However you slice the foreign-language film Oscar, it remains bound by rules and regulations that ensure it can never be fully representative of world cinema: in 2018, as global film production grows ever more complex and multinational, the one-film-per-country submission system looks a little quaint, excluding numerous outstanding titles that fall both within and beyond the borders of their ostensible places of origin.
To the Academy’s credit, it hasn’t turned a blind eye to the imperfections of its eligibility requirements — and one relatively recent tweak to the rules, in particular, has dramatically broadened countries’ submission options, dragging the category at least partially into the age of globalization.
Up until 2005, antiquated Academy rules stipulated that a film had to be in the official language of the country submitting it — a snag that kept many strong films from traveling filmmakers out of the running, and reached a head when Michael Haneke...
To the Academy’s credit, it hasn’t turned a blind eye to the imperfections of its eligibility requirements — and one relatively recent tweak to the rules, in particular, has dramatically broadened countries’ submission options, dragging the category at least partially into the age of globalization.
Up until 2005, antiquated Academy rules stipulated that a film had to be in the official language of the country submitting it — a snag that kept many strong films from traveling filmmakers out of the running, and reached a head when Michael Haneke...
- 12/6/2018
- by Guy Lodge
- Variety Film + TV
For countries in the English-speaking world, entries into the foreign-language Oscar race offer a chance to reflect on the complexity of their own cultures or examine their place in the wider world.
After digging into its colonial past last year in Francois Girard’s Quebec-set “Hochelaga, Land of Souls,” Canada enters the Oscar race with Sophie Dupuis’ “Family First.” Set in a gritty working-class neighborhood, Dupuis’ low-budget feature debut is about a Montreal family bound together by a life of crime. Canada, which took home the foreign-language Oscar in 2003 with Denys Arcand’s “The Barbarian Invasions,” has scored four nominations and three shortlist spots in the past 12 years.
Australia landed its first nomination in 2016 with “Tanna,” a Nauvhal-language romance about two young lovers defying local mores that was the first film ever shot on the island of Vanuatu. This year’s submission for the foreign-language race, “Jirga,” follows a former...
After digging into its colonial past last year in Francois Girard’s Quebec-set “Hochelaga, Land of Souls,” Canada enters the Oscar race with Sophie Dupuis’ “Family First.” Set in a gritty working-class neighborhood, Dupuis’ low-budget feature debut is about a Montreal family bound together by a life of crime. Canada, which took home the foreign-language Oscar in 2003 with Denys Arcand’s “The Barbarian Invasions,” has scored four nominations and three shortlist spots in the past 12 years.
Australia landed its first nomination in 2016 with “Tanna,” a Nauvhal-language romance about two young lovers defying local mores that was the first film ever shot on the island of Vanuatu. This year’s submission for the foreign-language race, “Jirga,” follows a former...
- 11/8/2018
- by Christopher Vourlias
- Variety Film + TV
Carmen Dell’Orefice: "The thing about Guo Pei is that she is the purest child. She doesn't envy. Her love is so pure. That's what makes her artistry just unique." Photo: Anne-Katrin Titze
When I commented to Pietra Brettkelly at the Tribeca Film Festival world premiere of Yellow Is Forbidden, about her very creative use of a film about Balenciaga that Guo Pei admired, the director gave credit to her "extraordinary" editor Nicolas Chaudeurge. Carmen Dell’Orefice followed up from the stage with her personal feelings for Guo Pei and what makes her artistry unique.
Guo Pei evening gown - China: Through the Looking Glass Costume Institute exhibition at The Metropolitan Museum of Art Photo: Anne-Katrin Titze
Rihanna, in 2015, wore a yellow cape gown designed by Guo Pei to Anna Wintour's Costume Institute Gala at The Metropolitan Museum of Art for the exhibition China: Through the Looking Glass,...
When I commented to Pietra Brettkelly at the Tribeca Film Festival world premiere of Yellow Is Forbidden, about her very creative use of a film about Balenciaga that Guo Pei admired, the director gave credit to her "extraordinary" editor Nicolas Chaudeurge. Carmen Dell’Orefice followed up from the stage with her personal feelings for Guo Pei and what makes her artistry unique.
Guo Pei evening gown - China: Through the Looking Glass Costume Institute exhibition at The Metropolitan Museum of Art Photo: Anne-Katrin Titze
Rihanna, in 2015, wore a yellow cape gown designed by Guo Pei to Anna Wintour's Costume Institute Gala at The Metropolitan Museum of Art for the exhibition China: Through the Looking Glass,...
- 4/24/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Slate includes pair of Tribeca premieres.
Andrew Herwitz’s The Film Sales Company has boarded worldwide sales rights to Daniel J. Clark’s Behind The Curve ahead of its world premiere at Hot Docs next week.
The film takes an unprecedented look at Flat Earthers, who believe there is a centuries-long conspiracy to suppress the truth that the Earth is flat.
“Daniel Clark has revealed that unlike some conspiracy theorists who may seem like oddballs who spend their time in dark rooms with tin foil hats, the community of Flat Earthers are a heterogeneous, articulate, passionate and good humoured community...
Andrew Herwitz’s The Film Sales Company has boarded worldwide sales rights to Daniel J. Clark’s Behind The Curve ahead of its world premiere at Hot Docs next week.
The film takes an unprecedented look at Flat Earthers, who believe there is a centuries-long conspiracy to suppress the truth that the Earth is flat.
“Daniel Clark has revealed that unlike some conspiracy theorists who may seem like oddballs who spend their time in dark rooms with tin foil hats, the community of Flat Earthers are a heterogeneous, articulate, passionate and good humoured community...
- 4/23/2018
- by Jeremy Kay
- ScreenDaily
Rihanna did it. The Barbadian pop singer sparked an off- and online frenzy when she wore a 55-pound yellow dress constructed of gold thread and fox fur on the 2015 Met Gala red carpet. Soon after all heads turned, the spotlight shifted to the gown’s creator — Chinese fashion designer Guo Pei, the subject of a compelling and stimulating new documentary by New Zealand filmmaker Pietra Brettkelly (A Flickering Truth).
Born to Communist Party parents in 1967, Guo grew up during the Cultural Revolution and came of age in its aftermath as Maoism was dismantled. Her rise in ...
Born to Communist Party parents in 1967, Guo grew up during the Cultural Revolution and came of age in its aftermath as Maoism was dismantled. Her rise in ...
- 4/23/2018
- The Hollywood Reporter - Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.