‘War Sailor’ Review: Gunnar Vikene’s Norwegian Oscar Entry

Second generation Hollywood royalty. Jane Fonda comes from a family of actors, but she quickly made a name for herself and became an icon in her own right.

Best Documentary Feature front runners All That Breathes, All the Beauty and the Bloodshed, Fire of Love, and The Territory are safely through to the next round after the Academy’s Documentary Branch whittled the list of remaining contenders to a shortlist of 15 films.

EXCLUSIVE: In October, Breaking Glass Pictures acquired Mario Martone’s Nostalgia, Italy’s entry for the Best International Feature Oscar for North America, and today we have a first look at the official trailer (check it out above). 

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. 

Philip Yung delivers an ambitious decade-spanning true crime thriller with Where The Wind Blows, Hong Kong’s entry for the International Feature Oscar. Previously known as Theory of Ambitions, it’s a technically impressive feat with an equally impressive cast lead by Aaron Kwok and Tony Leung Chiu-wai. Fast-paced and dense with detail, it challenges the audience to keep up with its complex story of two cops rising up the ranks in Hong Kong in the 1960s and beyond.

EXCLUSIVE: UTA has signed Nkechi Okoro Carroll and her production company, Rock My Soul Productions, for representation in all areas.

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. 

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.

Prime Video has given a series order to God of War, based on PlayStation’s hugely popular ancient mythology-themed video game. Co-produced by Sony Pictures Television and Amazon Studios in association with PlayStation Productions, God of War will premiere on Prime Video in more than 240 countries and territories worldwide. The series had been in the works at the streamer since March when Deadline reported exclusively that Prime Video was in negotiations for the property.

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.

European Film Promotion Unveils 2023 European Shooting StarsBelgian actress Joely Mbundu, co-star of  Luc and Jean-Pierre Dardenne’s Cannes 2022 feature Tori And Lokita, is among the eight rising talents selected for the 2023 edition of European Film Promotion’s European Shooting Stars initiative. The selection also includes Italy’s Benedetta Porcaroli, seen recently in Venice Horizons 2022 title Amanda, and Norway’s Kristine Kujath Thorp, who previously made her mark in Fanny, The Burning Sea and Ninjababy, and also won praise for her performance in Cannes Certain Regard 2022 selection Sick of Myself. The other spotlighted titles comprise Alina Tomnikov (Finland), Leonie Benesch (Germany),  Yannick Jozefzoon (The Netherlands), Judith State(Romania), Gizem Erdogan (Sweden) and Kayije Kagame (Switzerland) Thorvaldur Kristjansson (Iceland). This year’s talents were selected by an eight-person jury featuring Polish director Jan Komasa, Dutch casting director Rebecca van Unen and Norwegian producer Maria Ekerhovd. The eight talents will participate in a four-day program during the upcoming Berlin Film Festival (February 16-26), during which they will meet journalists, casting directors, producers and filmmakers.

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.

A critical hit at this year’s Berlinale, Michael Koch’s second feature A Piece of Sky is a sober relationship drama with a difference: It takes place in a picturesque Alpine idyll, with its sections interspersed by a folk choir that acts as an unorthodox Greek chorus. Speaking at Deadline’s Contenders International award-season event Saturday, Koch explained: “It’s a story about a couple in a remote mountain village who meet and then are put to the test due to a brain cancer that the man has. The film is about how she deals with it, how the couple deal with it, and how strong love can be.”