On this episode of ACADEMY ANONYMOUS:
- "Emilia Perez" - shoe-in and favorite to win OR shocking snub waiting to happen
- "Flow" flexes its appeal with dual mentions in International Film and Animated Film. Voters motivated to nominated Latvia for the first time in Academy history.
- "I'm Still Here" a sure-fire nominee, a massive box-office success for Brazil and a return for director Walter Salles
- Neon to secure "Seed of the Sacred Fig" among the five nominees
- "Kneecap" a strong dark horse after dominating at BAFTA
- "Vermiglio" poised to bring a female filmmaker back into International film for the first time since 2020
- UK might have a winning recipe with break-out "Santosh"
- Netflix's inter-generational Thai film "How To Make Money Before Grandma Dies" a sleeper box-office hit and huge spoiler
- Diop's "Dahomey" lands in two longlists, looking good for at least one nomination and another success story for MUBI this year
- Double entries this year from Netflix, Sony Classics, MUBI, and Janus
- Can Sony Pictures Classics return to dominant form in this category and land two films among the five nominees, "I'm Still Here" and "Kneecap." A feat they have failed to repeat since 2018.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Joseph (00:14):
hey and welcome back to academy, anonymous.
I'm your host, joseph, and I'mwith jules, all right?
Well, let's take a look at bestinternational.
That's a category that's alwaysfull of unexpected surprises,
and we certainly have somefavorites this year.
Let's get things started, Ithink, with the favorite to be
nominated here and the favoriteto win, and that's Emilia Perez.
(00:35):
What are you thinking?
Jules (00:36):
Right.
I think this category isinteresting because, as we've
mentioned in previous episodes,the favorite here is certainly
Emilia Perez.
It stands to get severalnominations.
We're predicting at least I'mpredicting double digits.
However, this is one categorywhere we've wondered for some
time if we could be seeing avery shocking snub here, because
(01:00):
Emilia Perez is such a Mexicanstory, but it's from a French
filmmaker the very few Mexicansinvolved in the production Not
shot in Mexico.
It's not shot in Mexico.
None of the actors are Mexican,except for Adriana Paz, who has
a smaller part than the otherthree actresses.
(01:21):
And so there's so many thingsabout amita paris that, on paper
, obviously, it seems that itwould be a slam dunk nominee and
a slam dunk winner.
However, I can't help butwonder if there's going to be
members of this branch who aregoing to be a little bit, um,
not attracted to the idea ofthis mex story that has very
(01:45):
little Mexican in it.
Joseph (01:47):
Yeah, I think it's sort of straddling that line, right,
it has been all season whereit's the poster child of sort of
international global filmmaking, right.
But I think is that possibly atthe expense of Mexican
authenticity, I suppose thedebate would put it.
Jules (02:06):
Yes, absolutely, and so it's really hard to predict with
certainty what's going tohappen with that movie.
I think right now, emilia Perezstands to be such a force
within the total nomination hallon Oscar nomination morning
that it does seem a littlestrange for me to say, okay,
(02:29):
well, it gets snubbed fromforeign film.
That does seem strange.
Even though it could getsnubbed from foreign film and
still land several nominationsin the double digits.
It doesn't even need foreignfilm to do that.
And so you know, I don't knowwhat's happening for certainty.
Again, a part of me feelsridiculous saying, yeah, it's
not going to get nominated here.
But I think some people aren'tpaying enough attention to some
(02:52):
of the red flags that are hereand could possibly manifest on
Oscar nomination morning.
Joseph (02:59):
I completely agree.
I will say that I had predictedthat amelia perez would not
make the final short list, the15 spots for international film
right, I knew it made that firstshort list.
I was not surprised that it wasthe movie that france elected
to represent them, but I did notthink that it would get this
(03:22):
far.
The fact that it has gotten thisfar has demonstrated how
popular it is among theinternational film community
makes me feel like perhaps I waswrong.
Right that you know, havingcrossed this first hurdle, it
should be a walk to the finishline and a and secure a
nomination now right, that'swhat I'm thinking, yeah, and I I
(03:43):
agree with you there.
Jules (03:44):
I think that's something that that, and coupled with the
you know, golden globe win.
I thought that it would losethat category because it was
going to win the bigger categoryinstead of one both.
Um, so that, coupled with whatyou were saying that it landed
into this short list makes methink that maybe it's just too
(04:07):
too strong of a contender to toto ignore here again, if it
happens, you know, we'll justput it on the record that we
have been waving this red flagfor some time.
Uh, right now it looks likeit's not going to happen and
it's going to get nominated, butin the event that it doesn't
look to all of those reasons tobe why it did not, if you're
(04:27):
smart and you want to make asafe bet, you are going to
include amelia perez.
Joseph (04:32):
It was embraced unanimously by the european film
awards right it was embracedunanimously by the golden globes
.
It was embraced unanimously bythe British Academy.
So, beyond some possiblyoverthinking or being
overcritical about the film orthinking perhaps a little too
critically about a situation, ifyou want to play it safe,
(04:55):
emilio Perez should be there.
If it's not there, I just wantto say that France's history in
this category is fraught withperil.
In this category is fraughtwith peril, you know this goes
back to the days of the artist,all the way up to last year, and
anatomy of all versus taste ofthings.
And I think france has notnecessarily found the winning
(05:16):
formula yet in electing a filmthat, again made by a french
filmmaker, about mexico, shot inaustralia, starring starring
Spanish actors and Americanactors, latinos.
So I do think that this mightnot be the exact package that
France wanted to put up tosecure that nomination.
Jules (05:37):
Right, absolutely, and so that's a big question mark,
like I said, said I'm not sure Ihave the balls to not predict
it in this category.
All I have is the foresightthat, if it does happen, we told
you so I think I'm again.
Joseph (05:54):
Anyone who has been paying attention, who wants to
make a good bet, is going toinclude amelia perez.
But if it does not happen, youcan blame it on the curse of the
french in an international filmright and and all the other
factors that we just said.
Jules (06:14):
Exactly, um, after that film which, again, if it does
get nominated, it's going towalk to a win?
Joseph (06:21):
I think yes um, we should mention, by the way, that
the general membership at largecan opt in to vote in this
category.
Right, so this category couldbe somewhat populist, and that
really bodes well for me.
Yeah absolutely.
Jules (06:35):
And then I think the other two films that are
absolutely lock here, theirlocks here, are the sea of the
sacred fig, from Germany and I'mStill here from Brazil.
I think those films areunquestionably in the top five.
Even if Amelia Perez isn't,those are definitely going to be
on there.
Joseph (06:53):
Well, I agree with both of those.
Sea of the Sacred Fig from Neon.
Neon's been doing really wellin this category.
It's the only film of Neon'sthat's shortlisted, so it should
make one of the final spots.
The iranian filmmaker the filmbeing submitted by germany.
But there you go, the situationof germany submitting this film
by this iranian filmmaker.
The context is just sodifferent than emilia perez it's
(07:17):
almost like 100 the necessitywas there for it to be submitted
by germany.
I think that's something thatacademy members are aware of and
may play into the final five.
But I do agree that Seed of theSacred Fig should be pretty
much a lock for a nomination.
The submission from Brazil I'mstill here should also be very
much a lock for the nomination.
(07:38):
I think it's in a position toprobably steal nominations in
other categories, like the othertitles we mentioned Walter Saez
has been welcomed into theacademy before.
It was also a humongous hit huge, huge, huge hit in brazil, I
think 12 million dollars just inbrazil, I believe.
So it's also a box office hit.
(07:59):
On top of being a critical hit,it has a historical perspective
.
It's, it's the kind of filmthat the academy would really
love.
And then it's coming from sonypicture classics, which does
really well in this category,absolutely 100, then I think
this is where things getinteresting.
Jules (08:15):
I'm pegging so much of my bet that vermiglio will be
nominated for foreign languagefilm.
It won the uh, the jury prize,I believe, at venice.
Um, I have not seen it.
I'm dying to see it.
It looks like a ravishing filmthat almost feels like a novel a
(08:37):
period piece, exactly a periodpiece, a novel, playing out in
front of you.
I think those type of films doreally well in this category.
Add to that that it's a femalefilmmaker making this film.
I think that they would embracethat inclusion the last time
that we had a female filmmakerin this category I believe it
was 2020, with quavidi ida andthe man who sold his skin from
(08:57):
tunisia.
Joseph (08:58):
Both of those female filmmakers were able to land on
this list, and usually this listhas been very welcoming of
female filmmakers and so thelast couple of years we've had a
dry spell.
But I agree with you, I thinkvermiglio is just the film to
break that streak 100, so I feelreally good about that.
Jules (09:14):
I cannot wait to see.
Joseph (09:15):
It looks absolutely astonishingly beautiful also,
you know janice films janicefilms has, you know, found a
footing here in theinternational film category and
this is one of the films thatthey're submitting right and
then again making thingsinteresting.
Jules (09:30):
in that last category you have films like how to Make
Millions Before Grandma Dies,which was a huge crowd pleaser.
It was a huge, huge, huge hitin Southeast Asia.
It's certainly the kind of filmthat I think this branch would
embrace, Like I said it's a bigcrowd pleaser.
It's played at many festivals,to the joy of many people who've
(09:54):
seen it.
Um, so the thing that makes itcomplicated is that this
category is not.
It's not often where a studiocan get two films into this
category and, seeing as netflixhas a great opportunity with
emilia paris, can they reallyget in as well for how to Make
Millions Before Grandma Dies,even if it is a huge crowd
(10:15):
pleaser?
I don't know.
That's the thing that's makingme feel iffy about this movie.
Otherwise, I'd feel reallyconfident about predicting it in
this category.
What do you think?
Joseph (10:27):
I think everything you've said is right.
On the money, I know so manypeople who have seen this film
that have been moved by it.
It seems like a reallyemotional pick, a sentimental
pick, and oftentimes that playswell to the Academy members.
So I definitely think it's adark horse.
I don't know that Netflix canget two movies in.
I would argue they have tochoose between the Thailand
(10:49):
entry or the French entry entryagain huge box office success.
But I think if any distributoris primed for two nominations in
this category, it would be sonypicture classics.
The last time we had adistributor pull out two
nominations in this category was2019, so we've had a bit of a
(11:10):
dry spell and the studio wasneon, who got parasite in the
eventual winner in this categoryand the best picture winner,
along with honeyland, whichmanaged nominations, I believe,
in documentary as well.
Jules (11:20):
Yes, it did so.
Joseph (11:22):
Beyond that, sony picture classics was on a great
streak of getting a couple offilms here, whether it it was
Cabernet and Never Look Away in2018, or A Fantastic Woman and
Loveless in 2017.
In 2016, they had Tony Erdmanand Land of Mine.
So there is a chance that SonyPicture Classics comes back into
dominant form here and is ableto get both what seems like a
(11:46):
lock and I'm still here in forBrazil, but also the Irish entry
, kneecap, right, and so you sawwhat happened with kneecap at
BAFTA, right yeah it did so wellat BAFTA.
Jules (11:56):
I got six nominations at BAFTA.
It was shortlisted for bestfilm at the BAFTA, so I believe
that was an indie hit in the UK.
It's Ireland's entry and so Ithink you're right.
If anyone can do it, I placemore faith in Sony picture
(12:18):
classics than Netflix.
However, my thing with NeathCap is that to me the film reads
too hip, too modern, too edgy,and so I think they tend to like
things a little bit less soedgy and modern and hip, you
know.
Think more how to make millionsbefore grandma dies.
(12:39):
Think less kneecap kind ofthing.
Um, but it's hard to argue withhow well did at the BAFTA.
Obviously there's there'sprobably overlap in the.
There's there's certainlyoverlap in the academy and the.
Obviously there's certainlyoverlap in the Academy and the
BAFTA organization.
I don't know.
I hesitate to put it on forthat reason and I know that
(12:59):
there are chunks of the filmthat are spoken in English and
so I also wonder if that's goingto play well to the branch of
wanting to cite a film that hasa portion of it spoken in
English side of film that has aportion of it spoken in English.
I like that.
What the film is about?
About the sort of preservationof language is something that
this branch might champion, butI don't know.
(13:22):
I don't know how to read thatfilm yet.
Joseph (13:24):
I think it's very interesting and if you're
listening and you haven't doneyourself the curious endeavor of
playing the kneecap trailerright next to the trailer for
how to make money before grandmadies, you're in for a treat
you're talking about two verydifferent films the energy
they're going to give to membersand voters are so opposite.
You have one that's verysentimental and
(13:46):
intergenerational and then youhave one that's very possibly
generation specific yeah, and sothere's maybe going to be an
interesting choice for Academymembers.
That said, kneecap is anothertitle that I did not expect to
make it this far and the factthat it has, I think, speaks to
how popular it is.
And, like Amina Perez, I mean.
It had such a fantastic day atBAFTA, being shortlisted excuse
(14:10):
me, longlisted among the bestfilms of the year, not making
the final five, but certainly inthe top 10, rubbing shoulders
with A Complete Unknown andWicked and Amelia.
Perez for the best film from theBAFTA, so I do think that
there's a lot of favor amongvoters for this film.
Ireland was able to get thequiet girl in, to the surprise
(14:32):
of a couple of people, in 2022,even though the quiet girl again
.
Is is different maybe a littlebit more like how how to make
money for grandma, yeah thatmovie.
Jules (14:42):
That movie is gorgeous.
I love the quiet girl.
It's beautiful, it's sweet,it's really well done, but it's
certainly operating at a lower,more nuanced register than a
film like Kneecap it was alsofrom a smaller distributor like
Super, and it was still able toget in.
Joseph (14:58):
Kneecap has the strength or the power.
The machine of Sony PictureClassics and Sony Classics has
done this before.
I'll tell you what you know.
As the days have gone on, I'vebeen tempted to put Knecap in
and I think the consensus isforming that kneecap might just
crack this list.
Jules (15:15):
Well, yeah, I think the big thing with this film is that
, considering how far it's comeand how well it's done, look for
this film to land somewhere,and so I think a lot of people
are placing their bets that it'sgoing to land in foreign film.
I personally am possiblyplacing more bets that it's
going to land in foreign film.
I personally am possiblyplacing more bets that it's
going to land in Best OriginalSong, but certainly this is a
(15:37):
film that should land somewherein the Academy's nominations
with the support that it hasbehind it.
So I don't know, that's atricky film.
It's a dark horse.
It's a big contender.
And then another contender, um,and then another contender is
flow yeah, we talked about it inthe anime feature category
exactly.
Joseph (15:57):
Here's a film that's listed twice.
But to piggyback off that pointthat we've been making, janice
films also gets two films in, sothey have remiglio, and you and
I are thinking that that's amovie that should crack this top
five.
But they have another film thatpossibly looks even more
popular in flow right, rightexactly I?
Jules (16:19):
I don't think the and I don't think that animation tends
to have a great track recordwith this, uh, this branch.
I know that flea would managein 2021 to get nominated for, I
believe, all three animatedfeature, documentary feature and
international feature, if I'mnot mistaken, flea.
I believe so, but in general, Ithink they're a little bit less
(16:44):
likely to nominate an animatedfilm.
I think what's really going forFlea is that it would be the
first inclusion of Latvia in thecategory, which is a big deal
and that might go intopersuading a lot of voters into
putting it on their ballot.
So I think it's certainlycontending for that spot.
(17:04):
The other films they can chooseif they're going to, rather, if
they're going to decide thatthey'd rather go with an
animated film as opposed to someof these other, you know, uh,
possibilities well, here's somebackground on that is.
Joseph (17:19):
You know, last time, I believe, a country had the
potential to break into thecategory for the first time in
history.
I believe was Lunana Ayak, inthe classroom and it
accomplished it.
And I think the film fromAustralia entitled Tana also was
able to manage a nominationhere.
So I do think that members inthis branch really take the
(17:43):
opportunity to nominate thesenations that don't normally get
an opportunity to be here, whoaren't here, whether it's italy
or germany or france or spain.
Right, you know, having acountry break into this race for
the first time ever is a bigdeal for them, and I think they
take that into account.
And I will also say, going forflow is.
(18:04):
Yes, flea was able to break intothis category alongside
animated film and documentaryfilm, but the foreign language
film branch has been welcomingof animation before.
I remember in 2009, when theywere recognizing the films from
2008, they were the ones thatnominated Waltz of Bashir for a
(18:25):
foreign language film when itwas snubbed from, I believe,
animated film.
I think it might've beendisqualified from documentary,
but again, it's just this ideathat it's a branch that is going
to welcome animated films, andso, possibly, between it being
the first Latvian nomination inthis category, it bringing a
(18:45):
animated film among the five,which is going to make the
category look more diverse, and,at the same time, everything
that the production had to do tomount, making this film with
Latvian talent in Latvia.
I think all that bodes reallywell for it.
Jules (19:04):
we have the girl, the girl with the needle, from
denmark.
Um, that premiered at con um.
I think the film is too dark tomake this lineup possibly.
I don't see them going for it.
I know it's based on trueevents, uh, but I think I think
the experience of the film canbe, you know, very um, you know
(19:28):
there's a lot of dread in themovie, uh, there's a lot of
darkness in the movie, and so Idon't think it's the kind of
thing this branch is going to.
It's also very artistic, right,it's very art house.
So I don't think this branch isgoing to embrace that
particular pick.
But a film that I think mighthave some fuel in it is
universal language, because youknow there's not a lot of comedy
(19:52):
in the lineup if you don'tinclude something like how to
make millions, which has acomedic element to it.
Right, you know sentiment,sentimentality, certainly, but
some some humor, and sosometimes you'll see a comedic
film have a sort of comedicpresence in the lineup.
And I like Universal Language,a very acclaimed film.
(20:12):
I'm not 100% sure if it makesit in the end, but that's
certainly a film that's on theradar.
I don't know what you think,but another movie that I think
is certainly somewhere in thisconversation.
But another movie that I thinkis certainly somewhere in this
conversation is what aboutDahomey, who might not get the
(20:33):
nomination in documentaryfeature?
Joseph (20:36):
but land the nomination in foreign language film, is
able to get two movies into thislong list the girl with the
needle very austere, very darkfilm, very somber I think it's
possibly a little too dark toget in.
But then you have the homie too, and it's listed in
international film anddocumentary film.
(20:56):
And not just that, but maddiediop has been embraced by this
uh voting branch before becauseher debut film, atlantics, was
spotlighted here as well.
It did not make the final five,but it was long listed, and so
I do think that it bodes wellfor Dahomey to make it into at
least one category.
Right now I have it indocumentary, but I could see
(21:17):
Dahomey getting intointernational film as opposed to
documentary.
And to speak to a minute towhat you were saying about
universal language, which is thecanadian entry, it's really
interesting because it's thecanadian entry that went to con.
At the same time it's subjectmatter right exactly is very
also multicultural andmultinational.
(21:39):
It has not received this sort ofspotlight and sort of scrutiny
that amelia perez has.
So possibly the better posterchild for this idea of a
production that is right, moreglobal and international is
something like universallanguage.
Right because it's it's using alot of authentic elements in
(22:01):
its film, despite it being madeby a Canadian filmmaker.
Exactly, but that's alsoingrained in the narrative Right
right, and what I think is adifficulty for that movie is the
fact that it's beingdistributed by Oscilloscope.
Oscilloscope doesn't have thebest track record at the Oscars
and not even at foreign languagefilm, unfortunately, but I do
(22:21):
think it's interesting toconsider universal language
against amelia perez rightexactly, I think you're right.
Jules (22:27):
That's really.
That's a really interestingpoint.
Um, and then probably the lastfilm I would mention is santosh,
which went to con and um is theentry from the uk.
Um, interestingly enough, Ithink it had a poor showing in
the long lists for BAFTA and ithad a lesser showing than
(22:56):
something like oh, imagine asLight, which does not qualify
for foreign language film at theOscars.
So even though I've heard goodthings about that film and I
think there are sort of there'sa, there's some feminist
politics, I think, to that filmthat could register with the
academy, um, I think it's alittle bit too far behind to
sort of make up that ground.
What do you think?
Joseph (23:13):
well, like vermiglio and like the homie.
Here's another female filmmakerwho has a chance to break in.
I did not expect santosh to behere in this in this long list,
and so the fact that it's here,I think, possibly points to an
upset coming.
I think it did really well atthe British Independent Film
Awards, but it did not do wellat BAFTA.
(23:33):
But if you kind of investigatewhat the film is about, it's
made by a female filmmaker, butthere's something quite
transgressive about this sort ofmasculine space that the film
and the filmmakers trying topenetrate that I
think is going to possibly youknow steal some votes from other
films.
I remember back in a few yearsago possibly, when we were
(23:55):
talking about documentary film,I remember a film called to
catch a tiger, I believe thatwas able to crash the
documentary race again.
It didn't have the same sort ofspotlight that other films
documentaries had that year, butby the nature of its topic and
and the unique perspective ithad, it was sort of able to
(24:17):
stand out, and I think that'ssomething that santosh has going
for it.
So I would not be surprised ifit crashed the list.
I expected it to do better atBAFTA in order to compel me to
put it in that top five, butit's certainly something that
could happen.
I think something that's goingagainst it right now is that its
distributor is a little lessknown.
I believe it's Metrograph, andI think Metrograph is going to
(24:37):
become a major player.
You're going to hear it herefirst.
They're really committed toreleasing unique films, films
with unique perspectives,artistic films, international
films.
They've picked up an individualwho used to work for A24.
So this is the first listing ofMetrograph and I'm sure that in
five or 10 years time it willbe nominated in this category
(24:57):
and possibly others, but I thinkit's great to see Santosh on
this list and I think it canupset.
Now I will say that for me, thetitle that we should be talking
about as a possible upset ismaybe an irresistible story, and
that's armand right really yeah, I mean, what do you think?
about armand, because theheadline for armand is that it's
(25:18):
made by the grandson of ingmarbergman correct.
Jules (25:22):
Yeah, and Liv Ullman, I believe I have not seen the film
, but I know that from what I'veheard, the film takes a lot of
risks and certainly has sort ofa very distinct perspective.
I think it's very much in thevein of an auteur film and, like
(25:47):
the Girl with the Needle, Ithink that this category can
sometimes be less embracing ofthese sort of distinct styles
and distinct type ofstorytelling and more embracive
of what the subject matter isand something a little bit more
accessible, penetrable, um uhyeah, I, I agree.
Joseph (26:13):
I think that's a possibility.
But I do think you know,speaking to some of these titles
, movies like kneecap andSantosh and Armand did not get
listed for very many awards atthe european film awards, but
they were all listed undereuropean discovery yeah, and
armand eventually won thatcategory and a few weeks ago, a
(26:34):
little while ago, armand wasshortlisted amongst the best
first time directors at thedirector's guild award.
Yeah, and it's starring renataryan's, which now a lot of
academy members know and theymay be more compelled to put the
screening higher on their list.
Or at least to watch it.
Or to watch the film and again,just the idea of it.
Jules (26:54):
You know, being the individual that might inherit
the spotlight of Ingmar Bergmanand Levulman, it's very
interesting, but I also thinkthat could be the opposite side
of the coin as well, sort of youknow, considering the
background, there might be acertain level of expectation,
yeah, that you have before youwatch that film.
Joseph (27:13):
that might not necessarily go, uh, in the
film's favor if you didn't likethe movie, right, it's also from
ifc, which was also listed inanimated feature, so it's great
to see ifc here.
Yes, I think the last couple offilms you have to talk about
are touch from focus features,right, and that's from iceland,
right, I got a major us release,I think in the fall or late
summer.
It didn't get much traction.
Jules (27:35):
Uh, from ground zero is from palestine, which was an
interesting entry into this longlist right, and it's sort of
made up of these sort ofepisodic right short films,
right, and I think somethingreally going for it is that
michael moore is includedamongst its executive producers,
right.
Joseph (27:50):
Perhaps that's a factor.
It's also extremely timely.
Yeah, and finally, I think youhave waves from the czech
republic right, a smalldistributor as well, but as far
as I know it's doing really wellin the czech republic and it's
very Right.
Jules (28:04):
So very interesting long list, a very interesting short
list, excuse me.
So for my final five right now,my final predictions, I'm going
to go ahead and say that EmiliaPerez is just too strong to
take down at this moment, eventhough, if it happens, I'm going
(28:25):
to kick myself and alsocelebrate, because we said it,
we've been waving this flag fora while.
Joseph (28:32):
Before you cement your final predictions, can I just
mention something really quickly, which is that the BAFTA long
list has been a very useful toolfor multiple categories,
including foreign film.
In 2023, the BAFTA onlynominated three films that would
overlap with the Academy.
If you examine their long list,they had an additional film
(28:52):
there, so they got four films infrom their long list into the
Academy's eventual five nomineesfor best foreign language film.
And this is something that alsooccurred in 2022.
In 2022, they had all fivenominees in the BAFTA long list,
even though, again, the BAFTAfive for foreign film were not
exactly the Academy five forforeign film.
(29:12):
All five of the nominees werein the BAFTA long list.
In 2022.
Excuse me, in 2021, I believeyou'll see four films from the
BAFTA longlist on the Academyfive for foreign film and you
have to go to something like2020, where they only had, I
think, three films from thelonglist make it into the final
(29:34):
five for the Academy.
I say this because there is nota lot of overlap between the
film selected here and the BAFTAlonglist Films.
For example, like UniversalLanguage did not make both.
It made the Academy's longlistbut not BAFTA longlist films.
For example, like UniversalLanguage did not make both.
It made the Academy's longlistbut not BAFTA's right and
Vermiglio as well.
Vermiglio, I think, is one ofthe more notable titles that
missed the BAFTA longlist well,when you, when you put it that
(29:57):
way, it's kind of worrisome yeahfor titles like that, but
they're not always perfect.
They were perfect that one year, but they're pretty reliable
for four spots and at leastthree, and among the BAFTA
nominees, the actual nominees,the top five.
You should, I think, at leastbe getting two to three people
from there, right.
Jules (30:15):
And so for my final predictions, I'm going to sort
of go all in on amelia paris,defying the odds and getting
this nomination.
Um, if it happens again, wetold you so, but if it happens
to snub, but right now I thinkit's unlikely.
So final predictions ameliaparis the seed of the sacred fig
(30:39):
.
I'm still here, vermiglio, andI'm gonna do a little bit of a
cop right now I'm in between twomovies, and that's Flow and how
to Make Millions Before GrandmaDies.
My cop out here is I'm temptedright now to put how to Make
Millions Before Grandma Dies,because it just feels to me like
it fits in this list.
(31:00):
It's something that I think thebranch is going to like and, in
the event that Emilia Perezdoes not get nominated, I like
that.
I still have some Netflixrepresentation on this list, but
I feel very weary about havingtwo Netflix titles Emilia Perez
and how to Make Millions and Ithink right now, flo has the
(31:21):
momentum to break into thiscategory, as you were saying.
Yes.
Joseph (31:25):
Very interesting list.
I think this category is goingto be very tough to get exactly
right.
I think there's just too manyfilms with a potential to upset
here.
I'm going to go with the firstfilm I think is an absolute lock
is the Seat of the Sacred Fig,and the second film I think is
an absolute lock is I'm Stillhere After that.
(31:47):
I think I'm going to go withRemiglio.
Even though it did not makethat BAFTA list, it just seems
to me as one of the unique filmshere.
It's a period piece directed bya female filmmaker did really
well at Venice from Janice Films.
So I have those in the three.
And then I do think a studio isgoing to excuse me, a
distributor is going to doubleup here.
And although I'm tempted to putin kneecap after all that
(32:09):
support at BAFTA, I think I'mgoing to end up putting flow for
the history that Lafayettewould make here and its ability.
Over these last few weeks it'sbeen apparent, its ability to
sort of transcend generationsand speak to the artistic crowd,
the international crowd,mainstream crowd.
(32:31):
So I'm going to put Flo infourth and that gives two
nominations to Janice and mylast spot it's not really a cop
out, I'm going to call it theNetflix.
Spotflix is going to get inhere and I will say that I'm
still going to say that amitaperez does not get this
nomination at the end andinstead it goes to a bona fide
(32:54):
box office hit from thailand.
And that's how to make millionsbefore grandma dies.
Call me crazy, but I believe inthe french curse.
I I'm very interested to see howthis ends, but it's certainly a
netflix spot.
I think it's going to go tograndma, right I think that's
very interesting.
Jules (33:12):
Um and I know that it might sound ridiculous to snub
amina paris, but, as we've beenmentioning for several episodes,
and on today's episode, there'sreason to be weary, yeah, okay,
and that concludes our diveinto our final predictions for
foreign language film.
Joseph (33:31):
Again, we'll be posting our final predictions on Twitter
.
You can follow us on Twitter ifyou want to see a screenshot of
the final predictions we arepredicting before Oscar morning
At Academy Anon.
All right, that's everythingfor us here at Academy Anonymous
today.
We thank you for joining usTill next time.
I'm Joseph.
Jules (33:50):
I'm Jules and it's been a pleasure.
The music on this episode,entitled Cool Cats, was
graciously provided by KevinMacLeod and incompetechcom,
licensed under Creative Commonsby Attribution 3.0.
Http//creativecommonsorg.
(34:15):
Forward slash licenses forwardslash buy.
Forward slash 3.0.
Joseph (34:24):
Disclaimer the Academy Anonymous podcast is in no way
affiliated or endorsed by theAcademy of Motion Picture Arts
and Sciences.
hey and welcome back to academy, anonymous.
I'm your host, joseph, and I'mwith jules, all right?
Well, let's take a look at bestinternational.
That's a category that's alwaysfull of unexpected surprises,
and we certainly have somefavorites this year.
Let's get things started, Ithink, with the favorite to be
nominated here and the favoriteto win, and that's Emilia Perez.
(00:35):
What are you thinking?
Jules (00:36):
Right.
I think this category isinteresting because, as we've
mentioned in previous episodes,the favorite here is certainly
Emilia Perez.
It stands to get severalnominations.
We're predicting at least I'mpredicting double digits.
However, this is one categorywhere we've wondered for some
time if we could be seeing avery shocking snub here, because
(01:00):
Emilia Perez is such a Mexicanstory, but it's from a French
filmmaker the very few Mexicansinvolved in the production Not
shot in Mexico.
It's not shot in Mexico.
None of the actors are Mexican,except for Adriana Paz, who has
a smaller part than the otherthree actresses.
(01:21):
And so there's so many thingsabout amita paris that, on paper
, obviously, it seems that itwould be a slam dunk nominee and
a slam dunk winner.
However, I can't help butwonder if there's going to be
members of this branch who aregoing to be a little bit, um,
not attracted to the idea ofthis mex story that has very
(01:45):
little Mexican in it.
Joseph (01:47):
Yeah, I think it's sort of straddling that line, right,
it has been all season whereit's the poster child of sort of
international global filmmaking, right.
But I think is that possibly atthe expense of Mexican
authenticity, I suppose thedebate would put it.
Jules (02:06):
Yes, absolutely, and so it's really hard to predict with
certainty what's going tohappen with that movie.
I think right now, emilia Perezstands to be such a force
within the total nomination hallon Oscar nomination morning
that it does seem a littlestrange for me to say, okay,
(02:29):
well, it gets snubbed fromforeign film.
That does seem strange.
Even though it could getsnubbed from foreign film and
still land several nominationsin the double digits.
It doesn't even need foreignfilm to do that.
And so you know, I don't knowwhat's happening for certainty.
Again, a part of me feelsridiculous saying, yeah, it's
not going to get nominated here.
But I think some people aren'tpaying enough attention to some
(02:52):
of the red flags that are hereand could possibly manifest on
Oscar nomination morning.
Joseph (02:59):
I completely agree.
I will say that I had predictedthat amelia perez would not
make the final short list, the15 spots for international film
right, I knew it made that firstshort list.
I was not surprised that it wasthe movie that france elected
to represent them, but I did notthink that it would get this
(03:22):
far.
The fact that it has gotten thisfar has demonstrated how
popular it is among theinternational film community
makes me feel like perhaps I waswrong.
Right that you know, havingcrossed this first hurdle, it
should be a walk to the finishline and a and secure a
nomination now right, that'swhat I'm thinking, yeah, and I I
(03:43):
agree with you there.
Jules (03:44):
I think that's something that that, and coupled with the
you know, golden globe win.
I thought that it would losethat category because it was
going to win the bigger categoryinstead of one both.
Um, so that, coupled with whatyou were saying that it landed
into this short list makes methink that maybe it's just too
(04:07):
too strong of a contender to toto ignore here again, if it
happens, you know, we'll justput it on the record that we
have been waving this red flagfor some time.
Uh, right now it looks likeit's not going to happen and
it's going to get nominated, butin the event that it doesn't
look to all of those reasons tobe why it did not, if you're
(04:27):
smart and you want to make asafe bet, you are going to
include amelia perez.
Joseph (04:32):
It was embraced unanimously by the european film
awards right it was embracedunanimously by the golden globes
.
It was embraced unanimously bythe British Academy.
So, beyond some possiblyoverthinking or being
overcritical about the film orthinking perhaps a little too
critically about a situation, ifyou want to play it safe,
(04:55):
emilio Perez should be there.
If it's not there, I just wantto say that France's history in
this category is fraught withperil.
In this category is fraughtwith peril, you know this goes
back to the days of the artist,all the way up to last year, and
anatomy of all versus taste ofthings.
And I think france has notnecessarily found the winning
(05:16):
formula yet in electing a filmthat, again made by a french
filmmaker, about mexico, shot inaustralia, starring starring
Spanish actors and Americanactors, latinos.
So I do think that this mightnot be the exact package that
France wanted to put up tosecure that nomination.
Jules (05:37):
Right, absolutely, and so that's a big question mark,
like I said, said I'm not sure Ihave the balls to not predict
it in this category.
All I have is the foresightthat, if it does happen, we told
you so I think I'm again.
Joseph (05:54):
Anyone who has been paying attention, who wants to
make a good bet, is going toinclude amelia perez.
But if it does not happen, youcan blame it on the curse of the
french in an international filmright and and all the other
factors that we just said.
Jules (06:14):
Exactly, um, after that film which, again, if it does
get nominated, it's going towalk to a win?
Joseph (06:21):
I think yes um, we should mention, by the way, that
the general membership at largecan opt in to vote in this
category.
Right, so this category couldbe somewhat populist, and that
really bodes well for me.
Yeah absolutely.
Jules (06:35):
And then I think the other two films that are
absolutely lock here, theirlocks here, are the sea of the
sacred fig, from Germany and I'mStill here from Brazil.
I think those films areunquestionably in the top five.
Even if Amelia Perez isn't,those are definitely going to be
on there.
Joseph (06:53):
Well, I agree with both of those.
Sea of the Sacred Fig from Neon.
Neon's been doing really wellin this category.
It's the only film of Neon'sthat's shortlisted, so it should
make one of the final spots.
The iranian filmmaker the filmbeing submitted by germany.
But there you go, the situationof germany submitting this film
by this iranian filmmaker.
The context is just sodifferent than emilia perez it's
(07:17):
almost like 100 the necessitywas there for it to be submitted
by germany.
I think that's something thatacademy members are aware of and
may play into the final five.
But I do agree that Seed of theSacred Fig should be pretty
much a lock for a nomination.
The submission from Brazil I'mstill here should also be very
much a lock for the nomination.
(07:38):
I think it's in a position toprobably steal nominations in
other categories, like the othertitles we mentioned Walter Saez
has been welcomed into theacademy before.
It was also a humongous hit huge, huge, huge hit in brazil, I
think 12 million dollars just inbrazil, I believe.
So it's also a box office hit.
(07:59):
On top of being a critical hit,it has a historical perspective
.
It's, it's the kind of filmthat the academy would really
love.
And then it's coming from sonypicture classics, which does
really well in this category,absolutely 100, then I think
this is where things getinteresting.
Jules (08:15):
I'm pegging so much of my bet that vermiglio will be
nominated for foreign languagefilm.
It won the uh, the jury prize,I believe, at venice.
Um, I have not seen it.
I'm dying to see it.
It looks like a ravishing filmthat almost feels like a novel a
(08:37):
period piece, exactly a periodpiece, a novel, playing out in
front of you.
I think those type of films doreally well in this category.
Add to that that it's a femalefilmmaker making this film.
I think that they would embracethat inclusion the last time
that we had a female filmmakerin this category I believe it
was 2020, with quavidi ida andthe man who sold his skin from
(08:57):
tunisia.
Joseph (08:58):
Both of those female filmmakers were able to land on
this list, and usually this listhas been very welcoming of
female filmmakers and so thelast couple of years we've had a
dry spell.
But I agree with you, I thinkvermiglio is just the film to
break that streak 100, so I feelreally good about that.
Jules (09:14):
I cannot wait to see.
Joseph (09:15):
It looks absolutely astonishingly beautiful also,
you know janice films janicefilms has, you know, found a
footing here in theinternational film category and
this is one of the films thatthey're submitting right and
then again making thingsinteresting.
Jules (09:30):
in that last category you have films like how to Make
Millions Before Grandma Dies,which was a huge crowd pleaser.
It was a huge, huge, huge hitin Southeast Asia.
It's certainly the kind of filmthat I think this branch would
embrace, Like I said it's a bigcrowd pleaser.
It's played at many festivals,to the joy of many people who've
(09:54):
seen it.
Um, so the thing that makes itcomplicated is that this
category is not.
It's not often where a studiocan get two films into this
category and, seeing as netflixhas a great opportunity with
emilia paris, can they reallyget in as well for how to Make
Millions Before Grandma Dies,even if it is a huge crowd
(10:15):
pleaser?
I don't know.
That's the thing that's makingme feel iffy about this movie.
Otherwise, I'd feel reallyconfident about predicting it in
this category.
What do you think?
Joseph (10:27):
I think everything you've said is right.
On the money, I know so manypeople who have seen this film
that have been moved by it.
It seems like a reallyemotional pick, a sentimental
pick, and oftentimes that playswell to the Academy members.
So I definitely think it's adark horse.
I don't know that Netflix canget two movies in.
I would argue they have tochoose between the Thailand
(10:49):
entry or the French entry entryagain huge box office success.
But I think if any distributoris primed for two nominations in
this category, it would be sonypicture classics.
The last time we had adistributor pull out two
nominations in this category was2019, so we've had a bit of a
(11:10):
dry spell and the studio wasneon, who got parasite in the
eventual winner in this categoryand the best picture winner,
along with honeyland, whichmanaged nominations, I believe,
in documentary as well.
Jules (11:20):
Yes, it did so.
Joseph (11:22):
Beyond that, sony picture classics was on a great
streak of getting a couple offilms here, whether it it was
Cabernet and Never Look Away in2018, or A Fantastic Woman and
Loveless in 2017.
In 2016, they had Tony Erdmanand Land of Mine.
So there is a chance that SonyPicture Classics comes back into
dominant form here and is ableto get both what seems like a
(11:46):
lock and I'm still here in forBrazil, but also the Irish entry
, kneecap, right, and so you sawwhat happened with kneecap at
BAFTA, right yeah it did so wellat BAFTA.
Jules (11:56):
I got six nominations at BAFTA.
It was shortlisted for bestfilm at the BAFTA, so I believe
that was an indie hit in the UK.
It's Ireland's entry and so Ithink you're right.
If anyone can do it, I placemore faith in Sony picture
(12:18):
classics than Netflix.
However, my thing with NeathCap is that to me the film reads
too hip, too modern, too edgy,and so I think they tend to like
things a little bit less soedgy and modern and hip, you
know.
Think more how to make millionsbefore grandma dies.
(12:39):
Think less kneecap kind ofthing.
Um, but it's hard to argue withhow well did at the BAFTA.
Obviously there's there'sprobably overlap in the.
There's there's certainlyoverlap in the academy and the.
Obviously there's certainlyoverlap in the Academy and the
BAFTA organization.
I don't know.
I hesitate to put it on forthat reason and I know that
(12:59):
there are chunks of the filmthat are spoken in English and
so I also wonder if that's goingto play well to the branch of
wanting to cite a film that hasa portion of it spoken in
English side of film that has aportion of it spoken in English.
I like that.
What the film is about?
About the sort of preservationof language is something that
this branch might champion, butI don't know.
(13:22):
I don't know how to read thatfilm yet.
Joseph (13:24):
I think it's very interesting and if you're
listening and you haven't doneyourself the curious endeavor of
playing the kneecap trailerright next to the trailer for
how to make money before grandmadies, you're in for a treat
you're talking about two verydifferent films the energy
they're going to give to membersand voters are so opposite.
You have one that's verysentimental and
(13:46):
intergenerational and then youhave one that's very possibly
generation specific yeah, and sothere's maybe going to be an
interesting choice for Academymembers.
That said, kneecap is anothertitle that I did not expect to
make it this far and the factthat it has, I think, speaks to
how popular it is.
And, like Amina Perez, I mean.
It had such a fantastic day atBAFTA, being shortlisted excuse
(14:10):
me, longlisted among the bestfilms of the year, not making
the final five, but certainly inthe top 10, rubbing shoulders
with A Complete Unknown andWicked and Amelia.
Perez for the best film from theBAFTA, so I do think that
there's a lot of favor amongvoters for this film.
Ireland was able to get thequiet girl in, to the surprise
(14:32):
of a couple of people, in 2022,even though the quiet girl again
.
Is is different maybe a littlebit more like how how to make
money for grandma, yeah thatmovie.
Jules (14:42):
That movie is gorgeous.
I love the quiet girl.
It's beautiful, it's sweet,it's really well done, but it's
certainly operating at a lower,more nuanced register than a
film like Kneecap it was alsofrom a smaller distributor like
Super, and it was still able toget in.
Joseph (14:58):
Kneecap has the strength or the power.
The machine of Sony PictureClassics and Sony Classics has
done this before.
I'll tell you what you know.
As the days have gone on, I'vebeen tempted to put Knecap in
and I think the consensus isforming that kneecap might just
crack this list.
Jules (15:15):
Well, yeah, I think the big thing with this film is that
, considering how far it's comeand how well it's done, look for
this film to land somewhere,and so I think a lot of people
are placing their bets that it'sgoing to land in foreign film.
I personally am possiblyplacing more bets that it's
going to land in foreign film.
I personally am possiblyplacing more bets that it's
going to land in Best OriginalSong, but certainly this is a
(15:37):
film that should land somewherein the Academy's nominations
with the support that it hasbehind it.
So I don't know, that's atricky film.
It's a dark horse.
It's a big contender.
And then another contender, um,and then another contender is
flow yeah, we talked about it inthe anime feature category
exactly.
Joseph (15:57):
Here's a film that's listed twice.
But to piggyback off that pointthat we've been making, janice
films also gets two films in, sothey have remiglio, and you and
I are thinking that that's amovie that should crack this top
five.
But they have another film thatpossibly looks even more
popular in flow right, rightexactly I?
Jules (16:19):
I don't think the and I don't think that animation tends
to have a great track recordwith this, uh, this branch.
I know that flea would managein 2021 to get nominated for, I
believe, all three animatedfeature, documentary feature and
international feature, if I'mnot mistaken, flea.
I believe so, but in general, Ithink they're a little bit less
(16:44):
likely to nominate an animatedfilm.
I think what's really going forFlea is that it would be the
first inclusion of Latvia in thecategory, which is a big deal
and that might go intopersuading a lot of voters into
putting it on their ballot.
So I think it's certainlycontending for that spot.
(17:04):
The other films they can chooseif they're going to, rather, if
they're going to decide thatthey'd rather go with an
animated film as opposed to someof these other, you know, uh,
possibilities well, here's somebackground on that is.
Joseph (17:19):
You know, last time, I believe, a country had the
potential to break into thecategory for the first time in
history.
I believe was Lunana Ayak, inthe classroom and it
accomplished it.
And I think the film fromAustralia entitled Tana also was
able to manage a nominationhere.
So I do think that members inthis branch really take the
(17:43):
opportunity to nominate thesenations that don't normally get
an opportunity to be here, whoaren't here, whether it's italy
or germany or france or spain.
Right, you know, having acountry break into this race for
the first time ever is a bigdeal for them, and I think they
take that into account.
And I will also say, going forflow is.
(18:04):
Yes, flea was able to break intothis category alongside
animated film and documentaryfilm, but the foreign language
film branch has been welcomingof animation before.
I remember in 2009, when theywere recognizing the films from
2008, they were the ones thatnominated Waltz of Bashir for a
(18:25):
foreign language film when itwas snubbed from, I believe,
animated film.
I think it might've beendisqualified from documentary,
but again, it's just this ideathat it's a branch that is going
to welcome animated films, andso, possibly, between it being
the first Latvian nomination inthis category, it bringing a
(18:45):
animated film among the five,which is going to make the
category look more diverse, and,at the same time, everything
that the production had to do tomount, making this film with
Latvian talent in Latvia.
I think all that bodes reallywell for it.
Jules (19:04):
we have the girl, the girl with the needle, from
denmark.
Um, that premiered at con um.
I think the film is too dark tomake this lineup possibly.
I don't see them going for it.
I know it's based on trueevents, uh, but I think I think
the experience of the film canbe, you know, very um, you know
(19:28):
there's a lot of dread in themovie, uh, there's a lot of
darkness in the movie, and so Idon't think it's the kind of
thing this branch is going to.
It's also very artistic, right,it's very art house.
So I don't think this branch isgoing to embrace that
particular pick.
But a film that I think mighthave some fuel in it is
universal language, because youknow there's not a lot of comedy
(19:52):
in the lineup if you don'tinclude something like how to
make millions, which has acomedic element to it.
Right, you know sentiment,sentimentality, certainly, but
some some humor, and sosometimes you'll see a comedic
film have a sort of comedicpresence in the lineup.
And I like Universal Language,a very acclaimed film.
(20:12):
I'm not 100% sure if it makesit in the end, but that's
certainly a film that's on theradar.
I don't know what you think,but another movie that I think
is certainly somewhere in thisconversation.
But another movie that I thinkis certainly somewhere in this
conversation is what aboutDahomey, who might not get the
(20:33):
nomination in documentaryfeature?
Joseph (20:36):
but land the nomination in foreign language film, is
able to get two movies into thislong list the girl with the
needle very austere, very darkfilm, very somber I think it's
possibly a little too dark toget in.
But then you have the homie too, and it's listed in
international film anddocumentary film.
(20:56):
And not just that, but maddiediop has been embraced by this
uh voting branch before becauseher debut film, atlantics, was
spotlighted here as well.
It did not make the final five,but it was long listed, and so
I do think that it bodes wellfor Dahomey to make it into at
least one category.
Right now I have it indocumentary, but I could see
(21:17):
Dahomey getting intointernational film as opposed to
documentary.
And to speak to a minute towhat you were saying about
universal language, which is thecanadian entry, it's really
interesting because it's thecanadian entry that went to con.
At the same time it's subjectmatter right exactly is very
also multicultural andmultinational.
(21:39):
It has not received this sort ofspotlight and sort of scrutiny
that amelia perez has.
So possibly the better posterchild for this idea of a
production that is right, moreglobal and international is
something like universallanguage.
Right because it's it's using alot of authentic elements in
(22:01):
its film, despite it being madeby a Canadian filmmaker.
Exactly, but that's alsoingrained in the narrative Right
right, and what I think is adifficulty for that movie is the
fact that it's beingdistributed by Oscilloscope.
Oscilloscope doesn't have thebest track record at the Oscars
and not even at foreign languagefilm, unfortunately, but I do
(22:21):
think it's interesting toconsider universal language
against amelia perez rightexactly, I think you're right.
Jules (22:27):
That's really.
That's a really interestingpoint.
Um, and then probably the lastfilm I would mention is santosh,
which went to con and um is theentry from the uk.
Um, interestingly enough, Ithink it had a poor showing in
the long lists for BAFTA and ithad a lesser showing than
(22:56):
something like oh, imagine asLight, which does not qualify
for foreign language film at theOscars.
So even though I've heard goodthings about that film and I
think there are sort of there'sa, there's some feminist
politics, I think, to that filmthat could register with the
academy, um, I think it's alittle bit too far behind to
sort of make up that ground.
What do you think?
Joseph (23:13):
well, like vermiglio and like the homie.
Here's another female filmmakerwho has a chance to break in.
I did not expect santosh to behere in this in this long list,
and so the fact that it's here,I think, possibly points to an
upset coming.
I think it did really well atthe British Independent Film
Awards, but it did not do wellat BAFTA.
(23:33):
But if you kind of investigatewhat the film is about, it's
made by a female filmmaker, butthere's something quite
transgressive about this sort ofmasculine space that the film
and the filmmakers trying topenetrate that I
think is going to possibly youknow steal some votes from other
films.
I remember back in a few yearsago possibly, when we were
(23:55):
talking about documentary film,I remember a film called to
catch a tiger, I believe thatwas able to crash the
documentary race again.
It didn't have the same sort ofspotlight that other films
documentaries had that year, butby the nature of its topic and
and the unique perspective ithad, it was sort of able to
(24:17):
stand out, and I think that'ssomething that santosh has going
for it.
So I would not be surprised ifit crashed the list.
I expected it to do better atBAFTA in order to compel me to
put it in that top five, butit's certainly something that
could happen.
I think something that's goingagainst it right now is that its
distributor is a little lessknown.
I believe it's Metrograph, andI think Metrograph is going to
(24:37):
become a major player.
You're going to hear it herefirst.
They're really committed toreleasing unique films, films
with unique perspectives,artistic films, international
films.
They've picked up an individualwho used to work for A24.
So this is the first listing ofMetrograph and I'm sure that in
five or 10 years time it willbe nominated in this category
(24:57):
and possibly others, but I thinkit's great to see Santosh on
this list and I think it canupset.
Now I will say that for me, thetitle that we should be talking
about as a possible upset ismaybe an irresistible story, and
that's armand right really yeah, I mean, what do you think?
about armand, because theheadline for armand is that it's
(25:18):
made by the grandson of ingmarbergman correct.
Jules (25:22):
Yeah, and Liv Ullman, I believe I have not seen the film
, but I know that from what I'veheard, the film takes a lot of
risks and certainly has sort ofa very distinct perspective.
I think it's very much in thevein of an auteur film and, like
(25:47):
the Girl with the Needle, Ithink that this category can
sometimes be less embracing ofthese sort of distinct styles
and distinct type ofstorytelling and more embracive
of what the subject matter isand something a little bit more
accessible, penetrable, um uhyeah, I, I agree.
Joseph (26:13):
I think that's a possibility.
But I do think you know,speaking to some of these titles
, movies like kneecap andSantosh and Armand did not get
listed for very many awards atthe european film awards, but
they were all listed undereuropean discovery yeah, and
armand eventually won thatcategory and a few weeks ago, a
(26:34):
little while ago, armand wasshortlisted amongst the best
first time directors at thedirector's guild award.
Yeah, and it's starring renataryan's, which now a lot of
academy members know and theymay be more compelled to put the
screening higher on their list.
Or at least to watch it.
Or to watch the film and again,just the idea of it.
Jules (26:54):
You know, being the individual that might inherit
the spotlight of Ingmar Bergmanand Levulman, it's very
interesting, but I also thinkthat could be the opposite side
of the coin as well, sort of youknow, considering the
background, there might be acertain level of expectation,
yeah, that you have before youwatch that film.
Joseph (27:13):
that might not necessarily go, uh, in the
film's favor if you didn't likethe movie, right, it's also from
ifc, which was also listed inanimated feature, so it's great
to see ifc here.
Yes, I think the last couple offilms you have to talk about
are touch from focus features,right, and that's from iceland,
right, I got a major us release,I think in the fall or late
summer.
It didn't get much traction.
Jules (27:35):
Uh, from ground zero is from palestine, which was an
interesting entry into this longlist right, and it's sort of
made up of these sort ofepisodic right short films,
right, and I think somethingreally going for it is that
michael moore is includedamongst its executive producers,
right.
Joseph (27:50):
Perhaps that's a factor.
It's also extremely timely.
Yeah, and finally, I think youhave waves from the czech
republic right, a smalldistributor as well, but as far
as I know it's doing really wellin the czech republic and it's
very Right.
Jules (28:04):
So very interesting long list, a very interesting short
list, excuse me.
So for my final five right now,my final predictions, I'm going
to go ahead and say that EmiliaPerez is just too strong to
take down at this moment, eventhough, if it happens, I'm going
(28:25):
to kick myself and alsocelebrate, because we said it,
we've been waving this flag fora while.
Joseph (28:32):
Before you cement your final predictions, can I just
mention something really quickly, which is that the BAFTA long
list has been a very useful toolfor multiple categories,
including foreign film.
In 2023, the BAFTA onlynominated three films that would
overlap with the Academy.
If you examine their long list,they had an additional film
(28:52):
there, so they got four films infrom their long list into the
Academy's eventual five nomineesfor best foreign language film.
And this is something that alsooccurred in 2022.
In 2022, they had all fivenominees in the BAFTA long list,
even though, again, the BAFTAfive for foreign film were not
exactly the Academy five forforeign film.
(29:12):
All five of the nominees werein the BAFTA long list.
In 2022.
Excuse me, in 2021, I believeyou'll see four films from the
BAFTA longlist on the Academyfive for foreign film and you
have to go to something like2020, where they only had, I
think, three films from thelonglist make it into the final
(29:34):
five for the Academy.
I say this because there is nota lot of overlap between the
film selected here and the BAFTAlonglist Films.
For example, like UniversalLanguage did not make both.
It made the Academy's longlistbut not BAFTA longlist films.
For example, like UniversalLanguage did not make both.
It made the Academy's longlistbut not BAFTA's right and
Vermiglio as well.
Vermiglio, I think, is one ofthe more notable titles that
missed the BAFTA longlist well,when you, when you put it that
(29:57):
way, it's kind of worrisome yeahfor titles like that, but
they're not always perfect.
They were perfect that one year, but they're pretty reliable
for four spots and at leastthree, and among the BAFTA
nominees, the actual nominees,the top five.
You should, I think, at leastbe getting two to three people
from there, right.
Jules (30:15):
And so for my final predictions, I'm going to sort
of go all in on amelia paris,defying the odds and getting
this nomination.
Um, if it happens again, wetold you so, but if it happens
to snub, but right now I thinkit's unlikely.
So final predictions ameliaparis the seed of the sacred fig
(30:39):
.
I'm still here, vermiglio, andI'm gonna do a little bit of a
cop right now I'm in between twomovies, and that's Flow and how
to Make Millions Before GrandmaDies.
My cop out here is I'm temptedright now to put how to Make
Millions Before Grandma Dies,because it just feels to me like
it fits in this list.
(31:00):
It's something that I think thebranch is going to like and, in
the event that Emilia Perezdoes not get nominated, I like
that.
I still have some Netflixrepresentation on this list, but
I feel very weary about havingtwo Netflix titles Emilia Perez
and how to Make Millions and Ithink right now, flo has the
(31:21):
momentum to break into thiscategory, as you were saying.
Yes.
Joseph (31:25):
Very interesting list.
I think this category is goingto be very tough to get exactly
right.
I think there's just too manyfilms with a potential to upset
here.
I'm going to go with the firstfilm I think is an absolute lock
is the Seat of the Sacred Fig,and the second film I think is
an absolute lock is I'm Stillhere After that.
(31:47):
I think I'm going to go withRemiglio.
Even though it did not makethat BAFTA list, it just seems
to me as one of the unique filmshere.
It's a period piece directed bya female filmmaker did really
well at Venice from Janice Films.
So I have those in the three.
And then I do think a studio isgoing to excuse me, a
distributor is going to doubleup here.
And although I'm tempted to putin kneecap after all that
(32:09):
support at BAFTA, I think I'mgoing to end up putting flow for
the history that Lafayettewould make here and its ability.
Over these last few weeks it'sbeen apparent, its ability to
sort of transcend generationsand speak to the artistic crowd,
the international crowd,mainstream crowd.
(32:31):
So I'm going to put Flo infourth and that gives two
nominations to Janice and mylast spot it's not really a cop
out, I'm going to call it theNetflix.
Spotflix is going to get inhere and I will say that I'm
still going to say that amitaperez does not get this
nomination at the end andinstead it goes to a bona fide
(32:54):
box office hit from thailand.
And that's how to make millionsbefore grandma dies.
Call me crazy, but I believe inthe french curse.
I I'm very interested to see howthis ends, but it's certainly a
netflix spot.
I think it's going to go tograndma, right I think that's
very interesting.
Jules (33:12):
Um and I know that it might sound ridiculous to snub
amina paris, but, as we've beenmentioning for several episodes,
and on today's episode, there'sreason to be weary, yeah, okay,
and that concludes our diveinto our final predictions for
foreign language film.
Joseph (33:31):
Again, we'll be posting our final predictions on Twitter
.
You can follow us on Twitter ifyou want to see a screenshot of
the final predictions we arepredicting before Oscar morning
At Academy Anon.
All right, that's everythingfor us here at Academy Anonymous
today.
We thank you for joining usTill next time.
I'm Joseph.
Jules (33:50):
I'm Jules and it's been a pleasure.
The music on this episode,entitled Cool Cats, was
graciously provided by KevinMacLeod and incompetechcom,
licensed under Creative Commonsby Attribution 3.0.
Http//creativecommonsorg.
(34:15):
Forward slash licenses forwardslash buy.
Forward slash 3.0.
Joseph (34:24):
Disclaimer the Academy Anonymous podcast is in no way
affiliated or endorsed by theAcademy of Motion Picture Arts
and Sciences.
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