease the burden on the dancers’ feet.

World Cinema Huge List

A while back was reading an article by Guy Lodge called "This year's foreign Oscar race reflects a growing global medium" which I found interesting because tells a brief history of how the category has evolved thru the years with the Academy modifying rules to more fairly accommodate country submissions. Not all cases are explained in the article, but I believe gives some good examples to support what he's talking about. You can check the article here.

The article left me thinking and my thinking evolved into something related but different. Started to wonder why the American Academy hasn't fully realized that the list generated by the country submissions to Oscar foreign film category is the ONLY list in the world that has what we can sometimes call the "best of the best" in world cinema. There is no other cinema related source or event that generates a similar list. You can say that big and famous festivals have films from all over the world; but none, not even Cannes, has 70 plus films from almost all the countries with an active cinema industry.

Then, assuming that the Academy knows, why they haven't made category more relevant within the awards show? The last becomes more interesting if we consider that the Oscar show is about the ONLY American television show that is broadcast live to huge world audiences. This issue has always puzzled me as know there is a huge opportunity in promoting the category to world audiences. Still also know that what show producers really care is about the American show ratings, so don't foresee any changes on how the category is promoted within the show. Which only makes me wish there was an organization that could capitalize this list into a true World Cinema event. Sigh.

This year, as has been happening with many other events, social media exploded with news, comments and yes, one remarkable controversy about country submissions. During September and only considering Twitter, Facebook and "new comer" Google+, we were swamped with information about this Oscar category. Never before, not even last year, there has been so much buzz, noise and hype about the category. This "new" media has become an impressive source that has expanded "old" word-of-mouth into unthinkable levels. But most relevant is that has become a major source of free unregulated publicity for films.

Not all films have marketing and/or advertising budgets to promote them to local audiences, much less to a world audience, and is precisely those that don't have who get their "15 minutes of fame" in local press and now, in world social media. If before selecting a film to this category gave film an opportunity to be known that exists, now perhaps becomes the most effective free source to gather audiences for a film on worldwide basis. But not only the film benefits as also directly or indirectly the local movie industry gets promoted. I believe that some countries have already figured out all this, so it is no surprise for me that the category got a record 71 films submitted, even when last year winner country called for a boycott this year.

Some of the 71 films submitted were unknown to me and surely for you too; but now we are aware of them and some called our attention enough to be interested in watching them. This is priceless for those films and is what really drives me to with full enthusiasm gather the list, gather videos and information about each film. In the end after all the work my viewing queue has increased exponentially and I really hope yours too, as there are some new non-festival films that seem to really deserve wider audiences, deserve to be seen.

For so many reasons maybe list has never been the "best of the best" but surely this year huge list gives us a great reason to continue loving World Cinema. Then wouldn't be just nice if a VOD service will give us the opportunity to be able to watch ALL films in the list? Alright if not all, maybe those from smaller cinema industry countries? There you have a great business opportunity that surely will please many, especially me.

Cheers!!!

2012 Nordic Council Film Prize Award Winner

Today, October 9, the Nordic Council announced the winner of this prestigious award and is none other than Play by Ruben Östlund.

The Film Prize's Adjudication Committee, which is made up of film experts from the five Nordic countries, give this motivation for their choice of this year's winner:

"Director Ruben Östlund once again confirms his position as one of today’s most original filmmakers in the Nordic countries. Through his ongoing artistic project - dissecting and analyzing human behavior, Ruben Östlund presents thought-provoking insights into social roles and role play.

The stylistic imagery, the relentless pace of the story and the astounding performances from non-professional actors make PLAY a gut wrenching drama that prompts us to reflect on important issues in modern western society."

Written/directed by Ruben Östlund and produced by Erik Hemmendorff film is an astute observation based on real cases of bullying set in central Gothenburg, where a group of 12-14 year-old boys, bullied other children on about 40 occasions between 2006 and 2008. They used an elaborate scheme called the ‘little brother trick’ or ‘brother trick’, involving advanced role-play and gang rhetoric rather than physical violence. On winning the award, filmmaker and producer said:

"At one and the same time it is both fantastic and incredibly flattering to win the Nordic Council's Film Prize. Even though we have toured with PLAY in four of the five Nordic countries in 2012, and have experienced fantastic reactions and receptions of the film, we never dared hope to win the prize this year when the competition has been so fierce.

As film producers we have to be able to constantly challenge, examine and maintain the special Nordic expression in our films, even though it can be difficult at times to pinpoint specific Nordic characteristics. In both PLAY and our earlier film INVOLUNTARY, we touch on our boundless fear of losing face and this is described as typically Nordic by many people outside the Region. Maybe they are right?

For us a good film is marked by constantly posing important questions to and about people, in relation to the society we live in. And precisely the society that Nordic films stem from helps to give the films a specific tone and character. Perhaps that is what is particularly characteristic of films which come from the Nordic film environments? It is certainly something we have to strive to achieve given the dominance and influence of Hollywood films on our area of expression."

In my opinion, is a very hard to watch film but believe highly deserves the honor. The prize will be awarded during the Nordic Council Session in Helsinki on October 31st.

9/5
Yesterday organizers announced the five nominated films for this award that was created to honor Nordic films embedded to a significant degree in Nordic culture.

Denmark: En kongelig affære (A Royal Affair), Nikolaj Arcel

Finland: Kovasikajuttu (The Punk Syndrome), Jukka Kärkkäinen and Jani-Petteri Passi

Iceland: Á annan veg (Either Way), Hafsteinn Gunnar Sigurdsson,

Norway: Kompani Orheim (The Orheim Company), Arild Andresen

*Sweden: Play, Ruben Östlund

The winner of the Nordic Council Film Prize 2012 will be announced in October and presented with the prize at the Nordic Council‘s Session in Helsinki on October 31st. Have seen only one movie that was too-hard-to-watch for me. Sigh. To read the announcement go here.

85th Academy Awards Foreign Language Film Submissions - Final

Today the Academy published the list with a RECORD 71 countries that have submitted films for consideration in the Foreign Language Film category. The post has become final.

Most amazing is that with only one exception, Bangladesh, all films have trailers or videos in the original language, many with English subtitles; so have an idea of what each film could be to better guess their possibilities beyond the favorites.

Was reading again Rule Thirteen: Special Rules for the Foreign Language Film Award and the only date clearly stated is the deadline for the second print, which is due the same day the nominations will be announced, Thursday, January 10, 2013 at 5 p.m. PT. So I have to assume that they have to give at least 2 or 3 days before the deadline to have the print shipped and this gives me the estimate that Friday, January 4th the shortlist of nine (9) films should be announced. If is not that day then has to be on Monday, January 7th.

This is a long list with many, many great films. Enjoy!

Afghanistan: سنگ صبور Syngue Sabour (The Patience Stone), Atiq Rahimi
Albania: Pharmakon, Joni Shanaj
Algeria: !زبانا Zabana!, Saïd Ould Khelifa
Argentina: Infancia Clandestina (Clandestine Childhood), Benjamín Ávila
Armenia: Եթե բոլորը (If Only Everyone), Nataliya Belyauskene
Australia: Lore, Cate Shortland
Austria: Amour (Love), Michael Haneke
Azerbaijan: Buta, Ilgar Najaf
Bangladesh: ঘেটুপুত্র কমলা Ghetuputra Komola (Pleasure Boy Kamola), Humayun Ahmed
Belgium: À perdre la raison (Our Children), Joachim Lafosse
Bosnia and Herzegovina: Djeca (Children of Sarajevo), Aida Begic
Brazil: O Palhaço (The Clown), Selton Mello
Bulgaria: Кецове Kecove (Sneakers), Ivan Vladimirov and Valeri Yordanov
Cambodia: ឃ្លាត​ទៅ​សែន​ឆ្ងាយ (Lost Loves), Chhay Bora
Canada: Rebelle (War Witch), Kim Nguyen
Chile: No, Pablo Larraín
China: 搜索 (Caught in the Web), Chen Kaige
Colombia: El Cartel de los Sapos (The Snitch Cartel), Carlos Moreno
Croatia: Ljudožder vegetarijanac (Vegetarian Cannibal), Branka Schmidta
Czech Republic: Ve stínu (In The Shadow of the Horse), David Ondříček
Denmark: En Kongelig Affære (A Royal Affair), Nikolaj Arcel
Dominican Republic: Jaque Mate (Check-Mate), José María Cabral
Estonia: Seenelkäik (Mushrooming), Toomas Hussar
Finland: Puhdistus (Purge), Antti Jokinen
France: Intouchables (The Intouchables), Olivier Nakache and Eric Toledano
Georgia: Keep Smiling, Rusudan Chkonia
Germany: Barbara, Christian Petzold
Greece: Άδικος Κόσμος Adikos kosmos (Unfair World), Filippos Tsitos
Greenland: Inuk, Mike Magidson
Hong Kong: 奪命金 Duo Mingjin (aka Dyut Ming Gam) (Life Without Principle), Johnnie To
Hungary: Csak a szél (Just the Wind), Benedek Fliegauf
Iceland: Djúpið (The Deep), Baltasar Kormákur
India: बर्फी Barfi!, Anurag Basu
Indonesia: Sang Penari (The Dancer), Ifa Isfansyah
Israel: למלא את החלל Lemale Et Ha'Chalal (Fill The Void), Rama Burshtein
Italy: Cesare deve morire (Caesar Must Die), Paolo and Vittorio Taviani
Japan: かぞくのくに Kazoku no kuni (Our Homeland), Yong-hi Yang
Kazakhstan: Жаужүрек мың бала Zhau Zhurek Myn Bala (Myn Bala: Warriors of the Steppe), Akan Satayev
Kenya: Nairobi Half Life, David Tosh Gitonga
Kyrgyzstan: Pustoi Dom (The Empty Home), Nurbek Egen
Latvia: Golfa straume zem ledus kalna (aka Golfstrim pod aysbergom)(Gulf Stream Under the Iceberg), Yevgeny Pashkevich
Lithuania: Ramin, Audrius Stonys
Macedonia: Трето полувреме Treto poluvreme (The Third Half), Darko Mitrevski
Malaysia: Bunohan, Dain Iskandar Said
Mexico: Después de Lucía (After Lucia), Michel Franco
Morocco: موت للبيع Mort à vendre (Death for Sale), Faouzi Bensaïdi
Netherlands: Kauwboy, Boudewijn Koole
Norway: Kon-Tiki by Joachim Rønning and Espen Sandberg
Palestine: لما شفتك Lamma Shoftak (When I Saw You), Annemarie Jacir
Peru: Las Malas Intenciones (The Bad Intentions), Rosario García-Montero
Philippines: Bwakaw, Jun Robles Lana
Poland: 80 milionów (80 Millions), Waldemar Krzystek
Portugal: Sangue do meu Sange (Blood of My Blood), João Canijo
Romania: După dealuri (Beyond the Hills), Cristian Mungiu
Russia: Белый тигр Belyy Tigr (White Tiger), Karen Shakhnazarov
Serbia: Кад сване дан Kad svane dan (When Day Breaks), Gorana Paskaljevića
Singapore: Already Famous, Michelle Chong
Slovakia: Až do mesta Aš (Made in Ash), Iveta Grófová
Slovenia: Izlet (A Trip), Nejc Gazvoda
South Africa: Umfaan (Little One), Darrell Roodt
South Korea: 피에타 Pieta, Kim Ki-Duk
Spain: Blancanieves, Pablo Berger
Sweden: Hypnotisören (The Hypnotist), Lasse Hallström
Switzerland: L'enfant d'en haut (Sister), Ursula Meier
Taiwan: 逆光飛翔 (Touch of the Light), Chang Rong-ji (aka Chang Jung-chi)
Thailand: ฝนตกขึ้นฟ้า Fon Tok Kuen Fah (Headshot), Pen-Ek Ratanaruang
Turkey: Ateş'in Düştüğü Yer (Where the Fire Burns), İsmail Güneş
Ukraine: ТойХтоПройшовКрізьВогонь (Firecrosser), Mykhailo Illienko
Uruguay: La Demora (The Delay), Rodrigo Plá
Venezuela: Piedra, Papel o Tijera (Rock, Paper, Scissors), Hernán Jabes
Vietnam: Mùi cỏ cháy (The Scent of Burnt Grass), Nguyễn Hữu Mười

Watch trailers @MOC

My Comments from Updates

9/29
As of this moment ALL countries with large cinema industry have announced their submissions. Until next Monday, October 1st deadline maybe there could be announcements from smaller cinema industry countries.
This is the last update until AMPAS announces the official list with accepted submissions and post becomes final. Usually list is published between one/two weeks after the deadline. So expect final list before October 15.
Think this year will do a brief analysis of all submitted and accepted films, but until then can share that this year there are many submitted films from the major three festivals and as of this moment, most come from the Berlinale, second place is Cannes and third is Venice. Top award winners at these three festivals: Golden Bear, Palme d'Or and Golden Lion were all submitted to Oscar this year.
Up to this moment have been able to identify nine (9) films by female directors, which I believe could be a record, but have to confirm it. My spontaneous impression is that there are quite a few films about or related to "old age" and also to "children" stories. There is one film with some lesbian interest and one with clear gay interest.
But most interesting is that list has many films that are must be seen for me, most come from festivals but there are a few that don't. My viewing queue has become larger but have a whole year to try to see films I'm interested in watching. Great!
9/18
Was hoping for Audiard, would not have mind Leos Carax, but France sending a mainstream movie?! Not pleased, as there were so many great movies. Still I know selection is a crowd-pleaser and maybe will charm older Academy members in the committee. Not good news for me. Sigh. Besides, don't be surprised if this film ALSO makes it to the Best Film category as "Beyond the Foreign Language Oscar race, US distributor Harvey Weinstein has also stated he would like to enter Intouchables for Best Picture Oscar." We all know what happens when Weinstein is behind a film. Double Sigh.
9/16
Pulled post up as for the next two weeks we will learn most if not all the submissions. The "experiment", or the map at bottom of post, is getting many views since yesterday. I'm still learning how to add more info to each country, so expect that each will have more info soon. Thanks for visiting.
9/13
Category getting very complicated for me as has more GREAT (well, my favorite) directors. Today Kim Ki-duk joined Haneke and Mungiu. Now let see if list grows to include Audiard and Reygadas... that could make this year competition very interesting, just imagine a festival with these directors competing for one top award. Not even Cannes can do it, so maybe Oscar.
9/9
Pulled up post. Was thinking if wouldn't be interesting if this year the category will have Haneke, Mungiu plus Jacques Audiard all competing for one award? Also think that Audiard was robbed in the same year as Haneke. If France sends Rust & Bone then my thinking will be real, but there is another film that everyone is betting will be this year France Oscar entry. Soon we will see what happens.
9/6
List is growing fast and I'm pulling post up. Most are commenting that the winner is already in this list. Yes, Amour has ALL the right credentials to appeal Academy foreign-language committee members, that tend to be NOT young. I do not mind at all that Michael Haneke gets an Oscar as he should have one by now (Remember Caché controversy? and/or The White Ribbon?).
Then today Romania announced their submission and Cristian Mungiu joined the competition, he ALSO should have one by now (remember the controversy that changed the rules in the category?). Mungiu was robbed then and maybe now they will give him the Oscar for both films, why not?
But truth is that nothing is predictable in this category thanks to the voting process.
9/1
As September begins is time to do the first update to bring the post up and get it ready to go very busy as is during September when most countries publish their official announcements. As many like to say and I modify for this category, the "World Race to Oscar" has started and one of the most iconic lists of great world films is in process to be final by early October when the Academy publishes the official list. Five films have been already announced and estimate that at least 55 more will be added soon. Cheers!
P.S. Thank You for the email with Poland tip! Much appreciated. The tally is up to six films.
8/15
Today decided to do some predictions for this category and got the pleasant surprise that one country already has announced their submission which makes today a good day to start this traditional post that will have multiple updates until the Academy announces the official list.

An experiment

Have to thank each and everyone that saw the experiment (map) and I'm pleased to announce that will do it next year as map had twice the visits of this post.


View 85th Academy Awards Foreign Language Film Submissions in a larger map