Tehran-set drama is first film in a planned trilogy revolving around the theme of secrets and lies.
Berlin-based Pluto Film has boarded sales on Iranian director Farnoosh Samadi’ s drama 180° Rule ahead of its premiere in TIFF’s Discovery section.
The film is based on real events and is about a school teacher who is preparing to attend a wedding in northern Iran. When her husband suddenly forbids her from attending, she makes a decision that will impact her life forever.
180° Rule is writer-director Farnoosh Samadi’s first feature after three successful shorts including the 2018 Gaze, which premiered in Locarno,...
Berlin-based Pluto Film has boarded sales on Iranian director Farnoosh Samadi’ s drama 180° Rule ahead of its premiere in TIFF’s Discovery section.
The film is based on real events and is about a school teacher who is preparing to attend a wedding in northern Iran. When her husband suddenly forbids her from attending, she makes a decision that will impact her life forever.
180° Rule is writer-director Farnoosh Samadi’s first feature after three successful shorts including the 2018 Gaze, which premiered in Locarno,...
- 9/10/2020
- by Melanie Goodfellow
- ScreenDaily
The third feature by Ali Mosaffa will probe the hidden corners where the histories of Iran and the former Czechoslovakia intersect. Iranian filmmaker Ali Mosaffa, a Karlovy Vary International Film Festival regular, introduced his latest project, Absence, during the festival’s virtual industry strand, Kviff Eastern Promises. Both of Mosaffa’s two previous features bowed in the main competition at Kviff: Portrait of a Lady Far Away (2005) and The Last Step (2012). Mosaffa wrote and is producing, starring in and directing Absence, which is described as a mystical thriller and is being made as a co-production between Iran, the Czech Republic and Slovakia. The film’s protagonist arrives in Prague from Tehran to find out more about his father’s past as a communist expatriate in Czechoslovakia. A resident of the flat where Rouzbeh’s father lived fell out of a window, and the protagonist soon finds out that it was his half-brother,...
Karlovy Vary Film Festival, the leading cinema event in Central and Eastern Europe, has unveiled the projects that will be showcased during the online edition of its industry program, Eastern Promises.
Eastern Promises will feature a total of 41 film projects, which will be presented as part of its various sections – Works in Progress, First Cut+ Works in Progress, Docs in Progress, Works in Development – Feature Launch, and Eurimages Lab Project Award. The presentations of projects to industry professionals will take place July 6-8, and the most promising projects will receive awards of the total value of Euros 165,000.
In order to attend the online program, film industry professionals must be registered (click here) by June 22 at the latest.
Works in Progress
The Works in Progress sessions will be presented online on July 6 at 14:00-17:00 Cet and July 7 at 14:00-17:00 Cet.
The Trt prize of 10,000 Eur will be...
Eastern Promises will feature a total of 41 film projects, which will be presented as part of its various sections – Works in Progress, First Cut+ Works in Progress, Docs in Progress, Works in Development – Feature Launch, and Eurimages Lab Project Award. The presentations of projects to industry professionals will take place July 6-8, and the most promising projects will receive awards of the total value of Euros 165,000.
In order to attend the online program, film industry professionals must be registered (click here) by June 22 at the latest.
Works in Progress
The Works in Progress sessions will be presented online on July 6 at 14:00-17:00 Cet and July 7 at 14:00-17:00 Cet.
The Trt prize of 10,000 Eur will be...
- 6/17/2020
- by Leo Barraclough
- Variety Film + TV
Industry showcase to run virtually due to the Covid-19 pandemic.
Karlovy Vary International Film Festival (Kviff) has unveiled the projects that will be showcased during its Eastern Promises industry strand, which is taking place online for the first time due to the Covid-19 pandemic.
Some 41 film projects will be presented across industry strands: Works in Progress; First Cut+ Works in Progress; Docs in Progress; Works in Development - Feature Launch; and Eurimages Lab Project Award.
Projects will be presented to industry across three days, from July 8, with the most promising titles receiving awards worth a total of €165,000.
Kviff announced in...
Karlovy Vary International Film Festival (Kviff) has unveiled the projects that will be showcased during its Eastern Promises industry strand, which is taking place online for the first time due to the Covid-19 pandemic.
Some 41 film projects will be presented across industry strands: Works in Progress; First Cut+ Works in Progress; Docs in Progress; Works in Development - Feature Launch; and Eurimages Lab Project Award.
Projects will be presented to industry across three days, from July 8, with the most promising titles receiving awards worth a total of €165,000.
Kviff announced in...
- 6/17/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
Another closely observed, sympathetic portrait of a young woman navigating her own way through Iranian society, My Second Year in College (Sal-e Dovvom-e Danehkadeh-ye Man) is full of nuances and almost embarrassingly intimate glimpses into the hopes and fantasies of an inexperienced girl. The title has the first-person directness of I’m Taraneh, 15, the 2007 film that brought director Rasoul Sadrameli to international attention.
Subtle shooting and a well-chosen cast that includes Ali Mosaffa are big pluses, even if the main story about a girl in a coma (will she or won’t she wake up?) recalls a medical ...
Subtle shooting and a well-chosen cast that includes Ali Mosaffa are big pluses, even if the main story about a girl in a coma (will she or won’t she wake up?) recalls a medical ...
- 3/21/2019
- The Hollywood Reporter - Movie News
Another closely observed, sympathetic portrait of a young woman navigating her own way through Iranian society, My Second Year in College (Sal-e Dovvom-e Danehkadeh-ye Man) is full of nuances and almost embarrassingly intimate glimpses into the hopes and fantasies of an inexperienced girl. The title has the first-person directness of I’m Taraneh, 15, the 2007 film that brought director Rasoul Sadrameli to international attention.
Subtle shooting and a well-chosen cast that includes Ali Mosaffa are big pluses, even if the main story about a girl in a coma (will she or won’t she wake up?) recalls a medical ...
Subtle shooting and a well-chosen cast that includes Ali Mosaffa are big pluses, even if the main story about a girl in a coma (will she or won’t she wake up?) recalls a medical ...
- 3/21/2019
- The Hollywood Reporter - Film + TV
Everything you ever wanted to know about the fruit picking business in Iran is revealed in Orange Days (Rooz-haye Narenji), an impeccably made drama that fails to ignite. Glammed-down stars Hadieh Tehrani and Ali Mosaffa, both excellent here, give a human face to scenes of hard labor and financial desperation.The relentless focus on work and the use of handheld camera and often natural light recalls the Dardenne brothers, with the difference that the heroic protag of this tale is a woman contractor who pays her workers a minimum wage and fires the unruly.
This is the first narrative feature ...
This is the first narrative feature ...
- 9/26/2018
- The Hollywood Reporter - Film + TV
Everything you ever wanted to know about the fruit picking business in Iran is revealed in Orange Days (Rooz-haye Narenji), an impeccably made drama that fails to ignite. Glammed-down stars Hadieh Tehrani and Ali Mosaffa, both excellent here, give a human face to scenes of hard labor and financial desperation.The relentless focus on work and the use of handheld camera and often natural light recalls the Dardenne brothers, with the difference that the heroic protag of this tale is a woman contractor who pays her workers a minimum wage and fires the unruly.
This is the first narrative feature ...
This is the first narrative feature ...
- 9/26/2018
- The Hollywood Reporter - Movie News
Behnam Behzadi’s absorbing film offers a subdued tale of family dynamics but ultimately shies away from the issues
Behnam Behzadi’s film is a sombre, subdued family drama set in Tehran about the insidious patriarchal forces that conspire, almost without entirely knowing it and certainly without admitting it, against independent-minded women. It is a misogynist oppression as all-pervasive as the smog that settles everywhere on the city. For another director, this might have been a more straightforwardly emotional story of a dutiful daughter, the kind of drama that could have interested Ozu or Douglas Sirk – and in many ways that is what it is here. But Inversion is more downbeat, more oblique in ways that might not have attracted those film-makers. It is an involving story, but I found it sometimes a little dessicated, and the ending rather shies away from the intractable dilemmas that had been so painful.
Behnam Behzadi’s film is a sombre, subdued family drama set in Tehran about the insidious patriarchal forces that conspire, almost without entirely knowing it and certainly without admitting it, against independent-minded women. It is a misogynist oppression as all-pervasive as the smog that settles everywhere on the city. For another director, this might have been a more straightforwardly emotional story of a dutiful daughter, the kind of drama that could have interested Ozu or Douglas Sirk – and in many ways that is what it is here. But Inversion is more downbeat, more oblique in ways that might not have attracted those film-makers. It is an involving story, but I found it sometimes a little dessicated, and the ending rather shies away from the intractable dilemmas that had been so painful.
- 5/18/2017
- by Peter Bradshaw
- The Guardian - Film News
Iran's Farabi Cinema Foundation has shortlisted 10 films that are being considered as potential candidates to represent the Middle Eastern nation in the Best Foreign Language Film category at the 88th Academy Awards. A team of experts from the Iranian film industry has been commissioned to review the films and make a final selection in the upcoming days. Iran is one of the last country's to submit a film into the race which this year includes films from 67 countries so far.
Here are the 10 films being considered:
Note that none of this films has secured U.S. distribution, thus rights are available.
"13"
Dir. Hooman Seyedi
Isa: Visual Media Institute
"Crazy Castle"
Dir. Abolhassan Davoodi
Facebook Page
"Fish & Cat"
Dir. Shahram Mokri
Isa: Iranian Independents
"I Am Diego Maradona"
Dir. Bahram Tavakoli
Isa: Iranian Independents
"The Long Goodbye"
Dir. Farzad Motamen
Isa: Farabi Cinema Foundation
"Melbourne"
Dir. Nima Javidi
Isa: Iranian Independents
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Indsutry
"Tales"
Dir. Rakhshan Bani-Etemad
Isa: Noori Pictures
"Track 143"
Dir. Narges Abyar
Isa: Irib Media Trade
"What's the Time in Your World?"
Dir. Safi Yazdanian
Isa: Dreamlab Films
Despite censorship and other restrictions imposed on Iranian filmmakers, which would never allowed a film like Panahi's "Taxi" to become the country's Oscar entry, Iranian cinema is thriving and the films in this list showcase a range of sophisticated stories that have gotten the attention of multiple international festivals.
Simply based on its scale and the talent involved, the clear favorite would be Majidi's biopic "Muhammad: The Messenger of God." Not only is the director one of the most internationally acclaimed Iranian auteurs of all time, but the film also has 3-time Academy Award-winner Vittorio Storaro as its Dp. It's also the most expensive Iranian film ever made. However, regardless of these numerous qualities, the committee might choose to look elsewhere to avoid more controversy as the film has been banned in other Muslim countries that reject any visual depiction of the prophet, even if his face never appears in the film.
If Majidi's epic is deemed too much of a liability, there are plenty of other great options among the shortlisted works: Yazdanian's "What's the Time in Your World?" stars two of Iran's most well-known actors, Leila Hatami ("A Separation") and Ali Mosaffa ("The Past"), and won the Fipresci Prize at last year's Busan International Film Festival; "Tales" won the Best Screenplay award at the 2014 Venice Film Festival and stars "A Separation's" Peyman Moaadi; "Melbourne," which also stars Moaadi, had extensive presence in the festival circuit picking up several awards, and Mokri's "Fish & Cat" screened at AFI Fest and won a Special Prize in Venice back in 2013.
Iran won its first Academy Award with Asghar Farhadi's masterpiece "A Separation" in 2012. Prior to that deserved win, the country had only been nominated once for Majid Majidi's "Children of Heaven."...
Here are the 10 films being considered:
Note that none of this films has secured U.S. distribution, thus rights are available.
"13"
Dir. Hooman Seyedi
Isa: Visual Media Institute
"Crazy Castle"
Dir. Abolhassan Davoodi
Facebook Page
"Fish & Cat"
Dir. Shahram Mokri
Isa: Iranian Independents
"I Am Diego Maradona"
Dir. Bahram Tavakoli
Isa: Iranian Independents
"The Long Goodbye"
Dir. Farzad Motamen
Isa: Farabi Cinema Foundation
"Melbourne"
Dir. Nima Javidi
Isa: Iranian Independents
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Indsutry
"Tales"
Dir. Rakhshan Bani-Etemad
Isa: Noori Pictures
"Track 143"
Dir. Narges Abyar
Isa: Irib Media Trade
"What's the Time in Your World?"
Dir. Safi Yazdanian
Isa: Dreamlab Films
Despite censorship and other restrictions imposed on Iranian filmmakers, which would never allowed a film like Panahi's "Taxi" to become the country's Oscar entry, Iranian cinema is thriving and the films in this list showcase a range of sophisticated stories that have gotten the attention of multiple international festivals.
Simply based on its scale and the talent involved, the clear favorite would be Majidi's biopic "Muhammad: The Messenger of God." Not only is the director one of the most internationally acclaimed Iranian auteurs of all time, but the film also has 3-time Academy Award-winner Vittorio Storaro as its Dp. It's also the most expensive Iranian film ever made. However, regardless of these numerous qualities, the committee might choose to look elsewhere to avoid more controversy as the film has been banned in other Muslim countries that reject any visual depiction of the prophet, even if his face never appears in the film.
If Majidi's epic is deemed too much of a liability, there are plenty of other great options among the shortlisted works: Yazdanian's "What's the Time in Your World?" stars two of Iran's most well-known actors, Leila Hatami ("A Separation") and Ali Mosaffa ("The Past"), and won the Fipresci Prize at last year's Busan International Film Festival; "Tales" won the Best Screenplay award at the 2014 Venice Film Festival and stars "A Separation's" Peyman Moaadi; "Melbourne," which also stars Moaadi, had extensive presence in the festival circuit picking up several awards, and Mokri's "Fish & Cat" screened at AFI Fest and won a Special Prize in Venice back in 2013.
Iran won its first Academy Award with Asghar Farhadi's masterpiece "A Separation" in 2012. Prior to that deserved win, the country had only been nominated once for Majid Majidi's "Children of Heaven."...
- 9/25/2015
- by Carlos Aguilar
- Sydney's Buzz
As of this article's publication only five countries have announced their official Oscar entries for the 88th Academy Awards: Hungary ("Son of Saul"), Romania ("Aferim!"), Bosnia & Herzegovina ("Our Everyday Life"), Luxembourg ("Baby(A)lone"), and Kazakhstan ("Stranger"). Taking into account last year's record number of submissions, 83 in total, there are certainly a lot more coming in the next few weeks. Several national film organization have already narrowed the field down to a shortlist of films that qualify to be considered, other countries skip the shortlist and simply announce their participant title without revealing what was being considered.
Trying to predict what a particular nation will enter is a tall order because of the numerous factors that weight in, especially when dealing with countries with a large film industry. In other cases, however, there are usually just a couple standouts that meet the standards to be submitted. Whatever the case, even with the most obvious choices there could be surprises such as Indian choosing not to submitting "The Lunchbox" or Chile choosing another film over Silva's "The Maid."
While there is no sure-fie formula to predict what films will be competing for the Best Foreign Language Film Academy Award, by looking at festivals, release dates, national awards, previous submissions, and with a hefty dose of educated speculation, I've put together a list of 35 titles that, at this point, seem like excellent choices.
Update 08/28: Several countries have announced their official submissions: Croatia ("The High Sun"), Germany ("Labyrinth of Lies"), Guatemala ("Ixcanul"), Switzerland ("Iraqi Odyssey"), and Palestine ("The Wanted 18").
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Argentine Release Date: August 13th, 2015
Coming off the success of this year’s nominee “Wild Tales,” which also did very well at the U.S. box-office for Sony Pictures Classics and became a spectacular hit back home, Argentina seems to have another strong contender this year with Pablo Trapero’s latest work “The Clan” (El Clan). Two of the director’s previous films have been submitted before (“Lion’s Den” and “Carrancho”), and this one about the Puccio family, which was criminal organization that kidnapped and murdered wealthy people, looks more than promising. “The Clan” is also produced by Almodovar’s El Deso, just as Damian Szifron’s “Tales” was. There are several other films that have enough merits to be considered, but might prove insufficient when faced with Trapero’s film. “Refugiado,” “El Patron,” “Two Shots” and, even “Jauaja,” starring Viggo Mortensen, qualify
Brazil
"The Second Mother"
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Brazilian Release Date: August 27, 2015
Undoubtedly the most awarded Brazilian film of the year is also their best bet at the Oscars. Anna Muylaert's “The Second Mother” premiered at Sundance where it won a Special Jury Prize for both of its leading actresses Regina Casé and Camila Márdila. It went on to screen in the Panorama section of the Berlinale and took home the C.I.C.A.E. Award and the Audience Award. The film tells the story of a live-in housekeeper and his daughter as they navigate the class divisions prevalent in Brazilian society. Another factor in its favor is the fact that the film has secured U.S. distribution thanks to Oscilloscope. “The Second Mother” opens in Brazil on August 27 and, in a strange turn of events, on August 28 in the U.S. While there are plenty of other great Brazilian works that qualify to be submitted, it’s unlikely that the selection committee will look elsewhere. Other films that could have a shot at being chosen are “August Winds,” “Casa Grande.” “Blue Blood,” and “White Out, Black In”
Bulgaria
"The Judgement"
Dir. Stephan Komandarev
Isa: Premium Film
U.S. Distribution: None Yet
Bulgarian Release Date: October 16, 2014
Following last year’s scandalous selection of “Bulgarian Rhapsody” over the more deserving “Viktoria,” the Eastern European country has a two-way race in which both candidates have almost equal chances at being chosen. Stephan Komandarev’s drama “The Judgement” is the larger production of the two and revolves around a desperate father trying to amend his relationship with his estrange son. At the same time the protagonist is also trying to make ends meet and decides to take on the dangerous job of smuggling illegal immigrant from Syria through a remote area of the Turkish-Greek-Bulgarian border. The other film is Kristina Grozeva & Petar Valchanov's “The Lesson,” about a devoted teacher who is faced with corrupt bureaucracy after her classroom is burglarized. Winning awards at the Sofia International Film Festival, San Sebastian, Thessaloniki, and screening at Tiff and Rotterdam, “The Lesson” should be the frontrunner. However, “The Judgement” might have the edge not only because it sports a larger budget and wider appeal, but because Komandarev is the filmmaker behind “The World is Big and Salvation Lurks Around the Corner,” which is the one Bulgarian film that has gotten the closest to Oscar glory when it was shortlisted by the Academy in 2010. Less likely to be selected but still viable possibilities are “Adultery,”"Buffer Zone," and "The Petrov File."
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
Canadian Release Date: January 30th, 2015
As of now Canada’s ideal representative would be the small, but touching, “Felix & Meir,” about a married woman from the Orthodox Jewish community who falls in love with a secular man, as way to know life beyond the restrictions of her faith. This tiny gem won the Best Canadian Feature award at last year’s Tiff and received four awards at the Whistler Film Festival including Best Film and Best Director. “Felix & Meira” was acquired by Oscilloscope for U.S. distribution and was released last April. To date it has grossed nearly $500,00, which, for a subtle and niche film like this, is a great feat. Giroux’ film should take this easily, unless the new film by Oscar-nominated director Philippe Falardeau decides to push for the opportunity. Falardeau newest film “Guibord Goes to War” (Guibord s’en va-t-en guerre) is a political dark comedy that premiered at Locarno and is scheduled to open in Canada on October 2- just two days after AMPAS’ deadline. If the distributor decides to have a one-week qualifying run ahead of the release, then it would become the new frontrunner to represent Canada. However, it’s still unknown if that is being considered or if the film will just wait till next year. Falardeau was nominated in the category for “Monsieur Lazhar” in 2012. “Chorus,” which premiered at Sundance, Berlin’s “Corbo,” Tiff’s “In Her Place,” and the “Les Loups” also qualify.
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Chilean Release Date: May 28, 2015
With Pablo Larraín’s Silver Bear-winner film, Chile has an easy choice to make. “The Club,” which was recently picked up for U.S. distribution by Music Box Films, has received universal critical acclaimed and has cemented its director as one of the most important figures in Latin American cinema. Larraín’s latest centers on a group of priests and nuns sent to a beach town to purify their sinful pasts involving everything from pedophilia to kidnapping. The only other film that truly stands a chance is Matias Lira's “El Bosque de Karadima,” which deals with similar themes regarding secrecy and crimes against children within the Catholic Church. But even if this film has been well-received at home, “The Club” has had more much more international visibility and it has the distinction of being the newest work from the director behind “No,” Chile’s only Oscar-nominated film to date. Other notable works that will be part of the conversation include historical drama “Allende en su Laberinto” by veteran director Miguel Littin, Rodrigo Sepúlveda’s touching “Aurora," and indie flick “La Voz en Off.”
China
"Mountains May Depart" (山河故人)
Dir. Zhangke Jia
Isa: MK2
U.S. Distribution: Kino Lorber
Chinese Release Date: Unknown
Censorship has always played a role in China’s decision-making process when it comes to their Oscar submissions. Some of the best Chinese films in recent years are never considered given their controversial topics or because they were made outside of the state-run system. Under this circumstances patriotic epics or lavish period dramas are often selected even when their quality is subpar. The country’s big production this year is “The Lady of the Dynasty,” which was a box-office disappointment and garnered mostly negative reviews locally. With this in mind, the hope is that they will finally look at more compelling films with greater international exposure, such as Jia Zhangke’s “Mountains May Depart.” Premiering at Cannes to mostly positive responses, the film looks at Chinese society from three perspectives scattered over three decades. The film has passed the censors' revisions and will be allowed to screen in mainland Chine, which means it’s possible one of Zhangke’s film might finally represent his homeland. His previous effort, “A Touch of Sin,” was ignored because of its thematic elements. Jean-Jacques Annaud’s stunning “Wolf Totem” is a close second choice, but given the fact that China submitted a film by a French director last, they might want to highlight a homegrown talent this time. There is also “Red Amnesia,” a thriller about a widow that compulsively needs to take careof those around her until strange incidents shake her life. Er Cheng’s “The Wasted Times,” which appears to be a delirious visual treat, but it opens just a few days after the September 30th deadline. A qualifying run prior to that date is possible, but not likely. “Mountains May Depart” is definitely the strongest candidate.
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Colombian Release Date: May 25th, 2015
The Colombian film industry has had an outstanding year and that has produced an impressive lineup of films from which their strongest Oscar entry to date will emerge. Three films that screened at the Cannes Film Festival - two of which earned prizes – are at the top of the list. Winning the Art Cinema Award at the Directors’ Fortnight Ciro Guerra’s black-and-white “Embrace of the Serpent” is the one to beat among these trio of art house wonders. Guerra’s film is a period piece about the clash between the native people of the Amazon and a European explorer, which has received stellar reviews and was picked up for U.S. distribution by Oscilloscope. Two of Guerra’s previous films, “Wandering Shadows” and “The Wind Journey,” also represented Colombia at the Academy Awards. Nevertheless, the other films that screen at the Croisette, Golden Camera-winner “Land and Shade” and war drama “Alias Maria,” shouldn’t be completely counted out of the running. Films like Franco Lolli's “Gente de Bien” (Cannes 2014), Josef Wladyka's “Manos Sucias,” "Todos Se Van," and “Ruido Rosa” qualify and testify of the great moment Colombian filmmaking is experiencing, but they will have a difficult time pulling off an upset.
Croatia
"The High Sun" (Zvizdan)
Dir. Dalibor Matanic
Isa: Cercamon
U.S. Distribution: None Yet
Croatian Release Date: Septemeber 2015
It’s not often that a Croatian feature manage to grab Cannes’ attention and take home a prestigious award like the Un Certain Regard Jury Prize. “The High Sun” achieved such feat and should be almost a lock to become the country’s Oscar entry. This intense drama, that expands over three decades and explores the Balkan region’s turbulent history, also won 7 awards at the Pula Film Festival including Best Film, Director, Leading Actress, Supporting Actor, and Supporting Actress. If there’s another film with a reasonable shot, it would be Ognjen Svilicic's “These Are the Rules” about a family questioning their moral compass after a violent incident, which did well in the festival circuit winning awards in Venice, Warsaw, Stockholm, and Pula. Svilicic’s 2007 feature “Armin” represented the country at the 80th Academy Awards. “The Bridge at the End of the World,” “Ungiven,” “The Reaper,” “Number 55” are other noteworthy Croatian films released during the past year, but Matanic’s highly praised wok should have no trouble becoming the official entry.
Dominican Republic
"Sand Dollar" (Dólares de Arena)
Dir. Israel Cárdenas & Laura Amelia Guzmán
Isa: FIGa Films
U.S. Distribution: Breaking Glass Pictures
Dominican Release Date: November 13th, 2014
Thanks to a growing film industry, Dominican films have participated every year starting in 2011 after being absent from the race since 1995. Their submissions have included romantic comedies and low-budget crime dramas that weren’t successful at getting AMPAS’ attention. Fortunately, this year they might have their strongest candidate yet with “Sand Dollars.” In Israel Cárdenas & Laura Amelia Guzmán's film starring Geraldine Chaplin, a local girl becomes the object of desire for an older French woman visiting the Caribbean country, influenced by her boyfriend the Dominican beauty decides to take advantage of the foreigner’s interest. “Sand Dollars” has screened at countless festivals around the world winning a handful of awards and has secured U.S. distribution. Guillermo Zouain's road-trip comedy “Algún Lugar” has also been well-received at a couple of international festivals, but is less likely to be picked. “Pueto Pa’ Mí,” a drama about urban music, documentary “Tu y Yo," and biopic “Maria Montez,” might be out of luck. It’s unclear if Agliberto Meléndez political film “Del Color de La Noche,” has premiered yet, so that could a contender next year given that the director was behind the country’s first ever Oscar submission.
Ethiopia
"Lamb"
Dir. Yared Zeleke
Isa: Films Distribution
U.S. Distribution: None Yet
Ethiopian Release Date: Unknown
The East African nation has only sent two films for consideration. Last year it was the Angeline Jolie-supported “Difret,” which was part of the World Cinema competition at the 2014 Sundance Film Festival. This year only two films seem to qualify. “Lamb” is the first-ever Ethiopian film to screen at Cannes, which makes it the unquestionable favorite. It’s a rural story about a boy and his beloved sheep moving in with relatives as his mother goes to work in the city. Reviews were positive praising the film’s cinematography and layered storytelling. The other film that could possibly be selected is Hermon Hailay’s “Prince of Love” about a prostitute and a cab driver struggling to get by in the capital city of Addis Ababa. “Prince of Love” represented the country at Fespaco, one of Africa’s most renowned festivals, and will screen at Tiff in September. Ethiopia might choose to send “Lamb” this time around and save Hailay’s feature for next year depending on release date.
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish Release Date: March 13th, 2015
Peculiar teen drama “They Have Escaped” won four Jussi Awards from the Finnish Academy earlier this year including Best Film and Best Director; however, it will probably face an uphill battle to become Finland’s Oscar entry. Instead, Estonian-language period piece, “The Fencer,” looks like a more feasible alternative because of its classic story, elegant cinematography, and the director behind it: Klaus Härö. The film tells the story of a young Estonian fencer who leaves his homeland to become a Pe teacher and escape persecution by the Russian authorities in the 1950s. Some critics have gone as far as to call it “the best Finnish film in a decade.” Three of Härö’s previous films (“Elina: As If I Wasn’t There,””Mother of Mine, “ and Letter to Father Jacob) were selected as Oscar entries. The only obstacle in its path is the fact that this is an Estonian story with mostly Estonian dialogue. If the selection committee can overlook that, this will be their pick. Antti Jokinen's “Wildeye,” a visually arresting war drama that opens in September is another strong option, particularly because Jokinen’s previous film, “Purge,” represent the country in 2013. “Absolution,” “Head First,” ”Homecoming,” and “Tsamo” are proof a strong year in Finnish cinema but won’t make the cut.
France
"Dheepan"
Dir. Jacques Audiard
Isa: Wild Bunch
U.S. Distribution: Sundance Selects
French Release Date: August 26th, 2015
Given the amount of films produced in France each year, this is the most difficult country to narrow down. However, this year there is a heavyweight contender among the scores of worthy productions. Surprise Palme d’Or-winner “Deephan” by the Academy Award-nominated director of “A Prophet," Jacques Audiard, is a clear favorite. Audiard is a legend and it’s hard to think France won’t support the film that took home one of cinema’s most coveted prizes. Following the relevant immigrant story of a Sri Lankan warrior in France, “Dheepan” is almost a safe bet. If for some unimaginable reason Audiard’s latest is not chosen, the most likely alternative would be well-received “My Golden Days” by Arnaud Desplechin, which has been picked up for U.S. distribution by Magnolia Pictures. While there are dozens of films that could be considered, here are some other important French films that qualify based on their release dates: “Girlhood,” “Standing Tall,” “The Measure of Man,” “The New Girlfriend,” “Valley of Love,” “Eden,”"The Connection."
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
German Release Date: November 6th, 2014
After an 8-film shortlist was released, - which sadly doesn’t include “Phoenix” because it opened late last September – things look pretty clear for the German selection committee. It’s really a 3-film race between “13 Minutes,” Labyrinth of Lies,” and “Victoria.” Unfortunately, and despite incredibly positive reviews, Sebastian Schipper's “Victoria” might be considered a risky choice because a big part of it is in English. That leaves Oliver Hirschbiegel’s “13 Minutes,” about a man who tried to assassinate Hitler in 1939. On the surface this looks like the prime title to send to AMPAS since Hirschbiegel’s “Downfall” earned him a nomination and he has worked in Hollywood for several years now. Yet, reception wasn’t as warm for his first German film in a decade. On the other “Labyrinth of Lies,” which deals with Post-World War II Germany and how the government tried to cover up its recent Nazi past, had better luck. Critical reception has been better for this film and it was a financial success in Germany and France, which gives the edge. Both “13 Minutes” and “Labyrinth of Lies” were acquired by Sony Pictures Classics for U.S. distribution. The complete list of shortlisted films can be found Here
Greece
"Xenia" (Ξενία)
Dir. Panos H. Koutras
Isa: Pyramide International
U.S. Distribution: Strand Releasing
Greek Release Date: October 2nd, 2014
Although it’s not an official rule, Greece almost-automatically selects the winner of the Best Film Prize at the Hellenic Film Awards as their Oscar submissions. This year’s winner was the Lgbt dramedy “Xenia,” which follows two Albanian brothers searching for their Greek father after their mother’s death. The film was nominated for 15 Hellenic Film Awards and won a total of six. “Xenia” premiered in the Un Certain Regard section at the Cannes Film Festival and will be released in the U.S. in October by Strand Releasing. I can’t see any other film being selected other than Koutras’ Almodovar-infused film, but if that were the case the other Best Film nominees – that meet AMPAS requirements- would be the ones to look to: “Electra,” “A Blast,” and “Forever.”
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Guatemalan Release Date: August 27th, 2015
This is a no-brainer. Guatemala has only sent a film once back in 1994, but this year director Jayro Bustamante delivered the most awarded Guatemalan film in history. That should be a good enough reason to enter the race once again. “Ixcanul” won the Alfred Bauer Award at the Berlinale and has screened across the world to great success. Bustamante’s film centers on a Mayan girl who wants to escape the arrange marriage that awaits her to see what’s beyond her village. Another Guatemalan film, which also screened in Berlin, Edgar Sajcabún's “La Casa Más Grande del Mundo,” will probably not open theatrically in time and should be considered next year.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
Icelandic Release Date: May 28th, 2015
Two middle-aged brothers in an Icelandic rural town leave their differences behind and come together to save their beloved farm animals in the Un Certain Regard Award-winner “Rams.” With such recognition under its belt and having just been picked for U.S. distribution by Cohen Media Group, Grímur Hákonarson's film is certainly the handsomest choice. Still, “Rams” is not without a strong rival. Crowd-pleaser “Virgin Mountain,” about a lonely man whose life changes when he meets a new friend, had its U.S. premiere at the Tribecca Film Festival where it won three awards: Best Narrative Feature, Best Actor, and Best Screenplay. It could go either way, but the Cannes prestige and having found a U.S. distributor give “Rams” the upper hand. Iceland produced several qualifying features this year including “Brave Men’s Blood,” “East of the Mountain, “ and “The Homecoming.”
Iran
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Industry
U.S. Distribution: None Yet
Iranian Release Date: August 26, 2015
Iran will have to make an incredibly difficult decision that unfortunately may have political repercussions. Majid Majidi’s latest film “Muhammad: The Messenger of God” is the most expense Iranian feature ever made. The historical epic brings to life the early years of the prophet's life with impressive locations, costumes, and cinematography courtesy of Three-time Oscar-winner Vittorio Storaro. Majidi himself is no stranger to the Academy having earned Iran’s first-ever Academy Award nomination with “Children of Heaven.” Taking these facts into consideration, “Muhammad” seems to be the obvious selection, but there are many religious and political concerns that could get in its way. Islam prohibits the depiction of the prophet and other sacred figures in any artistic work. Knowing this, Majidi shot the entire film - which is the first part in what’s to become a trilogy – without ever showing the prophet’s face by shooting most scenes from his point of view or showing him with his back to the camera. This was acceptable for Iran’s censors, as the film will open this week in theaters across the Middle Eastern country. However, other Muslim countries, particularly Sunni Muslims, have been outspoken about their discontent with the film. Whether Iran will still choose to submit the film to AMPAS is a mystery, but it will certainly have more to do with outside influences rather than artistic merit. “Muhammad” will have its North American premiere at the Montreal World Film Festival.
“Nahid” by Ida Panahandeh, about a woman’s journey from divorce to remarrying, won the Avenir Prize in the Un Certain Regard section at Cannes, but - although censors have said the film will be allowed the screen in Iran - it might not open theatrically in time. It also deals with a controversial subject and that might limit it chances. A third, and much safer option, is romantic drama “What’s the Time in Your World?” starring Leila Hatami (“A Speration”) and Ali Mosaffa (“The Past”). Directed by Safi Yazdanian, the film looks beautifully done and sports two of the most talented Iranian actors working today. It could definitely be a good alternative. Other films include “Borderless,” “Track 143,” "Tales” and “Confessions of a Dangerous Mind.” Perhaps Iran will ignore the risk and submit their most lavish film to date by one of their most celebrated filmmakers who still works within the state’s parameters.
Israel
"The Kind Words" (Ha'milim ha'tovot )
Dir. Shemi Zarhin
Isa: Beta Cinema
U.S. Distribution: None Yet
Israeli Release Date: May 28, 2015
With 12 nominations to Israel’s Ophir Awards, “The Kind Words” including Best Film, Best Director, Best Screenplay, Best Actor, and Best Actress Shem Zarhin’s film is the one to beat. Since the winner of the Ophir Award for Best Film automatically becomes Israel’s Oscar submission, “The Kind Words” has a strong shot at both honors. The film follows a group of siblings as they travel abroad to uncover a secret. By default the other contenders are the rest of the films nominated for Best Film: “Wounded Land,” ”Afterthought,” “Wedding Doll,” and “Baba Joon.” Of this Elad Keidan's “Afterthought,” which premiered at Cannes to positive reviews, and Erez Tadmor's intense drama “Wounded Land” appear to be the strongest alternatives. Despite being nominated several times Israel has never won the Best Foreign Language Film Academy Award.
Italy
"My Mother" (Mia Madre)
Dir. Nanni Moretti
Isa: Films Distribution
U.S. Distribution: Alchemy
Italian Release Date: April 16th, 2015
Nanni Moretti is back with “Mia Madre,” a new family drama that screened in competition at this year’s Cannes Film Festival and won a few awards at the Italian David di Donatello Awards. Since the big winner at the national awards, “Black Souls,” was considered last year, Moretti’s film is the frontrunner. However, there is a wild card that could change things. Veteran filmmaker Marco Bellocchio will release his newest work “Blood of My Blood,” a historical drama about a 17th century woman accused of being a witch, on September 9 - just in time to qualify. It’s likely that Moretti will have enough support to pull it off, but there is still a chance that might not be set in stone. Besides these two films there is Mario Martone’s “Leopardi,” a biopic about poet Giacomo Leopardi, which won several David di Donatello Awards and was also recognized in Venice. With even less possibilities are Sundance’s “Cloro,” “Greenery Will Bloom Again,” and Albanian-language “Sworn Virgin,”
Ivory Coast
"Run"
Dir. Philippe Lacôte
PC: Banshee Films
U.S. Distribution: None Yet
Ivorian Release Date: December 17th, 2014
The first and only time a film represent Ivory Coast at the Oscars was back in 1977. That film, “Black and White in Color,” won the first and only Academy Award attributed to a Sub-Saharan African country. Nevertheless, that landmark work was directed by a Frenchmen, Jean-Jacques Annaud, and had mostly French talent in the leading roles. Now, almost 40 years later, an actual Ivorian film looks presents a fantastic opportunity for the country to return to the race. Philippe Lacote’s political drama “Run” screened in the Un Certain Regard section in Cannes 2014, Tiff, and AFI Fest, and later opened commercially in Abidjan, the Ivorian Capital, and Paris. Ivory Coast has only one eligible film to submit as their Oscar entry, and fortunately it’s a good one.
Japan
"Our Little Sister" (海街 diary)
Dir. Hirokazu Koreeda
Isa: Wild Bunch
U.S. Distribution: Sony Pictures Classics
Japanese Release Date: June 13th, 2015
Japan hasn’t had a successful entry since unexpectedly winning the award in 2009 with “Departures.” Their selections are often baffling because they tend to ignore festival winners and critically acclaimed films to pick obscure titles that rarely connect with voters. In recent years outstanding films such as “Like Father, Like Son” have been overlooked. Having said this, one can only hope that this time around they will chose more wisely. This year another film by Hirokazu Koreeda, “Our Little Sister,” debuted at Cannes and has been picked up for U.S. distribution by Sony Pictures Classic – a powerhouse distributor in the Best Foreign Language Film race. Based on a manga series, the film revolves around a group of young women who decide to adopt their stepsister after their father dies. “Our Little Sister” was also a financial success in its homeland. Even with all these positive qualities on its side, Japan might refuse to submit Koreeda’s film and look elsewhere. Other options from the festival circuit include Naomi Kawase's “An- Sweet Red Bean Paste,” which less positive reviews; “Journey to the Shore,” though it opens on October 1; “Kabukicho Love Hotel,” which screened at Tiff last year, and “Cape Nostalgia.”
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Jordanian Release Date: March 19th, 2015
In 2008 Jordan submitted their first-ever Oscar submission, and the first feature film made in the country in half a century. That film, “Captain Abu Raed,” did very well in festivals like Sundance and Dubai. Since then, Jordanian cinema has been scarce forcing the country to be absent from the race. That could change this year with “Theeb” by UK-born filmmaker Naji Abu Nowar. His period piece about a Bedouin boy during World War I has played at numerous festivals and will have a U.S. theatrical release via Film Movement.
Lithuania
"The Summer of Sangailé" (Sangaile)
Dir. Alanté Kavaïté
Isa: Films Distribution
U.S. Distribution: Strand Releasing
Lithuanian Release Date: August 21st, 2015
The Sundance Film Festival screened its first-ever Lithuanian feature this past January, “The Summer of Sangailé” by Alanté Kavaïté. This Lgbt coming-of-age story showcases captivating cinematography and nuanced performances. “Sangailé” went on to win the Directing Award in the World Cinema Competition at the Park City festival. It will also become one of the very few Lithuanian films to have been distributed in the U.S. when Strand Releasing schedules its theatrical release. Being the most awarded narrative film from the Baltic nation, it should be a shoo-in. "Sangailé" also won three Silver Crane Awards (Lithuanian Oscars): Best Film, Best Actress for Julija Steponaityte and best set design for Ramunas Rastauskas. Its only realistic adversary is the documentary “Master and Tatyana,” which won the Best Documentary, Best Director, and Best Cinematography prizes at the Silver Crane. Lithuania has shown to be fond of submitting documentaries, but one could presume that “Sangaile’s” wider international appeal will help it succeed.
Mexico
"The Thin Yellow Line" (La Delgada Línea Amarilla)
Dir. Celso R. García
Isa: Latido Films
U.S. Distribution: None Yet
Mexican Release Date: Unknown
Among the 14 films that the Mexican Academy announced as candidates to become the official Oscar submission, only a handful of them have a real chance at representing Mexico. It’s really a three-way race between “600 Miles,” “La Tirisia,” and “The Thin Yellow Line.” Each of these has distinctive assets as well as factors that could play against them. Gabriel Ripstein's “600 Miles” stars Tim Roth, which could be beneficial because Academy voters would see a familiar face on screen. At the same time Roth’s participation means that there is a considerable amount of English dialogue that could make the film feel less authentic when considered as a “foreign language film” representing a country. Then there is Jorge Pérez Solano's art house marvel, “La Tirisia,” about the role of women in a very traditional Mexican community. This is a film that truly showcases an unseen aspect of Mexican culture and has garnered international recognition, but it might be too small in scope to be selected.
Lastly, “The Yellow Thin Line,” which was awarded at the Guadalajara Film Festival but hasn’t travel much. It will screen at the Chicago International Film Festival in October. “The Thin Yellow Line” tells the story of a group of men working on a deserted road as they are forced to come to terms with their yearnings and failures. The premise seems unique; the cast includes some of Mexico’s most recognizable talents, and it’s partly produced my Guillermo del Toro. That last fact is what could set the film apart from the rest because the general public and Academy voters will be intrigued to see what was it about this story that interested Del Toro, who hasn’t been involved in a Mexican project in several years. It’s a tough race, but having someone like the “Pan’s Labyrinth’s” director supporting the film could be a deal breaker.
Peru
"The Vanished Elephant" (El Elefante Desaparecido)
Dir. Javier Fuentes-León
Isa: Mundial
U.S. Distribution: Oscilloscope Laboratories
Peruvian Release Date: October 9th, 2015
Javier Fuentes-Leon’s “The Vanished Elephant” premiered at last year’s Tiff and was also part of this year’s Los Angeles Film Festival making it the highest profile Peruvian film of the year. At home, the critical response was very positive and the quality of the film, in comparison to other Peruvian works released in the last 12 months, is undeniable. “The Vanished Elephant” tells the cryptic story of a writer whose girlfriend disappears without a trace. After receiving a series of strange photographs, he delves into deceitful conspiracy that defies the lines between reality and fiction. Fuentes-Leon debut feature “Undertow” was submitted to the Academy back in 2010. Enrica Perez’ “Climas” about three Peruvian women from different walks of life and Héctor Gálvez forensic mystery “Nn” have both screened at several international festivals, and though they are much smaller film’s than “The Vanished Elephant,”either of them could be the next best choice to become Peru’s Oscar entry. Less likely titles include “Videophilia,” “Solos,” and historical drama “Gloria del Pacífico.”
The Philippines
"Trap" (Taklub)
Dir. Brillante Mendoza
Isa: Films Distribution
U.S. Distribution: None Yet
Filipino Release Date: Unknown
Brillante Mendoza is one the Philippines most acclaimed auteurs and yet none of his films have ever been selected to represent the Southeast Asian nation at the Oscars. His latest work, “Trap,” won Special Mention from the Ecumenical Jury at Cannes and it’s the prime contender to travel to L.A. this year. “Trap” follows a group of survivors soon after Typhoon Haiyan devastated a great part of the country. The film stars Filipino actress Nora Aunor, who also the lead in Mendoza’s “Thy Womb,” which was the Filipino entry at the Golden Globes a couple years back. Given that Mendoza’s work has never been selected, there is a chance he might miss out once more. If that happens, the film that could benefit is Paul Soriano's Manny Pacquiao biopic titled “Kid Kulafo,” which would evidently ring a bell with Americans. Other films to be considered include “Justice,” also starring Aunor, “Crocodile,” or even lighthearted comedy “English Only, Please.”
Russia
"Sunstroke"
Dir. Nikita Mikhalkov
Isa: Wild Bunch
U.S. Distribution: None Yet
Russian Release Date: October 4th, 2014
Even after winning the Golden Globe and being nominated for an Academy Awards, Andrey Zvyagintsev “Leviathan” couldn’t get the Best Film award from the Russian Academy. Instead, they decided to bestow that honor on veteran filmmaker Nikita Mikhalkov's period piece "Sunstroke.” This is the type of film that Russia loves to submit: patriotic, historical, and epic. Even though last year the Russian selection committee showed they could overlook their political agenda to ensure the best film represented the country, this year they will go back to their old ways. This is not to say “Sunstroke” is a bad film, as hardly anyone outside of Russia has seen, but it does mean that other more daring offers like Yuriy Bykov's festival darling “The Fool” and Aleksey German's “Under Electric Clouds" have little hope at becoming the country’s entry and getting the exposure that comes with it. Mikhalkov won the Oscar in for “Burnt by the Sun” in 1995 and was nominated again for "12" in 2008, which means he will be hard to beat this year. "The Fool" would be a much more interesting selection but its story about a regular citizen fighting the corrupt system might prove too controversial. There is also another war epic titled "Batalion" by Dmitriy Meskhiev, which could pull off a surprise.
Serbia
"Enclave" (Enklava)
Dir. Goran Radovanovic
PC: Nana Filam
U.S. Distribution: None Yet
Serbian Eelease Date: March 19, 2015
Serbia’s 6-film shortlist includes worlds that deal with a variety of subjects, from the recurrent tales of war and its aftermath, triumphant sports stories, and even the peculiar case of a boy who grew up wild in the woods. Of all these possibilities, the film that seems to have the most gravitas is Goran Radovanovic's “Enclave,” a film about the ethnic divide in Kosovo and the atrocities that perpetuates. This is definitely not the film with the most international exposure, but the story might be enough to warrant its submission. Films that deal with similar issues like, “Circles,” have been previous selected. But the Serbian committee wants to stay away from both war and sports dramas, they might go with Vuk Rsumovic “No One’s Child” which did very well at a few festivals including Venice and Palm Springs. It could either way. Original comedy "Monument to Michael Jackson" could also be a more lighthearted choice. The shortlist is completed by "We Will Be the World Champions"," The Man Who Defended Gavrilo Princip," and "The Disobedient" (Sundance 2014).
Spain
"Ma Ma"
Dir. Julio Medem
Isa: Seville International
U.S. Distribution: None Yet
Spanish Release Date: September 11, 2015
For a long time I had hope that Spain would find a loophole and submit their most honored film at this year’s Goya Awards, “Marshland” (La Isla Minima), but that seems like a farfetched hope now. Luckily, another film that looks like a winner will be released just in time. “Ma Ma” directed by Julio Medem and starring Academy Award-winner Penelope Cruz has Oscar written all over it. Cruz plays a mother diagnosed with cancer and whose ferocious battle with the disease will reinvigorate her love for life. The actress also served as a producer in what has become one of the most anticipated films of the year. The only films that could challenge are coming-of-ager “A Cambio de Nada” and Basque-language drama “Loreak.” The former appears to be feel-good story that might seem slight in comparison to both “Ma Ma” and “Loreak,” which deals with a woman who starts receiving flowers from a mysterious sender. “Magical Girl” is a brilliantly twisty film, but being so edgy it will probably be considered to risky for the Oscar race. Penelope Cruz’ star power will decide this race.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
Swedish Release Date: November 14th, 2014
The two previous chapters sin Andersson’s trilogy about being human were submitted to AMPAS, and even if they didn’t get a nomination, it’s hard to imagine them not submitting “A Pigeon.” The film has been critically acclaimed and it won the Golden Lion at last year’s Venice Film festival. Furthermore, it has already been released in the U.S. by Magnolia, the company that handled last year’s Swedish submission, “Force Majeure.” While I’d love to see Andersson be selected, there are several other films that could prevent that from happening. Kay Pollack, who earned Sweden’s most recent nomination for “As It Is in Heaven,” has a new film opening in early September titled “Heaven on Earth.” Depending on how that film is received the tables may or may not turn. The third strongest option is the romantic costume drama “Gentlemen,” which won several awards from the Swedish Academy and has already been picked up for U.S. distribution by, of course, Magnolia. Smaller, yet worthy candidates, include “My Skinny Sister” and “Flocking,” both of which premiered in Berlin.
Switzerland
"Vanity" (La Vanité)
Dir. Lionel Baier
Isa: Wide
U.S. Distribution: None Yet
Swiss Release Date: September 2, 2015
Out of the 7 films shortlisted by the Swiss, the one that immediately stands out is dark comedy “Vanity.” The film just premiered at Locarno and it stars Spanish actress, and one of Almodovar’s favorites, Carmen Maura, as well as Patrick Lapp. Although the film deals with suicide, the approach seems to be very comedic. In a list of several obscure titles, “Vanity” should come out on top. A second option could be Stina Werenfels' “Dora or the Sexual Neuroses of Our Parents,” which screened in Berlin’s Panorama section and tells the story of a mentally disabled woman discovering her sexuality. “War” by Simon Jaquemet, about a rebellious teenager, had some festival play as well but is less likely to be chosen. The other four titles in the shortlist are: “Pause,” doc “Iraqi Odyssey,” “Chubby,” and “L’oasis des mendiants.”
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Taiwanese Release Date: August 28th, 2015
There is really no race here. “The Assassin” will be Taiwan’s entry almost certainly. Winner of the Best Director Award at the Cannes Film Festival and clearly one of the best reviewed films of the year, this martial arts epic, which is said to showcase marvelous imagery, should be consider a strong contender. I can’t see Taiwan not choosing the film, but there are still other films that could be considered. Of those the most viable, but very distant, second choice could be Tso-chi Chang's “Thanatos, Drunk,” which was awarded in Berlin and received six prizes at the Taipei Film Festival. The film revolves around to brothers in Taipei trying to find jobs.
Thailand
"Cemetery of Splendor" (รักที่ขอนแก่น)
Dir. Apichatpong Weerasethakul
Isa: The Match Factory
U.S. Distribution: Strand Releasing
Thai Release Date: Unknown
It was a great year for Thai art house cinema, which means the country has several prominent titles to choose from. Strangely enough, even when there are films with international recognition, Thailand often decides to submit a quirky romantic comedy or a random horror film. The reasons behind their selections are unknown. Still, assuming that they will pay attention to their most respected filmmakers, the number one choice should be "Cemetery of Splendor." However, Apichatpong Weerasethakul's films are not as well liked in his homeland are they are abroad, but it seems irrational for them not consider the film. It might be too abstract for AMPAS’ taste, but it’s still the most prestigious work. Other possibilities include “How to Win at Checkers (Every Time)," which is partially in English, “The Blue Hours” (Berlin’s Panorama), and Rotterdam’s “Vanishing Point.” Of course, there are scores of more commercial titles from which the committee might pick.
Turkey
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Turkish Release Date: Unknown
Last year Nuri Bilge Ceylan’s Palme d’Or-winning film “Winter Sleep” failed to receive a nomination, perhaps due to it’s length and cerebral screenplay. This year another title out of Cannes shows more promise. “Mustang” tells the story of five sisters living in a small village and subjected to the sexist prejudices of the townspeople. With extensive festival play and in the hands of Cohen Media Group - the company behind this year’s nominee “Timbuktu" - Deniz Gamze Ergüven’s film is the ideal pick. Sundance’s “Ivy” by Tolga Karaçelik, about a group of men trapped aboard a ship could definitely be a top contender. Kutlug Ataman's “Kuzu,” winner of the C.I.C.A.E. Award in Berlin’s Panorama section would be the third most likely film to represent Turkey at the Oscars. Lastly, “The Miracle,” a romantic period piece, is a large local production that could be considered, but lacks the festival exposure of the other three.
Venezuela
"Gone With the River" (Dauna, Lo que lleva el río)
Dir. Mario Crespo
Isa: Centro Nacional Autonomo de Cinematografía
U.S. Distribution: None Yet
Venezuelan Release Date: March 20, 2015
With Alberto Arvelo’s “The Liberator,” the South American nation got as close as it’s ever been to Oscar glory this year. The biopic about Simón Bolívar starring Edgar Ramírez managed to become one of the 9 shortlisted finalists out of 83 submissions. Venezuela has several options to submit for the 88th Academy Awards, but they are much smaller in magnitude on this occasion. Appearing at the NATIVe sidebar of the Berlinale, “Dauna, lo que lleva el río” or “ Gone with the River” is the most important Venezuelan film of the year and gives voice to the country’s indigenous people by telling story that rarely gets seen on screen. On the other hand, the film “3 Beauties,” about another of Venezuelan’s most well-known obsessions, beauty pageants, has received critical praise at home but it seems to be a lighter satirical comedy. Their Oscar entry could be either one of the two, but I think they will go with the more socially relevant story. A smaller film, “Espejos,” could be part of the conversation but is possibilities are very limited.
Trying to predict what a particular nation will enter is a tall order because of the numerous factors that weight in, especially when dealing with countries with a large film industry. In other cases, however, there are usually just a couple standouts that meet the standards to be submitted. Whatever the case, even with the most obvious choices there could be surprises such as Indian choosing not to submitting "The Lunchbox" or Chile choosing another film over Silva's "The Maid."
While there is no sure-fie formula to predict what films will be competing for the Best Foreign Language Film Academy Award, by looking at festivals, release dates, national awards, previous submissions, and with a hefty dose of educated speculation, I've put together a list of 35 titles that, at this point, seem like excellent choices.
Update 08/28: Several countries have announced their official submissions: Croatia ("The High Sun"), Germany ("Labyrinth of Lies"), Guatemala ("Ixcanul"), Switzerland ("Iraqi Odyssey"), and Palestine ("The Wanted 18").
Argentina
"The Clan" (El Clan)
Dir. Pablo Trapero
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Argentine Release Date: August 13th, 2015
Coming off the success of this year’s nominee “Wild Tales,” which also did very well at the U.S. box-office for Sony Pictures Classics and became a spectacular hit back home, Argentina seems to have another strong contender this year with Pablo Trapero’s latest work “The Clan” (El Clan). Two of the director’s previous films have been submitted before (“Lion’s Den” and “Carrancho”), and this one about the Puccio family, which was criminal organization that kidnapped and murdered wealthy people, looks more than promising. “The Clan” is also produced by Almodovar’s El Deso, just as Damian Szifron’s “Tales” was. There are several other films that have enough merits to be considered, but might prove insufficient when faced with Trapero’s film. “Refugiado,” “El Patron,” “Two Shots” and, even “Jauaja,” starring Viggo Mortensen, qualify
Brazil
"The Second Mother"
Dir. Anna Muylaert
Isa: The Match Factory
U.S. Distribution: Oscilloscope Pictures
Brazilian Release Date: August 27, 2015
Undoubtedly the most awarded Brazilian film of the year is also their best bet at the Oscars. Anna Muylaert's “The Second Mother” premiered at Sundance where it won a Special Jury Prize for both of its leading actresses Regina Casé and Camila Márdila. It went on to screen in the Panorama section of the Berlinale and took home the C.I.C.A.E. Award and the Audience Award. The film tells the story of a live-in housekeeper and his daughter as they navigate the class divisions prevalent in Brazilian society. Another factor in its favor is the fact that the film has secured U.S. distribution thanks to Oscilloscope. “The Second Mother” opens in Brazil on August 27 and, in a strange turn of events, on August 28 in the U.S. While there are plenty of other great Brazilian works that qualify to be submitted, it’s unlikely that the selection committee will look elsewhere. Other films that could have a shot at being chosen are “August Winds,” “Casa Grande.” “Blue Blood,” and “White Out, Black In”
Bulgaria
"The Judgement"
Dir. Stephan Komandarev
Isa: Premium Film
U.S. Distribution: None Yet
Bulgarian Release Date: October 16, 2014
Following last year’s scandalous selection of “Bulgarian Rhapsody” over the more deserving “Viktoria,” the Eastern European country has a two-way race in which both candidates have almost equal chances at being chosen. Stephan Komandarev’s drama “The Judgement” is the larger production of the two and revolves around a desperate father trying to amend his relationship with his estrange son. At the same time the protagonist is also trying to make ends meet and decides to take on the dangerous job of smuggling illegal immigrant from Syria through a remote area of the Turkish-Greek-Bulgarian border. The other film is Kristina Grozeva & Petar Valchanov's “The Lesson,” about a devoted teacher who is faced with corrupt bureaucracy after her classroom is burglarized. Winning awards at the Sofia International Film Festival, San Sebastian, Thessaloniki, and screening at Tiff and Rotterdam, “The Lesson” should be the frontrunner. However, “The Judgement” might have the edge not only because it sports a larger budget and wider appeal, but because Komandarev is the filmmaker behind “The World is Big and Salvation Lurks Around the Corner,” which is the one Bulgarian film that has gotten the closest to Oscar glory when it was shortlisted by the Academy in 2010. Less likely to be selected but still viable possibilities are “Adultery,”"Buffer Zone," and "The Petrov File."
Canada
"Felix & Meira"
Dir. Maxime Giroux
Isa: Urban Distribution International
U.S. Distribution: Oscilloscope Laboratories
Canadian Release Date: January 30th, 2015
As of now Canada’s ideal representative would be the small, but touching, “Felix & Meir,” about a married woman from the Orthodox Jewish community who falls in love with a secular man, as way to know life beyond the restrictions of her faith. This tiny gem won the Best Canadian Feature award at last year’s Tiff and received four awards at the Whistler Film Festival including Best Film and Best Director. “Felix & Meira” was acquired by Oscilloscope for U.S. distribution and was released last April. To date it has grossed nearly $500,00, which, for a subtle and niche film like this, is a great feat. Giroux’ film should take this easily, unless the new film by Oscar-nominated director Philippe Falardeau decides to push for the opportunity. Falardeau newest film “Guibord Goes to War” (Guibord s’en va-t-en guerre) is a political dark comedy that premiered at Locarno and is scheduled to open in Canada on October 2- just two days after AMPAS’ deadline. If the distributor decides to have a one-week qualifying run ahead of the release, then it would become the new frontrunner to represent Canada. However, it’s still unknown if that is being considered or if the film will just wait till next year. Falardeau was nominated in the category for “Monsieur Lazhar” in 2012. “Chorus,” which premiered at Sundance, Berlin’s “Corbo,” Tiff’s “In Her Place,” and the “Les Loups” also qualify.
Chile
"The Club" (El Club)
Dir. Pablo Larraín
Isa: Funny Balloons
U.S. Distribution: Music Box Films
Chilean Release Date: May 28, 2015
With Pablo Larraín’s Silver Bear-winner film, Chile has an easy choice to make. “The Club,” which was recently picked up for U.S. distribution by Music Box Films, has received universal critical acclaimed and has cemented its director as one of the most important figures in Latin American cinema. Larraín’s latest centers on a group of priests and nuns sent to a beach town to purify their sinful pasts involving everything from pedophilia to kidnapping. The only other film that truly stands a chance is Matias Lira's “El Bosque de Karadima,” which deals with similar themes regarding secrecy and crimes against children within the Catholic Church. But even if this film has been well-received at home, “The Club” has had more much more international visibility and it has the distinction of being the newest work from the director behind “No,” Chile’s only Oscar-nominated film to date. Other notable works that will be part of the conversation include historical drama “Allende en su Laberinto” by veteran director Miguel Littin, Rodrigo Sepúlveda’s touching “Aurora," and indie flick “La Voz en Off.”
China
"Mountains May Depart" (山河故人)
Dir. Zhangke Jia
Isa: MK2
U.S. Distribution: Kino Lorber
Chinese Release Date: Unknown
Censorship has always played a role in China’s decision-making process when it comes to their Oscar submissions. Some of the best Chinese films in recent years are never considered given their controversial topics or because they were made outside of the state-run system. Under this circumstances patriotic epics or lavish period dramas are often selected even when their quality is subpar. The country’s big production this year is “The Lady of the Dynasty,” which was a box-office disappointment and garnered mostly negative reviews locally. With this in mind, the hope is that they will finally look at more compelling films with greater international exposure, such as Jia Zhangke’s “Mountains May Depart.” Premiering at Cannes to mostly positive responses, the film looks at Chinese society from three perspectives scattered over three decades. The film has passed the censors' revisions and will be allowed to screen in mainland Chine, which means it’s possible one of Zhangke’s film might finally represent his homeland. His previous effort, “A Touch of Sin,” was ignored because of its thematic elements. Jean-Jacques Annaud’s stunning “Wolf Totem” is a close second choice, but given the fact that China submitted a film by a French director last, they might want to highlight a homegrown talent this time. There is also “Red Amnesia,” a thriller about a widow that compulsively needs to take careof those around her until strange incidents shake her life. Er Cheng’s “The Wasted Times,” which appears to be a delirious visual treat, but it opens just a few days after the September 30th deadline. A qualifying run prior to that date is possible, but not likely. “Mountains May Depart” is definitely the strongest candidate.
Colombia
"Embrace of the Serpent" (El Abrazo de la Serpiente)
Dir. Ciro Guerra
Isa: Films Boutique
U.S. Distribution: Oscilloscope Laboratories
Colombian Release Date: May 25th, 2015
The Colombian film industry has had an outstanding year and that has produced an impressive lineup of films from which their strongest Oscar entry to date will emerge. Three films that screened at the Cannes Film Festival - two of which earned prizes – are at the top of the list. Winning the Art Cinema Award at the Directors’ Fortnight Ciro Guerra’s black-and-white “Embrace of the Serpent” is the one to beat among these trio of art house wonders. Guerra’s film is a period piece about the clash between the native people of the Amazon and a European explorer, which has received stellar reviews and was picked up for U.S. distribution by Oscilloscope. Two of Guerra’s previous films, “Wandering Shadows” and “The Wind Journey,” also represented Colombia at the Academy Awards. Nevertheless, the other films that screen at the Croisette, Golden Camera-winner “Land and Shade” and war drama “Alias Maria,” shouldn’t be completely counted out of the running. Films like Franco Lolli's “Gente de Bien” (Cannes 2014), Josef Wladyka's “Manos Sucias,” "Todos Se Van," and “Ruido Rosa” qualify and testify of the great moment Colombian filmmaking is experiencing, but they will have a difficult time pulling off an upset.
Croatia
"The High Sun" (Zvizdan)
Dir. Dalibor Matanic
Isa: Cercamon
U.S. Distribution: None Yet
Croatian Release Date: Septemeber 2015
It’s not often that a Croatian feature manage to grab Cannes’ attention and take home a prestigious award like the Un Certain Regard Jury Prize. “The High Sun” achieved such feat and should be almost a lock to become the country’s Oscar entry. This intense drama, that expands over three decades and explores the Balkan region’s turbulent history, also won 7 awards at the Pula Film Festival including Best Film, Director, Leading Actress, Supporting Actor, and Supporting Actress. If there’s another film with a reasonable shot, it would be Ognjen Svilicic's “These Are the Rules” about a family questioning their moral compass after a violent incident, which did well in the festival circuit winning awards in Venice, Warsaw, Stockholm, and Pula. Svilicic’s 2007 feature “Armin” represented the country at the 80th Academy Awards. “The Bridge at the End of the World,” “Ungiven,” “The Reaper,” “Number 55” are other noteworthy Croatian films released during the past year, but Matanic’s highly praised wok should have no trouble becoming the official entry.
Dominican Republic
"Sand Dollar" (Dólares de Arena)
Dir. Israel Cárdenas & Laura Amelia Guzmán
Isa: FIGa Films
U.S. Distribution: Breaking Glass Pictures
Dominican Release Date: November 13th, 2014
Thanks to a growing film industry, Dominican films have participated every year starting in 2011 after being absent from the race since 1995. Their submissions have included romantic comedies and low-budget crime dramas that weren’t successful at getting AMPAS’ attention. Fortunately, this year they might have their strongest candidate yet with “Sand Dollars.” In Israel Cárdenas & Laura Amelia Guzmán's film starring Geraldine Chaplin, a local girl becomes the object of desire for an older French woman visiting the Caribbean country, influenced by her boyfriend the Dominican beauty decides to take advantage of the foreigner’s interest. “Sand Dollars” has screened at countless festivals around the world winning a handful of awards and has secured U.S. distribution. Guillermo Zouain's road-trip comedy “Algún Lugar” has also been well-received at a couple of international festivals, but is less likely to be picked. “Pueto Pa’ Mí,” a drama about urban music, documentary “Tu y Yo," and biopic “Maria Montez,” might be out of luck. It’s unclear if Agliberto Meléndez political film “Del Color de La Noche,” has premiered yet, so that could a contender next year given that the director was behind the country’s first ever Oscar submission.
Ethiopia
"Lamb"
Dir. Yared Zeleke
Isa: Films Distribution
U.S. Distribution: None Yet
Ethiopian Release Date: Unknown
The East African nation has only sent two films for consideration. Last year it was the Angeline Jolie-supported “Difret,” which was part of the World Cinema competition at the 2014 Sundance Film Festival. This year only two films seem to qualify. “Lamb” is the first-ever Ethiopian film to screen at Cannes, which makes it the unquestionable favorite. It’s a rural story about a boy and his beloved sheep moving in with relatives as his mother goes to work in the city. Reviews were positive praising the film’s cinematography and layered storytelling. The other film that could possibly be selected is Hermon Hailay’s “Prince of Love” about a prostitute and a cab driver struggling to get by in the capital city of Addis Ababa. “Prince of Love” represented the country at Fespaco, one of Africa’s most renowned festivals, and will screen at Tiff in September. Ethiopia might choose to send “Lamb” this time around and save Hailay’s feature for next year depending on release date.
Finland
"The Fencer" (Miekkailija)
Dir. Klaus Härö
Isa: The Little Film Company
U.S. Distribution: None Yet
Finnish Release Date: March 13th, 2015
Peculiar teen drama “They Have Escaped” won four Jussi Awards from the Finnish Academy earlier this year including Best Film and Best Director; however, it will probably face an uphill battle to become Finland’s Oscar entry. Instead, Estonian-language period piece, “The Fencer,” looks like a more feasible alternative because of its classic story, elegant cinematography, and the director behind it: Klaus Härö. The film tells the story of a young Estonian fencer who leaves his homeland to become a Pe teacher and escape persecution by the Russian authorities in the 1950s. Some critics have gone as far as to call it “the best Finnish film in a decade.” Three of Härö’s previous films (“Elina: As If I Wasn’t There,””Mother of Mine, “ and Letter to Father Jacob) were selected as Oscar entries. The only obstacle in its path is the fact that this is an Estonian story with mostly Estonian dialogue. If the selection committee can overlook that, this will be their pick. Antti Jokinen's “Wildeye,” a visually arresting war drama that opens in September is another strong option, particularly because Jokinen’s previous film, “Purge,” represent the country in 2013. “Absolution,” “Head First,” ”Homecoming,” and “Tsamo” are proof a strong year in Finnish cinema but won’t make the cut.
France
"Dheepan"
Dir. Jacques Audiard
Isa: Wild Bunch
U.S. Distribution: Sundance Selects
French Release Date: August 26th, 2015
Given the amount of films produced in France each year, this is the most difficult country to narrow down. However, this year there is a heavyweight contender among the scores of worthy productions. Surprise Palme d’Or-winner “Deephan” by the Academy Award-nominated director of “A Prophet," Jacques Audiard, is a clear favorite. Audiard is a legend and it’s hard to think France won’t support the film that took home one of cinema’s most coveted prizes. Following the relevant immigrant story of a Sri Lankan warrior in France, “Dheepan” is almost a safe bet. If for some unimaginable reason Audiard’s latest is not chosen, the most likely alternative would be well-received “My Golden Days” by Arnaud Desplechin, which has been picked up for U.S. distribution by Magnolia Pictures. While there are dozens of films that could be considered, here are some other important French films that qualify based on their release dates: “Girlhood,” “Standing Tall,” “The Measure of Man,” “The New Girlfriend,” “Valley of Love,” “Eden,”"The Connection."
Germany
"Labyrinth of Lies" (Im Labyrinth des Schweigens)
Dir. Giulio Ricciarelli
Isa: Beta Cinema
U.S. Distribution: Sony Pictures Classics
German Release Date: November 6th, 2014
After an 8-film shortlist was released, - which sadly doesn’t include “Phoenix” because it opened late last September – things look pretty clear for the German selection committee. It’s really a 3-film race between “13 Minutes,” Labyrinth of Lies,” and “Victoria.” Unfortunately, and despite incredibly positive reviews, Sebastian Schipper's “Victoria” might be considered a risky choice because a big part of it is in English. That leaves Oliver Hirschbiegel’s “13 Minutes,” about a man who tried to assassinate Hitler in 1939. On the surface this looks like the prime title to send to AMPAS since Hirschbiegel’s “Downfall” earned him a nomination and he has worked in Hollywood for several years now. Yet, reception wasn’t as warm for his first German film in a decade. On the other “Labyrinth of Lies,” which deals with Post-World War II Germany and how the government tried to cover up its recent Nazi past, had better luck. Critical reception has been better for this film and it was a financial success in Germany and France, which gives the edge. Both “13 Minutes” and “Labyrinth of Lies” were acquired by Sony Pictures Classics for U.S. distribution. The complete list of shortlisted films can be found Here
Greece
"Xenia" (Ξενία)
Dir. Panos H. Koutras
Isa: Pyramide International
U.S. Distribution: Strand Releasing
Greek Release Date: October 2nd, 2014
Although it’s not an official rule, Greece almost-automatically selects the winner of the Best Film Prize at the Hellenic Film Awards as their Oscar submissions. This year’s winner was the Lgbt dramedy “Xenia,” which follows two Albanian brothers searching for their Greek father after their mother’s death. The film was nominated for 15 Hellenic Film Awards and won a total of six. “Xenia” premiered in the Un Certain Regard section at the Cannes Film Festival and will be released in the U.S. in October by Strand Releasing. I can’t see any other film being selected other than Koutras’ Almodovar-infused film, but if that were the case the other Best Film nominees – that meet AMPAS requirements- would be the ones to look to: “Electra,” “A Blast,” and “Forever.”
Guatemala
"Ixcanul"
Dir. Jayro Bustamante
Isa: Film Factory Entertainment
U.S. Distribution: None Yet
Guatemalan Release Date: August 27th, 2015
This is a no-brainer. Guatemala has only sent a film once back in 1994, but this year director Jayro Bustamante delivered the most awarded Guatemalan film in history. That should be a good enough reason to enter the race once again. “Ixcanul” won the Alfred Bauer Award at the Berlinale and has screened across the world to great success. Bustamante’s film centers on a Mayan girl who wants to escape the arrange marriage that awaits her to see what’s beyond her village. Another Guatemalan film, which also screened in Berlin, Edgar Sajcabún's “La Casa Más Grande del Mundo,” will probably not open theatrically in time and should be considered next year.
Iceland
"Rams" (Hrútar)
Dir. Grímur Hákonarson
Isa: New Europe Film Sales
U.S. Distribution: Cohen Media Group
Icelandic Release Date: May 28th, 2015
Two middle-aged brothers in an Icelandic rural town leave their differences behind and come together to save their beloved farm animals in the Un Certain Regard Award-winner “Rams.” With such recognition under its belt and having just been picked for U.S. distribution by Cohen Media Group, Grímur Hákonarson's film is certainly the handsomest choice. Still, “Rams” is not without a strong rival. Crowd-pleaser “Virgin Mountain,” about a lonely man whose life changes when he meets a new friend, had its U.S. premiere at the Tribecca Film Festival where it won three awards: Best Narrative Feature, Best Actor, and Best Screenplay. It could go either way, but the Cannes prestige and having found a U.S. distributor give “Rams” the upper hand. Iceland produced several qualifying features this year including “Brave Men’s Blood,” “East of the Mountain, “ and “The Homecoming.”
Iran
"Muhammad: The Messenger of God"
Dir. Majid Majidi
PC: Nourtaban Film Industry
U.S. Distribution: None Yet
Iranian Release Date: August 26, 2015
Iran will have to make an incredibly difficult decision that unfortunately may have political repercussions. Majid Majidi’s latest film “Muhammad: The Messenger of God” is the most expense Iranian feature ever made. The historical epic brings to life the early years of the prophet's life with impressive locations, costumes, and cinematography courtesy of Three-time Oscar-winner Vittorio Storaro. Majidi himself is no stranger to the Academy having earned Iran’s first-ever Academy Award nomination with “Children of Heaven.” Taking these facts into consideration, “Muhammad” seems to be the obvious selection, but there are many religious and political concerns that could get in its way. Islam prohibits the depiction of the prophet and other sacred figures in any artistic work. Knowing this, Majidi shot the entire film - which is the first part in what’s to become a trilogy – without ever showing the prophet’s face by shooting most scenes from his point of view or showing him with his back to the camera. This was acceptable for Iran’s censors, as the film will open this week in theaters across the Middle Eastern country. However, other Muslim countries, particularly Sunni Muslims, have been outspoken about their discontent with the film. Whether Iran will still choose to submit the film to AMPAS is a mystery, but it will certainly have more to do with outside influences rather than artistic merit. “Muhammad” will have its North American premiere at the Montreal World Film Festival.
“Nahid” by Ida Panahandeh, about a woman’s journey from divorce to remarrying, won the Avenir Prize in the Un Certain Regard section at Cannes, but - although censors have said the film will be allowed the screen in Iran - it might not open theatrically in time. It also deals with a controversial subject and that might limit it chances. A third, and much safer option, is romantic drama “What’s the Time in Your World?” starring Leila Hatami (“A Speration”) and Ali Mosaffa (“The Past”). Directed by Safi Yazdanian, the film looks beautifully done and sports two of the most talented Iranian actors working today. It could definitely be a good alternative. Other films include “Borderless,” “Track 143,” "Tales” and “Confessions of a Dangerous Mind.” Perhaps Iran will ignore the risk and submit their most lavish film to date by one of their most celebrated filmmakers who still works within the state’s parameters.
Israel
"The Kind Words" (Ha'milim ha'tovot )
Dir. Shemi Zarhin
Isa: Beta Cinema
U.S. Distribution: None Yet
Israeli Release Date: May 28, 2015
With 12 nominations to Israel’s Ophir Awards, “The Kind Words” including Best Film, Best Director, Best Screenplay, Best Actor, and Best Actress Shem Zarhin’s film is the one to beat. Since the winner of the Ophir Award for Best Film automatically becomes Israel’s Oscar submission, “The Kind Words” has a strong shot at both honors. The film follows a group of siblings as they travel abroad to uncover a secret. By default the other contenders are the rest of the films nominated for Best Film: “Wounded Land,” ”Afterthought,” “Wedding Doll,” and “Baba Joon.” Of this Elad Keidan's “Afterthought,” which premiered at Cannes to positive reviews, and Erez Tadmor's intense drama “Wounded Land” appear to be the strongest alternatives. Despite being nominated several times Israel has never won the Best Foreign Language Film Academy Award.
Italy
"My Mother" (Mia Madre)
Dir. Nanni Moretti
Isa: Films Distribution
U.S. Distribution: Alchemy
Italian Release Date: April 16th, 2015
Nanni Moretti is back with “Mia Madre,” a new family drama that screened in competition at this year’s Cannes Film Festival and won a few awards at the Italian David di Donatello Awards. Since the big winner at the national awards, “Black Souls,” was considered last year, Moretti’s film is the frontrunner. However, there is a wild card that could change things. Veteran filmmaker Marco Bellocchio will release his newest work “Blood of My Blood,” a historical drama about a 17th century woman accused of being a witch, on September 9 - just in time to qualify. It’s likely that Moretti will have enough support to pull it off, but there is still a chance that might not be set in stone. Besides these two films there is Mario Martone’s “Leopardi,” a biopic about poet Giacomo Leopardi, which won several David di Donatello Awards and was also recognized in Venice. With even less possibilities are Sundance’s “Cloro,” “Greenery Will Bloom Again,” and Albanian-language “Sworn Virgin,”
Ivory Coast
"Run"
Dir. Philippe Lacôte
PC: Banshee Films
U.S. Distribution: None Yet
Ivorian Release Date: December 17th, 2014
The first and only time a film represent Ivory Coast at the Oscars was back in 1977. That film, “Black and White in Color,” won the first and only Academy Award attributed to a Sub-Saharan African country. Nevertheless, that landmark work was directed by a Frenchmen, Jean-Jacques Annaud, and had mostly French talent in the leading roles. Now, almost 40 years later, an actual Ivorian film looks presents a fantastic opportunity for the country to return to the race. Philippe Lacote’s political drama “Run” screened in the Un Certain Regard section in Cannes 2014, Tiff, and AFI Fest, and later opened commercially in Abidjan, the Ivorian Capital, and Paris. Ivory Coast has only one eligible film to submit as their Oscar entry, and fortunately it’s a good one.
Japan
"Our Little Sister" (海街 diary)
Dir. Hirokazu Koreeda
Isa: Wild Bunch
U.S. Distribution: Sony Pictures Classics
Japanese Release Date: June 13th, 2015
Japan hasn’t had a successful entry since unexpectedly winning the award in 2009 with “Departures.” Their selections are often baffling because they tend to ignore festival winners and critically acclaimed films to pick obscure titles that rarely connect with voters. In recent years outstanding films such as “Like Father, Like Son” have been overlooked. Having said this, one can only hope that this time around they will chose more wisely. This year another film by Hirokazu Koreeda, “Our Little Sister,” debuted at Cannes and has been picked up for U.S. distribution by Sony Pictures Classic – a powerhouse distributor in the Best Foreign Language Film race. Based on a manga series, the film revolves around a group of young women who decide to adopt their stepsister after their father dies. “Our Little Sister” was also a financial success in its homeland. Even with all these positive qualities on its side, Japan might refuse to submit Koreeda’s film and look elsewhere. Other options from the festival circuit include Naomi Kawase's “An- Sweet Red Bean Paste,” which less positive reviews; “Journey to the Shore,” though it opens on October 1; “Kabukicho Love Hotel,” which screened at Tiff last year, and “Cape Nostalgia.”
Jordan
"Theeb" (ذيب)
Dir. Naji Abu Nowar
Isa: Fortissimo Films
U.S. Distribution: Film Movement
Jordanian Release Date: March 19th, 2015
In 2008 Jordan submitted their first-ever Oscar submission, and the first feature film made in the country in half a century. That film, “Captain Abu Raed,” did very well in festivals like Sundance and Dubai. Since then, Jordanian cinema has been scarce forcing the country to be absent from the race. That could change this year with “Theeb” by UK-born filmmaker Naji Abu Nowar. His period piece about a Bedouin boy during World War I has played at numerous festivals and will have a U.S. theatrical release via Film Movement.
Lithuania
"The Summer of Sangailé" (Sangaile)
Dir. Alanté Kavaïté
Isa: Films Distribution
U.S. Distribution: Strand Releasing
Lithuanian Release Date: August 21st, 2015
The Sundance Film Festival screened its first-ever Lithuanian feature this past January, “The Summer of Sangailé” by Alanté Kavaïté. This Lgbt coming-of-age story showcases captivating cinematography and nuanced performances. “Sangailé” went on to win the Directing Award in the World Cinema Competition at the Park City festival. It will also become one of the very few Lithuanian films to have been distributed in the U.S. when Strand Releasing schedules its theatrical release. Being the most awarded narrative film from the Baltic nation, it should be a shoo-in. "Sangailé" also won three Silver Crane Awards (Lithuanian Oscars): Best Film, Best Actress for Julija Steponaityte and best set design for Ramunas Rastauskas. Its only realistic adversary is the documentary “Master and Tatyana,” which won the Best Documentary, Best Director, and Best Cinematography prizes at the Silver Crane. Lithuania has shown to be fond of submitting documentaries, but one could presume that “Sangaile’s” wider international appeal will help it succeed.
Mexico
"The Thin Yellow Line" (La Delgada Línea Amarilla)
Dir. Celso R. García
Isa: Latido Films
U.S. Distribution: None Yet
Mexican Release Date: Unknown
Among the 14 films that the Mexican Academy announced as candidates to become the official Oscar submission, only a handful of them have a real chance at representing Mexico. It’s really a three-way race between “600 Miles,” “La Tirisia,” and “The Thin Yellow Line.” Each of these has distinctive assets as well as factors that could play against them. Gabriel Ripstein's “600 Miles” stars Tim Roth, which could be beneficial because Academy voters would see a familiar face on screen. At the same time Roth’s participation means that there is a considerable amount of English dialogue that could make the film feel less authentic when considered as a “foreign language film” representing a country. Then there is Jorge Pérez Solano's art house marvel, “La Tirisia,” about the role of women in a very traditional Mexican community. This is a film that truly showcases an unseen aspect of Mexican culture and has garnered international recognition, but it might be too small in scope to be selected.
Lastly, “The Yellow Thin Line,” which was awarded at the Guadalajara Film Festival but hasn’t travel much. It will screen at the Chicago International Film Festival in October. “The Thin Yellow Line” tells the story of a group of men working on a deserted road as they are forced to come to terms with their yearnings and failures. The premise seems unique; the cast includes some of Mexico’s most recognizable talents, and it’s partly produced my Guillermo del Toro. That last fact is what could set the film apart from the rest because the general public and Academy voters will be intrigued to see what was it about this story that interested Del Toro, who hasn’t been involved in a Mexican project in several years. It’s a tough race, but having someone like the “Pan’s Labyrinth’s” director supporting the film could be a deal breaker.
Peru
"The Vanished Elephant" (El Elefante Desaparecido)
Dir. Javier Fuentes-León
Isa: Mundial
U.S. Distribution: Oscilloscope Laboratories
Peruvian Release Date: October 9th, 2015
Javier Fuentes-Leon’s “The Vanished Elephant” premiered at last year’s Tiff and was also part of this year’s Los Angeles Film Festival making it the highest profile Peruvian film of the year. At home, the critical response was very positive and the quality of the film, in comparison to other Peruvian works released in the last 12 months, is undeniable. “The Vanished Elephant” tells the cryptic story of a writer whose girlfriend disappears without a trace. After receiving a series of strange photographs, he delves into deceitful conspiracy that defies the lines between reality and fiction. Fuentes-Leon debut feature “Undertow” was submitted to the Academy back in 2010. Enrica Perez’ “Climas” about three Peruvian women from different walks of life and Héctor Gálvez forensic mystery “Nn” have both screened at several international festivals, and though they are much smaller film’s than “The Vanished Elephant,”either of them could be the next best choice to become Peru’s Oscar entry. Less likely titles include “Videophilia,” “Solos,” and historical drama “Gloria del Pacífico.”
The Philippines
"Trap" (Taklub)
Dir. Brillante Mendoza
Isa: Films Distribution
U.S. Distribution: None Yet
Filipino Release Date: Unknown
Brillante Mendoza is one the Philippines most acclaimed auteurs and yet none of his films have ever been selected to represent the Southeast Asian nation at the Oscars. His latest work, “Trap,” won Special Mention from the Ecumenical Jury at Cannes and it’s the prime contender to travel to L.A. this year. “Trap” follows a group of survivors soon after Typhoon Haiyan devastated a great part of the country. The film stars Filipino actress Nora Aunor, who also the lead in Mendoza’s “Thy Womb,” which was the Filipino entry at the Golden Globes a couple years back. Given that Mendoza’s work has never been selected, there is a chance he might miss out once more. If that happens, the film that could benefit is Paul Soriano's Manny Pacquiao biopic titled “Kid Kulafo,” which would evidently ring a bell with Americans. Other films to be considered include “Justice,” also starring Aunor, “Crocodile,” or even lighthearted comedy “English Only, Please.”
Russia
"Sunstroke"
Dir. Nikita Mikhalkov
Isa: Wild Bunch
U.S. Distribution: None Yet
Russian Release Date: October 4th, 2014
Even after winning the Golden Globe and being nominated for an Academy Awards, Andrey Zvyagintsev “Leviathan” couldn’t get the Best Film award from the Russian Academy. Instead, they decided to bestow that honor on veteran filmmaker Nikita Mikhalkov's period piece "Sunstroke.” This is the type of film that Russia loves to submit: patriotic, historical, and epic. Even though last year the Russian selection committee showed they could overlook their political agenda to ensure the best film represented the country, this year they will go back to their old ways. This is not to say “Sunstroke” is a bad film, as hardly anyone outside of Russia has seen, but it does mean that other more daring offers like Yuriy Bykov's festival darling “The Fool” and Aleksey German's “Under Electric Clouds" have little hope at becoming the country’s entry and getting the exposure that comes with it. Mikhalkov won the Oscar in for “Burnt by the Sun” in 1995 and was nominated again for "12" in 2008, which means he will be hard to beat this year. "The Fool" would be a much more interesting selection but its story about a regular citizen fighting the corrupt system might prove too controversial. There is also another war epic titled "Batalion" by Dmitriy Meskhiev, which could pull off a surprise.
Serbia
"Enclave" (Enklava)
Dir. Goran Radovanovic
PC: Nana Filam
U.S. Distribution: None Yet
Serbian Eelease Date: March 19, 2015
Serbia’s 6-film shortlist includes worlds that deal with a variety of subjects, from the recurrent tales of war and its aftermath, triumphant sports stories, and even the peculiar case of a boy who grew up wild in the woods. Of all these possibilities, the film that seems to have the most gravitas is Goran Radovanovic's “Enclave,” a film about the ethnic divide in Kosovo and the atrocities that perpetuates. This is definitely not the film with the most international exposure, but the story might be enough to warrant its submission. Films that deal with similar issues like, “Circles,” have been previous selected. But the Serbian committee wants to stay away from both war and sports dramas, they might go with Vuk Rsumovic “No One’s Child” which did very well at a few festivals including Venice and Palm Springs. It could either way. Original comedy "Monument to Michael Jackson" could also be a more lighthearted choice. The shortlist is completed by "We Will Be the World Champions"," The Man Who Defended Gavrilo Princip," and "The Disobedient" (Sundance 2014).
Spain
"Ma Ma"
Dir. Julio Medem
Isa: Seville International
U.S. Distribution: None Yet
Spanish Release Date: September 11, 2015
For a long time I had hope that Spain would find a loophole and submit their most honored film at this year’s Goya Awards, “Marshland” (La Isla Minima), but that seems like a farfetched hope now. Luckily, another film that looks like a winner will be released just in time. “Ma Ma” directed by Julio Medem and starring Academy Award-winner Penelope Cruz has Oscar written all over it. Cruz plays a mother diagnosed with cancer and whose ferocious battle with the disease will reinvigorate her love for life. The actress also served as a producer in what has become one of the most anticipated films of the year. The only films that could challenge are coming-of-ager “A Cambio de Nada” and Basque-language drama “Loreak.” The former appears to be feel-good story that might seem slight in comparison to both “Ma Ma” and “Loreak,” which deals with a woman who starts receiving flowers from a mysterious sender. “Magical Girl” is a brilliantly twisty film, but being so edgy it will probably be considered to risky for the Oscar race. Penelope Cruz’ star power will decide this race.
Sweden
"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)
Dir. Roy Andersson
Isa: Coproduction Office (Paris)
U.S. Distribution: Magnolia Pictures
Swedish Release Date: November 14th, 2014
The two previous chapters sin Andersson’s trilogy about being human were submitted to AMPAS, and even if they didn’t get a nomination, it’s hard to imagine them not submitting “A Pigeon.” The film has been critically acclaimed and it won the Golden Lion at last year’s Venice Film festival. Furthermore, it has already been released in the U.S. by Magnolia, the company that handled last year’s Swedish submission, “Force Majeure.” While I’d love to see Andersson be selected, there are several other films that could prevent that from happening. Kay Pollack, who earned Sweden’s most recent nomination for “As It Is in Heaven,” has a new film opening in early September titled “Heaven on Earth.” Depending on how that film is received the tables may or may not turn. The third strongest option is the romantic costume drama “Gentlemen,” which won several awards from the Swedish Academy and has already been picked up for U.S. distribution by, of course, Magnolia. Smaller, yet worthy candidates, include “My Skinny Sister” and “Flocking,” both of which premiered in Berlin.
Switzerland
"Vanity" (La Vanité)
Dir. Lionel Baier
Isa: Wide
U.S. Distribution: None Yet
Swiss Release Date: September 2, 2015
Out of the 7 films shortlisted by the Swiss, the one that immediately stands out is dark comedy “Vanity.” The film just premiered at Locarno and it stars Spanish actress, and one of Almodovar’s favorites, Carmen Maura, as well as Patrick Lapp. Although the film deals with suicide, the approach seems to be very comedic. In a list of several obscure titles, “Vanity” should come out on top. A second option could be Stina Werenfels' “Dora or the Sexual Neuroses of Our Parents,” which screened in Berlin’s Panorama section and tells the story of a mentally disabled woman discovering her sexuality. “War” by Simon Jaquemet, about a rebellious teenager, had some festival play as well but is less likely to be chosen. The other four titles in the shortlist are: “Pause,” doc “Iraqi Odyssey,” “Chubby,” and “L’oasis des mendiants.”
Taiwan
"The Assassin" (聶隱娘)
Dir. Hsiao-hsien Hou
Isa: Wild Bunch
U.S. Distribution: Well Go USA Entertainment
Taiwanese Release Date: August 28th, 2015
There is really no race here. “The Assassin” will be Taiwan’s entry almost certainly. Winner of the Best Director Award at the Cannes Film Festival and clearly one of the best reviewed films of the year, this martial arts epic, which is said to showcase marvelous imagery, should be consider a strong contender. I can’t see Taiwan not choosing the film, but there are still other films that could be considered. Of those the most viable, but very distant, second choice could be Tso-chi Chang's “Thanatos, Drunk,” which was awarded in Berlin and received six prizes at the Taipei Film Festival. The film revolves around to brothers in Taipei trying to find jobs.
Thailand
"Cemetery of Splendor" (รักที่ขอนแก่น)
Dir. Apichatpong Weerasethakul
Isa: The Match Factory
U.S. Distribution: Strand Releasing
Thai Release Date: Unknown
It was a great year for Thai art house cinema, which means the country has several prominent titles to choose from. Strangely enough, even when there are films with international recognition, Thailand often decides to submit a quirky romantic comedy or a random horror film. The reasons behind their selections are unknown. Still, assuming that they will pay attention to their most respected filmmakers, the number one choice should be "Cemetery of Splendor." However, Apichatpong Weerasethakul's films are not as well liked in his homeland are they are abroad, but it seems irrational for them not consider the film. It might be too abstract for AMPAS’ taste, but it’s still the most prestigious work. Other possibilities include “How to Win at Checkers (Every Time)," which is partially in English, “The Blue Hours” (Berlin’s Panorama), and Rotterdam’s “Vanishing Point.” Of course, there are scores of more commercial titles from which the committee might pick.
Turkey
"Mustang"
Dir. Deniz Gamze Ergüven
Isa: Kinology
U.S. Distribution: Cohen Media Group
Turkish Release Date: Unknown
Last year Nuri Bilge Ceylan’s Palme d’Or-winning film “Winter Sleep” failed to receive a nomination, perhaps due to it’s length and cerebral screenplay. This year another title out of Cannes shows more promise. “Mustang” tells the story of five sisters living in a small village and subjected to the sexist prejudices of the townspeople. With extensive festival play and in the hands of Cohen Media Group - the company behind this year’s nominee “Timbuktu" - Deniz Gamze Ergüven’s film is the ideal pick. Sundance’s “Ivy” by Tolga Karaçelik, about a group of men trapped aboard a ship could definitely be a top contender. Kutlug Ataman's “Kuzu,” winner of the C.I.C.A.E. Award in Berlin’s Panorama section would be the third most likely film to represent Turkey at the Oscars. Lastly, “The Miracle,” a romantic period piece, is a large local production that could be considered, but lacks the festival exposure of the other three.
Venezuela
"Gone With the River" (Dauna, Lo que lleva el río)
Dir. Mario Crespo
Isa: Centro Nacional Autonomo de Cinematografía
U.S. Distribution: None Yet
Venezuelan Release Date: March 20, 2015
With Alberto Arvelo’s “The Liberator,” the South American nation got as close as it’s ever been to Oscar glory this year. The biopic about Simón Bolívar starring Edgar Ramírez managed to become one of the 9 shortlisted finalists out of 83 submissions. Venezuela has several options to submit for the 88th Academy Awards, but they are much smaller in magnitude on this occasion. Appearing at the NATIVe sidebar of the Berlinale, “Dauna, lo que lleva el río” or “ Gone with the River” is the most important Venezuelan film of the year and gives voice to the country’s indigenous people by telling story that rarely gets seen on screen. On the other hand, the film “3 Beauties,” about another of Venezuelan’s most well-known obsessions, beauty pageants, has received critical praise at home but it seems to be a lighter satirical comedy. Their Oscar entry could be either one of the two, but I think they will go with the more socially relevant story. A smaller film, “Espejos,” could be part of the conversation but is possibilities are very limited.
- 8/26/2015
- by Carlos Aguilar
- Sydney's Buzz
In the political discourse, when a country addresses another, whether in positive or negative terms, such statements often fail to differentiate between said country’s government and its people, between the government’s policies and the people’s unheard sentiment towards these.
While useful in the theoretical realm in which politics take place, these generalizations create a distorted image of the foreign nation fed by assumptions and dangerously insensitive stereotypes. It’s much easier for rulers to justify their actions if the adversary is made out to look like an irredeemable villain. Sensationalism and ignorance are weapons far more destructive than missiles, because once the smoke dissipates hatred remains.
On that note, it should be clear that the Iranian people are not the Iranian government. Their rich cultural history is not reflected in the actions of those in power, but in the prevailing elegance and allure of their artwork. Remarkable poets, musicians, painters, and, what we are mostly concerned with here, filmmakers.
The history of Iranian cinema is vast and has survived the many transitions and troubling periods the country has experienced. Even more impressive is the fact that as masterfully as Iranian filmmakers and actors understand the medium, they have never watered down their individuality for the sake of mainstream international success. Instead, they’ve managed to create their unique cinematic language that aligns with their idiosyncrasies and that is not silenced despite the hardships they face, but finds a way around censorship or defies it altogether.
Certainly not a definitive list, the following collection of films aims to be an introduction to the compelling and diverse voices within this captivating national cinema and to encourage you to seek out other films in the future. There are films here that are concerned with rural and working class lifestyles, others that focus on the traditions of ethnic minorities, those that deal with the modern middle class, and also several works denouncing the country’s political situation and the oppression that comes with it.
There are also some films that are note worthy even if they don’t easily fit within the parameters of what an Iranian film is.
Special Mentions:
-Iranian-American director Ana Lily Amirpour and her outstanding Farsi-language debut “A Girl Walks Home Alone at Night,” a visually striking vampire story set in a fictional Iranian town.
-American filmmaker Till Schauder and his documentary “The Iran Job,” which follows Kevin Sheppard, an American professional basketball player in Iran, and uses his experience to build cultural bridges between the two countries.
-Farhadi’s “The Past,” which though is not precisely an Iranian story, continues to show the director’s specific talent for greatly written, puzzling narratives both in his home country and abroad.
-Marjane Satrapi and Vincent Paronnaud's “Chicken with Plums,” a gorgeously whimsical and darkly comedic love story set in pre-revolutionary Tehran starring Mathieu Amalric.
Lastly, in honor of Nowruz or Persian New Year, which is a peaceful celebration of renewal and rebirth that takes place from March 20-24 in Iran and Iranian communities around the world, let’s remember the deeply moving and wise words that Asghar Farhadi gifted us during his acceptance speech on Oscar night a few years back. No one could have said it better than him.
“At this time many Iranians all over the world are watching us, and I imagine them to be very happy. They are happy not just because of an important award, or a film, or a filmmaker, but because at a time in which talk of war, intimidation, and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics. I proudly offer this award to the people of my country, a people that respect all cultures and civilizations and despise hostility and resentment. Thank you so much.” –Director Asghar Farhadi after winning the Best Foreign Language Film Academy Award for “A Separation” on February 26, 2012
1. "About Elly" (2009)
Dir. Asghar Farhadi
In Farhadi's tense psychological drama a casual trip to the sea evolves into a subtly plotted mystery. The director's depiction of the Iranian middle class in such a fascinatingly unexpected story connected with both local and international audiences earning him awards at home and abroad, among them Berlin's Silver Bear.
*The Cinema Guild will release the film theatrically on April 17, 2015
2. "Baran" (2001)
Dir. Majid Majidi
Taking a look at the diverse ethnic groups that coexist in Iran, the film follows a love story between a man and a young Afghan woman who must pretend to be a man in order to work. Eliciting truly naturalistic performance from his cast Majidi gives voice to his almost silent protagonist, a woman caught up in a system designed by men.
*Available on Netflix Instant Watch
3. "Children of Heaven" (1997)
Dir. Majid Majidi
Iran's first ever Academy Award nominated film is also Majidi's most renowned work. Innocence permeates this sweet story about two siblings from a working class family trying to find a pair of missing shoes. Their adventure delivers valuable life lessons that are at once heartwarming and profound. Unquestionably a classic.
*Available on Netflix Instant Watch and on DVD from Lionsgate
4. "Closed Curtain" (2013)
Dir. Jafar Panahi & Kambuzia Partovi
In this enigmatic observation on repression and surveillance an anonymous screenwriter, played by co-director Kambuzia Partovi, hides with his dog in a secluded location. Eventually, as other surprising characters appear, the film becomes a complex dance between reality and fabrication. Both filmmakers had their passports confiscated by the Iranian government due to the subversive content of the film.
*Available on Amazon Instant Video
5. "Close-Up" (1990)
Dir. Abbas Kiarostami
In one of the greatest examples of reality and fiction blending in almost seamless ways, Abbas Kiarostami's masterwork poses complex questions about identity. When a film buff impersonates his favorite director, who happens to Mohsen Makhmalbaf , a series of events unravel as he plans his next, fake, film. Surreally enough the film is based on a true story and stars the actual people involved. It's all brilliantly meta.
*Available on Blu-ray & DVD from Criterion
6. "The Color of Paradise" (1999)
Dir. Majid Majidi
Though rejected by his father, a young blind boy rejoices in nature’s beauty and tries to understand the meaning of his struggles with the help of a mentor with the same condition. Showcasing Iran’s visually stunning rural landscapes and delicately embedding with philosophical concerns, Majidi’s poetic film delivers wisdom in wondrously unassuming ways.
*Available on DVD from Sony Pictures Classics
7. "The Cow" (1969)
Dir. Dariush Mehrjui
Considered a turning point in the nation’s cinematic history, this black-and-white work revolves around a man’s devotion for his cow and how its disappearance drives him into madness. While seemingly simple in its conception, Mehrjui manages to compellingly highlight the country’s traditional lifestyles.
*Available on DVD from First Run Features
8. "Fireworks Wednesday" (2006)
Dir. Asghar Farhadi
Intimate conflicts in the Iranian middle class are Farhadi’s expertise and this domestic drama, set fittingly during the celebrations prior to the Persian New Year, is no exception. When a soon-to-be bride in need of money for her wedding gets a job cleaning a family’s house, their secrets begin to unravel through their interaction and confrontations.
*Available on DVD from Facets
9. "Gabbeh" (1996)
Dir. Mohsen Makhmalbaf
Taking its name from a type of Persian carpet, this stunningly evocative fable is adorned with mysticism and magical realist elements that shine through its colorful visual palette. Gabbeh, a young nomadic woman who is likely the incarnation of one of these traditional rugs, falls in love with horseman, but her community follows beliefs that hinder her desire.
*Available on DVD from New Yorker Video
10. "The Green Wave" (2010)
Dir. Ali Samadi Ahadi
Told through striking animated sequences, interviews and footage from the protests, this documentary constructs a bold portrait of the 2009 Green Movement following Ahmadinejad’s reelection. The regime's strong grip over its citizens is exposed, but the spirit of the Iranian people demanding change is even stronger.
*Available on DVD from Strand Releasing
11. "Hamoun" (1990)
Dir. Dariush Mehrjui
Underscored by subdued comedy and poignant dream sequences, Mehrjui’s visionary drama centers on the decaying relationship between Hamoun, a businessman with hopes of becoming a writer, and his wife Mahshid, a painter. Insanity takes over him when she decides to divorce him because of his angry outbursts. A series of drastic occurrences ensue.
*Available on DVD from First Run Features
12. "Kandahar" (2001)
Dir. Mohsen Makhmalbaf
Despite being set in Afghanistan, this Iranian production is a powerful achievement that unveils the unjust treatment of women, not only under the Taliban’s control, but also in the entire region. Nafas, an Afghan women living in Canada, decides to return to her homeland to find her depressed sister. Through this dangerous journey she discovers much more about life in the war-torn country than she expected.
*Available on DVD from New Yorker Video
13. "Leila" (1997)
Dir. Dariush Mehrjui
Starting famous Iranian actress Leila Hatami in one her earliest roles as a married woman unable to have children, this conjugal drama explores the role of women within Iranian society. Leila’s husband, Reza (played by “The Past” star Ali Mosaffa), loves her, but his mother wants him to get another wife that can give him a son. The title character is divided between her happiness and what others think is best for her marriage.
*Available on DVD from First Run Features
14. "Manuscripts Don't Burn" (2013)
Dir. Mohammad Rasoulof
Rasoulof’s brave and searing political statement was shot illegally going against the20-year-ban from filmmaking imposed on him by the Iranian government. It denounces the terrifying lack of freedom of expression via the thrilling story a pair of writers risking it all to protect an incendiary manuscript that authorities are eager to destroy.
*Available on Netflix Instant Watch and on DVD from Kino Lorber
15. "Marooned in Iraq" (2002)
Dir. Bahman Ghobadi
Highlighting the rich Kurdish culture, both in Iran and Iraq, Ghobadi’s film is set in the aftermath of the ravaging Gulf War. Marooned is an elderly man who must travel across the mountainous landscape that divides the two countries to find his ex-wife. While portraying the horrors of war in an affecting manner, the film is also a life-affirming work that finds hope in the most surprising places.
*Available on DVD from Wellspring
16. "My Tehran for Sale"
Dir. Granaz Moussavi
Devastating and current, this debut feature from renowned poet turned filmmaker Granaz Moussavi is a hard-hitting critique on the blatant criminalization of artists in Iran. An actress banned from her profession questions whether she should remain in the country or flee. Getting to safety means leaving everything she knows behind. There are no easy options for her.
*Available on DVD from Global Lens
17. "No One Knows About Persian Cats" (2009)
Dir. Bahman Ghobadi
Music as the banner of freedom is the focus of Ghobadi’s film about the underground rock scene in Tehran. Secular music is essentially forbidden, and playing in public is considered a criminal act punished with prison. Crafted between reality and fiction, this quasi-documentary takes a look at a group of young musicians desperate to express themselves through their art.
*Available on DVD from Mpi Home Video
18. "Offside" (2006)
Dir. Jafar Panahi
Attending sporting events is prohibited for women in Iran, but that doesn’t stop many of them who go as far as to dress like men to get in. Panahi’s touching and insightful film takes place during the 2006 World Cup Qualifying match between Iran and Bahrain, and follows several girls who despite being excluded cheer for their team as joyfully as any fan would.
*Available on DVD from Sony Pictures Classics
19. "Persepolis" (2007)
Dir. Marjane Satrapi & Vincent Paronnaud
Nominated for the Best Animated Feature Oscar, this French-language marvel is based on Satrapi’s autobiographical graphic novel by the same name. With eye-popping hand-drawn animation, the film revisits the director’s childhood and teenage years in Iran during the events leading up to the Islamic Revolution. It’s a love letter to the bittersweet memories of the Iran Satrapi knew.
*Available on Blu-ray & DVD from Sony Pictures Classics
20. "A Separation" (2011)
Dir. Asghar Farhadi
Dealing with a marriage in turmoil facing the country's peculiar judicial system, Farhadi’s masterpiece is the most acclaimed film in the history of Iranian cinema and earned the country's first Academy Award for Best Foreign Language Film. It was also nominated for Best Original Screenplay for its enthralling thriller-like narrative that grips the audience until its unnerving conclusion. A must see!
*Available on Blu-ray & DVD from Sony Pictures Classics
21. "The Song of Sparrows" (2008)
Dir. Majid Majidi
When Karim (played by Berlin’s Silver Bear Winner Reza Naji), an ostrich farm worker, is forced to find a new job in the city to pay for his daughter’s hearing aid, Iran’s rural and urban realms collide. Thanks to the captivating grace that characterizes Majidi’s films, poverty and misfortune are observed here not with pity but with an optimistic and undefeated perspective.
*Available on DVD from E1 Entertainment
22." Taste of Cherry" (1997)
Dir. Abbas Kiarostami
This quiet and minimalist meditation on death and the simple joys of its antithesis is the first and only Iranian film to have won the coveted Palme d’Or at Cannes. Kiarostami follows a man who has decided to commit suicide and is looking for someone to help him achieve this. However, those he recruits along the way come with their own views on the meaning of our existence and attempt to persuade him to reconsider.
*Available on DVD from Criterion
23. "Ten" (2002)
Dir. Abbas Kiarostami
A female cabbie drives through the streets of Tehran picking up an array of characters that via their casual conversations shine a light on the Iranian society’s expectations of women. Constructed of ten individual scenes in which the only constant is the driver, this heavily improvised and peculiarly shot cinematic experiment is a work of fiction embedded with truth in every frame.
*Available on DVD from Zeitgeist Films
24. "This is Not a Film" (2011)
Dir. Mojtaba Mirtahmasb & Jafar Panahi
In an effort to tell his story despite being banned from filmmaking and under house arrest, filmmaker Jafar Panahi takes his frustration and ingeniously turns it into a courageous visual statement. Whether is shooting video with his cell phone or blocking an imaginary scene in his living room, his passion for storytelling is resilient even when confronting such suffocating censorship.
*Available on Netflix Instant Watch and on DVD from Palisades Tartan
25. "A Time for Drunken Horses" (2000)
Dir. Bahman Ghobadi
With the snow-covered Zagros Mountains as backdrop, Ghobadi’s debut feature tells the story of Ayoub, a young Kurdish boy who must provide for his siblings after their mother’s death. Added to the already difficult circumstances, his handicapped brother desperately needs a surgery. This pushes the heroic kid to persevere against all odds in the hostile environment.
*Available on Netflix Instant Watch and on DVD from Kino Lorber
26. "Turtles Can Fly" (2004)
Dir. Bahman Ghobadi
Commanding a cast made almost entirely of children Ghobadi sets his film in an Iraqi Kurdish refugee camp just before the American occupation of 2003. Making a living by clearing the hazardous minefields that surround them, a group of orphan children create a small community to survive. The atrocities of war are ever-present, but like in most of the director’s works, the triumph of the human spirit is at the film's core.
*Available on Amazon Instant Video
27. "The White Balloon" (1995)
Dir. Jafar Panahi
Written by Kiarostami and directed by Panahi this is another film set during the important Persian New Year celebrations. It centers on a little girl trying to convince her parents to buy her a goldfish and who gets in a couple mishaps along the way. With utmost innocence, the seemingly simple premise manages to be a charming delight that showcases family values and ancient virtues with a nice dose of humor. It’s an uplifting gem.
*Sadly the film is not curently availble in any format in the U.S. Hopefully Criterion or another distributor will fix this soon.
28. "The White Meadows" (2009)
Dir. Mohammad Rasoulof
While ethereal, almost otherworldly imagery achieved by cinematographer Ebrahim Ghafori is reason enough to see this film, Rasoulof’s poetic storytelling elevates it to even greater intellectual heights. By using a barren coastal land and its inhabitant as a metaphor for the intolerance and injustice that many of his compatriots -creative people in particular - confront everyday, the filmmaker denounces these evils through melancholic beauty.
*Available on DVD from Global Lens
29. "The Willow Tree" (2005)
Dir. Majid Majidi
A writer, who had been blinded in an accident as a child, regains his vision as a middle aged adult only to be challenged by a world that has become foreign to him. At first, his miraculous new situation appears to be an answer to a prayer, but Majidi soon shows us how vision can become a curse in this spiritual drama about fate and regret. Exquisitely shot and sporting visceral performances, the film is both heart-rending and though provoking.
*Available on DVD from New Yorker Films
30. "The Wind Will Carry Us" (1999)
Dir. Abbas Kiarostami
Taking the audience on a trip to an untainted region of Iran where tradition hasn’t yet been disrupted by modernity, the acclaimed director crafted another unforgettable experience. Sublimely executed, the film joins four journalists pretending to be engineers as they document the funerary rituals of the local Kurdish people. More than learning about them as researchers, their interactions force them to engage on a much more human level.
*Availble on Blu-ray and DVD from Cohen Media Group...
While useful in the theoretical realm in which politics take place, these generalizations create a distorted image of the foreign nation fed by assumptions and dangerously insensitive stereotypes. It’s much easier for rulers to justify their actions if the adversary is made out to look like an irredeemable villain. Sensationalism and ignorance are weapons far more destructive than missiles, because once the smoke dissipates hatred remains.
On that note, it should be clear that the Iranian people are not the Iranian government. Their rich cultural history is not reflected in the actions of those in power, but in the prevailing elegance and allure of their artwork. Remarkable poets, musicians, painters, and, what we are mostly concerned with here, filmmakers.
The history of Iranian cinema is vast and has survived the many transitions and troubling periods the country has experienced. Even more impressive is the fact that as masterfully as Iranian filmmakers and actors understand the medium, they have never watered down their individuality for the sake of mainstream international success. Instead, they’ve managed to create their unique cinematic language that aligns with their idiosyncrasies and that is not silenced despite the hardships they face, but finds a way around censorship or defies it altogether.
Certainly not a definitive list, the following collection of films aims to be an introduction to the compelling and diverse voices within this captivating national cinema and to encourage you to seek out other films in the future. There are films here that are concerned with rural and working class lifestyles, others that focus on the traditions of ethnic minorities, those that deal with the modern middle class, and also several works denouncing the country’s political situation and the oppression that comes with it.
There are also some films that are note worthy even if they don’t easily fit within the parameters of what an Iranian film is.
Special Mentions:
-Iranian-American director Ana Lily Amirpour and her outstanding Farsi-language debut “A Girl Walks Home Alone at Night,” a visually striking vampire story set in a fictional Iranian town.
-American filmmaker Till Schauder and his documentary “The Iran Job,” which follows Kevin Sheppard, an American professional basketball player in Iran, and uses his experience to build cultural bridges between the two countries.
-Farhadi’s “The Past,” which though is not precisely an Iranian story, continues to show the director’s specific talent for greatly written, puzzling narratives both in his home country and abroad.
-Marjane Satrapi and Vincent Paronnaud's “Chicken with Plums,” a gorgeously whimsical and darkly comedic love story set in pre-revolutionary Tehran starring Mathieu Amalric.
Lastly, in honor of Nowruz or Persian New Year, which is a peaceful celebration of renewal and rebirth that takes place from March 20-24 in Iran and Iranian communities around the world, let’s remember the deeply moving and wise words that Asghar Farhadi gifted us during his acceptance speech on Oscar night a few years back. No one could have said it better than him.
“At this time many Iranians all over the world are watching us, and I imagine them to be very happy. They are happy not just because of an important award, or a film, or a filmmaker, but because at a time in which talk of war, intimidation, and aggression is exchanged between politicians, the name of their country, Iran, is spoken here through her glorious culture, a rich and ancient culture that has been hidden under the heavy dust of politics. I proudly offer this award to the people of my country, a people that respect all cultures and civilizations and despise hostility and resentment. Thank you so much.” –Director Asghar Farhadi after winning the Best Foreign Language Film Academy Award for “A Separation” on February 26, 2012
1. "About Elly" (2009)
Dir. Asghar Farhadi
In Farhadi's tense psychological drama a casual trip to the sea evolves into a subtly plotted mystery. The director's depiction of the Iranian middle class in such a fascinatingly unexpected story connected with both local and international audiences earning him awards at home and abroad, among them Berlin's Silver Bear.
*The Cinema Guild will release the film theatrically on April 17, 2015
2. "Baran" (2001)
Dir. Majid Majidi
Taking a look at the diverse ethnic groups that coexist in Iran, the film follows a love story between a man and a young Afghan woman who must pretend to be a man in order to work. Eliciting truly naturalistic performance from his cast Majidi gives voice to his almost silent protagonist, a woman caught up in a system designed by men.
*Available on Netflix Instant Watch
3. "Children of Heaven" (1997)
Dir. Majid Majidi
Iran's first ever Academy Award nominated film is also Majidi's most renowned work. Innocence permeates this sweet story about two siblings from a working class family trying to find a pair of missing shoes. Their adventure delivers valuable life lessons that are at once heartwarming and profound. Unquestionably a classic.
*Available on Netflix Instant Watch and on DVD from Lionsgate
4. "Closed Curtain" (2013)
Dir. Jafar Panahi & Kambuzia Partovi
In this enigmatic observation on repression and surveillance an anonymous screenwriter, played by co-director Kambuzia Partovi, hides with his dog in a secluded location. Eventually, as other surprising characters appear, the film becomes a complex dance between reality and fabrication. Both filmmakers had their passports confiscated by the Iranian government due to the subversive content of the film.
*Available on Amazon Instant Video
5. "Close-Up" (1990)
Dir. Abbas Kiarostami
In one of the greatest examples of reality and fiction blending in almost seamless ways, Abbas Kiarostami's masterwork poses complex questions about identity. When a film buff impersonates his favorite director, who happens to Mohsen Makhmalbaf , a series of events unravel as he plans his next, fake, film. Surreally enough the film is based on a true story and stars the actual people involved. It's all brilliantly meta.
*Available on Blu-ray & DVD from Criterion
6. "The Color of Paradise" (1999)
Dir. Majid Majidi
Though rejected by his father, a young blind boy rejoices in nature’s beauty and tries to understand the meaning of his struggles with the help of a mentor with the same condition. Showcasing Iran’s visually stunning rural landscapes and delicately embedding with philosophical concerns, Majidi’s poetic film delivers wisdom in wondrously unassuming ways.
*Available on DVD from Sony Pictures Classics
7. "The Cow" (1969)
Dir. Dariush Mehrjui
Considered a turning point in the nation’s cinematic history, this black-and-white work revolves around a man’s devotion for his cow and how its disappearance drives him into madness. While seemingly simple in its conception, Mehrjui manages to compellingly highlight the country’s traditional lifestyles.
*Available on DVD from First Run Features
8. "Fireworks Wednesday" (2006)
Dir. Asghar Farhadi
Intimate conflicts in the Iranian middle class are Farhadi’s expertise and this domestic drama, set fittingly during the celebrations prior to the Persian New Year, is no exception. When a soon-to-be bride in need of money for her wedding gets a job cleaning a family’s house, their secrets begin to unravel through their interaction and confrontations.
*Available on DVD from Facets
9. "Gabbeh" (1996)
Dir. Mohsen Makhmalbaf
Taking its name from a type of Persian carpet, this stunningly evocative fable is adorned with mysticism and magical realist elements that shine through its colorful visual palette. Gabbeh, a young nomadic woman who is likely the incarnation of one of these traditional rugs, falls in love with horseman, but her community follows beliefs that hinder her desire.
*Available on DVD from New Yorker Video
10. "The Green Wave" (2010)
Dir. Ali Samadi Ahadi
Told through striking animated sequences, interviews and footage from the protests, this documentary constructs a bold portrait of the 2009 Green Movement following Ahmadinejad’s reelection. The regime's strong grip over its citizens is exposed, but the spirit of the Iranian people demanding change is even stronger.
*Available on DVD from Strand Releasing
11. "Hamoun" (1990)
Dir. Dariush Mehrjui
Underscored by subdued comedy and poignant dream sequences, Mehrjui’s visionary drama centers on the decaying relationship between Hamoun, a businessman with hopes of becoming a writer, and his wife Mahshid, a painter. Insanity takes over him when she decides to divorce him because of his angry outbursts. A series of drastic occurrences ensue.
*Available on DVD from First Run Features
12. "Kandahar" (2001)
Dir. Mohsen Makhmalbaf
Despite being set in Afghanistan, this Iranian production is a powerful achievement that unveils the unjust treatment of women, not only under the Taliban’s control, but also in the entire region. Nafas, an Afghan women living in Canada, decides to return to her homeland to find her depressed sister. Through this dangerous journey she discovers much more about life in the war-torn country than she expected.
*Available on DVD from New Yorker Video
13. "Leila" (1997)
Dir. Dariush Mehrjui
Starting famous Iranian actress Leila Hatami in one her earliest roles as a married woman unable to have children, this conjugal drama explores the role of women within Iranian society. Leila’s husband, Reza (played by “The Past” star Ali Mosaffa), loves her, but his mother wants him to get another wife that can give him a son. The title character is divided between her happiness and what others think is best for her marriage.
*Available on DVD from First Run Features
14. "Manuscripts Don't Burn" (2013)
Dir. Mohammad Rasoulof
Rasoulof’s brave and searing political statement was shot illegally going against the20-year-ban from filmmaking imposed on him by the Iranian government. It denounces the terrifying lack of freedom of expression via the thrilling story a pair of writers risking it all to protect an incendiary manuscript that authorities are eager to destroy.
*Available on Netflix Instant Watch and on DVD from Kino Lorber
15. "Marooned in Iraq" (2002)
Dir. Bahman Ghobadi
Highlighting the rich Kurdish culture, both in Iran and Iraq, Ghobadi’s film is set in the aftermath of the ravaging Gulf War. Marooned is an elderly man who must travel across the mountainous landscape that divides the two countries to find his ex-wife. While portraying the horrors of war in an affecting manner, the film is also a life-affirming work that finds hope in the most surprising places.
*Available on DVD from Wellspring
16. "My Tehran for Sale"
Dir. Granaz Moussavi
Devastating and current, this debut feature from renowned poet turned filmmaker Granaz Moussavi is a hard-hitting critique on the blatant criminalization of artists in Iran. An actress banned from her profession questions whether she should remain in the country or flee. Getting to safety means leaving everything she knows behind. There are no easy options for her.
*Available on DVD from Global Lens
17. "No One Knows About Persian Cats" (2009)
Dir. Bahman Ghobadi
Music as the banner of freedom is the focus of Ghobadi’s film about the underground rock scene in Tehran. Secular music is essentially forbidden, and playing in public is considered a criminal act punished with prison. Crafted between reality and fiction, this quasi-documentary takes a look at a group of young musicians desperate to express themselves through their art.
*Available on DVD from Mpi Home Video
18. "Offside" (2006)
Dir. Jafar Panahi
Attending sporting events is prohibited for women in Iran, but that doesn’t stop many of them who go as far as to dress like men to get in. Panahi’s touching and insightful film takes place during the 2006 World Cup Qualifying match between Iran and Bahrain, and follows several girls who despite being excluded cheer for their team as joyfully as any fan would.
*Available on DVD from Sony Pictures Classics
19. "Persepolis" (2007)
Dir. Marjane Satrapi & Vincent Paronnaud
Nominated for the Best Animated Feature Oscar, this French-language marvel is based on Satrapi’s autobiographical graphic novel by the same name. With eye-popping hand-drawn animation, the film revisits the director’s childhood and teenage years in Iran during the events leading up to the Islamic Revolution. It’s a love letter to the bittersweet memories of the Iran Satrapi knew.
*Available on Blu-ray & DVD from Sony Pictures Classics
20. "A Separation" (2011)
Dir. Asghar Farhadi
Dealing with a marriage in turmoil facing the country's peculiar judicial system, Farhadi’s masterpiece is the most acclaimed film in the history of Iranian cinema and earned the country's first Academy Award for Best Foreign Language Film. It was also nominated for Best Original Screenplay for its enthralling thriller-like narrative that grips the audience until its unnerving conclusion. A must see!
*Available on Blu-ray & DVD from Sony Pictures Classics
21. "The Song of Sparrows" (2008)
Dir. Majid Majidi
When Karim (played by Berlin’s Silver Bear Winner Reza Naji), an ostrich farm worker, is forced to find a new job in the city to pay for his daughter’s hearing aid, Iran’s rural and urban realms collide. Thanks to the captivating grace that characterizes Majidi’s films, poverty and misfortune are observed here not with pity but with an optimistic and undefeated perspective.
*Available on DVD from E1 Entertainment
22." Taste of Cherry" (1997)
Dir. Abbas Kiarostami
This quiet and minimalist meditation on death and the simple joys of its antithesis is the first and only Iranian film to have won the coveted Palme d’Or at Cannes. Kiarostami follows a man who has decided to commit suicide and is looking for someone to help him achieve this. However, those he recruits along the way come with their own views on the meaning of our existence and attempt to persuade him to reconsider.
*Available on DVD from Criterion
23. "Ten" (2002)
Dir. Abbas Kiarostami
A female cabbie drives through the streets of Tehran picking up an array of characters that via their casual conversations shine a light on the Iranian society’s expectations of women. Constructed of ten individual scenes in which the only constant is the driver, this heavily improvised and peculiarly shot cinematic experiment is a work of fiction embedded with truth in every frame.
*Available on DVD from Zeitgeist Films
24. "This is Not a Film" (2011)
Dir. Mojtaba Mirtahmasb & Jafar Panahi
In an effort to tell his story despite being banned from filmmaking and under house arrest, filmmaker Jafar Panahi takes his frustration and ingeniously turns it into a courageous visual statement. Whether is shooting video with his cell phone or blocking an imaginary scene in his living room, his passion for storytelling is resilient even when confronting such suffocating censorship.
*Available on Netflix Instant Watch and on DVD from Palisades Tartan
25. "A Time for Drunken Horses" (2000)
Dir. Bahman Ghobadi
With the snow-covered Zagros Mountains as backdrop, Ghobadi’s debut feature tells the story of Ayoub, a young Kurdish boy who must provide for his siblings after their mother’s death. Added to the already difficult circumstances, his handicapped brother desperately needs a surgery. This pushes the heroic kid to persevere against all odds in the hostile environment.
*Available on Netflix Instant Watch and on DVD from Kino Lorber
26. "Turtles Can Fly" (2004)
Dir. Bahman Ghobadi
Commanding a cast made almost entirely of children Ghobadi sets his film in an Iraqi Kurdish refugee camp just before the American occupation of 2003. Making a living by clearing the hazardous minefields that surround them, a group of orphan children create a small community to survive. The atrocities of war are ever-present, but like in most of the director’s works, the triumph of the human spirit is at the film's core.
*Available on Amazon Instant Video
27. "The White Balloon" (1995)
Dir. Jafar Panahi
Written by Kiarostami and directed by Panahi this is another film set during the important Persian New Year celebrations. It centers on a little girl trying to convince her parents to buy her a goldfish and who gets in a couple mishaps along the way. With utmost innocence, the seemingly simple premise manages to be a charming delight that showcases family values and ancient virtues with a nice dose of humor. It’s an uplifting gem.
*Sadly the film is not curently availble in any format in the U.S. Hopefully Criterion or another distributor will fix this soon.
28. "The White Meadows" (2009)
Dir. Mohammad Rasoulof
While ethereal, almost otherworldly imagery achieved by cinematographer Ebrahim Ghafori is reason enough to see this film, Rasoulof’s poetic storytelling elevates it to even greater intellectual heights. By using a barren coastal land and its inhabitant as a metaphor for the intolerance and injustice that many of his compatriots -creative people in particular - confront everyday, the filmmaker denounces these evils through melancholic beauty.
*Available on DVD from Global Lens
29. "The Willow Tree" (2005)
Dir. Majid Majidi
A writer, who had been blinded in an accident as a child, regains his vision as a middle aged adult only to be challenged by a world that has become foreign to him. At first, his miraculous new situation appears to be an answer to a prayer, but Majidi soon shows us how vision can become a curse in this spiritual drama about fate and regret. Exquisitely shot and sporting visceral performances, the film is both heart-rending and though provoking.
*Available on DVD from New Yorker Films
30. "The Wind Will Carry Us" (1999)
Dir. Abbas Kiarostami
Taking the audience on a trip to an untainted region of Iran where tradition hasn’t yet been disrupted by modernity, the acclaimed director crafted another unforgettable experience. Sublimely executed, the film joins four journalists pretending to be engineers as they document the funerary rituals of the local Kurdish people. More than learning about them as researchers, their interactions force them to engage on a much more human level.
*Availble on Blu-ray and DVD from Cohen Media Group...
- 3/23/2015
- by Carlos Aguilar
- Sydney's Buzz
★★★★☆Following on from the success of the Oscar-winning A Separation (2011), Iranian filmmaker Asghar Farhadi returns with the equally raw The Past (2013). Continuing his study of realistic circumstances that threaten to disrupt intricately constructed familial ties, The Past appears to be an apt embodiment of Farhadi's career thus far, a fraught melodrama that comprises themes from his previous work and ties them into a coherent, if not entirely intricate, histrionic bow. Iranian actor Ali Mosaffa plays Ahmad, a man who, following a four-year separation from estranged wife Marie (Bérénice Bejo), returns to Paris upon her request in order to finalise their divorce procedure.
- 6/9/2014
- by CineVue UK
- CineVue
Willem Dafoe and Gael Garcia Bernal also among those called up for jury service at the 67th Cannes Film Festival.
The Cannes Film Festival has named the jury for its 67th edition, comprising eight world cinema names from China, Korea, Denmark, Iran, the Us, France and Mexico.
Jane Campion, the New Zealand filmmaker who won the Palme d’or for The Piano, was previously announced as the president of the jury, which will include five women and four men.
Cannes 2014: films
Those selected include Nicolas Winding Refn, the Danish director, screenwriter and producer who won Best Direction at Cannes in 2011 with Drive. His most recent film, Only God Forgives, played in Competition at Cannes last year.
Also chosen is Sofia Coppola, the Us director and screenwriter whose debut The Virgin Suicides was selected for the Directors’ Fortnight at Cannes in 1999. Coppola, who won a screenwriting Oscar for Lost in Translation, made it into...
The Cannes Film Festival has named the jury for its 67th edition, comprising eight world cinema names from China, Korea, Denmark, Iran, the Us, France and Mexico.
Jane Campion, the New Zealand filmmaker who won the Palme d’or for The Piano, was previously announced as the president of the jury, which will include five women and four men.
Cannes 2014: films
Those selected include Nicolas Winding Refn, the Danish director, screenwriter and producer who won Best Direction at Cannes in 2011 with Drive. His most recent film, Only God Forgives, played in Competition at Cannes last year.
Also chosen is Sofia Coppola, the Us director and screenwriter whose debut The Virgin Suicides was selected for the Directors’ Fortnight at Cannes in 1999. Coppola, who won a screenwriting Oscar for Lost in Translation, made it into...
- 4/28/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The latest film by Asghar Farhadi, The Past, could have used the same title as his last film A Separation. Ahmad (Ali Mosaffa) returns to Paris to finalize his divorce with Marie (Berenice Bejo) after a four-year separation. But when he returns to his old home, he finds that a lot has changed.
Marie has taken up with a new man, Samir (Tahar Rahim), who comes with his own baggage. He has a wife, who is currently in a coma. And his presence creates tension in Marie’s relationship with her daughter Lucie (Pauline Burlet), who is not actually related to Ahmad (but to a derelict in Brussels). However, because Ahmad is the closest to a father figure in Lucie’s life, he attempts to reconcile the differences between Lucie and Marie. But he uncovers even more secrets in the process.
Read more...
Marie has taken up with a new man, Samir (Tahar Rahim), who comes with his own baggage. He has a wife, who is currently in a coma. And his presence creates tension in Marie’s relationship with her daughter Lucie (Pauline Burlet), who is not actually related to Ahmad (but to a derelict in Brussels). However, because Ahmad is the closest to a father figure in Lucie’s life, he attempts to reconcile the differences between Lucie and Marie. But he uncovers even more secrets in the process.
Read more...
- 4/19/2014
- by John Keith
- JustPressPlay.net
What to Watch is back in two-week form this time around, hitting the most important Blu-ray, DVD, and streaming offerings from both March 25th and April 1st. No April Fool’s Day jokes here. We’re above that. Sorta. What you will find is one of the best movies of last year, a fantastic comedy series, a foreign film you really should see, and further proof that John Cusack is merely slipping into straight-to-dvd oblivion like that damn horse in “The Neverending Story”. Pick one of the six. What the Hell, pick two.
The Wolf of Wall Street
Photo credit: Paramount
“The Wolf of Wall Street”
One of the best films of 2013 is here in a mildly disappointing Blu-ray given the rumors of four or even Six hour cuts reportedly in the works for release someday. Consequently, this practically movie-only release has the feel of a placeholder, something to put...
The Wolf of Wall Street
Photo credit: Paramount
“The Wolf of Wall Street”
One of the best films of 2013 is here in a mildly disappointing Blu-ray given the rumors of four or even Six hour cuts reportedly in the works for release someday. Consequently, this practically movie-only release has the feel of a placeholder, something to put...
- 4/1/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Director: Asghar Farhadi; Screenwriter: Asghar Farhadi; Starring: Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis; Running time: 130 mins; Certificate: 12A
After picking up an Oscar in 2012 for A Separation, Iranian writer/director Asghar Farhadi returns to similar ground, exploring the domestic tensions in a household where traditional values are challenged. Here, the setting is France where Bérénice Bejo puts away the jazz hands that grabbed our attention in The Artist, as Marie, a single mother caught between two Arab men.
Tahar Rahim, who commanded the screen in A Prophet (less so in big budget drama Black Gold) is on typically brooding form as Marie's live-in lover Samir. However, they're beyond the honeymoon phase. She has trouble disciplining his little boy Fouad (Elyes Aguis) and her eldest daughter of two, Lucie (Pauline Burlet) mooches around the house disapprovingly. Added to this mix is Marie's soon-to-be ex-husband Ahmad (Ali Mosaffa...
After picking up an Oscar in 2012 for A Separation, Iranian writer/director Asghar Farhadi returns to similar ground, exploring the domestic tensions in a household where traditional values are challenged. Here, the setting is France where Bérénice Bejo puts away the jazz hands that grabbed our attention in The Artist, as Marie, a single mother caught between two Arab men.
Tahar Rahim, who commanded the screen in A Prophet (less so in big budget drama Black Gold) is on typically brooding form as Marie's live-in lover Samir. However, they're beyond the honeymoon phase. She has trouble disciplining his little boy Fouad (Elyes Aguis) and her eldest daughter of two, Lucie (Pauline Burlet) mooches around the house disapprovingly. Added to this mix is Marie's soon-to-be ex-husband Ahmad (Ali Mosaffa...
- 3/28/2014
- Digital Spy
★★★★☆One of a number of talented Iranian creatives currently working outside their own country (some, like fellow director Jafar Panahi, are unable to vacate), Oscar-winning filmmaker Asghar Farhadi leaves behind the miasma of his home nation for the Paris-set The Past (2013), another fantastically intricate exercise in domestic complexity. Starring regular collaborator Ali Mosaffa, The Artist's Bérénice Bejo and A Prophet lead Tahar Rahim, Farhadi once again seeks to root out the metaphorical skeletons in the closet of one particular family whose multiple layers of secrets and lies - be they harmful or necessary - have irrevocably altered the lives of those around them.
- 3/27/2014
- by CineVue UK
- CineVue
Iranian writer-director Asghar Farhadi builds on the acclaim of A Separation with another compelling domestic drama about the unpredictable nature of relationships. Four years after leaving his French wife Marie (The Artist's Berenice Bejo), Ahmad (Ali Mosaffa) returns to Paris to finalise their divorce. At the family home, he discovers that she is living with a new man (Tahar Rahim).
- 3/27/2014
- Sky Movies
A remarkably grounded French-Iranian drama about a broken family trying to mend; unexpectedly riveting, thanks in part to one of 2013’s best ensembles. I’m “biast” (pro): loved A Separation, adore Tahar Rahim
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
A woman meets a man at an airport. Their greeting is familiar but not romantic… or maybe what we’re seeing is strained romance? Who are they to each other? As she drives him to her home and gets him settled in for a stay, we gradually come to appreciate that they were once a couple, but he — Ahmad (Ali Mosaffa) — ran back home to Iran and left her — Marie (Bérénice Bejo: Populaire, The Artist) — in the lurch, and now she has asked him for a divorce, which is why he has returned, for the legal proceedings. She wants to...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
A woman meets a man at an airport. Their greeting is familiar but not romantic… or maybe what we’re seeing is strained romance? Who are they to each other? As she drives him to her home and gets him settled in for a stay, we gradually come to appreciate that they were once a couple, but he — Ahmad (Ali Mosaffa) — ran back home to Iran and left her — Marie (Bérénice Bejo: Populaire, The Artist) — in the lurch, and now she has asked him for a divorce, which is why he has returned, for the legal proceedings. She wants to...
- 3/26/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
March 7, 2014
300: Rise of an Empire
Director: Noam Munro
Starring: Sullivan Stapleton, Rodrigo Santoro, Eva Green
Running time: 102 mins
Certificate 15
The Grand Budapest Hotel
Director: Wes Anderson
Starring: Ralph Fiennes, F. Murray Abraham, Edward Norton
Running time: 99 mins
Certificate 15
Paranoia
Director: Robert Luketic
Starring: Liam Hemsworth, Gary Oldman, Harrison Ford
Running time: 106 mins
Certificate 12
The Stag
Director: John Butler
Starring: Andrew Scott, Hugh O'Conor, Peter McDonald
Running time: 94 mins
Certificate 15
March 14, 2014
Need for Speed
Director: Scott Waugh
Starring: Aaron Paul, Dominic Cooper, Scott Mescudi
Running time: 130 mins
Certificate 12A
Under the Skin
Director: Jonathan Glazer
Starring: Scarlett Johansson, Antonia Campbell-Hughes, Paul Brannigan
Running time: 108 mins
Certificate 15
Veronica Mars
Director: Rob Thomas
Starring: Kristen Bell, Jason Dohring, Enrico Colantoni
Running time: 110 mins
Certificate Tbc
The Zero Theorem
Director: Terry Gilliam
Starring: Christoph Waltz, Mélanie Thierry, David Thewlis
Running time: 107 mins
Certificate 15
March 21, 2014
About Last Night
Director: Steve Pink
Starring: Kevin Hart,...
300: Rise of an Empire
Director: Noam Munro
Starring: Sullivan Stapleton, Rodrigo Santoro, Eva Green
Running time: 102 mins
Certificate 15
The Grand Budapest Hotel
Director: Wes Anderson
Starring: Ralph Fiennes, F. Murray Abraham, Edward Norton
Running time: 99 mins
Certificate 15
Paranoia
Director: Robert Luketic
Starring: Liam Hemsworth, Gary Oldman, Harrison Ford
Running time: 106 mins
Certificate 12
The Stag
Director: John Butler
Starring: Andrew Scott, Hugh O'Conor, Peter McDonald
Running time: 94 mins
Certificate 15
March 14, 2014
Need for Speed
Director: Scott Waugh
Starring: Aaron Paul, Dominic Cooper, Scott Mescudi
Running time: 130 mins
Certificate 12A
Under the Skin
Director: Jonathan Glazer
Starring: Scarlett Johansson, Antonia Campbell-Hughes, Paul Brannigan
Running time: 108 mins
Certificate 15
Veronica Mars
Director: Rob Thomas
Starring: Kristen Bell, Jason Dohring, Enrico Colantoni
Running time: 110 mins
Certificate Tbc
The Zero Theorem
Director: Terry Gilliam
Starring: Christoph Waltz, Mélanie Thierry, David Thewlis
Running time: 107 mins
Certificate 15
March 21, 2014
About Last Night
Director: Steve Pink
Starring: Kevin Hart,...
- 2/18/2014
- Digital Spy
More prevalent now, than perhaps anytime in history, is the combined or “blended family” when a single parent with kids weds or begins a household with another parent with kids. It’s been the staple of gentle comedy like “The Brady Bunch” TV series and feature films and both versions of Yours, Mine, And Ours. The biggest conflicts in those earlier shows usually involved sharing bathrooms and noisy dinners. But those families’ heads were nearly always widows and widowers without ex-spouses showing up to further complicate matters. These more untidy splits are often the source of drama instead of mirth in many serious examinations of this type of family structure. And this isn’t something native to the USA. Overseas these new families must more often deal with different languages and cultures. Writer/director Asghar Farhadi follows up his Oscar-winning family drama A Separation with this new tale of family...
- 2/7/2014
- by Jim Batts
- WeAreMovieGeeks.com
The Past opens with an airport arrival scene. A woman -- she seems happy but anxious -- waits for a man, who emerges into view calm and alone. They greet each other familiarly but with an underlying hesitance, and over the next few minutes exchange sparse, direct words as they hurry to the car through a sudden downpour and proceed to their next destination.
Because minimal background details are offered in these beginning moments (and fed out very conservatively over the rest of the film) the story immediately feels like a puzzle, and the initial basic questions -- who are these people? where are they going? -- soon make way for much more serious mysteries to unfold.
The plot that writer/director Asghar Farhadi (A Separation) does eventually reveal is at first somewhat mundane in its modern glumness. Ahmad (played impressively and stoically by Ali Mosaffa) has returned to France...
Because minimal background details are offered in these beginning moments (and fed out very conservatively over the rest of the film) the story immediately feels like a puzzle, and the initial basic questions -- who are these people? where are they going? -- soon make way for much more serious mysteries to unfold.
The plot that writer/director Asghar Farhadi (A Separation) does eventually reveal is at first somewhat mundane in its modern glumness. Ahmad (played impressively and stoically by Ali Mosaffa) has returned to France...
- 1/30/2014
- by Caitlin Moore
- Slackerwood
Filmgoers may bash the January to October movie fare for being boisterous, obnoxious, directed by Michael Bay, etc. However, even during the supposedly tasteful sanctuary that is the award season of November to January, those films themselves can be lumped together to sponsor their own lack of subtlety.
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
- 1/10/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Asghar Farhadi’s The Past, the follow-up to his much-admired A Separation, is set on the outskirts of Paris and moves at the speed of tectonic plates. It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering. It’s as if Farhadi became too depressed by his own cynicism to keep the drama humming. The movie turns into a dour demonstration of missed connections.The darkly handsome Iranian actor Ali Mosaffa plays Ahmad, a man who returns from a spell in Iran to see Marie (Bérénice Bejo), his lovely [redacted], and finalize his [redacted], as well as renew his relationship with [redacted]. I’m redacting plot details...
- 12/24/2013
- by David Edelstein
- Vulture
For writer-director Asghar Farhadi, devising a film to follow the great success of his Oscar-winning A Separation couldn’t have been easy…and if The Past doesn’t quite match that searing drama, it’s still pretty powerful. Set in France and produced in the French language, the story deals with an Iranian man (Ali Mosaffa) who comes to Paris at the request of his ex-wife (Bérénice Bejo) to complete their divorce settlement, after four years apart. When he arrives, he finds himself in the midst of emotional turmoil, mostly having to do with his ex’s new boyfriend (Tahar Rahim, from A Prophet) and her teenage daughter, who resents Mosaffa bitterly. Farhadi dramatizes the way that people...
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- 12/21/2013
- by Leonard Maltin
- Leonard Maltin's Movie Crazy
In 2012, A Separation — Asghar Farhadi’s wrenching film about a couple seeking divorce — earned Iran its first Golden Globe and Oscar for Best Foreign Film. In January, the director and screenwriter could add a second Golden Globe to his wins with his sixth film, The Past. Like A Separation, Farhadi’s latest is a small masterpiece of psychological suspense. There are no heroes or villains, no moral truths, just the inherent emotional chaos of human experience. As New York film critic David Edelstein wrote of A Separation, “What makes it so good is that no one is bad.” The Past is the first of Farhadi’s films to be set outside of Iran: After deserting Marie (The Artist’s Bérénice Bejo) and her two daughters four years ago, Iranian filmmaker Ahmad (Ali Mosaffa) returns to Paris to finalize their divorce. Unbeknownst to Ahmad, Marie is now living with Samir (A...
- 12/20/2013
- by Mary Kaye Schilling
- Vulture
Ahmad (Ali Mosaffa) has made the trip from Iran to Paris for the first time in four years to finally sign divorce papers, officially ending his marriage to Marie (Berenice Bejo) at her request. Upon his arrival at the airport, Marie sees him through a thick pane of glass. She smiles, he shrugs. The airline has lost his bag and will have to send it to him the following day. They communicate by mouthing words and using hand gestures. One understands the other, but the metaphor is quite clear. At this moment in the film we know nothing about these two people. They could be happily married and he returning home from a business trip and she simply picking him up, but writer/director Asghar Farhadi and cinematographer Mahmoud Kalari's visual representation of the invisible barrier between the two weighs heavy on the rest of the film. Farhadi's The...
- 12/20/2013
- by Brad Brevet
- Rope of Silicon
Amir and Asghar Farhadi @ TIFFAmir here, to share with you my fantastic experience of interviewing the director of The Past, A Separation and About Elly. About a decade ago, when Asghar Farhadi made his first feature film after years of successful theatre and TV work, even the most optimistic fan of Iranian cinema could not imagine his stratospheric rise to International Auteur status in such a short span of time. It is heart-warming for an industry that has only gained international prominence in the past two decades to see one of its sons holding an Oscar statue. Farhadi’s popularity comes at a critical point for Iranian cinema, when festival presence is not as regular as it was in the nineties and several major filmmakers have had their careers stalled for political reasons.*
Farhadi's follow up to the Academy Award-winning classic A Separation, The Past will be representing Iran in...
Farhadi's follow up to the Academy Award-winning classic A Separation, The Past will be representing Iran in...
- 12/19/2013
- by Amir S.
- FilmExperience
Those who saw Asghar Farhadi's previous film, A Separation, already know that though the Iranian filmmaker specializes in two-plus hour family dramas, his movies are as intense and absorbing as any thriller out there. Like the aforementioned film, The Past (Le Passé) is a gripping drama structured like a mystery, where a seemingly banal situation cracks and gives way to shattering revelations and emotions. Working in France instead of his native country for the first time, Farhadi not only uses his sure hand to show that envy, guilt, and the consequences of our mistakes know no borders, but also that he is beginning to grow as a visual filmmaker. It's apparent from the first scene, when Ahmad (Ali Mosaffa) flies into Charles de Gaule airport...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 12/19/2013
- Screen Anarchy
The Past, Iran's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Sony Pictures Classics. International Sales Agent: Memento Films International
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/19/2013
- by Carlos Aguilar
- Sydney's Buzz
"The Past," Asghar Farhadi's first movie produced outside Iran, contains several notable shots of people looking at each other through glass. It's an apt illustration of the movie's analytic power: Throughout writer-director Farhadi's wrenching, relentlessly intelligent drama, characters shield their feelings with unspoken motives and actions. Like last year's Oscar-winning "A Separation," Farhadi's new work confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication. Farhadi's latest effort also resembles "A Separation" in that it's secretly a detective story about relationships only partially understood by their participants. Ahman (Ali Mosaffa) arrives in Paris from his native Iran four years after separating from wife Marie (Bérénice Bejo) in order to finalize their divorce. He finds the family at an uneven crossroads: While Marie plans to marry Samir (Tahar Rahim), Lucie (Pauline Burlet) -- her teen daughter...
- 12/19/2013
- by Eric Kohn
- Indiewire
A hit at this year's Cannes Film Festival where it snagged its lead actress Bérénice Bejo the Best Actress prize over some tough competition from the likes of Marion Cotillard and Tilda Swinton, Asghar Farhadi's follow-up to "A Separation," "The Past," finally opens this Friday in select theaters, during the heat of awards season. Indiewire is pleased to premiere an exclusive scene from the ensemble drama. Read More: Cannes: Asghar Farhadi On Why He Still Feels Censored as a Filmmaker Despite Making 'The Past' in France and Not in Iran Shot over a whopping four months in Paris following two months of intense rehearsals, "The Past," Farhadi's first film shot outside of his native Iran, centers on Ahmad (Ali Mosaffa), who, after returning to Paris from Tehran in order to finalize his divorce to Marie (Bejo), discovers all is not well at home with his soon to be ex...
- 12/18/2013
- by Nigel M Smith
- Indiewire
Iranian filmmaker Asghar Farhadi‘s work has been quietly stunning audiences for almost a decade. His last three films—”Fireworks Wednesday,” “About Elly“ and ”A Separation“—racked up festival accolades from Berlin to Tribeca to Sydney, with the latter film going on to win both the Golden Globe and the Oscar for Best Foreign Language Film in 2012. (“A Separation” also received a nomination for Best Original Screenplay at the Academy Awards, a rare international coup.) Farhadi’s latest film, Golden Globe nominee “The Past (Le Passé),” has also been selected as Iran’s submission to the 2014 Oscar race (nominations will be announced on January 16th). This time around, Farhadi has traded in Iran for France, proving that his talents cross cultural and language barriers with ease. “The Past” stars French actress Bérénice Bejo (“The Artist”) and Iranian actor Ali Mosaffa as an estranged couple (Marie and Ahmad) who have been living apart for several years.
- 12/18/2013
- by Kristin McCracken
- The Playlist
The Past (Le passé) Sony Pictures Classics Reviewed for Shockya by Harvey Karten. Data-based on RottenTomatoes.com Grade: B+ Director: Asghar Farhadi Screenwriter: Asghar Farhadi Cast: Bérénice Béjo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi, Valeria Cavalli, Eleonora Marino Screened at: Sony, NYC, 8/21/13 Opens: December 20, 2013 If this were one of the abundant numbers of sitcoms about family dysfunction, the moral might be something as vacuous as “Don’t mess with married men.” But “The Past” is a serious drama written and directed by Asghar Farhadi, whose previous entry, “A Separation,” looks closely at a family that must make a [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/18/2013
- by Harvey Karten
- ShockYa
Iranian writer-director Asghar Farhadi solidifies his status as one of cinema's finest living dramatists with The Past, a superb follow-up to 2011's Oscar-winning A Separation that again situates audiences amid interpersonal, familial, and household crises. Working from a script that incisively plumbs a thicket of logistical and emotional complications, Farhadi's film is set in France but concerns a fractured family of Iranian expats whose lives are thrown into disarray when Ahmad (Ali Mosaffa) returns from Tehran after four years away at the request of estranged wife Marie (Bérénice Bejo), who needs him to sign divorce papers so that she can marry new beau Samir (A Prophet's Tahar Rahim). That union is made thornier by the fact that Samir's wife, C&e...
- 12/18/2013
- Village Voice
[Editor's Note: This interview originally ran during the 2013 Cannes Film Festival where "The Past" world premiered and won its star Bérénice Bejo the Best Actress award. Sony Pictures Classics opens the film this Friday, Dec. 20 in select theaters.] Returning to Cannes following her international breakthrough performance in 2011's awards juggernaut "The Artist," directed by her husband Michel Hazanavicius, Oscar nominee Bérénice Bejo returned the Croisette this year with another film to sure to return her to the forefront of awards talk -- Asghar Farhadi's follow-up to his Oscar-winning "A Separation," "The Past." Shot over a whopping four months in Paris following two months of intense rehearsals, "The Past," Farhadi's first film shot outside of his native Iran, centers on Ahmad (Ali Mosaffa), who after returning to Paris from Tehran in order to finalize his divorce to Marie (Bejo), discovers all is not well at home with his soon to be ex and her rebellious daughter (Pauline...
- 12/16/2013
- by Nigel M Smith
- Indiewire
One cannot deny that political repression can provoke extreme responses from filmmakers but film festivals are not radical spaces and appealing entirely to them cannot be politically fruitful. I propose that a clever work that manages to pass censorship locally can be a more valuable political weapon than a ‘bold’ film which is seen only by art-house audiences, argues M. K. Raghavendra in his column Minority Views.
Increasingly, it would seem that the Iranian films that the rest of the world gets to see are not ‘Iranian’ at all but global artifacts. Just consider Jafar Panahi’s Closed Curtain (2013), which is intended as an attack on the suppression of intellectual freedom in Iran. In this film Panahi’s screenwriter is in hiding with his pet dog because of the proscription of dogs by the state under Islamic law. What is significant here is that this happens in the filmmaker’s...
Increasingly, it would seem that the Iranian films that the rest of the world gets to see are not ‘Iranian’ at all but global artifacts. Just consider Jafar Panahi’s Closed Curtain (2013), which is intended as an attack on the suppression of intellectual freedom in Iran. In this film Panahi’s screenwriter is in hiding with his pet dog because of the proscription of dogs by the state under Islamic law. What is significant here is that this happens in the filmmaker’s...
- 12/9/2013
- by MK Raghavendra
- DearCinema.com
Title: The Past Director: Asghar Farhadi Starring: Tahar Rahim, Bérénice Béjo, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karmi, Valeria Cavalli. ‘The Past’ is Iran’s official selection for the 86th Academy Award for Best Foreign Language Film and was officially selected in 2013 at the Cannes Film Festival, the Telluride Film Festival and the Toronto Film Festival. The female protagonist, Bérénice Béjo won the Best Actress Award in Cannes. Just like in Farhadi’s Oscar-winning ‘A Separation,’ his latest film is a bewitchingly sculpted family melodrama in which the end of a marriage is solely the trigger that leads to old and new crossroads. After four years [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/9/2013
- by Chiara Spagnoli Gabardi
- ShockYa
Sony Pictures Classics has new clips for 2 of its releases in The Past and Tim's Vermeer. The Past is a drama is directed by Asghar Farhadi from the script by Massoumeh Lahidji and Farhadi, and stars Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli. The Past follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce.
- 12/4/2013
- Upcoming-Movies.com
The Past Trailer 2. Asghar Farhadi‘s The Past / Le Passé (2013) movie trailer 2 stars Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Sabrina Ouazani, and Babak Karimi. The Past‘s plot synopsis: “After four years of separation, Ahmad (Ali Mosaffa) arrives in Paris from Tehran, at the request of Marie (Bérénice Bejo), his [...]
Continue reading: The Past / Le Passe (2013) Movie Trailer 2: Divorce Reveals Dark Past...
Continue reading: The Past / Le Passe (2013) Movie Trailer 2: Divorce Reveals Dark Past...
- 11/20/2013
- by Rollo Tomasi
- Film-Book
Last year, Asghar Farhadi's film A Separation won Best Foreign Language Film and was nominated for Best Original Screenplay, and now the director is back with The Past. Sony Pictures Classics will release the film in theaters this December with Oscar heavy hitters like American Hustle, The Wolf of Wall Street and The Secret Life of Walter Mitty. The film follows an Iranian man (Ali Mosaffa) as he deserts his wife and children to return to his homeland. Meanwhile, his wife (Bérénice Bejo from The Artist) finds love with another man (Tahar Rahim from A Prophet), a reality her husband confronts upon his wife's request for a divorce. This looks like it's full of amazing performances and could be another foreign winner. Watch! Here's the trailer for Asghar Farhadi's The Past, originally from Apple: Following a four-year separation, Ahmad (Ali Mosaffa) returns to Paris from Tehran, upon his...
- 11/19/2013
- by Ethan Anderton
- firstshowing.net
You ever look at an ex’s Facebook page and realize his or her new significant other kind of looks like you? That is the idea at the core of The Past, the French-Iranian film from Asghar Farhadi. The film stars The Artist's Bérénice Bejo, who won the Best Actress Award at Cannes for the part, A Prophet’s Tahar Rahim, and Ali Mosaffa. Farhadi’s last film, A Separation, won the Best Foreign Language Film Oscar and it appears he’s aiming for a repeat, as the film is scheduled for a December 20 release date. Pair it with Anchorman 2 for a perfect Christmas double feature that will leave your family speechless and incapable of annoying you.
- 11/19/2013
- by Jesse David Fox
- Vulture
At this point it looks like I probably won't be attending next year's Cannes Film Festival, which is a bummer, but if there's a silver lining this year's Festival was amazing and one of the best films I saw there and still one of the best of the year is Asghar Farhadi's The Past for which Berenice Bejo won Best Actress in Cannes and Farhadi was awarded the Prize of the Ecumenical Jury. I gave the film an "A-" out of Cannes citing a "knockout screenplay" and wonderful performances. Here's a snippet from my review: If there was any doubt Farhadi could continue beyond his work in A Separation, he's set that doubt aside. While I would say the film felt about 20 minutes longer than it actually was and the third act does begin to pile on, you simply can't and don't want to stop watching. The screenplay and performances are so utterly outstanding,...
- 11/19/2013
- by Brad Brevet
- Rope of Silicon
Sony Pictures Classics has released its first trailer for "The Past," the latest film from Iranian director Asghar Farhadi, of 2012 Oscar winner "A Separation." For his new feature, Farhadi ventures to France, where he's set the story of an Iranian man (Ali Mosaffa) who returns to Paris for the first time in four years to deal with his wife's (Bérénice Bejo of "The Artist") request for a divorce. Bejo won the Best Actress Award at Cannes this year, where the film premiered. Tahar Rahim, of "A Prophet," also stars as Bejo's character's new love. Read More: How Asghar Farhadi's 'The Past' Confirms His Mastery of Human Behavior The film premiered in limited release on December 20th.For more indie film trailers check out Indiewire's trailer page, sponsored by Sony Pictures Classics.
- 11/19/2013
- by Alison Willmore
- Indiewire
The first official Us trailer for Asghar Farhadi's "The Past" has arrived. Starring a Cannes-winning Berenice Bejo, Tahar Rahim and Ali Mosaffa, the drama centers on an Iranian man's return to France in light of his impending divorce, and the morally precarious situation he discovers between his former wife and her new boyfriend. Watch below. This is Farhadi's follow-up film to his Best Foreign-Language Oscar winner "A Separation" in 2011. "The Past" hits theaters December 20, via Sony Pictures Classics. Our Toh! interview with Farhadi out of Cannes is here.
- 11/19/2013
- by Beth Hanna
- Thompson on Hollywood
Named this summer as one of our Best Films Of 2013...So Far, a Cannes winner for Best Actress (Berenice Bejo) along with an Ecumenical Jury prize for director Asghar Farhadi, it may have been a quiet for the past few months, but Sony Pictures Classics is finally starting to run with "The Past." And this first trailer gives you all you need to know as you add it your must-see list before the end of the year. The film, which co-stars Ali Mosaffa and Tahar Rahim, tells the tangled drama that centers around the mother of two children, who is looking to finalize her divorce before moving on with the man in her life. But when her ex-husband returns from Iran to complete the process and finds her already getting domestic with someone else, he suddenly is forced to confront what his divorce really means. Now toss in children from...
- 11/19/2013
- by Kevin Jagernauth
- The Playlist
Among all the national Oscar ® submissions for consideration, the Academy of Motion Picture Arts and Sciences (AMPAS) will nominate 5 on January 16, 2014 to compete for Best Foreign Language Film. One of those five films will receive the Oscar ® for Best Non-English-feature at the Oscar ® Awards March 2, 2014 in the Dolby Theater in Hollywood.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards
At this point (and I have not seen all the films yet), I predict the Best Foreign Language Film Oscar going to The Great Beauty,Child’s Pose or Gloria. Those are three of my four favorites thus far. The Past, while worthy most likely will not repeat Iranian director Asghar Farhadi’s Oscar 2011 win for A Separation.
Child’s Pose
I am amazed to see that no Romanian film ever even made it to the 5 Nominations level and yet their films are internationally acclaimed and Child’s Pose carries on the tradition of great filmmaking that Romania has established in recent years. A scathing indictment of the complacent bourgeois nouveau riche classes in Romania, this film leaves no doubt in our mind of how far one can go to protect a really ugly new society. The very strength of the film may make it too “high-brow” for the Academy, although it did award another “high-brow” movie when the Oscar went to Asghar Farhadi’s A Separation in 2011, but at that time, there were political motivations as well for awarding the Oscar to a dissident Iranian. If Child’s Pose does not receive a nomination however, I will attribute that to my aforesaid judgement.
Child’s Pose producer Ada Solomon gave a speech at the Berlinale Awards Ceremony Closing Night where the film won The Golden Bear, which deserves an award itself. Starting with the comment that she is more used to fighting than to winning, she pointedly thanked not only those who helped her but also those who did not help her whose resistance to her making this film made her stronger and more powerful. She pointed out the great need to have equal representation of women in the ranks of directors and producers as well, a theme which has been expressed repeatedly during this festival in many forms. ( Read Melissa Silverstein’s blog on the joint meeting of women's films festivals initiated in Berlin by The International Women's Film Festival Dortmund|Cologone and the Athena Film Festival entitled "You Cannot Be Serious" in which women from many countries discussed the statistics and the status of women directors and other positions in the industry and continued the creation of a worldwide network pushing towards a more level playing field. Check out The International Women's Film Festival Network for more information).
Child's Pose , good in the vein of A Separation, went head to head in Berlin with the Chilean critic's choice, Gloria whose star Paulina Garcia, won the Best Actress Award. Could have gone both ways and so it could again for the Oscar. The two older women were both great.
By the way, Gloria was produced by Fabula , the Chilean company of the Lorrain Brothers who produced Academy Award winner in 2012 No as well as Crystal Fairy by Sebastian Silva.
Jay Weissberg of Variety describes Child's Pose best as a "dissection of monstrous motherly love" and a "razor-sharp jibe at Romania's nouveau riche (the type is hardly confined to one country), a class adept at massaging truths and ensuring that the world steps aside when conflict arises."
Regarding Asghar Farhadi’s The Past, one of my three favorites, it is masterful how Asghar Farhadi can take a simple domestic drama – divorce, remarriage, children, step-parents – and based on one simple miss-step (a white lie in A Separation and a forwarding of emails in The Past), he weaves a surprising and suspenseful web whose strands the audience only unravels after it has fully and seemingly effortlessly played itself out.
When I saw A Separation, the Iranian exoticism initially carried it forward, and it was only at its final note played that I realized a simple lie and a few misstatements caused the greatest grief for the most innocent player of the family’s drama. The daughter was left to suffer from the well-meaning white lies of adults and that was the ensuing tragedy of the film. In this film (The Past), it is the daughter who must bear the responsibility when things get complicated.
The story goes thus: Following a four year separation, Ahmad (Ali Mosaffa) returns to Paris from Tehran, upon his estranged French wife Marie (Bérénice Bejo)'s request, in order to finalize their divorce procedure so she can marry her new boyfriend Samir (Tahar Rahim). During his tense brief stay, Ahmad discovers the conflicting nature of Marie's relationship with her teenage daughter Lucie (Pauline Burlet). Ahmad's efforts to improve this relationship soon unveil a secret from their past, and the highly charged revelations affecting every character in Mr. Farhadi's complex screenplay unfold with his trademark nuance. Once again he showcases his gifts as a masterful storyteller and director who elicits riveting performances from his cast.
The Past, written and directed by Asghar Farhadi and starring Bérénice Bejo, Tahar Rahim and Ali Mosaffa opens in New York and Los Angeles on December 20, 2013. After playing Cannes, it went on to play at Telluride, Toronto and AFI Film Festivals.
Not only did The Past win the Cannes Film Festival Prize for Best Actress (Bérénice Béjo), but Asghar Farhadi’s previous film A Separation won the Academy Award for Best Foreign Language Film in 2011. For that reason alone, I do not think it will win the Award this year even if it makes it to the 5 top nominated films.
41 year-old writer-director Asghar Farhadi graduated with a Master’s Degree in Film Direction from Tehran University in 1998. He had won the Berlin Film Festival' Golden Bear for Best Director for About Elly. The Past is his sixth feature.
Argentinian-born and Paris-based actress Bérénice Béjo was last seen in her Academy nominated role as Peppy Miller in Best Picture Oscar winner The Artist directed by Michel Hazanavicius. Following her César-nominated breakout role in Gérard Jugnot's Most Promising Young Actress, Béjo made her American feature film debut in Brian Helgeland's A Knight's Tale, starring Heath Ledger. Béjo is currently in production on director Michel Hazanavicius' new film, The Search.
One of French cinema's young rising stars, Tahar Rahim is best known to U.S. audiences for his indelible performance in Jacques Audiard's A Prophet, for which he won both Best Actor and Best Male Newcomer Césars, as well as the European Film Award for Best Actor.
See SydneysBuzz Review of The Past .
I won’t reiterate my love for the inspirational and awesome film The Great Beauty because you can read about that in my Interview with Paulo Sorrentino the Director of The Great Beauty and for the fabulously self-affirming Gloria which you can read in my Interview with Sebastian Lelio Director of 'Gloria' and Star Paulina Garcia .
Below you can list of rights sold to all these four great films. Note who are the smart distributors buying these art films so that when you make such a film, you will know who will be watching. And for more rights to more films, buy the Rights Roundup Reports by SydneysBuzz for each great festival and market Here.
The Past
MPAA Rating: Not yet rated | Running time: 130 min.
French and Persian with English subtitles
International sales by Memento sold to
Australia-Madman Entertainment
Canada-Métropole Films Distribution
Canada-Mongrel Media Inc.
Denmark-Angel Films A/S
Finland-Cinema Mondo
France-Canal +
France-Memento Films Distribution
Germany-Camino Filmverleih Gmbh
Hong Kong (China)-Golden Scene Company Limited
Israel-Lev Films (Shani Films)
Italy-Bim Distribuzione
Korea (South)-Cac Entertainment
Netherlands-Cinéart Nl
Norway-Arthaus
Poland-Kino Swiat
Serbia-Soul Food Distribution
Sweden-Folkets Bio
Switzerland-Frenetic Films
Taiwan-Maison Motion, Inc.
Turkey-Mars Production
U.K.-Curzon Film World/ Artificial Eye
U.S. – Spc/ Airlines – Penny Black Media
Child’s Pose
Zeitgeist Films is handling the U.S. theatrical release of Child’s Pose by Calin Peter Netzer. The film will open at Film Forum in New York on February 19, and at the Nuart Theatre in Los Angeles on February 21. A national release will follow.
Golden Bear winner at the 2013 Berlin Film Festival, Calin Peter Netzer’s sharply crafted Child’s Pose pivots on a riveting performance by Luminita Gheorghiu (12:08 East of Bucharest; 4 Months, 3 Weeks and 2 Days; Beyond the Hills; The Death of Mr. Lazarescu, the role for which Los Angeles Film Critics Association awarded her the Best Supporting Actress award) as a steely, well-to-do Bucharest architect determined to keep her 30-something deadbeat son out of jail after a deadly car crash.
MPAA Rating: Not yet rated. / Running time: 112 min.
Romanian with English subtitles
International sales by Beta Cinema sold to
Australia - Palace Films
Brazil - Imovision
Denmark - Camera Film A/S
Germany - Beta Cinema
Germany - X Verleih Ag
Greece - Seven Films
Italy - Teodora Film
So. Korea - Mediaday
Mexico - Cinemas Nueva Era
Netherlands - Contact Film
Norway - Film&Kino
Norway - Tour De Force As
Poland - Aurora Films
Poland - Transatlantyk Festival
Portugal - Alambique
Slovak Republic - Film Europe (Sk)
Spain - Golem Distribución
Switzerland - Filmcoopi Zurich Ag
Taiwan - Swallow Wings Films Co.,Ltd.
Turkey - Mor Film
The Great Beauty
140 minutes
Italian with English subtitles
International sales agent Pathe sold to
Australia Palace Films
Brazil Mares Filmes Ltda.
Canada Métropole Films Distribution
Denmark Camera Film A/S
France Canal +
Germany Dcm
Hong Kong Edko Films Ltd
Netherlands Abc - Cinemien
Norway As Fidalgo Film Distribution
Russia A-One Films
Slovak Republic Film Europe (Sk)
Switzerland Pathe Films Ag
U.K. Curzon Film World
Gloria
104 minutes
Spanish with English subtitles
International sales agent Funny Balloons sold to
Australia Rialto Distribution (Australia)
Austria Thimfilm Gmbh
Brazil Imovision
Canada Métropole Films Distribution
Colombia Babilla Cine
France Funny Balloons
Germany Alamode Film
Greece Strada Films
Israel New Cinema Ltd.
Italy Lucky Red
Japan Respect
Korea (South) Pancinema
Netherlands Wild Bunch Benelux
Portugal Alambique
Sweden Atlantic Film Ab
Switzerland Filmcoopi Zurich Ag
Turkey Bir Film
U.K. Network
U.S. Roadside Attractions...
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards
At this point (and I have not seen all the films yet), I predict the Best Foreign Language Film Oscar going to The Great Beauty,Child’s Pose or Gloria. Those are three of my four favorites thus far. The Past, while worthy most likely will not repeat Iranian director Asghar Farhadi’s Oscar 2011 win for A Separation.
Child’s Pose
I am amazed to see that no Romanian film ever even made it to the 5 Nominations level and yet their films are internationally acclaimed and Child’s Pose carries on the tradition of great filmmaking that Romania has established in recent years. A scathing indictment of the complacent bourgeois nouveau riche classes in Romania, this film leaves no doubt in our mind of how far one can go to protect a really ugly new society. The very strength of the film may make it too “high-brow” for the Academy, although it did award another “high-brow” movie when the Oscar went to Asghar Farhadi’s A Separation in 2011, but at that time, there were political motivations as well for awarding the Oscar to a dissident Iranian. If Child’s Pose does not receive a nomination however, I will attribute that to my aforesaid judgement.
Child’s Pose producer Ada Solomon gave a speech at the Berlinale Awards Ceremony Closing Night where the film won The Golden Bear, which deserves an award itself. Starting with the comment that she is more used to fighting than to winning, she pointedly thanked not only those who helped her but also those who did not help her whose resistance to her making this film made her stronger and more powerful. She pointed out the great need to have equal representation of women in the ranks of directors and producers as well, a theme which has been expressed repeatedly during this festival in many forms. ( Read Melissa Silverstein’s blog on the joint meeting of women's films festivals initiated in Berlin by The International Women's Film Festival Dortmund|Cologone and the Athena Film Festival entitled "You Cannot Be Serious" in which women from many countries discussed the statistics and the status of women directors and other positions in the industry and continued the creation of a worldwide network pushing towards a more level playing field. Check out The International Women's Film Festival Network for more information).
Child's Pose , good in the vein of A Separation, went head to head in Berlin with the Chilean critic's choice, Gloria whose star Paulina Garcia, won the Best Actress Award. Could have gone both ways and so it could again for the Oscar. The two older women were both great.
By the way, Gloria was produced by Fabula , the Chilean company of the Lorrain Brothers who produced Academy Award winner in 2012 No as well as Crystal Fairy by Sebastian Silva.
Jay Weissberg of Variety describes Child's Pose best as a "dissection of monstrous motherly love" and a "razor-sharp jibe at Romania's nouveau riche (the type is hardly confined to one country), a class adept at massaging truths and ensuring that the world steps aside when conflict arises."
Regarding Asghar Farhadi’s The Past, one of my three favorites, it is masterful how Asghar Farhadi can take a simple domestic drama – divorce, remarriage, children, step-parents – and based on one simple miss-step (a white lie in A Separation and a forwarding of emails in The Past), he weaves a surprising and suspenseful web whose strands the audience only unravels after it has fully and seemingly effortlessly played itself out.
When I saw A Separation, the Iranian exoticism initially carried it forward, and it was only at its final note played that I realized a simple lie and a few misstatements caused the greatest grief for the most innocent player of the family’s drama. The daughter was left to suffer from the well-meaning white lies of adults and that was the ensuing tragedy of the film. In this film (The Past), it is the daughter who must bear the responsibility when things get complicated.
The story goes thus: Following a four year separation, Ahmad (Ali Mosaffa) returns to Paris from Tehran, upon his estranged French wife Marie (Bérénice Bejo)'s request, in order to finalize their divorce procedure so she can marry her new boyfriend Samir (Tahar Rahim). During his tense brief stay, Ahmad discovers the conflicting nature of Marie's relationship with her teenage daughter Lucie (Pauline Burlet). Ahmad's efforts to improve this relationship soon unveil a secret from their past, and the highly charged revelations affecting every character in Mr. Farhadi's complex screenplay unfold with his trademark nuance. Once again he showcases his gifts as a masterful storyteller and director who elicits riveting performances from his cast.
The Past, written and directed by Asghar Farhadi and starring Bérénice Bejo, Tahar Rahim and Ali Mosaffa opens in New York and Los Angeles on December 20, 2013. After playing Cannes, it went on to play at Telluride, Toronto and AFI Film Festivals.
Not only did The Past win the Cannes Film Festival Prize for Best Actress (Bérénice Béjo), but Asghar Farhadi’s previous film A Separation won the Academy Award for Best Foreign Language Film in 2011. For that reason alone, I do not think it will win the Award this year even if it makes it to the 5 top nominated films.
41 year-old writer-director Asghar Farhadi graduated with a Master’s Degree in Film Direction from Tehran University in 1998. He had won the Berlin Film Festival' Golden Bear for Best Director for About Elly. The Past is his sixth feature.
Argentinian-born and Paris-based actress Bérénice Béjo was last seen in her Academy nominated role as Peppy Miller in Best Picture Oscar winner The Artist directed by Michel Hazanavicius. Following her César-nominated breakout role in Gérard Jugnot's Most Promising Young Actress, Béjo made her American feature film debut in Brian Helgeland's A Knight's Tale, starring Heath Ledger. Béjo is currently in production on director Michel Hazanavicius' new film, The Search.
One of French cinema's young rising stars, Tahar Rahim is best known to U.S. audiences for his indelible performance in Jacques Audiard's A Prophet, for which he won both Best Actor and Best Male Newcomer Césars, as well as the European Film Award for Best Actor.
See SydneysBuzz Review of The Past .
I won’t reiterate my love for the inspirational and awesome film The Great Beauty because you can read about that in my Interview with Paulo Sorrentino the Director of The Great Beauty and for the fabulously self-affirming Gloria which you can read in my Interview with Sebastian Lelio Director of 'Gloria' and Star Paulina Garcia .
Below you can list of rights sold to all these four great films. Note who are the smart distributors buying these art films so that when you make such a film, you will know who will be watching. And for more rights to more films, buy the Rights Roundup Reports by SydneysBuzz for each great festival and market Here.
The Past
MPAA Rating: Not yet rated | Running time: 130 min.
French and Persian with English subtitles
International sales by Memento sold to
Australia-Madman Entertainment
Canada-Métropole Films Distribution
Canada-Mongrel Media Inc.
Denmark-Angel Films A/S
Finland-Cinema Mondo
France-Canal +
France-Memento Films Distribution
Germany-Camino Filmverleih Gmbh
Hong Kong (China)-Golden Scene Company Limited
Israel-Lev Films (Shani Films)
Italy-Bim Distribuzione
Korea (South)-Cac Entertainment
Netherlands-Cinéart Nl
Norway-Arthaus
Poland-Kino Swiat
Serbia-Soul Food Distribution
Sweden-Folkets Bio
Switzerland-Frenetic Films
Taiwan-Maison Motion, Inc.
Turkey-Mars Production
U.K.-Curzon Film World/ Artificial Eye
U.S. – Spc/ Airlines – Penny Black Media
Child’s Pose
Zeitgeist Films is handling the U.S. theatrical release of Child’s Pose by Calin Peter Netzer. The film will open at Film Forum in New York on February 19, and at the Nuart Theatre in Los Angeles on February 21. A national release will follow.
Golden Bear winner at the 2013 Berlin Film Festival, Calin Peter Netzer’s sharply crafted Child’s Pose pivots on a riveting performance by Luminita Gheorghiu (12:08 East of Bucharest; 4 Months, 3 Weeks and 2 Days; Beyond the Hills; The Death of Mr. Lazarescu, the role for which Los Angeles Film Critics Association awarded her the Best Supporting Actress award) as a steely, well-to-do Bucharest architect determined to keep her 30-something deadbeat son out of jail after a deadly car crash.
MPAA Rating: Not yet rated. / Running time: 112 min.
Romanian with English subtitles
International sales by Beta Cinema sold to
Australia - Palace Films
Brazil - Imovision
Denmark - Camera Film A/S
Germany - Beta Cinema
Germany - X Verleih Ag
Greece - Seven Films
Italy - Teodora Film
So. Korea - Mediaday
Mexico - Cinemas Nueva Era
Netherlands - Contact Film
Norway - Film&Kino
Norway - Tour De Force As
Poland - Aurora Films
Poland - Transatlantyk Festival
Portugal - Alambique
Slovak Republic - Film Europe (Sk)
Spain - Golem Distribución
Switzerland - Filmcoopi Zurich Ag
Taiwan - Swallow Wings Films Co.,Ltd.
Turkey - Mor Film
The Great Beauty
140 minutes
Italian with English subtitles
International sales agent Pathe sold to
Australia Palace Films
Brazil Mares Filmes Ltda.
Canada Métropole Films Distribution
Denmark Camera Film A/S
France Canal +
Germany Dcm
Hong Kong Edko Films Ltd
Netherlands Abc - Cinemien
Norway As Fidalgo Film Distribution
Russia A-One Films
Slovak Republic Film Europe (Sk)
Switzerland Pathe Films Ag
U.K. Curzon Film World
Gloria
104 minutes
Spanish with English subtitles
International sales agent Funny Balloons sold to
Australia Rialto Distribution (Australia)
Austria Thimfilm Gmbh
Brazil Imovision
Canada Métropole Films Distribution
Colombia Babilla Cine
France Funny Balloons
Germany Alamode Film
Greece Strada Films
Israel New Cinema Ltd.
Italy Lucky Red
Japan Respect
Korea (South) Pancinema
Netherlands Wild Bunch Benelux
Portugal Alambique
Sweden Atlantic Film Ab
Switzerland Filmcoopi Zurich Ag
Turkey Bir Film
U.K. Network
U.S. Roadside Attractions...
- 11/16/2013
- by Sydney Levine
- Sydney's Buzz
Among all the national Oscar ® submissions for consideration, the Academy of Motion Picture Arts and Sciences (AMPAS) will nominate 5 on January 16, 2014 to compete for Best Foreign Language Film. One of those five films will receive the Oscar ® for Best Non-English-feature at the Oscar ® Awards March 2, 2014 in the Dolby Theater in Hollywood.
At this point (and I have not seen all the films yet), I predict the Best Foreign Language Film Oscar going to The Great Beauty,Child’s Pose or Gloria. Those are three of my four favorites thus far. The Past, while worthy most likely will not repeat Iranian director Asghar Farhadi’s Oscar 2011 win for A Separation.
Child’s Pose
I am amazed to see that no Romanian film ever even made it to the 5 Nominations level and yet their films are internationally acclaimed and Child’s Pose carries on the tradition of great filmmaking that Romania has established in recent years. A scathing indictment of the complacent bourgeois nouveau riche classes in Romania, this film leaves no doubt in our mind of how far one can go to protect a really ugly new society. The very strength of the film may make it too “high-brow” for the Academy, although it did award another “high-brow” movie when the Oscar went to Asghar Farhadi’s A Separation in 2011, but at that time, there were political motivations as well for awarding the Oscar to a dissident Iranian. If Child’s Pose does not receive a nomination however, I will attribute that to my aforesaid judgement.
Child’s Pose producer Ada Solomon gave a speech at the Berlinale Awards Ceremony Closing Night where the film won The Golden Bear, which deserves an award itself. Starting with the comment that she is more used to fighting than to winning, she pointedly thanked not only those who helped her but also those who did not help her whose resistance to her making this film made her stronger and more powerful. She pointed out the great need to have equal representation of women in the ranks of directors and producers as well, a theme which has been expressed repeatedly during this festival in many forms. ( Read Melissa Silverstein’s blog on the joint meeting of women's films festivals initiated in Berlin by The International Women's Film Festival Dortmund|Cologone and the Athena Film Festival entitled "You Cannot Be Serious" in which women from many countries discussed the statistics and the status of women directors and other positions in the industry and continued the creation of a worldwide network pushing towards a more level playing field. Check out The International Women's Film Festival Network for more information).
Child's Pose , good in the vein of A Separation, went head to head in Berlin with the Chilean critic's choice, Gloria whose star Paulina Garcia, won the Best Actress Award. Could have gone both ways and so it could again for the Oscar. The two older women were both great.
By the way, Gloria was produced by Fabula , the Chilean company of the Lorrain Brothers who produced Academy Award winner in 2012No as well as Crystal Fairy by Sebastian Silva.
Jay Weissberg of Variety describes Child's Pose best as a "dissection of monstrous motherly love" and a "razor-sharp jibe at Romania's nouveau riche (the type is hardly confined to one country), a class adept at massaging truths and ensuring that the world steps aside when conflict arises."
Regarding Asghar Farhadi’s The Past, one of my three favorites, it is masterful how Asghar Farhadi can take a simple domestic drama – divorce, remarriage, children, step-parents – and based on one simple miss-step (a white lie in A Separation and a forwarding of emails in The Past), he weaves a surprising and suspenseful web whose strands the audience only unravels after it has fully and seemingly effortlessly played itself out.
When I saw A Separation, the Iranian exoticism initially carried it forward, and it was only at its final note played that I realized a simple lie and a few misstatements caused the greatest grief for the most innocent player of the family’s drama. The daughter was left to suffer from the well-meaning white lies of adults and that was the ensuing tragedy of the film. In this film (The Past), it is the daughter who must bear the responsibility when things get complicated.
The story goes thus: Following a four year separation, Ahmad (Ali Mosaffa) returns to Paris from Tehran, upon his estranged French wife Marie (Bérénice Bejo)'s request, in order to finalize their divorce procedure so she can marry her new boyfriend Samir (Tahar Rahim). During his tense brief stay, Ahmad discovers the conflicting nature of Marie's relationship with her teenage daughter Lucie (Pauline Burlet). Ahmad's efforts to improve this relationship soon unveil a secret from their past, and the highly charged revelations affecting every character in Mr. Farhadi's complex screenplay unfold with his trademark nuance. Once again he showcases his gifts as a masterful storyteller and director who elicits riveting performances from his cast.
The Past, written and directed by Asghar Farhadi and starring Bérénice Bejo, Tahar Rahim and Ali Mosaffa opens in New York and Los Angeles on December 20, 2013. After playing Cannes, it went on to play at Telluride, Toronto and AFI Film Festivals.
Not only did The Past win the Cannes Film Festival Prize for Best Actress (Bérénice Béjo), but Asghar Farhadi’s previous film A Separation won the Academy Award for Best Foreign Language Film in 2011. For that reason alone, I do not think it will win the Award this year even if it makes it to the 5 top nominated films.
41 year-old writer-director Asghar Farhadi graduated with a Master’s Degree in Film Direction from Tehran University in 1998. He had won the Berlin Film Festival' Golden Bear for Best Director for About Elly. The Past is his sixth feature.
Argentinian-born and Paris-based actress Bérénice Béjo was last seen in her Academy nominated role as Peppy Miller in Best Picture Oscar winnerThe Artist directed by Michel Hazanavicius. Following her César-nominated breakout role in Gérard Jugnot's Most Promising Young Actress, Béjo made her American feature film debut in Brian Helgeland's A Knight's Tale, starring Heath Ledger. Béjo is currently in production on director Michel Hazanavicius' new film, The Search.
One of French cinema's young rising stars, Tahar Rahim is best known to U.S. audiences for his indelible performance in Jacques Audiard's A Prophet, for which he won both Best Actor and Best Male Newcomer Césars, as well as the European Film Award for Best Actor.
See SydneysBuzz Review of The Past .
I won’t reiterate my love for the inspirational and awesome film A Great Beauty because you can read about that in my Interview with Paulo Sorrentino the Director of The Great Beauty and for the fabulously self-affirming Gloria which you can read in my Interview with Sebastian Lelio Director of 'Gloria' and Star Paulina Garcia .
Below you can list of rights sold to all these four great films. Note who are the smart distributors buying these art films so that when you make such a film, you will know who will be watching. And for more rights to more films, buy the Rights Roundup Reports by SydneysBuzz for each great festival and market Here.
The Past
MPAA Rating: Not yet rated | Running time: 130 min.
French and Persian with English subtitles
International sales by Memento sold to
Australia-Madman Entertainment
Canada-Métropole Films Distribution
Canada-Mongrel Media Inc.
Denmark-Angel Films A/S
Finland-Cinema Mondo
France-Canal +
France-Memento Films Distribution
Germany-Camino Filmverleih Gmbh
Hong Kong (China)-Golden Scene Company Limited
Israel-Lev Films (Shani Films)
Italy-Bim Distribuzione
Korea (South)-Cac Entertainment
Netherlands-Cinéart Nl
Norway-Arthaus
Poland-Kino Swiat
Serbia-Soul Food Distribution
Sweden-Folkets Bio
Switzerland-Frenetic Films
Taiwan-Maison Motion, Inc.
Turkey-Mars Production
U.K.-Curzon Film World/ Artificial Eye
U.S. – Spc/ Airlines – Penny Black Media
Child’s Pose
Zeitgeist Films is handling the U.S. theatrical release of Child’s Pose by Calin Peter Netzer. The film will open at Film Forum in New York on February 19, and at the Nuart Theatre in Los Angeles on February 21. A national release will follow.
Golden Bear winner at the 2013 Berlin Film Festival, Calin Peter Netzer’s sharply crafted Child’s Pose pivots on a riveting performance by Luminita Gheorghiu (12:08 East of Bucharest; 4 Months, 3 Weeks and 2 Days; Beyond the Hills; The Death of Mr. Lazarescu, the role for which Los Angeles Film Critics Association awarded her the Best Supporting Actress award) as a steely, well-to-do Bucharest architect determined to keep her 30-something deadbeat son out of jail after a deadly car crash.
MPAA Rating: Not yet rated. / Running time: 112 min.
Romanian with English subtitles
International sales by Beta Cinema sold to
Australia - Palace Films
Brazil - Imovision
Denmark - Camera Film A/S
Germany - Beta Cinema
Germany - X Verleih Ag
Greece - Seven Films
Italy - Teodora Film
So. Korea - Mediaday
Mexico - Cinemas Nueva Era
Netherlands - Contact Film
Norway - Film&Kino
Norway - Tour De Force As
Poland - Aurora Films
Poland - Transatlantyk Festival
Portugal - Alambique
Slovak Republic - Film Europe (Sk)
Spain - Golem Distribución
Switzerland - Filmcoopi Zurich Ag
Taiwan - Swallow Wings Films Co.,Ltd.
Turkey - Mor Film
The Great Beauty
140 minutes
Italian with English subtitles
International sales agent Pathe sold to
Australia Palace Films
Brazil Mares Filmes Ltda.
Canada Métropole Films Distribution
Denmark Camera Film A/S
France Canal +
Germany Dcm
Hong Kong Edko Films Ltd
Netherlands Abc - Cinemien
Norway As Fidalgo Film Distribution
Russia A-One Films
Slovak Republic Film Europe (Sk)
Switzerland Pathe Films Ag
U.K. Curzon Film World
Gloria
104 minutes
Spanish with English subtitles
International sales agent Funny Balloons sold to
Australia Rialto Distribution (Australia)
Austria Thimfilm Gmbh
Brazil Imovision
Canada Métropole Films Distribution
Colombia Babilla Cine
France Funny Balloons
Germany Alamode Film
Greece Strada Films
Israel New Cinema Ltd.
Italy Lucky Red
Japan Respect
Korea (South) Pancinema
Netherlands Wild Bunch Benelux
Portugal Alambique
Sweden Atlantic Film Ab
Switzerland Filmcoopi Zurich Ag
Turkey Bir Film
U.K. Network
U.S. Roadside Attractions...
At this point (and I have not seen all the films yet), I predict the Best Foreign Language Film Oscar going to The Great Beauty,Child’s Pose or Gloria. Those are three of my four favorites thus far. The Past, while worthy most likely will not repeat Iranian director Asghar Farhadi’s Oscar 2011 win for A Separation.
Child’s Pose
I am amazed to see that no Romanian film ever even made it to the 5 Nominations level and yet their films are internationally acclaimed and Child’s Pose carries on the tradition of great filmmaking that Romania has established in recent years. A scathing indictment of the complacent bourgeois nouveau riche classes in Romania, this film leaves no doubt in our mind of how far one can go to protect a really ugly new society. The very strength of the film may make it too “high-brow” for the Academy, although it did award another “high-brow” movie when the Oscar went to Asghar Farhadi’s A Separation in 2011, but at that time, there were political motivations as well for awarding the Oscar to a dissident Iranian. If Child’s Pose does not receive a nomination however, I will attribute that to my aforesaid judgement.
Child’s Pose producer Ada Solomon gave a speech at the Berlinale Awards Ceremony Closing Night where the film won The Golden Bear, which deserves an award itself. Starting with the comment that she is more used to fighting than to winning, she pointedly thanked not only those who helped her but also those who did not help her whose resistance to her making this film made her stronger and more powerful. She pointed out the great need to have equal representation of women in the ranks of directors and producers as well, a theme which has been expressed repeatedly during this festival in many forms. ( Read Melissa Silverstein’s blog on the joint meeting of women's films festivals initiated in Berlin by The International Women's Film Festival Dortmund|Cologone and the Athena Film Festival entitled "You Cannot Be Serious" in which women from many countries discussed the statistics and the status of women directors and other positions in the industry and continued the creation of a worldwide network pushing towards a more level playing field. Check out The International Women's Film Festival Network for more information).
Child's Pose , good in the vein of A Separation, went head to head in Berlin with the Chilean critic's choice, Gloria whose star Paulina Garcia, won the Best Actress Award. Could have gone both ways and so it could again for the Oscar. The two older women were both great.
By the way, Gloria was produced by Fabula , the Chilean company of the Lorrain Brothers who produced Academy Award winner in 2012No as well as Crystal Fairy by Sebastian Silva.
Jay Weissberg of Variety describes Child's Pose best as a "dissection of monstrous motherly love" and a "razor-sharp jibe at Romania's nouveau riche (the type is hardly confined to one country), a class adept at massaging truths and ensuring that the world steps aside when conflict arises."
Regarding Asghar Farhadi’s The Past, one of my three favorites, it is masterful how Asghar Farhadi can take a simple domestic drama – divorce, remarriage, children, step-parents – and based on one simple miss-step (a white lie in A Separation and a forwarding of emails in The Past), he weaves a surprising and suspenseful web whose strands the audience only unravels after it has fully and seemingly effortlessly played itself out.
When I saw A Separation, the Iranian exoticism initially carried it forward, and it was only at its final note played that I realized a simple lie and a few misstatements caused the greatest grief for the most innocent player of the family’s drama. The daughter was left to suffer from the well-meaning white lies of adults and that was the ensuing tragedy of the film. In this film (The Past), it is the daughter who must bear the responsibility when things get complicated.
The story goes thus: Following a four year separation, Ahmad (Ali Mosaffa) returns to Paris from Tehran, upon his estranged French wife Marie (Bérénice Bejo)'s request, in order to finalize their divorce procedure so she can marry her new boyfriend Samir (Tahar Rahim). During his tense brief stay, Ahmad discovers the conflicting nature of Marie's relationship with her teenage daughter Lucie (Pauline Burlet). Ahmad's efforts to improve this relationship soon unveil a secret from their past, and the highly charged revelations affecting every character in Mr. Farhadi's complex screenplay unfold with his trademark nuance. Once again he showcases his gifts as a masterful storyteller and director who elicits riveting performances from his cast.
The Past, written and directed by Asghar Farhadi and starring Bérénice Bejo, Tahar Rahim and Ali Mosaffa opens in New York and Los Angeles on December 20, 2013. After playing Cannes, it went on to play at Telluride, Toronto and AFI Film Festivals.
Not only did The Past win the Cannes Film Festival Prize for Best Actress (Bérénice Béjo), but Asghar Farhadi’s previous film A Separation won the Academy Award for Best Foreign Language Film in 2011. For that reason alone, I do not think it will win the Award this year even if it makes it to the 5 top nominated films.
41 year-old writer-director Asghar Farhadi graduated with a Master’s Degree in Film Direction from Tehran University in 1998. He had won the Berlin Film Festival' Golden Bear for Best Director for About Elly. The Past is his sixth feature.
Argentinian-born and Paris-based actress Bérénice Béjo was last seen in her Academy nominated role as Peppy Miller in Best Picture Oscar winnerThe Artist directed by Michel Hazanavicius. Following her César-nominated breakout role in Gérard Jugnot's Most Promising Young Actress, Béjo made her American feature film debut in Brian Helgeland's A Knight's Tale, starring Heath Ledger. Béjo is currently in production on director Michel Hazanavicius' new film, The Search.
One of French cinema's young rising stars, Tahar Rahim is best known to U.S. audiences for his indelible performance in Jacques Audiard's A Prophet, for which he won both Best Actor and Best Male Newcomer Césars, as well as the European Film Award for Best Actor.
See SydneysBuzz Review of The Past .
I won’t reiterate my love for the inspirational and awesome film A Great Beauty because you can read about that in my Interview with Paulo Sorrentino the Director of The Great Beauty and for the fabulously self-affirming Gloria which you can read in my Interview with Sebastian Lelio Director of 'Gloria' and Star Paulina Garcia .
Below you can list of rights sold to all these four great films. Note who are the smart distributors buying these art films so that when you make such a film, you will know who will be watching. And for more rights to more films, buy the Rights Roundup Reports by SydneysBuzz for each great festival and market Here.
The Past
MPAA Rating: Not yet rated | Running time: 130 min.
French and Persian with English subtitles
International sales by Memento sold to
Australia-Madman Entertainment
Canada-Métropole Films Distribution
Canada-Mongrel Media Inc.
Denmark-Angel Films A/S
Finland-Cinema Mondo
France-Canal +
France-Memento Films Distribution
Germany-Camino Filmverleih Gmbh
Hong Kong (China)-Golden Scene Company Limited
Israel-Lev Films (Shani Films)
Italy-Bim Distribuzione
Korea (South)-Cac Entertainment
Netherlands-Cinéart Nl
Norway-Arthaus
Poland-Kino Swiat
Serbia-Soul Food Distribution
Sweden-Folkets Bio
Switzerland-Frenetic Films
Taiwan-Maison Motion, Inc.
Turkey-Mars Production
U.K.-Curzon Film World/ Artificial Eye
U.S. – Spc/ Airlines – Penny Black Media
Child’s Pose
Zeitgeist Films is handling the U.S. theatrical release of Child’s Pose by Calin Peter Netzer. The film will open at Film Forum in New York on February 19, and at the Nuart Theatre in Los Angeles on February 21. A national release will follow.
Golden Bear winner at the 2013 Berlin Film Festival, Calin Peter Netzer’s sharply crafted Child’s Pose pivots on a riveting performance by Luminita Gheorghiu (12:08 East of Bucharest; 4 Months, 3 Weeks and 2 Days; Beyond the Hills; The Death of Mr. Lazarescu, the role for which Los Angeles Film Critics Association awarded her the Best Supporting Actress award) as a steely, well-to-do Bucharest architect determined to keep her 30-something deadbeat son out of jail after a deadly car crash.
MPAA Rating: Not yet rated. / Running time: 112 min.
Romanian with English subtitles
International sales by Beta Cinema sold to
Australia - Palace Films
Brazil - Imovision
Denmark - Camera Film A/S
Germany - Beta Cinema
Germany - X Verleih Ag
Greece - Seven Films
Italy - Teodora Film
So. Korea - Mediaday
Mexico - Cinemas Nueva Era
Netherlands - Contact Film
Norway - Film&Kino
Norway - Tour De Force As
Poland - Aurora Films
Poland - Transatlantyk Festival
Portugal - Alambique
Slovak Republic - Film Europe (Sk)
Spain - Golem Distribución
Switzerland - Filmcoopi Zurich Ag
Taiwan - Swallow Wings Films Co.,Ltd.
Turkey - Mor Film
The Great Beauty
140 minutes
Italian with English subtitles
International sales agent Pathe sold to
Australia Palace Films
Brazil Mares Filmes Ltda.
Canada Métropole Films Distribution
Denmark Camera Film A/S
France Canal +
Germany Dcm
Hong Kong Edko Films Ltd
Netherlands Abc - Cinemien
Norway As Fidalgo Film Distribution
Russia A-One Films
Slovak Republic Film Europe (Sk)
Switzerland Pathe Films Ag
U.K. Curzon Film World
Gloria
104 minutes
Spanish with English subtitles
International sales agent Funny Balloons sold to
Australia Rialto Distribution (Australia)
Austria Thimfilm Gmbh
Brazil Imovision
Canada Métropole Films Distribution
Colombia Babilla Cine
France Funny Balloons
Germany Alamode Film
Greece Strada Films
Israel New Cinema Ltd.
Italy Lucky Red
Japan Respect
Korea (South) Pancinema
Netherlands Wild Bunch Benelux
Portugal Alambique
Sweden Atlantic Film Ab
Switzerland Filmcoopi Zurich Ag
Turkey Bir Film
U.K. Network
U.S. Roadside Attractions...
- 11/14/2013
- by Sydney Levine
- Sydney's Buzz
A second poster has arrived for The Past directed by Asghar Farhadi of A Separation. The drama stars Tahar Rahim, Bérénice Bejo and Ali Mosaffa. The Past (Le passé) follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce. Also in the cast of the film written by MAssoumeh Lahidji and Farhadi are Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli.
- 10/31/2013
- Upcoming-Movies.com
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