Oscar’s Foreign Language “LONG” List.

Oscar

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Courtesy of Variety, here is the list of each countries submission. I’m sure we will see a narrowed list to about 10 entries at some later date, prior to the January 19th Nominee announcement, but if you want to start checking them all out, of the few I am aware of, I’d start with my favourite, Belgium’s Broken Circle Breakdown. I’ve been trying to track down Sean Ellis’s Metro Manila after missing it at Fantasia to no avail, maybe things will get easier now. Asghar Farhadi’s Parisian set The Past covers similar ground to his Oscar winning follow up to A Separation and is quite excellent. The Hunt is solid enough even though I had some issues with it, and The Grandmasters has already played wide, albeit the Chinese cut is the one being nominated, not the truncated USA version.

The rest either have only mild festival awareness wholly unknown properties for yours truly. The full list is tucked under the seat for you to explore at will.

Afghanistan, “Wajma – An Afghan Love Story,” Barmak Akram, director;

Albania, “Agon,” Robert Budina, director;

Argentina, “The German Doctor,” Lucía Puenzo, director;

Australia, “The Rocket,” Kim Mordaunt, director;

Austria, “The Wall,” Julian Pölsler, director;

Azerbaijan, “Steppe Man,” Shamil Aliyev, director;

Bangladesh, “Television,” Mostofa Sarwar Farooki, director;

Belgium, “The Broken Circle Breakdown,” Felix van Groeningen, director;

Bosnia and Herzegovina, “An Episode in the Life of an Iron Picker,” Danis Tanovic, director;

Brazil, “Neighboring Sounds,” Kleber Mendonça Filho, director;

Bulgaria, “The Color of the Chameleon,” Emil Hristov, director;

Cambodia, “The Missing Picture,” Rithy Panh, director;

Canada, “Gabrielle,” Louise Archambault, director;

Chad, “GriGris,” Mahamat-Saleh Haroun, director;

Chile, “Gloria,” Sebastián Lelio, director;

China, “Back to 1942,” Feng Xiaogang, director;

Colombia, “La Playa DC,” Juan Andrés Arango, director;

Croatia, “Halima’s Path,” Arsen Anton Ostojic, director;

Czech Republic, “The Don Juans,” Jiri Menzel, director;

Denmark, “The Hunt,” Thomas Vinterberg, director;

Dominican Republic, “Quien Manda?” Ronni Castillo, director;

Ecuador, “The Porcelain Horse,” Javier Andrade, director;

Egypt, “Winter of Discontent,” Ibrahim El Batout, director;

Estonia, “Free Range,” Veiko Ounpuu, director;

Finland, “Disciple,” Ulrika Bengts, director;

France, “Renoir,” Gilles Bourdos, director;

Georgia, “In Bloom,” Nana Ekvtimishvili and Simon Gross, directors;

Germany, “Two Lives,” Georg Maas, director;

Greece, “Boy Eating the Bird’s Food,” Ektoras Lygizos, director;

Hong Kong, “The Grandmaster,” Wong Kar-wai, director;

Hungary, “The Notebook,” Janos Szasz, director;

Iceland, “Of Horses and Men,” Benedikt Erlingsson, director;

India, “The Good Road,” Gyan Correa, director;

Indonesia, “Sang Kiai,” Rako Prijanto, director;

Iran, “The Past,” Asghar Farhadi, director;

Israel, “Bethlehem,” Yuval Adler, director;

Italy, “The Great Beauty,” Paolo Sorrentino, director;

Japan, “The Great Passage,” Ishii Yuya, director;

Kazakhstan, “Shal,” Yermek Tursunov, director;

Latvia, “Mother, I Love You,” Janis Nords, director;

Lebanon, “Blind Intersections,” Lara Saba, director;

Lithuania, “Conversations on Serious Topics,” Giedre Beinoriute, director;

Luxembourg, “Blind Spot,” Christophe Wagner, director;

Mexico, “Heli,” Amat Escalante, director;

Moldova, “All God’s Children,” Adrian Popovici, director;

Montenegro, “Ace of Spades – Bad Destiny,” Drasko Djurovic, director;

Morocco, “Horses of God,” Nabil Ayouch, director;

Nepal, “Soongava: Dance of the Orchids,” Subarna Thapa, director;

Netherlands, “Borgman,” Alex van Warmerdam, director;

New Zealand, “White Lies,” Dana Rotberg, director;

Norway, “I Am Yours,” Iram Haq, director;

Pakistan, “Zinda Bhaag,” Meenu Gaur and Farjad Nabi, directors;

Palestine, “Omar,” Hany Abu-Assad, director;

Peru, “The Cleaner,” Adrian Saba, director;

Philippines, “Transit,” Hannah Espia, director;

Poland, “Walesa. Man of Hope,” Andrzej Wajda, director;

Portugal, “Lines of Wellington,” Valeria Sarmiento, director;

Romania, “Child’s Pose,” Calin Peter Netzer, director;

Russia, “Stalingrad,” Fedor Bondarchuk, director;

Saudi Arabia, “Wadjda,” Haifaa Al Mansour, director;

Serbia, “Circles,” Srdan Golubovic, director;

Singapore, “Ilo Ilo,” Anthony Chen, director;

Slovak Republic, “My Dog Killer,” Mira Fornay, director;

Slovenia, “Class Enemy,” Rok Bicek, director;

South Africa, “Four Corners,” Ian Gabriel, director;

South Korea, “Juvenile Offender,” Kang Yi-kwan, director;

Spain, “15 Years Plus a Day,” Gracia Querejeta, director;

Sweden, “Eat Sleep Die,” Gabriela Pichler, director;

Switzerland, “More than Honey,” Markus Imhoof, director;

Taiwan, “Soul,” Chung Mong-Hong, director;

Thailand, “Countdown,” Nattawut Poonpiriya, director;

Turkey, “The Butterfly’s Dream,” Yilmaz Erdogan, director;

Ukraine, “Paradjanov,” Serge Avedikian and Olena Fetisova, directors;

United Kingdom, “Metro Manila,” Sean Ellis, director;

Uruguay, “Anina,” Alfredo Soderguit, director;

Venezuela, “Breach in the Silence,” Luis Alejandro Rodríguez and Andrés Eduardo Rodríguez, directors.

14 comments

  1. Robert Reineke

    “Renoir”? Really, France? That film pretty much is the dictionary definition of pretty but vapid.

    It does have a Grand Illusion Easter Egg for those that can’t get enough of comic book level namedropping.

    • Blue is the Warmest Colour probably would have been chosen for France, if the Academy didn’t have a weird rule requiring that the nominees be released in their home country by Sept 30.

      • Marina Antunes

        And it would probably win.

        • Thomas Wishloff

          I dunno it just got banned in Boise, and It’s pretty controversial even if it is amazing. The academy usually likes avoid controversy whenever it can.

      • It’s a bit graphic for the Oscars though don’t you think? I’m not sure the old fogeys from the Academy would go for a film which features about 20 minutes of (pretty much) hardcore sex.

        It’s overrated in my opinion anyway. Far too long and those sex scenes were pretty exploitative if you ask me. The first half was incredible, but it lost me as it went on.

        • I didn’t think the scenes were that graphic but agree that they go on for far too long. They’re a little uncomfortable to watch with a room full of people but more than that, they almost stall the rest of the story.

        • Yeah, they felt totally out of place with the rest of the film. The audience were getting very uncomfortable in my screening (the world premiere :) ) and there were a few walk-outs. The scenes may have been cut since then though.

        • Actually the biggest criticism from TIFF was that the film doesn’t need to be 3 hours long. It opens in Toronto in about a month, so I’ll get to see it for myself.

          • The version I saw was 179 minutes long.

            In general, I didn’t think it was too long, I really liked living with the character and seeing everything that leads up to and then happens after the relationship. My only real complaint is that those scenes are too long. A 10 minute edit isn’t make or break.

      • Why it won’t win – in SIX SECONDS. http://vine.co/v/hJELjjU2VZY

        Once again, my pal tederick PWNS NOOBS.

  2. Surprised some of these are making the cut this year since they made the festival rounds last year.

    I skipped Renoir after hearing it was mediocre. Would still like to see it as it looks beautiful.

    Have caught up with a few of these. Big fan of THE ROCKET, THE VREAT PASSAGE and THE HUNT. Still have THE GREAT BEAUTY and WADJA on my schedule for this week. Particularly looking forward to Sorrentino’s movie. Trailer looked great.

    A bit surprised India didn’t submit THE LUNCHBOX. It’s pretty great.

    • There’s certainly some controversy about The Lunchbox not being chosen. Some are even saying that India essentially threw away its chances of winning by not selecting it (since it had received well-deserved raves from many corners who were already touting it for the Oscars).

      Nice to see The Color Of The Chameleon get picked. Saw it at TIFF last year and it’s really very good, but too off centre to go anywhere further (I’d love to be proven wrong).

      Sad not to see Japan choose Like Father, Like Son.

      I think Kurt already picked three of the likely contenders: The Past, The Hunt, The Grandmasters. Race should be for the other two slots. If I had to guess, I’d go with Walesa: Man Of Hope, Omar, Child’s Pose or The Great Beauty.

      • Marina Antunes

        Good to know that little tidbit. You can kind of say France has been shooting themselves in the foot the last two years. First they skip over The Intouchables last year and now this (that said, I haven’t seen a lot of French films this year to say that there’s something better this year).

        I’m seeing Like Father, Like Son later today but it’s going to have to be pretty amazing to beat out The Great Passage which is so, so good.

        I haven’t seen it yet but think Wadja probably has a good shot. We’ll have to wait and see I guess.

  3. Montenegro-Bad destiny is a entry for Oscar, first in history.In that movie staring Michael Madsen (Kill Bill),Pedja Bjelac (Harry Poter) and Geogr Pussep (Music box)

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