And here's the last group of predictions, minus the unpredictable Russians. I will try to research the final two giant countries (France and India) over the next week.
1. RUSSIA- "Sunstroke" Russia is particularly confusing, and a lot will
depend on who exactly is on their selection committee! In 2011, there was a big
controversy when Russia selected the critically maligned “Burnt by the Sun: The
Citadel”, which many said was chosen due to director Nikita Mikhalkov’s political connections. It's possible though I thought this judgment was a bit harsh. It's true that Mikhalkov is a big supporter of Vladimir Putin. But, whatever his politics, he had never failed
to be nominated for an Oscar, winning for “Burnt by the Sun” and nominated for “12”
and “Close to Eden”. So you could argue that Russia just thought he was their best chance.
Last year, people (including me) said the politicized Russian Academy would
never choose “Leviathan”. Although universally praised as the best Russian film
of the year, it was almost banned at home for its realistic portrayal of
Russian political corruption. Film critics were thrilled when they decided to send it in after all. Why? Is the new selection committee
liberal and fair? Did they do it as a small, Machiavellian gesture to make it seem that they were liberal and fair?
Or did they put political considerations aside and just decide they wanted to
win an Oscar? We might have a better idea this year when Nikita Mikhalkov’s
latest bloated historical epic “Sunstroke” faces off against “The Fool”, another
critically praised drama about Russian corruption. The three-hour “Sunstroke”, set amidst
Russia’s political turmoil in the early 20th century, has been
criticized for turning a four-page story into an expensive, overlong film. However (with
the exception of last year’s surprise “Leviathan”) Russia almost always chooses these
sorts of BIG historical dramas, and Mikhalkov is almost a default nominee when he has a new film out. Add to that the fact that this takes place in the
disputed region of Crimea, and “Sunstroke” would be a very pro-Russian choice.
“The Fool” (aka “Durak”), about a lowly plumber facing off against a corrupt regional
mayor, has better reviews. It won Best
Screenplay at the Russian Nika Awards (beating “Leviathan”), received a Best Picture
nomination and did reasonably well at the box-office. But it’s not as
high-profile as “Leviathan” and there won’t be any pressure to choose another anti-corruption drama. And don’t
necessarily count out the baity “Batallion”, about a battalion of female
soldiers serving in a suicide squad during the Russian Civil War. This would let the Russians choose a patriotic war film while avoid the controversy of another Mikhalkov. Some online
are predicting Andrei Konchalovsky’s “Postman’s White Nights” (Venice), but
Konchalovsky pulled
his boring film from the Oscar race last year and premiered the film on
Russian television, rendering it ineligible. Konchalovsky,
who lives in the US, said he didn’t want a Hollywood award. Two other films by previously selected
directors are long-shots- futuristic, existential “Under Electric Clouds”
(Berlin) simply seems to make no sense, while “Zvezda”, a comedy-drama about an
aspiring actress seems too light to represent the dour Russians. Other choices
include “Angels of Revolution” (Rotterdam), about a female Communist official
trying to “Sovietize” the Khanty and Nenets peoples of Northern Russia, “Arventur”
(Moscow), an animated film based on a Chinese fable that won a Silver Prize at
the Moscow Film Festival, “Orleans”, about an evil little town approached by a
sort of Faustian devil and "Pioneer Heroes”, about the last generation of Soviets
before the fall of the USSR. Dark horse: Ukrainian co-production “Battle of Sevastopol” wrapped up production just as Russian and Ukrainian tensions began flaring. Since the director is
Ukrainian, it should compete for them. See Ukraine below. Final verdict: It's nowhere near a sure thing, but it’s stupid to bet against
Nikita Mikhalkov, beloved of both Putin and AMPAS. “Batallion” and “The Fool”
will duke it out for second place.
2. SAUDI
ARABIA- Nothing eligible. Saudi Arabia banned cinemas in 1980, making it nearly impossible for local films to
meet the AMPAS requirement that films screen in their country of origin for seven
days. The female-helmed “Wadjda” managed to get around the rules by screening
at foreign cultural centers and oil rigs. There are rumors that Saudi Arabia
will re-open cinemas soon but for now local films cannot qualify in the normal way.
Despite this, Saudi Arabia has a thriving market in short films. The second
annual Saudi Film Festival in Dammam managed to go
forward this year, although there were no features in competition. Ironically, the 1st
and 2nd prizes went to shorts directed by Saudi women, perhaps following in Haifaa Al-Mansour’s footsteps. As for the Oscar race, I don’t
think the Saudis have anything eligible.
3. SERBIA- "Enclave" Serbia unfortunately changed its selection process a few years back, and now only
considers films that pay an entrance fee (I think 300 euro) to the Serbian Academy of Film Art and Science. Last year, my prediction
(“Barbarians”) didn’t pay the money so it wasn't even in the running. I see as many as eight Serbian possibilities, but it’s impossible to know which films will pay the money to
enter the race. This year’s obvious choice seems to be “Panama”, a
youth-oriented thriller that screened in Cannes and Sarajevo about the perils of love
and relationships in the modern-day world of social media. Serbia often passes over youth-oriented films, so I think its far more likely they will send “Enclave”, a well-reviewed (and politically relevant) film about friendship
across the ethnic divide in the disputed Kosovo region. Politically, it would
be a good choice since Serbian foreign policy strongly advocates the return of
independent Kosovo to Serbian control. Two period dramas are also in with a chance- “For
King and Homeland”, about the memories of a Serbian-Yugoslavian WWII veteran
and “The Man Who Defended Gavrilo Princip”, about the fate of the Serbian assassin who started World War I by killing the Archduke Ferdinand. The director of "Gavrilo Princip" is the screenwriter of three previous
Serbian submissions. Basketball drama “We Will Be World Champions”, by a
previously submitted director, is sort of possible but only because Serbia has selected
sports-themed dramas three times, as is “Next to Me” (Best Picture, Pula), a violent drama about a
woman who takes action against a gang of nationalist students who attack her because of
her husband’s controversial artwork. There’s also hope for “The Disobedient”
(Sundance 2014), a drama about friends reunited by a funeral, and “No One’s
Child” (Venice 2014), about a feral child found in the woods. As I said, so
much depends on which producers pay the entrance fee. My prediction is “Enclave”
and I’m feeling pretty confident about it. Runner-ups (in order): “Panama” (with its Cannes
prestige), “Next to Me” (which will premiere right before the deadline), “The Man Who Defended Gavrilo Princip” and “No One’s Child”.
4. SINGAPORE- "3688" Singapore celebrates 50 years
of independence from Malaysia this year and several of their 20 or so local
releases this year will celebrate the city-state's vibrant culture, history and traditions. “7 Letters” is a series of short films about Singapore's national identity, directed by seven of
the country’s most prominent filmmakers. The film was suddenly green-lighted for a limited commercial release after special screenings sold out immediately. Among the seven directors is Royston Tan who also has a new musical- “3688”-
about an aspiring singer whose dreams are hampered by taking her care of her
sick father. Musicals don’t usually play well abroad, but three of Singapore’s
eight previous submissions have been musicals. Randy Ang’s hotly anticipated historical drama “1965”
tells the story of Singapore’s independence from Malaysia, though the film's emphasis on the importance of ethnic harmony of the film may mean it relies too much on English (Singapore's Chinese, Indian and Malay citizens typically use English when speaking across racial lines).
Multi-lingual Singapore was disqualified in 2005 for having too much English in
their film. Two indie films could be dark horses: Malay-language girl power sports drama “Banting” and surveillance
thriller “Camera”. Unlikely: any of the numerous local Chinese comedies (the
top contenders would be “Our Sister Mambo” and “Wayang Boy”). Unlikely to
premiere in time: Eric Khoo’s “In the Room” (Khoo was selected to represent
Singapore three times), “Endless Day” (about the WWII romance between a Japanese soldier and a Eurasian girl) and “Sinema Paradiso” (a tribute to 1950s cinema) were all scheduled for 2015 but haven't premiered. My
prediction: their preferred choice “1965” has too much English, "7 Letters" is deemed too "local" for an international audience and “Sinema Paradiso” will be prepped for next year. They’ll half-heartedly send “3688”, which debuts September 17.
5. SLOVAKIA- "Comeback" Slovakia has had a fairly uneventful film year. I think
they have six or seven fiction features eligible (including two
unremarkable children’s films), plus a bunch of documentaries. Unlike last
year, it’s a pretty ordinary lot. No majority Slovak features competed at
Karlovy Vary, which usually prominently features at least one or two Slovak
films. In recent years, the Slovak Academy has preferred dreary arthouse ("Made in Ash", "My Dog Killer") and quirky
documentaries rather than the engaging village dramedies they used to send (I
loved “Return of the Storks”). I see four Slovak possibilities: (1)- “Comeback”, a
documentary following a number of recently released inmates from prison trying
to reintegrate into society, (2)- “Eva Nova”, about a once-glamorous actress
trying to reconcile with her son while at the same time struggling with alcoholism, (3)-
“Koza” (Berlin), a docudrama about a Romany boxer who’s fallen on hard times, and his
girlfriend who wants to get an abortion. It was the only Slovak film to play at
a major festival in 2015, and (4)- “So Far, So Near”, a documentary
about autism by Jaroslav Vojtek, who directed their 2010 submission. With "Eva" unreleased, I think
this will come down to “Koza” or “Comeback”. “Koza” is the favorite (and it is filmed in much the same style as their last three grim candidates), but I’m predicting
an upset for documentary “Comeback”. Unlikely: village dramedy “Hostage”,
road movie “Stanko” and another documentary (about the legacy of the Communist
secret police), “Salto Mortale”.
6. SLOVENIA- "The Woods are Still Green"
Slovenia's film industry got a shock at last year’s film awards when a documentary (“A Fight For”)
about Slovenia’s 2012 version of the Occupy Wall Street movement, and a 19-minute student film (“The Springtime Sleep”) split the major awards, beating out
favorites “The Tree” (Karlovy Vary 2014), about a mother and her sons, and “Inferno” (Busan; it won just two tech prizes), a violent, social
drama about an unemployed man facing off against society. "The Tree" managed to get Best Actor and the Audience Award, while "Inferno" just won two tech prizes. Those two arty films were also passed over at
the Cannes Film Market, where Slovenia instead chose to promote a new comedy (“Siska
Deluxe”) and horror film (“Idyll”), both of which will premiere in October. So, Slovenia has quite a confused race, with
no obvious frontrunner. I am going to predict they make an odd choice and send
German-language WWI drama "The Woods are Still Green" by Marko
Nabersnik, who directed Slovenia’s 2008 submission and their biggest-ever domestic box-office
hit “Rooster’s Breakfast”. Slovenia was part of German-speaking Austria during the war. It is probably the best reviewed Slovenian film of
the year, if you believe it to be a Slovenian film. In 2nd place will be
the angry, nihilistic “Inferno” (dir: Vinko Moderndorfer, who repped Slovenia in 2009) while the equally grim “The Tree” should place 3rd. The aforementioned winner of the Festival of Slovenian Film (“A Fight
For”) probably won't come into play, as the Slovenian Academy tends to be bit more mainstream than the
Festival judges. Opening too late: mystery-thriller “Nightlife” (Damjan Kozole, 2003) and drama "Mother" will not be released until fall at the earliest.
7. SOUTH AFRICA- "Treurgrond" South Africa has a number of potential submissions, including an Afrikaans-language thriller by Darrell Roodt, the director of their first-ever Oscar nominee, "Yesterday”. Roodt has three films in South African cinemas this year though the other two aren't eligible. One
intriguing option is “Breathing Umphefumlo” (Berlinale 2015), a Xhosa-language
operatic redux of La Bohème. However, the South African Academy didn't send the acclaimed “U-Carmen eKhayelitsha” (a Xhosa-language Carmen) by the same team, which got far better reviews. Perhaps because the director is British? Afrikaans mystery “Ballade vir n’Enkeling”, a mystery based on a popular 80s television series about a
missing author got strong notices from the
Afrikaner community, while urban dance drama “Hear Me Move” entertained audiences,
though to me it looks like just a South African version of “Step Up”. “Love the One You Love”
(Busan), about love and relationships in modern-day Cape Town, was made on a
micro-budget, with improvised dialogue and mostly been warmly received by critics. Two
co-productions with neighboring countries that don’t compete in the Oscars
(“Dias Santana” with Angola, and “Coming of Age” with Lesotho) could also
contend if South Africa considers them to be domestic productions. “Necktie Youth”
has played at a number of festivals, but it seems like it has too much English. Bottom line: South Africa’s Academy is likely to choose “Treurgrond”, a
thriller about the true-to-life brutal attacks that terrorize South Africa’s farms and
its farmers, with low-budget “Love the One You Love” its strongest
competition.
8. SPAIN- "Ma ma" Spain doesn't have as much to choose from this year as they usually do. This year's big Goya winner ("La isla minima") was eligible last year, both their films at Cannes and Berlin were filmed mostly in English and many of their leading draws at San Sebastian will not hit cinemas until October. Never fear because Oscar winning actress Penelope Cruz is here! Cruz co-starred in both of Spain's Oscar-winning films from the 1990s ("All About My Mother" and "Belle Epoque") and her "Ma ma" (which opens September 11) looks like exactly the sort of heartwarming, sad, inspiring film that Oscar loves. It's about an academic (Cruz) battling breast cancer (cancer de mama is the Spanish for breast cancer) with the support of her family. "Magical Girl" (San Sebastian, Best Picture 2014), an odd film about a man desperately trying to obtain an anime costume as a final gift for his dying daughter, is likely to get another slot on Spain's traditional three-film shortlist. The third film is a mystery to me; it could be adolescent drama "Nothing in Exchange" (Winner, Malaga Film Festival), Basque-language mystery "Loreak" (which got a rare Best Pic nomination at the Goyas), or Agustí Villaronga's "The King of Havana", which was denied permission to film in Cuba for its story of a teenager experimenting with sex, love, rum and crime during Cuba's economic collapse in the 1990s. Villaronga was selected in 2011. Although this has been a relatively weak year for Spain, they've got lots in the pipeline and will have a very strong year next year. For now, I'm confident about "Ma ma", with "Magical Girl" and "King of Havana" filling out the shortlist.
9. SRI LANKA- "28" Sri Lanka has sent
only one film in the past ten years (and only two in Oscar history) and I don’t see
any indication they will send a film this year. However, they do have a number
of candidates should the new government choose to re-enter the race, perhaps to promote local cinema. The most popular choice would clearly be “Maharaja Gemunu”, an impressive-looking
costume drama about a renowned King which performed well in the domestic market. However, the
two films Sri Lanka sent to the Oscars were both more arthouse efforts. In that case, the favorite would probably be “28” (Rotterdam), a
drama about three men transporting the body of a murder victim, who turns out
to be a relative of one of the three men. “Thanha Rathi Ranga” (Between Today and
Tomorrow), about three friends visiting Northern Sri Lanka after the Civil War,
could also be chosen, while “The Strange Familiar” probably won’t be
considered due to its LGBT-themes as homosexuality continues to be a
crime in Sri Lanka. Bottom line: in the unlikely event they send a film, it will be “28”.
10. SWEDEN- "A Pigeon Sat on a Branch Reflecting on Existence" Sweden has had a slow year filled with comedies and documentaries, so there’s
little doubt they would choose Venice Golden Lion winner “A Pigeon
Sat on a Branch Reflecting on Existence” if the year ended today. “Pigeon” is
the final film in what Variety magazine says is probably “the
lowest-grossing trilogy in history”, following the soporific “Songs from the
Second Floor” and "You the Living”. Although both these plotless films were
terrible, they both represented Sweden at the Oscars.
“Pigeon”, which Variety swears has slightly more of a plot in
its absurdist vignettes than the other two films, seems likely to follow...but I’m
rooting against it. Note to the Academy: Roy Andersson’s films have been sent to the Academy three
times without success. AMPAS, like me, clearly has no tolerance for his dull,
nearly wordless films. Now, Sweden’s last film to get an Oscar nomination was Kay Pollak's sleeper
musical drama "As It Is In Heaven” (the Swedes have been
shortlisted three times since then, but never nominated) . Miles better than the similarly themed “Les choristes” that same year, Pollak has now made a sequel- “Heaven
on Earth”- which will be released in September. Choosing a sequel as your Oscar candidate is risky- most
Oscar voters can't remember the first one- but I would love to see Pollak
(who at least has a proven track record at the Oscars) getting this instead of a
fourth failure for Andersson. Another potential dark horse is Andreas Ohman’s
upcoming romantic drama “Odödliga” (premiering August 21). Ohman’s “Simple
Simon” was a buzzy late release in 2010 and made it all the way to the Final
Nine. There's also Berlinale adolescent drama “My Skinny
Sister” about a girl going through figure skating and eating disorders (I fell asleep at a screening after a few minutes but admittedly
didn’t give it much of a chance). I’m desperately trying to
find a way to make a prediction against Andersson, but he’ll probably get it. Sigh. Strongest alternate is “Heaven on Earth”.
11. SWITZERLAND- "La vanité" Switzerland would be easier to predict if only Barbet Schroeder’s “Amnesia”
were eligible. The Oscar-nominated director is a Swiss citizen and his new film
(his first in seven years) got good reviews in Cannes and will open the Swiss
Films section in Locarno. Set in Spain with two German lead characters, much is
made of the fact that the German woman insists on speaking only in English. I
believe the film will be over 50% in English and won’t qualify (like last
year’s “Clouds of Sils Maria”). For the past five years, Switzerland has chosen a film from either
Berlinale or Locarno. That would appear to bode well for
“Dora, or the Sexual Neuroses of our Parents” (Berlin) and “Pause” (Locarno),
which faced off against each other at the 2015 Swiss Film Awards, where they
both lost to “The Circle”. But neither “Dora”, about a mentally unstable woman who becomes pregnant,
nor musician rom-com “Pause” has really wowed the critics. “Unlikely Heroes”, a
comedy about a bored divorcée who finds meaning in life when she volunteers at
a center for asylum seekers, has also gotten mixed reviews but it’s a
definite crowd-pleaser. I loved the film and it won the Audience Award at
Locarno 2014. It’s similar humor to “Late Bloomers” which Switzerland selected
in 2007. Other contenders include “La vanité”, a dark French-language comedy
(co-starring Spain’s Carmen Maura) about an elderly man seeking outside help to
commit suicide (from a Spanish nurse and a male prostitute from Eastern Europe), “War”, about a sensitive boy forced to spend the
summer working hard on a remote farm, and “Heimatland”, a series of ten shorts
envisioning a dark future for Switzerland. And because the Swiss have chosen
documentaries two years in a row, let’s throw in a pair of immigration-themed
films, namely “Iraqi Odyssey”, a moving documentary tracking the director’s
Iraqi family who have been dispersed around the world by decades of emigration and war, and “Shelter”, about migrants in Switzerland.
Previously selected directors Rolando Colla (“Seven Days”) and Xavier Koller
(“A Bell for Ursli”) have new films but they won’t prefer until the fall. Final
predictions: hardly any of these films seem likely but I’m predicting “La
vanité” pulls this off. The more grim and depressing “War” (Chrieg) has the
next best chance, followed by documentary “Iraqi Odyssey” and comedy “Unlikely
Heroes”. As much as I’d like to predict an unlikely victory for “Unlikely Heroes”, I’d
say that’s unlikely to happen. “Dora” rounds out the Top Five
choices. UPDATE: Switzerland
announced their seven finalists. I’m pleased to note that four of my Top Five
are on the list- “Vanité”, “War”, “Iraqi Odyssey” and “Dora”, which have been joined
by “Pause”. Also on the list: “Bouboule”, a comedy about a fat kid (no
chance to be selected) and “No Place to Stay”, a documentary about the Roma that
I admittedly have never heard of. Out of luck: “Unlikely Heroes”. My prediction
remains the same.
12. TAIWAN- "The Assassin" Let’s review. Since 2000, the only films from China, Hong Kong
and Taiwan to make it past the longlist stage were “Crouching Tiger, Hidden
Dragon”, “The Grandmaster”, “Hero” and “Seediq Bale”. All four were artsy Chinese-language epics with tons
of martial arts fighting and close attention to cinematography, color and historical detail.
Taiwan thus has the easiest decision of any major country this year and will surely send
Hsiao-hsien Hou’s gorgeous 9th century epic “The Assassin”. Eight
years in the making, “The Assassin” has probably gotten the best reviews of Hou’s
career and is also more accessible than his earlier arthouse films. "The Assassin" won Best Director
at the Cannes Film Festival for its story of a female assassin torn
between love and duty. “The Assassin” will bowl over the competition which was anyway weak this year. Chang Tso-chi’s grim “Thanatos Drunk” (Berlinale), set
in the back-alleys of Taipei, dominated the the awards at the Taipei FIlm Festival, but it got mixed reviews internationally. Cho has been chosen before, and so has Sylvia Chang, but her slow-paced “Murmur of the Hearts”
(aka Nian Nian), about reunited siblings on a small Taiwanese island, was also not beloved with critics. Better reviewed was cerebral high-school heist comedy “Meeting Mr. Sun”, which
won Best Screenplay at the Golden Horse Awards but I don’t think it's very likely either. This
will be an easy win for “Assassin”.
13. TAJIKISTAN- "Tasfiya" Tajikistan last submitted a film
in 2005 when they were disqualified after the official print of their film failed to arrive in time. Since then, they’ve shown no interest in the
competition even during those rare years when they had suitable candidates
(like Nosir Saidov’s bittersweet “True Noon”). This year’s most acclaimed Tajik film (Nosir
Saidov’s “The Teacher”) premiered in Dushanbe slightly too early to qualify. They probably won't participate but they do have candidates. They had four local films (probably a
record) playing at the biannual Didor International Film Festival which was held in Dushanbe in October 2014. And according to an interesting new article, Tajiki cinema has been getting a boost in funding lately. If they return, I
predict they send “Tasfiya” a surreal fantasy-drama by a new female helmer, about a
couple living in a small village under Soviet times.
14. TANZANIA- "Daddy's Wedding" The Tanzanians sent
an obscure Swahili-language film called “Maangamizi” in 2001, but have been
silent ever since. Their only really successful film of the year was critically
acclaimed short film, "Fish of the Land”. The Tanzanians had quite a few local feature films in competition at the Zanzibar International Film Festival this year, but most seem to have been released the previous year, including "Kutakapokucha", which won Best Tanzanian Film and "Mr. Kadamanja" (which won the People's Choice Award). For the sake of
completion, I’ll predict “Daddy's Wedding", a comedy-drama which won two of the seven awards in the local awards section (Director and Cinematography). They also have One Month Date”, a drama about the dating problems of
a single mother, but I’m sure they won’t send anything this year.
15. THAILAND- "Pheun Keed Sen Tai" Thailand doesn’t have much to choose from this year. Apichatpong Weerasethakul had
another slow, pretentious, lugubrious movie (“Cemetery of Splendor”) at Cannes
this year, but it didn’t win any awards and nobody likes his films in Thailand
anyway. After Palme d’Or winner “Uncle Boonmee” failed
to get Thailand an Oscar nomination, a second chance seems unlikely (they really don't like him in Thailand). Of the major 2014 releases honored at
the Thai Oscars (the “Subhannahongsa Awards”, or Golden Swans) this year, only
two are eligible- documentary “The Master”, about the man who introduced arthouse
films to Thailand by pirating them, and romantic comedy “I Fine Thank You Love
You”, a standard rom-com. 2015 releases have been even more silly than
usual. In fact, Thailand probably has fewer good options than any major country this year. Now having said that, the Thai always find something to send. Unlike most countries, they
have no prejudice when it comes to genre, choosing popular romance (2014,
2009), horror films (2013), action movies (2012, 2006), arthouse (2010, 2003),
musicals (2002), costume dramas (2011, 2007) and LGBT (2008), which is quite
refreshing. But everything this year seems to have a major handicap…LGBT drama “How to
Win At Checkers” (Berlin) has an American director. “King Naresuan 6” is
visually spectacular and the end of a long series of films (it was originally a trilogy) which reportedly bankrupted
its studio, but the history-in-progress plotline will be hopelessly lost on Western viewers. Expensive “Khrua Toh”, the biopic of a revered Buddhist monk, will showcase Thai culture and religion well, but the trailer looks melodramatic and dull by Western standards, and American audiences won't have a clue who he is. Horror-comedy “The Black Death” is
supposed to be loads of fun but a period film about the living dead is hardly
Oscar’s cup of tea. So, I’m going on a limb and choosing "Pheun Keed Sen
Tai" (เพื่อนขีดเส้นใต้), an omnibus of three films by independent
directors exploring friendships and relationships. It has no English title yet, but literally means "Underlining Friends". I’ll put “King Naresuan 6”
in second place, with “Khrua Toh”, “Postcards from Nowhere” (about a postcard
that brings interconnected characters together) and “Cemetery of Splendor”
rounding out the Top Five.
16. TUNISIA- "Tunisian Spring" Tunisia hasn’t
sent a film to the Oscars since 2002- way before the chaos of the Arab Spring. This year, Tunisian features were completely absent from the Abu Dhabi Film Festival and they sent
a film from last year (“Challat de Tunis”) to Cairo and Busan. That leaves three choices: (1)- “Bidoun
2”, the only local feature in competition at the country’s Carthage
International Film Festival, (2)- “Tunisian Spring”, which represented the country
at FESPACO, and (3)- the three-hour dark horse “Looking for Muhyiddin”, which combines elements of documentary and fiction. “Tunisian Spring”, a drama about the lives of four young
people set against the backdrop of the 2011 Arab Spring, should be considered the
front-runner. Female helmer Raja Amari is very much owed. Her film “Satin Rouge” got Oscar buzz way back in 2002 but when the Tunisian committee met
(for the first time in 7 years), they picked an obscure film nobody had ever
heard of instead of the feminist "Satin". Hopefully, they will send her new film and not snub her again for “Bidoun 2”, about two itinerant
young people who meet during the political turmoil of 2013 (post-Arab Spring).
I’m predicting (and pulling for) Amari and “Tunisian Spring”
17. TURKEY- "Mustang" Turkey's most acclaimed film of the year is clearly “Mustang”,
dubbed by many as a Turkish “Virgin Suicides”. The plot is about five sisters whose innocent horseplay
with the neighborhood boys sets off a local scandal and results in a loss of the girl’s
freedom. It won a small award at Cannes and the Grand Prize at the much smaller
Odessa Film Festival. Despite creeping Islamization in the government, Turkey is still fairly modern and liberal so it's feminist themes
shouldn't present a problem as they might in other Muslim countries. It’s main competitor is “The Miracle”, a
tearjerker/romance about a city teacher whose arrival has a profound effect on a small village community in 1960s
Turkey. Director Mahsun Kirmizigül was selected in 2009. The Istanbul Film
Festival usually presents us with some good options, but most Turkish
filmmakers boycotted this year’s event due to censorship complaints. The most likely option from there is “Ivy” (Sundance), about a
group of sailors forced to stay aboard a ship’s final journey when the company
goes bankrupt. At the Antalya Golden Oranges, the two big winners were a pair
of family dramas, namely “Kuzu” (Best Picture), about a family preparing for
their son’s circumcision feast and “Sivas”, a youth film about a boy who
rescues a fighting dog. Other Turkish options include “Bahara Yolculuk”, about a
teacher who dreams of opening a school in Kyrgyzstan, “Eksik”, a political
historical film about life after the 1980 military coup, “Entanglement”
(Sarajevo), about two laborer brothers whose relationship is strained by their
mother’s death and the appearance of a woman who comes between them,
“Limonata”, a comedic film about two brothers getting to know each other
on a road trip and “Two Hearts as One”, about two lovers separated by WWII who
spend half a century trying to reunite....I predict “Mustang” will get this with “Miracle” a close second
and “Two Hearts as One”, “Bahara Yolculuk” and “Ivy” rounding out the Top Five
choices for Turkey.
18. UKRAINE- "Song of Songs" Ukraine had
a great film year in 2014, but civil conflict, the annexation of Crimea and the
occupation of several Ukrainian provinces by pro-Russian forces have understandably led to drastic cuts to arts and cultural programming, including cinema. Production on many films
has simply stopped mid-way and it’s unclear which local films will be finished and released. The biggest Ukrainian hit of the year- “The Battle for Sevastopol”- would be a
controversial choice for several reasons. Billed as the first (and last) big-budget
co-production with Russia, the film was made in Ukraine’s autonomous Republic
of Crimea (now annexed illegally by Russia) in the Russian language by a
Ukrainian director in cooperation with a Russian studio. Despite worries that
the film, about a celebrated female Soviet sniper and war heroine who made a famous visit to the United States at the height of the Cold War, would have trouble being finished
and/or released in either country, it has, in fact, been a surprise success in both Russia and
Ukraine. Because of the political symbolism of that film, however, I think
Ukraine will instead opt for one of two other films: "Maidan” (Cannes 2014) is an acclaimed documentary by Sergei Loznitsa ("My Joy") about the 2013-2014 protests that forced out Ukrainian President Yanukovych, while “Song of Songs” (Karlovy Vary) is the story of star-crossed young lovers living in a conservative Jewish shletl community in pre-WWII Ukraine. It won Best Ukrainian Film at the scaled-down Odessa Film Festival and has been praised for its attention to detail in portraying a community now mostly lost to history and emigration. Strong
2015 contenders like 1920s historical drama “The Occupaton” and “The Nest of
the Turtle Dove”, about a woman who goes to work in Italy to send money home to
her family, were still in production as of May and appear unlikely to be
released in time. I had "Maidan" down as my prediction but am switching to "Song of Songs".
19. UNITED KINGDOM- "Trash" The UK used to send mostly Welsh films and IMDB says they have two new
ones this year- “Yr Ymadawiad” (The Passing), a Twilight Zone-style drama about a car crash, and “Under Milk Wood”,
starring Rhys Ifans and singer Charlotte Church, which was made in both English and Welsh versions. In any case, Britain is almost certain to send “Trash”,
a Portuguese-language drama about three youths living in the Brazilian favelas, which is directed by three-time Best Director Oscar nominee Stephen Daldry (“The Hours”,
“The Reader”, “Billy Elliott”). Often compared to “Slumdog Millionaire”, it’s
said to be a very Hollywood version of a foreign film, and likely to please the
Academy. A final dark horse is “Gemma Bovery” , a majority French romantic
comedy with a French-Luxembourgian director, based on a British novel and with
a British lead (Gemma Arterton, “Quantum of Solace”) and which was made with
the support of the British Film Institute. But Daldry's involvement and the baity "kids in peril" plotline should make this an easy win for him. Other foreign-language productions from Britain
like “We Will Sing” (in Lithuanian) and “The
Anglistanis” (in Hindi) are out of luck. Count on
Daldry, with "Under Milk Wood" the lead challenger.
20. URUGUAY- "A Moonless Night" (Una noche sin luna) Little Uruguay has
had a fairly slow year but, as usual, they have some droll tragicomedies they could send to the Oscars. This year, I believe they have five eligible features, plus
some documentaries. The directors of their 2010 and 2011 submissions, the
producer of their 2013 submission and the winner of the 2009 Silver Berlin Bear
(probably Uruguay’s best-ever finish at a Class A Festival) are all back with
new movies and there’s also a pair of documentaries
(“Tus padres volveran”, about the children of political dissidents who return to Uruguay
to rejoin relatives while their parents remain in exile, and “El hombre
Nuevo”, about the life of a transgendered Uruguayan) that could contend, though
Uruguay tends to prefer comedy. Unlike most countries, three-fourths of Uruguay's submissions
were comedies (though I didn't find "Whisky" or "A Useful Life" very funny). I think Uruguay will end up choosing between "A Moonless Night”
(Una noche sin luna), about three lonely people visiting a small town on New Year’s Eve (Uruguayan summer!), and the yet-to-be-released “The Apostate”, a quirky
co-production with Spain about the absurdities of religious faith. The
trailer for “Moonless Night” looks like a typical Uruguayan submission…lots of
tragicomedy and quiet humor. “The Apostate” looks much more intriguing, but I have
no idea whether it’s good or not, and it's tentative release date is in October, meaning it would probably need a special qualifying release. Perhaps next year.... In third place: transgender documentary
“El hombre Nuevo” (Uruguay is probably the most progressive country in Latin
America on LGBT rights), with footballer dramedy “El Cinco” and horror film
“Dios Local” (rock musicians confronting their greatest fears in a mine shaft!)
rounding out the Top Five possibilities.
21. VENEZUELA- "Dauna" Venezuela made it to the 9-film Oscar shortlist for the first
time ever last year for historical drama “Libertador”. They didn’t make the Final Five, but it
showed that Venezuelan cinema is on the rise. Neighbor and rival Colombia is
now the only country in South America’s “Big Six” that hasn’t advanced to the
next round. At this year’s Merida Festival for Venezuelan Film, the two big
winners were jet-black beauty pageant comedy “3 Bellezas” (Best Picture,
Director, Screenplay, Actress, plus two small prizes) and village drama “Dauna, Who Leads
the River” (Jury Prize, Press Prize plus three small prizes). I personally can’t wait to see
“3 Bellezas”, which plays fast and loose with Venezuela’s national
obsession with beauty pageants. It’s about a mom who will do absolutely anything to make sure her teenaged daughter
wins…think “Drop Dead Gorgeous”, “Honey Boo Boo” and “Serial Mom” all mixed
into one. However, the Venezuelan Academy has recently shown a preference for films that are grim and serious and they may feel more confident now that their pick of the serious “Libertador” over comedy “Bad Hair” has been vindicated. “Dauna” is about an indigenous Warao woman torn between her village’s
traditional ways versus the prospect of utilizing her modern education in the city. The film has some relationship with the Berlin Film
Festival (maybe it got funding there?) and is the favorite to represent
Venezuela this year....though I’m still hoping for “3 Beauties”. Four other films
won awards at the Venezuelan Film Festival and could be chosen if “Beauties” is
too silly and “Dauna” is too dour. The dark horse is “Espejos”
(Best First Work), a psychological thriller telling six interrelated stories.
Unlikely but possible: 1950s coming-of-age drama “Travesia” (which won the
Audience Award) and period drama “Gaspar Mendoza’s Hell” (Best Actor) about a
family dealing with the illness of their daughter after surviving Venezuela’s brutal 19th century War for Independence. I’d rather see “KM 72”, a
modern-day Venezuelan “Rashomon”, but that left the Festival empty-handed. Here's hoping for "Beauties", but I think I'll be disappointed.
22. VIETNAM- "Children of the Village" Vietnam has a
number of interesting choices this year. As usual, the Vietnamese Academy will
need to choose between the dull, old-fashioned films from their National Film Studio (which is
what they’ve done lately) and the more independent and adventurous arthouse
films that represent Vietnam abroad (which is what they used to do). Of course,
their third choice is not to choose anything at all- the last two years they’ve opted not
to send a film to the Oscars. The most critically acclaimed Vietnamese film of
the year is clearly “Flapping in the Middle of Nowhere” (Venice Critics Award,
2014) but although it did screen in Vietnam, I’m skeptical the conservative
Vietnamese Academy will choose a film that highlights social problems like
abortion. The same goes for Berlinale drama “Big Father, Small Father and Other
Stories” about the quirky residents of an overpopulated slum. Three films
shared Best Picture honors at this year’s state-sponsored Golden Kite Awards, namely “Rise”, an
action-drama about the shocking rise of a female gangster, “Paradise in Heart”,
about a love triangle involving a bisexual ex-con, and rural drama “The Children of the
Village”. The first two winners may indicate that the stodgy Vietnamese are loosening
up a bit! But unfortunately, I’m still going to predict they choose “Children of
the Village”- the “safest” and most conservative film in the bunch. In 2nd
place: “Farewell, Berlin Wall”, an action-drama shopped at the Cannes Film
Market about a Vietnamese woman living in Germany in the waning
days of the Cold War who ends up kidnapped. In 3rd place: festival fave “Flapping in
the Middle of Nowhere”.
NEXT:
A look at last year's race
The most likely debutantes from this group of countries are
UGANDA, which has “Boda Boda Thieves” (mostly in Swahili),
a local take on “The Bicycle Thief” or “Beijing Bicycle”, about an impoverished
family whose livelihood depends on a bicycle which has been stolen; and the UNITED ARAB EMIRATES’ “Dolphin”
(Dubai), about the lives of a young man and his divorced parents living in the remote eastern Emirate of
Ras-al-Khaimah. “Thieves” has played at festivals but I don’t believe it’s been
distributed in Uganda. Also from Dubai, YEMEN’s
“I Am Nojoom, 10 and Divorced” beat films from all over the Arab world to
win Best Arab Film at the Dubai Film Festival, but probably has not screened in
war-torn Yemen. English-speaking TRINIDAD
& TOBAGO could send “Haiti Bride”, a film in Haitian Creole about a
woman who returns to her country to find the husband she left behind in the
chaos of the 2010 earthquake. The Pacific kingdom of TONGA made their first-ever feature film- “When the Man went South”-
in 2014, but I’m not certain it screened at home in Tonga. RWANDA’s acclaimed “Things of the Aimless Wanderer” (Sundance)
seems to be mostly in English.
The most likely debutantes from this group of countries are
UGANDA, which has “Boda Boda Thieves” (mostly in Swahili),
a local take on “The Bicycle Thief” or “Beijing Bicycle”, about an impoverished
family whose livelihood depends on a bicycle which has been stolen; and the UNITED ARAB EMIRATES’ “Dolphin”
(Dubai), about the lives of a young man and his divorced parents living in the remote eastern Emirate of
Ras-al-Khaimah. “Thieves” has played at festivals but I don’t believe it’s been
distributed in Uganda. Also from Dubai, YEMEN’s
“I Am Nojoom, 10 and Divorced” beat films from all over the Arab world to
win Best Arab Film at the Dubai Film Festival, but probably has not screened in
war-torn Yemen. English-speaking TRINIDAD
& TOBAGO could send “Haiti Bride”, a film in Haitian Creole about a
woman who returns to her country to find the husband she left behind in the
chaos of the 2010 earthquake. The Pacific kingdom of TONGA made their first-ever feature film- “When the Man went South”-
in 2014, but I’m not certain it screened at home in Tonga. RWANDA’s acclaimed “Things of the Aimless Wanderer” (Sundance)
seems to be mostly in English.