Eric Kohn and Anne Thompson have decided to team up for their Best International Film predictions. It’s a very competitive race this year and, as we speak, there is really no clear frontrunner.
In an ideal world, the race would already have been called for Albert Serra’s “Pacifiction.” However, 1) it isn’t being released until 2023 and 2) even if it did qualify, it wouldn’t have stood much of a chance given that it’s very abstract and hypnotic arthouse cinema.
Russia has boycotted the race this year. A total of 92 countries submitted films for the 2023 Oscars, just one less than last year’s record of 93. The submissions will be narrowed down to a shortlist of 15 on December 21st.
Cannes is again dominating this year’s race with films such as Lukas Dhont’s “Close,” Chan Wook-park’s “Decision to Leave,” Jerzy Skolimowski’s “EO,” Marie Kreutzer’s “Corsage,” Ali Abassi’s “Holy Spider,” Tarik Saleh’s “Cairo Conspiracy,” David Chou’s “Return to Seoul,” Maryam Touzani’s “Blue Caftan,” and Saim Sadiq‘s “Joyland.”
Venice, Berlin and Toronto contenders include, Alejandro Gonzalez Inarritu’s “Bardo,” Santiago Mitre’s “Argentina, 1985,” Alice Diop’s “Saint Omer,” Carla Simón’s “Alcarràs,” Edward Berger’s “All Quiet on the Western Front,” Colm Bairéad‘s “The Quiet Girl,” and Maryna Er Gorbach‘s “Klondike.”
That’s my predictions for what could be the 15 shortlisted films. There will be surprises. Kohn and Thompson seem to believe Norwegian film “War Sailor” will sneak into the final fifteen. Gunnar Vikene’s $10 million film is Norway’s most expensive movie ever, a WWII drama that is set primarily on a ship.
Don’t discount Irish phenomenon “The Quiet Girl,” which has turned into a critical and audience sensation in the UK. Ditto Finish entry “Girl Picture,” directed by Alli Haapasalo and a Sundance world premiere.
A few interesting pulls from the Thompson/Kohn piece:
Alejandro G. Iñárritu’s since-shortened “Bardo, False Chronicle of a Handful of Truths” has been more widely embraced by Academy members
I agree. The industry seems to really love “Bardo.” After being unfairly maligned at Venice, Inarritu’s film has had some major momentum going for it. There’s a new cut, 22 minutes have been snipped, and people are starting to reevaluate the Mexican director’s personal film.
“Bardo” definitely has actors and directors backing it up. The likes of Barry Jenkins, Leonardo Dicaprio, Cate Blanchett, Maggie Gylenhaal, and Chloe Zhao have all raved publicly about the film.
Another Thompson/Kohn blurb:
“Decision to Leave” is an exercise in style that leaves some viewers scratching their heads, and lacks the emotional tugs that often accompany an Oscar winner.
I doubt Park’s Film will win or, maybe, even get nominated. Oscar voters in this category have never really warmed up to Park’s films and this latest mindbender from the acclaimed South Korean auteur won’t change minds — it’s a purposely convoluted affair that demands and rewards a rewatch, something AMPAS voters don’t always take the time to do.