Sunday, August 24, 2014

OSCAR SUBMISSION PREDICTIONS 2014-2015, PHILIPPINES to VIETNAM

Here's the last batch of countries, from Philippines to Vietnam.

Poland, Romania and Turkey have already made their official selections, while I've left off the three biggest countries (Philippines, Russia and Spain) and will fill them in by the end of August.
1. PHILIPPINES 

2. POLAND- "Ida" (Written in June before the selection).  Poland seems to have an easy decision this year, considering the international success of “Ida”, a black & white drama about a novice nun in Communist Poland who discovers her Jewish roots shortly before taking her final vows. The film has successfully been released in Canada, France, the USA and elsewhere, winning critical acclaim for the film itself (winning the Grand Prize in London and Warsaw) and especially for its lead actresses. “Ida” is the front-runner and will be hard to beat. If anybody can, it will probably be “Warsaw 44”, a film about a number of young people who play a key role in the 1944 Warsaw Uprising against the Nazis. It will be released in September and Poland sometimes  uses the Oscar submission to promote new films (“In Darkness”, “Walesa”). Two other films tied “Ida” at the Polish Eagle Awards with four awards apiece. “Ida” won Best Picture/Director/Actress, while “Life Feels Good”, about a man with cerebral palsy, won Screenplay and three of the four Acting awards, and “Papusza”, the biopic of a Polish-Gypsy poetess, dominated the tech categories. I’m skeptical of their chances. It's  “Ida” for sure.
3. PORTUGAL- "The Mais: A Story of a Portuguese Family" Portugal is a mess in this category. They hold the record for most Oscar submissions without getting a nomination, and this year pickings are slim. Last year’s sole box-office success was a silly buddy comedy (“Pecados Rurais”) and this year six of the ten feature films in their National Film Catalogue were made by foreign directors (including Bille August)! One of their only contenders- 3-hour long historical drama “Até Amanhã Camaradas”- looks well-made but got middling reviews and might be disqualified because it is largely a repackaging of a television miniseries. I'm not sure how much is new footage but AMPAS is very strict with films that have appeared on TV in any form. Netherlands and Sweden have had films disqualified for this. All of this is a long way of saying it is fairly certain that Portugal will choose their only real option: “The Mais: A Story of a Portuguese Family”, a three-hour epic costume drama about incest and intrigue among an elite 19th century family. It’s directed by Joao Botelho, who has been selected twice before. Set in 1825, it looks gorgeous and Portugal likes their movies stuffy and long. For those of you keeping track, 105-year old Manoel de Oliveira appears to be taking a break after directing or co-directing three feature films in 2012. Runner-ups: not much to choose from, but in 2nd place will be “Getúlio”, a true story about political assassinations in 1954 military-ruled Portugal. In 3rd place:  “Yvone Kane”, about a white Portuguese woman returning to her African birthplace. Highly unlikely:  the aforementioned ineligible “Camaradas” (they may try to send it) and teen drama “End of the World”.
4. PUERTO RICO- "Cows Wearing Glasses" (Las vacas con gafas)- Puerto Rico had been invited to send films to the Oscars behinning in 1986. However, Puerto Rico was unceremoniously banned from the Oscars after 2011. Their crime was that they were not an independent country. Never mind that AMPAS had allowed Palestine to send films since 2005 in the interests of “inclusiveness”, that Hong Kong had sent films for decades and that Danish province of Greenland was welcomed into the Oscar family in 2010. Puerto Rico is no longer invited, but I will always include them in this list in protest. Puerto Rico hasn’t had a strong film year, but the strongest candidate would be “Cows Wearing Glasses”, a drama about an elderly painter reflecting upon his life after learning he will soon go blind. I've heard through the grapevine that some Puerto Rican filmmakers working in the USA are launching another campaign to get re-invited. Bring back the Puerto Ricans!
5. ROMANIA- "Japanese Dog" (OFFICIAL) Romania announced they were sending “Japanese Dog” to the Oscars on August 14 before I’d made my prediction. I probably would have gotten it wrong as I thought the more likely choice was period drama “Kira Kiralina” (set in 1960s Romania) or perhaps “A Love Story, Lindenfeld”, about a man who returns to Romania after 60 years upon learning his childhood love survived the Communist labor camps. Both were among the four Romanian films highlighted at this year’s Cannes Film Market but I should have remembered that the Romanian Academy prefers more modern “New Wave” films rather than these more old-fashioned efforts. “Japanese Dog” got eight Gopo nominations this year, winning only one for Best Actor (it lost four to “Child’s Pose” which represented Romania last year and two to “The Unsaved”, which will probably represent Moldova this year). However, it has gotten good reviews for its story of a grumpy old Romanian father who receives a visit from his estranged son and his Japanese wife.
6. RUSSIA- TBD
7. SAUDI ARABIA- Nothing Eligible. For me, Saudi Arabia was the biggest surprise on last year’s list. The Oscars have fairly strict rules that films have to play in commercial theatres in their home country. As cinemas have been banned in Saudi Arabia since the 1970s, “Wadjda” seemed out of luck, even without its feminist slant scaring Saudi conservatives. Still, female helmer Haifaa al-Mansour managed to get it booked for “non-traditional” screenings, reportedly  at Foreign Embassies and oil installations, and convinced the Ministry of Culture to nominate the film. Sadly, it didn’t make the next round but al-Mansour did get to Hollywood. She’s now in pre-production on a film biography of author Mary Shelley before returning to Saudi to work on a film about young Saudi men (good luck getting permission for that!). Contrary to many news stories, “Wadjda” was not the first-ever Saudi film but it is the most acclaimed of the few which have been made. Having said all that, I haven’t heard of any new Saudi films this year so they’ll presumably skip. Too bad because "Wadjda" was great! Go see it!

8. SERBIA- "Barbarians" Serbia is likely to submit “Barbarians” (Karlovy Vary), a drama about troubled teens in 2008 Serbia. The main character is a violent young man who is informed by his social worker that his father killed in the Kosovo War is actually alive and wants to meet him.  Serbia now requires filmmakers who want to be considered for an Oscar to formally submit their films and pay a fee, so if the producers of “Barbarians” don’t enter, the nominee will almost certainly be “From Zero to Hero”, an all-star black comedy by acclaimed director Srdjan Dragojevic set a seaside time-share hotel (although reviews have been less than warm). Among the other contenders are “Monument to Michael Jackson” (another black comedy...the Serbs do these very well) about a town that fakes a visit from Michael Jackson only to have the celebrity die in real life while he is “visiting” their town; “Withering”, about a man who returns to his hometown to sell off his land after living in Switzerland, and Bosnian Serb war drama “So Hot was the Cannon”. Intriguing but out of luck:  “See you in Montevideo”, the sequel to their 2011 submission, and killer mermaid horror film “Nymph”. 

9. SINGAPORE- "3 Peas in a Pod" Singapore will see nearly 20 local films released in 2014, which is quiet good for them. They’ve sent films to the Oscars six of the past nine years since joining the competition in 2005. The city-state doesn’t have any big successes on the international arthouse circuit this year, so if they join they will have to send one of their more commercial efforts (they did this in 2007 and 2012) or just sit out (which they did in 2009 and 2010). The three strongest films (Royston Tan's "3688" plus "Sinema Paradiso" and "Don't Wayang Me") are still without release dates and should be eligible next year. That means the Sings will have to go with one of two dull-looking youth dramas. “Three Peas in a Pod”, a road movie dramedy about three college friends involved in a love triangle on a post-graduation road trip, looks slightly more likely than inspirational basketball drama “Meeting the Giant”. Director Michelle Chong (“Peas”) repped Singapore two years ago. As for myself, I’m more interested in seeing “Filial Party” selected. It’s a spoof of reality television about three people competing for a million dollar prize to be given to the one most devoted to their parents’ happiness. 
10. SLOVAKIA- "The Candidate" Slovakia just held their bi-annual film awards and the big winner was last year’s submission “My Dog Killer” (a decent enough film, but a bit slow for my tastes). This year, the Slovaks have been mostly quiet.  I think the Slovak candidate is pretty clear to be “The Candidate”, a black comedy-thriller about a man in charge of surveilling prominent citizens (clergy, ad executives, and of course political candidates) in the midst of a presidential election. It got good reviews and did well at the box-office, and was also nominated against “My Dog Killer”. In with a shot is documentary “Comeback” (Karlovy Vary 2014; they chose documentaries in 2008 and 2010), following two ex-cons as they exit prison. I believe they have another nine films eligible, most of which are awaiting release. Among the more promising: “A Step Into the Darkness”, about a self-destructive romance imploding against the background of post-war Communist Czechoslovakia, “Stanko”, a road movie about a man building a relationship with the girl he is helping to traffick to Italy, and “Children”, an omnibus film telling four separate stories. Prediction: “Candidate” gets the nod, with “A Step Into the Darkness” and “Comeback” dark horses.
11. SLOVENIA- "Inferno" Slovenia is tough to predict this year because most of their contenders haven’t come out yet and/or don’t have release dates. I see the front-runner as family drama “The Right to Love” (previously a short, now a full-length feature), but I don’t think it will premiere before September 30.  Last fall, Slovenia saw the release of modest hit “Southern Scum, Go Home” (aka Chefurs Raus!), a dark comedy-drama about a group of young Slovenian guys and their attitudes towards immigrants and their ex-Yugoslav compatriots. This year, we’ll see the release of “Seduce Me”, about a 19-year old orphan who leaves his group home, falls in love and goes on a quest to find his father’s grave, “The Tree” (Karlovy Vary), an abstract, non-linear arthouse piece about youth, love and grief set against a background of blood feuds, and “Inferno”, about an unemployed man and his family facing off against capitalist society. If “Right to Love” doesn’t get into Slovenian cinemas, I predict they send “Inferno”, followed by “Seduce Me” and “Southern Scum” with difficult to digest “Tree” and feminist comedy “Panic” rounding out the Top Five.
12. SOUTH AFRICA- "iNumberNumber" South Africa clearly loves gritty urban drama. Since winning the Oscar for “Tsotsi”, the South African Academy has highlighted the country's criminal underbelly in “Jerusalema”, “Little One” and last year’s “Four Corners”. Expect to make it four this year with the acclaimed “iNumberNumber” starring Tsotsi himself (Presley Chweneyagae) as one of a pair of crooked cops involved in South Africa’s criminal underworld. It’s rocked the box-office and is supposed to be one of the best films of its kind made in South Africa (and reportedly picked up for an American remake). Though it portrays itself as the rainbow nation, South Africa never picks films about the white Afrikaner community unless they have nothing else (like in 2010 when they chose the haunting “Beauty”), though ironically they so far have only picked movies made by White directors (again….all except 2010’s “Beauty”). That’s a shame because most of South Africa’s well-reviewed “Foreign Language” films are actually Afrikaner stories. This year, a trio of them have gotten great reviews:  road movie “Pad na jou hart”, long-awaited fantasy drama “The Windpump” and “Faan se Trein”, a sort of Afrikaner Forrest Gump revolving around an inheritance. Lastly are two films in native African languages: “Elelwani”, the first-ever film in the Venda language, about a young woman trying to continue her education despite her parent’s attempts to force her into an arranged marriage with a dying, elderly man, and “Cold Harbour”, a crime thriller in Xhosa. I predicted “Elelwani” last year, but it didn’t premiere in cinemas until January 2014. “iNumberiNumber” should get this easily, with “Elelwani” in second and “Faan se Trein” third. “Die Windpomp” would have a better chance if its director wasn't American.
13. SPAIN- TBD
14. SRI LANKA- "Butterfly Symphony" Sri Lanka has sent movies to the Oscars twice seemingly randomly and they are one of the least likely Asian countries to enter this year. The most prominent film from Sri Lanka this year is “With You, Without You”, but though it got released in India and was shown at film festivals worldwide it seems to have failed to get a domestic release. The Lankans release about 20 films a year, though none seems are likely Oscar candidates. If they feel pressured by the return of neighboring Pakistan and Nepal last year, they could potentially send “Between Yesterday and Tomorrow”, about three friends visiting Northern Sri Lanka after the Civil War, “Siri Daladagamanaya” a Buddhist-themed costume drama, or “Butterfly Symphony”, a music-laden melodrama about a music student inspired by a misladen love letter. However, the more interesting gay-themed “Frangipani” is not realistic. I was set to predict“Between Yesterday and Tomorrow” (Montreal), but it looks like the release date won't be until November, so I'm opting for "Butterfly Symphony" . For an interesting analysis of the current state of the Sri Lankan film industry, see here.

15. SWEDEN' "The Hundred Year-Old Man Who Climbed Out a Window and Disappeared" Sweden has four front-runners, all of which have played in major film festivals. On paper, the front-runner should be considered “The Reunion” (Venice 2013) which dominated the Guldbagge Awards and topped the Swedish Film Insitute’s new “Review Index” for 2013. Unfortunately, critics outside of Sweden mostly seem to hate this very arthouse film about a high-school outcast causing a scene at her class reunion. It would be a poor choice. “Force Majeure” (Cannes 2014), an unconventional "arthouse thriller" about a postcard-perfect Swedish family snowed in by an avalanche on a ski holiday, has gotten better reviews from overseas critics.  However, the Swedes should remember that their three shortlisted films in the past dozen years have all been decidedly more commercial efforts (“Simple Simon” and “Evil” certainly, while ”As It Is in Heaven” straddles the line). Thus, I’m hoping Sweden opts for Lukas Moodysson’s surprisingly upbeat “We Are the Best!”, or surprise box-office hit comedy “The Man Who Climbed Out the Window and Disappeared”. “The Man”, about a centenarian who escapes from his nursing home, just became the highest grossing local film in Swedish history (up nearly 50% above “The Girl with the Dragon Tattoo”). It faces the reverse problem of “Reunion” though. Domestic critics liked the film but not all that much. It barely registered at the Guldbagge Awards (though it won the Audience Award) and placed 13thth on the 2013 Review Index. If selected, it would likely be an early favorite for the shortlist. “We Are the Best”, about an all-female teenaged punk rock band, is said to be a feel-good surprise from the usually depressing Moodysson. Every review I’ve read is glowing, and feel-good movies (“Amelie”, “Lagaan”, “Everybody Famous”) can sometimes score here (though not recently). Three other films to watch out for: Colin Nutley’s upcoming comedy “Medicine”, Hanna Schygulla in trippy fantasy-drama “Quiet Room” and African documentary “Forest of the Dancing Spirits”, filmed in the Congo. My prediction: Sweden should choose “The 100-Year Old Man”...and I’m betting they do. “Force Majeure” will come second.
 16. SWITZERLAND- "I'll Be the Goalie" Switzerland now holds a film festival to select the Swiss nominee for the Oscars. I wrote my predictions for Switzerland before the lineup was announced and I was surprised to see that three of my Top Five aren't even contending (Locarno Audience Award winner "Unlikely Heroes", Bettina Oberli's "Lovely Louise" and Jean Luc Godard's bizarre 3-D "Goodbye to Language"). Instead, we have a rather bizarre list of eight features and four documentaries, including one that seems to be an almost completely Belgian production, one that appears to be largely in English (co-starring Americans Kristen Stewart and Chloe Grace Moretz alongside Juliette Binoche) and a documentary short that is only 50 minutes long. That makes this a super-close race between Swiss Film Prize winner "I'll be the Goalie" and Xavier Koller's "Black Brothers". Koller ("Journey of Hope") was the last Swiss filmmaker to win this category and his “Black Brothers”, is a period drama exposing the practice of buying and selling impoverished young boys into apprenticeships, which ended only in the 20th century. "I’ll be the Goalie”, the story of an ex-junkie released from prison who tries to go straight, was the big winner of this year’s Swiss Film Awards, winning four of the eight categories that it was eligible for. Juliette Binoche's "Clouds of Sils Maria" (Cannes) will certainly give those two a run for their money if indeed it's more than 50% in French. Two other Best Pic nominees from the Swiss Film Awards are competing and they're both about teenaged prostitutes! “Dreamland” is about a man, his wife and a Bulgarian teenaged prostitute while “Left Foot, Right Foot” is about a young prostitute and a skater boy. But they’ll be also-rans. My prediction: The Swiss Film Prize are a good precursor. Every Swiss nominee since 2006 has scored a major Swiss Film Prize (Best Film or Documentary) except Bettina Oberli’s light “Late Bloomers”. I think “Goalie” will represent Switzerland, although “Black Brothers” (only two minor noms at the Swiss Film Prize) and the possibly ineligible "Sils Maria" are big threats. "Dreamland" and child labor documentary "L'abri" should round out the Top Five. You can see the full list of contenders here: http://www.delemont-hollywood.ch/2014/programme/.

 17. TAIWAN- "Kano" Taiwan has a competitive two-way race but I think they’ll send “Kano”, a big-budget three-hour baseball drama that was a critical and financial success in Taiwan. Set during the Japanese colonial period, it tells the true story of an underdog little league team that ended up beating the Japanese champions and it comes from the same team as blockbusters “Cape No. 7” and “Seediq Bale”, which both represented Taiwan. Tsai Ming-liang’s “Stray Dogs” won the Special Jury Prize in Venice (2013) for its story of a desperately poor father and his kids living on the street, but Tsai’s films are boring and “Stray Dogs” looks terrible. Still, they’ve chosen him twice before so he has a chance. It’s difficult to see them choosing anything else, although drama “Exit” (which beat “Kano” for Best Film at the 2014 Taipei Film Festival) and upcoming murder mystery-thriller “Partners in Crime” should be considered dark horses. “Partners” director Chang Jung-chi was a surprise pick a few years back for another late release. Rural coming-of-age tale “A Time for Quchi” (Locarno 2013) might also have been a contender but acclaimed director Chang Tso-chi’s June conviction for rape has probably made this dark horse an impossibility. I’m more interested in seeing playful rom-com “Campus Confidential”, but that won’t be a contender at all. I predict “Kano”.

18. TAJIKISTAN- "Gilding" Tajikistan last entered the Oscar race in 2005. They had a rare local film at the Busan Film Festival (“Mirror Without Reflection”) which I tried and failed to see last year, but it appears it was released four weeks too early in Tajikistan to qualify. The only possible contender I know about this year is the female-helmed “Gilding”, a drama about the hardships of a young teenaged boy forced to work in the gold mines in order to help pay his mother’s medical fees. Along the way, he becomes the victim of scammers and thieves. It played at the Eurasian Film Festival in Kazakhstan but since it was made without any state funding I doubt it will spur the country to enter the Oscar race for the first time in a decade.

19. TANZANIA- "White Shadow" Tanzania entered the race just once a decade ago and I don’t see much chance of them returning this year. If they do, they have three films competing in the main competition of the Zanzibar International Film Festival (the country’s biggest). Their best bet is “White Shadow”, a film about the ritual murder of albinos in traditional Tanzanian culture. It’s the only Tanzanian film that has played internationally this year, though its director (a German-based Israeli) and its non-Tanzanian crew made render it ineligible. For an interesting article about Tanzania’s burdgeoning film industry (mostly low-budget Nigeria-style productions shot on video) see here.

20. THAILAND- "The Last Executioner" Thailand hasn’t let a coup d’etat dent their box-office. Horror movies and ghost comedies have been pulling in the audiences, although they don’t have too many movies that they could consider for the Oscars. Last year they had to resort to sending a teen horror flick (albeit a good one) and the previous year they sent an action movie (another good one). This year’s battle is between “The Last Executioner” (Shanghai), a biopic and easily the best-reviewed Thai film of the year and big-budget finale “King Naresuan 5” the oft-delayed finale to the costume drama series directed by a prince. The Thai have only ever sent one of the Naresuan films to the Oscars, so I’m guessing they send “The Last Executioner”, about the life of the man tasked with shooting Thailand’s condemned criminals. Don’t let his name fool you...Director Tom Waller is Thai. Other options include indie teen comedy “Mary is Happy, Mary is Happy” (based on a series of online tweets), romantic rural drama “The Story of Kwan and Riam”, “Timeline”, a romantic drama about a widowed mom , and “Concrete Clouds” (Busan), an arthouse film about two brothers dealing with their father’s suicide. Pen-ek Ratanaruang’s latest (“Life of Gravity” is not eligible because it aired on TV first. “Executioner” should have this in the bag, with cultural showcases “Naresuan” and “Kwan and Riam” a distant second and third.

21. TUNISIA- "Bastardo" Tunisia hasn’t sent a film since 2002...way before the Arab Spring made things very difficult for the local film industry. They’ve got two possibilities that have gotten quite good notices this year. I’m hoping they send “Bastardo”, a moral allegory about how power corrupts. It’s the story of a man disgraced for life since his parents abandoned him at birth, but who is able to seize control of his slum from a gang. Unfortunately, he soon becomes a slumlord himself. It played at Abu Dhabi and Cannes Film Market and would be a great way for Tunisia to return to the competition. Dark horse: female helmed mockumentary “Le Challat de Tunis” about a woman director searching for a (real-life) criminal who has been slashing women’s buttocks. "Challat" was the Tunisian film chosen to be screened alongside the Tunisian Minister of Culture’s big pitch at Cannes to promote Tunisia as a safe filming location as well as a source of quality Arab cinema.
22. TURKEY- "Winter Sleep" (OFFICIAL) (Written in June prior to the selection) Turkey won the Palme d’Or at the Cannes Film Festival for the second time this year (the first was for “Yol”, which was banned in Turkey at the time) meaning that it’s certain the Turks will submit Nuri Bilge Ceylan’s three-hour plus “Winter Sleep”. In the past thirty years, all but three eligible Palme d’Or winners were submitted by their respective countries and I expect “Sleep” to rep Turkey as well. “Sleep” is said to be a bit more accessible and talky than Ceylan’s usual brooding, dialogue-less films. It centers on a former actor-turned-hotel-owner in the Turkish countryside and the gap between the rich and poor people living in the area. The Turkish Academy has submitted Ceylan's films three times, always after winning a major award at Cannes. Also, Turkey’s only shortlist appearance was for Ceylan’s “Three Monkeys”. In a different year, they might have considered other films including earthquake evacuation movie “Singing Women”, action thriller “Antidote”, grandma-granddaughter Kurdish drama (Berlin 2014) “Come to My Voice" or especially historical prison camp drama “Kirimli Korkunc Yillar”. But I’d say “Sleep” is very safe. It’s only challenge is getting a Turkish release date to prevent “Kirimli” from stealing their spot.
23. UKRAINE- "The Tribe" Ukraine seems certain to choose “The Tribe”, one of the most innovative films at Cannes 2014 and also the winner of three awards there, including the Critics Week Prize. Ukrainian films are unused to such acclaim, so the Ukrainians will probably submit despite their domestic problems this year. Shot with a cast of amateur deaf actors, “The Tribe” is a film with no spoken dialogue and no subtitles. In the film, a boy enters a boarding school for deaf students and upon his arrival there, he discovers the school hierarchy includes gangs, bullying, drugs and prostitution. There is precedent for films without dialogue being approved for the “Foreign Language Film” award (e.g. Algeria’s “Le Bal” and Kazakhstan’s “Kelin”) so no worries about disqualification.   Ukraine has had a pretty good film year despite their country. Films like strongman biopic “Ivan the Powerful”, family Christmas comedy “Credenza” (winner of Best Ukrainian Film at Odessa 2013) and Soviet-era “Saint Luke”, the true story of a brilliant surgeon, would normally be contenders but probably can’t touch "The Tribe".
24. UNITED KINGDOM- "Letters to Sofija" The UK is rather fussy. First of all, the United Kingdom obviously makes most of their films in English, and their nominating body (BAFTA) has said that they will not send a film unless they see it as a worthy contender (there was a controversy a few years back when they refused to send any of the films that answered an open call for submissions). In the past ten years, they’ve sent two Welsh films and two films made by British directors in Afghanistan and the Philippines.  Unfortunately, their Celtic-language film industry (mostly Welsh) which has netted them two Oscar nods is moribund. I don’t think they’ve made a Welsh-language film in several years. I’ve tried to find a good eligible British film, but there aren’t any obvious contenders. I think they’ll skip this year, though for the sake of completion I’m predicting “Letters to Sofija”, a period romance between a famous composer and a local girl, set in 1908 pre-independence Lithuania. Other (unlikely) options include surreal fantasy “The Winter” (in Greek, made by a UK-based Greek director), UK-set illegal immigration drama “Leave to Stay” (in Kurdish, made by a UK-based Iraqi Kurdish director) or “Falling Leaves”, a droll dramedy about an émigré reluctant to return to Iran (in Farsi, filmed in Iran by an Iranian émigré  based in London). The UK has not chosen a foreign-born director since 1991 (Asif Kapadia is London born and raised), so I really think “Sofija” is their best option, though not a very likely one.
25. URUGUAY- "Mr. Kaplan" Uruguay has three main choices. First is “The Militant” (El lugar del hijo), a slow, introspective drama, which has represented Uruguay at most international film festivals this year, winning awards at Havana and Sao Paulo. It’s about an intellectual whose father's death coincides with a series of general strikes at Uruguayan universities, as well as with an economic downturn that devastated Uruguay. In "cinema of the absurd" style, the student channels his interest in student politics into working for a rural labor union. However, the Uruguayan Academy typically prefers lighter fare, so I am predicting (like last year) that they go with “Mr. Kaplan”, a comedy about an elderly Jewish man obsessed with arresting a German neighbor he is sure is a runaway Nazi. The film was made by the director of comedy“A Bad Day to Go Fishing” which beat out the favored “Gigante” to rep Uruguay in 2009. Their third option is “Solo”, another droll comedy (the Uruguayans send these almost every year) about a man who flees to Antarctica with an army band after his wife leaves him. It finally opened in Uruguayan cinemas in the fall. I’m much more excited to see pothead action-comedy “Relocos y Repasados” (released two months before Uruguay became the world’s first country to legalize marijuana) but it didn’t get very good reviews at home. Dark horses: “The Carrot” (Zanahoria), a political thriller will come out September 11.
26. VENEZUELA- "God's Slave" Venezuela has been having a great film year despite domestic political unrest and a rising crime rate. Although they’ve never been nominated, the quality of their submissions has increased dramatically in recent years. This year, they have five impressive contenders, and that's not even including baseball comedy “Papita Mani Toston”, the most successful Venezuelan film of all-time. Last year, I predicted this would be a walk-over for nationalist choice “Libertador”, the expensive biopic of national hero Simon Bolivar, directed by Alberto Arvelo (who repped Venezuela in 1997 and 2001) and starring Edgar Ramirez (“Bourne Ultimatum”, “Carlos the Jackal”). However, reviews have been just as strong or stronger for two smaller films on the film circuit, crowd pleaser “Bad Hair” (Pelo malo) (Toronto and others), directed by Mariana Rondon (chosen in 2007) and especially "God's Slave" (Esclavo de dios), the directorial debut of Joel Novoa, son of one of Venezuela's foremost directors. "Hair" is about a woman panicking about her young son’s sexuality. There's also arthouse “The Longest Distance” (La distancia más larga)(Huelva and others), though it's been praised more for its beautiful vistas than anything else and Jose Ramon Novoa's "Solo" (Joel's papa, selected in 1995 and 2000), though reviews haven't been as good as the other films. Venezuela's Academy almost always selects gritty dramas and I think the ultimate winner will be “God’s Slave” (Esclavo de Dios), recently acquired by Film Movement. “Slave” follows an Israeli agent and an Arab saboteur whose religious convictions put them on a collision course culminating in the real-life bombing of a 1994 Jewish community center. It's arguably the best-reviewed of the five and papa Jose Ramon produced it, so the Venezuelans may not feel they are snubbing papa for hijo. At this year's Festival of Venezuelan film, the big winner ("El regreso") was eligible last year, but "God's Slave" and "Bad Hair" both picked up major wins. ("Libertador" was not competing). The Venezuelan Academy is usually pretty fair. I predict “God’s Slave” is the upset choice over favorite “Libertador”, with “Bad Hair” in third. UPDATE: The list of eligible films has just come out and "God's Slave" was released too early to qualify, while director Jose Ramon Novoa has withdrawn his film from contention, citing a lack of transparency in the voting. Venezuelan media is reporting "Bad Hair" and "Libertador" are the only realistic options. Expect a walkover for "Libertador".
27. VIETNAM- "Legend Makers" Vietnam has had a mixed film year. A Vietnamese film opened the Panorama Section at Berlinale 2014, and the country witnessed a large number of high-profile box-office flops interspersed with the two biggest openings in local film history. The National Film Studio productions typically selected for the Oscars have a hard time even getting distribution in Vietnam while arthouse films and violent movies often have trouble with the Communist censors. The Vietnamese Academy typically chooses patriotic war films made with government money, which makes “Legend Makers”, another paint-by-numbers war movie about the Vietnam War, the obvious choice. That said, it doesn’t look very good and it couldn’t muster much support at the National Film Awards (the Golden Kites), winning only four minor awards. The shock winner that night was “The Talent”, a glossy melodrama about the entertainment industry in Vietnam, which won six awards including Best Picture, Best Director and the Critics Choice Awards. That’s definitely not what they typically send to the Oscars, but maybe this year will represent a shift in their thinking? I hope so. “2030” (aka “Water”, Berlin 2014) is Vietnam’s first sci-fi movie/murder mystery, set in the year 2030 when rising sea levels have forced half of society onto floating farms, but reviews have been mixed and the film seems to have failed to get a local cinematic release. Martial arts thriller “Blind Warrior” looks like a Vietnamese Zatoichi, though they’ve only ever chosen this genre once before. Vietnam has a slew of cute comedies, but the dour Vietnamese Academy seems unlikely to choose any of them, even a well-reviewed one like contemporary office comedy “How to Fight in Heels”, described as a Vietnamese “Devil Wears Prada”. A final contender is the upcoming female-helmed village drama “Flapping in the Middle of Nowhere” (Toronto).  Will Vietnam even submit at all this year?  If they do, I predict they make the worst possible choice and send “Legend Makers”, with “Blind Warrior” as the alternate. Sigh.
POSSIBLE DEBUTS:
The most likely debutante from this group are a pair of feminist-themed films from the Islamic world, namely "Red Blue and Yellow" (Dubai) from the UNITED ARAB EMIRATESand "40 Days of Silence" (Berlin) from UZBEKISTAN. Although I don't expect either film to be submitted, "Red" is about the life of a prominent female artisit, while "Silence" is about a village woman who takes a vow not to speak for 40 days. SENEGAL has produced some of Africa's most acclaimed films of the 21st century but they've never entered the Oscar race, so it's unlikely they will send "Under the Starry Sky", a warmly received film about Senegalese immigrants and the diaspora in Italy and the USA. RWANDA's "Mu Buzima" is about an aspiring musician. As for SYRIA's "Ladder to Damascus" and SOMALIA's "Fishing Without Nets", it's difficult to see how they could possibly get a domestic theatrical release due to war and instability.

1 comment:

Spartak said...

Poland - Not that it's really matters now, but I hated "Ida" (B/W seems to me not more than a gimmick, static cinematography irate me, not mentioning a lot that I didn't like the whole story)... I would prefer Poland to submit "Life Feels Better" a very touching film, excellently acted.
But since it comes out in Israeli cinemas at October, I'll probably give it another chance.

Romania - I thought that they have chosen "The Second Game" (haven't seen neither of them), a new film by Corneliu Porumboiu.

Saudi - I think that I've already written it last year, but... I was very happy, when "Wadjda" was left out of the final list. I've nothing against the film, but I do hold against hypocrisy.

Serbia - “Monument to Michael Jackson” seems to be premiered in the end of October...
If I were you, I'd count out "“See you in Montevideo”, it seems to be very popular among the Serbs.

Slovakia - "Kandidat" has a few interesting moments, but all in all it's badly directed and forgettable, but I doubt that they have a better choice.

Sweden - "Reunion" is indeed a very strange film, seems to be half-autobiographical with a surprise turn in the middle of the film, which ruins it all.

Switzerland - Probably, both "Lovely Louise" (by IMDB it was released in September 2013) and "Goodbye to Language" (French production) are ineligible and "Unlikely Heroes" maybe is saved as on option for the next year?

Tanzania - I think that "White Shadow" is eligible (though, I nearly fall asleep during the screening), because as far as I understand from the director (who attended the screening) most of the crew (at least the minor one) was Tanzanian.

UK - Do you what is the weight of "translation scenes" (in which a person speaks a foreign language and then someone translates him into English) in language rule? If it's counted as a foreign one, "Lilting" can also be an option (it seems to be on the verge for 50%).

Venezuela - I just wanted to wright that "God's Slave" is ineligible and then saw the update, never mind (can you give the link to the eligible list, you've mentioned)...
I have watched "Bad Hair" and found it rather banal and dull, so, "Libertador" seems to be much more realistic option, on the other hand Venezuelans tend to send films about (or involving) children, so..