9 Foreign Language Films shortlisted for Oscar consideration

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  • FreemanGriffin
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    #1201974146

    Australia, “Tanna,” Bentley Dean, Martin Butler, directors
    Canada, “It’s Only the End of the World,” Xavier Dolan, director
    Denmark, “Land of Mine,” Martin Zandvliet, director
    Germany, “Toni Erdmann,” Maren Ade, director
    Iran, “The Salesman,” Asghar Farhadi, director
    Norway, “The King’s Choice,” Erik Poppe, director
    Russia, “Paradise,” Andrei Konchalovsky, director
    Sweden, “A Man Called Ove,” Hannes Holm, director
    Switzerland, “My Life as a Zucchini,” Claude Barras, director

    Disappointed that Paul Verhoeven’s Elle isn’t among the finalists ): Happy to see Xavier Dolan’s It’s Only the End of the World on the list.

    Will this help My Life As a Zucchini get an Animated Film nomination?

    I dislike Toni Erdmann, didn’t find it funny or amusing at all – simply could not stand the father, truly despised his character ): It’s always impossible to know what they will choose for their five finalists in this category! At the moment I am going with It’s Only the End of the World, Land Of Mine, A Man Called Ove, The Salesman and Toni Erdmann but would love to see either The King’s Choice or My Life As a Zucchini replace TE. I know: the reviews weren’t great for Dolan’s movie but I simply loved it and believe the critics were way off base in their assessment of it… GREAT performances by Gaspard Ulliel, Nathalie Baye and Vincent Cassel! (:

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    GusCruz
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    #1201974158

    This has been out for awhile.

    I’m not surprised you didn’t get Toni Erdmann lol.

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    Eddy Q
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    #1201974180

    I’m not surprised you didn’t get Toni Erdmann lol.

    This guy “didn’t like the sound of it” all the way back during Cannes, before he’d seen it. Telling.

    And Freeman, you really need to start making a habit of searching existing threads before making new ones of the same topics.

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    FreemanGriffin
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    #1201974182

    We are all entitled to our own opinions; I simply didn’t care for the father in Toni Erdmann. He was a total jerk, unfunny, and inane. I did not choose to be charmed or amused; how about if people offer their own opinions and explain why they have them rather than knocking others opinions… this would be enormously helpful. I don’t have to like Toni Erdmann; it might win the award and it won’t be the first or last time something I haven’t cared for has been the winner. This is just for fun on here on Goldderby.

    If a topic isn’t on the first 8 pages I start a new thread. If the moderators wish to merge it with a thread that has fallen that far off the radar it is fine with me.

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    Atypical
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    Eddy Q
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    #1201974259

    We are all entitled to our own opinions; I simply didn’t care for the father in Toni Erdmann. He was a total jerk, unfunny, and inane. I did not choose to be charmed or amused; how about if people offer their own opinions and explain why they have them rather than knocking others opinions… this would be enormously helpful. I don’t have to like Toni Erdmann; it might win the award and it won’t be the first or last time something I haven’t cared for has been the winner. This is just for fun on here on Goldderby.

    I don’t wish to continue this thread much further, but I thought I’d respond. You completely missed the point I was making. It goes without saying that we are all “entitled to our opinions”, but I was not simply taking issue with you disliking Toni Erdmann. In fact, I haven’t even seen the bloody film yet, so I don’t have an opinion on it! I hope it’s as good as the critics say. But I cannot help but remember back in May on the Cannes Film Festival thread that you already seemed set against the movie in quite a peculiar way, presumably just from having seen a trailer and from reading about it. Now it’s perfectly natural and human to think something might not be your kind of thing before seeing it, but to make such a strong point on it so prematurely, and so incessantly, is rather… odd. It frankly causes me to question the legitimacy of your opinion.

    There’s another problem. You say that you couldn’t stand the character of the father, calling him a “total jerk”, but you give no indication of how the filmmakers intended their audience to feel about him. After reading your comments from my Toni Erdmann-virgin point of view, I’m none the wiser as to whether there is a disconnect between the intended emotional reaction to his character and your own response to him, which could suggest a failing on the filmmakers’ part, or if you simply dislike the movie because it has a dislikable main character, which is about as logical as saying Citizen Kane is a terrible movie because its title character is a cruel megalomaniac. Do you see what I’m getting at?

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    milad
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    #1201975023

    toni erdman must win this prize . and i hope movie can do this

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    Filmatelist
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    #1201985869

    Now that I have 4 shortlisted films under my belt with at least 2 more I’ll be seeing in the next month, here are a few thoughts.

    TANNA is quite lovely but may play a bit too “National Geographic”, since it is a deep immersion into sacred rituals, tribal feuds and other ethnographic elements, even though it’s centered around a plot that’s dramatic, romantic, and mystical.  I prefer it to some of the other films I’ve seen but have a hard time seeing it make the cut.

    PARADISE is a B&W Holocaust drama and the subject matter is very powerful even though the themes are a little heavy-handed and the faux documentary conceit (some interviews, some faked “archival” footage) is unnecessary.  With what many might see as the specter of fascism looming over this country, the message of moral choices and the consequences of compromise may resonate.

    A far more powerful WW2 film, though, is LAND OF MINE, an almost excruciatingly nerve-wracking experience about a group of German soldier POWs who are forced to deactivate hundreds of thousands of mines their army had previously put along the entire Danish coastline.  The defusing sequences are intense and pervasive (and inevitably brutal), but the film is also filled with a great deal of compassion.  The character arcs are believable (if a bit predictable) and the sentiment is well-earned.  I imagine this is a lock for a nod and has a dark horse chance for a win.

    I’ve talked about A MAN CALLED OVE elsewhere, but in short, I despised its maudlin pandering, trite cliches and never-ending series of gratuitous flashbacks.  That said, it’s a “crowd-pleaser” in the traditional sense of the word so I wouldn’t be surprised if it’s in the final 5 as well.

    Really looking forward to SALESMAN and ERDMANN (and hopefully ZUCCHINI, whenever it gets a local/limited run).

     

     

     

     

     

     

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    Eddy Q
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    #1201986158

    TANNA is quite lovely but may play a bit too “National Geographic”, since it is a deep immersion into sacred rituals, tribal feuds and other ethnographic elements, even though it’s centered around a plot that’s dramatic, romantic, and mystical. I prefer it to some of the other films I’ve seen but have a hard time seeing it make the cut.

    Don’t you think it could be their token “exotic” nominee à la War Witch or Embrace of the Serpent?

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    Andy Macca McGaw
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    #1201986179

    My Predictions:

    A Man Called Ove
    Land of Mine/Paradise (both are war films so it just depends)
    The Salesman
    Tanna
    Toni Erdmann

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    Marco B.
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    #1201986236

    But Embrace of the Serpent was also an art film and a masterpiece imo. Is Tanna a masterpiece too?

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    Filmatelist
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    #1201986374

    TANNA is quite lovely but may play a bit too “National Geographic”, since it is a deep immersion into sacred rituals, tribal feuds and other ethnographic elements, even though it’s centered around a plot that’s dramatic, romantic, and mystical. I prefer it to some of the other films I’ve seen but have a hard time seeing it make the cut.

    Don’t you think it could be their token “exotic” nominee à la War Witch or Embrace of the Serpent?

    Except both of those films used their stories to explore themes (war, religion) that were far more contemporary and even existential.  TANNA isn’t quite on the same level, for it takes a far more traditional approach to storytelling and dramaturgy.  It’s really well done but a bit more of a throwback.  Perhaps APOCALYPTO is a closer comparison, though not as hokey or violent.

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