Alice Diop Says Court Case At Center Of Her French Oscar Entry ‘Saint Omer’ “Overwhelmed Me” – Contenders International

If you’re tapped into the world of Film Twitter, you probably noticed that social media exploded recently when Sight & Sound updated its Best Films of All Time list. People were debating for weeks about what films would end up getting booted out of the top 100, which would have huge leaps in popularity, etc… It was a whole thing.

EXCLUSIVE: Paris-based sales powerhouse Wild Bunch International (WBI) has unveiled the bulk of its French slate for the first half of 2023 as it gears up for the Unifrance Rendez-vous in Paris, running January 10-17.

Colombian cinema has shown a ferocious loyalty to the country’s dispossessed: to the generation that lost its lands to exploitation and its moral moorings to the drug trade, to the kids who grew up parentless on the streets or found some kind of refuge in the militias that terrorized the country. It has also proved to be a hotbed of vibrant artistic experiment. Films such as Monos (2019) and La Jauria (2022), in which myth, magic and documentary observation collide and mingle, are notable for their untethered energy and complete disregard for prescribed categories. Stories are not so much told as imaginatively experienced. Perhaps, in a country with so few visible rules, anything is possible. 

Hainan Island International Film Festival (HIIFF) in China’s Sanya has returned as an in-person event, following a relatively short Covid-related postponement, with separate competition sections for features, documentaries and shorts. 

From Bergen to Malta, Liverpool, New York and Halifax: Norwegian merchant seamen Alfred (Kristoffer Joner) and Sigbjorn (Pal Sverre Hagen) sometimes seem to be competing for screen time with datelines in Gunnar Vikene’s epic War Sailor, Norway’s Oscar submission. Sprawling, packed with anecdote and surging from one dramatic peak to the next, War Sailor sets out to tell the stories of the ordinary but unsung heroes who helped defeat Germany in 1945. It has the best of intentions.

Cáit runs back home, we see a crying baby, and her mother upbraids her for coming into the house with mud on her shoes.Bairéad and director of photography Kate McCullough (Hulu’s “Normal People”) emphasize Cáit’s alienation from her surroundings in their compositions, but they also strive to give the images a very soft look, with ghostly light on Cáit’s serious face. Cáit is always looking down and then looking up apprehensively, as if she expects some calamity at any moment, which is justified when boys knock some milk into her lap at school; other kids call her “a weirdo” because she keeps so much to herself.The effects with light that McCullough gets in these early scenes can be entrancing, as when she catches the way that a white neon light above a bar molds the head of Cáit’s father in profile, or the pink light from a television set as it is reflected on a wall.

A trio of teens navigates relationships in contemporary Helsinki in Girl Picture, Finland’s entry for the Best International Feature Oscar. Directed by Alli Haapasalo (Love and Fury), it’s an engaging portrait of young women that’s as refreshing as it is entertaining. To call this a “Finnish Booksmart” would be doing its originality a disservice, but there are coincidental similarities as a quick-witted lesbian and her straight girl friend try to help each other with their love lives over a series of parties and amusing encounters. 

Dominik Moll’s The Night of The 12th, which world premiered in Cannes in May, has topped the nominations for the 28th edition of France’s Lumière Awards.

Love and compassion don’t require grand gestures. Often, the subtlest actions forge the deepest, most meaningful connections — a patient ear, a shared space, a gentle hand.

Why do we have children? Cait’s Mam and Da would be hard-pressed to answer that, with a house full of sour teenage daughters, a toddler barely walking, another baby about to land and not enough money to pay a day laborer to bring in the hay. These are the kind of kids who go to school with no lunch. 

It’s 2002 and raining brains in Riyadh, at least from the gormless Nasser’s wonky perspective. Nasser’s doctor is firmly convinced he has a brain tumour, which is his explanation for the protracted hallucinations Nasser experiences and that he, Dr Ahmed, is all too ready to excise. Nasser isn’t so sure: his dreams, fantasies and visions are more fun than the rest of his life, yoked beneath the twin tyrannies of his fanatical father and his boss at the thinly patronized Dove Hotel. Why get rid of the good stuff? Especially once those visions start to include the mysterious young woman who arrived unannounced one day to ask for the key to room 227. She’s welcome to walk the corridors of his mind any old time.

An Afro-European woman connects with her roots in Bantú Mama, the Dominican Republic’s entry for the Best International Feature Film Oscar. Co-written and directed by Ivan Herrera, it’s was picked up by Ava DuVernay’s Array Releasing. It’s a compelling drama featuring a strong performance from Clarisse Albrecht, who also co-wrote the screenplay.

Not having it. Elon Musk was booed off stage by the audience at Dave Chappelle’s most recent show.

It’s the end of an era.

[Warning: Potentially Triggering Content]

In terms of the Oscar race for Best International Feature, many critics have put Alice Diop’s “Saint Omer” towards the top of the list. The official French entry in the race, “Saint Omer” wowed audiences during festival season and is expected to be a major player come awards time.

Jordanian director Darin J. Sallam and producers Deema Azar and Ayeh Jadaneh have accused Israel of mounting a disinformation campaign against their film Farha and also rebuked the country for attempting to get it removed from theatres and Netflix.

Over the course of 144 minutes, Philip Yung’s true-crime drama Where the Wind Blows covers an awful lot of ground. An epic in the style Sergio Leone’s Once Upon A Time in New York, it pairs Asian superstars Tony Leung and Aaron Kwok in a story spanning several decades of police corruption in Hong Kong during its time as a British colony. The detail is sometimes dense, but the tone turns playful and refreshingly light at times, and there’s even a memorable musical routine for “The God of Dance” Kwok.