In 2012, the French director, Lius Carrex, made his most famous movie, “Holy Motors,” and nominated him for most major film awards, or in this case for foreign films. One of the nominations was from the Critics Association in Los Angeles. Carreux was unable to attend and send an alternative. An audio recording of him mocks the concept of the foreign movie.
Carex intelligently mocks the centrality of Hollywood and America and considers it the center of the world in relation to filmmaking, everything below it is foreign from it, logically because the English language is foreign to the rest of the world, so Hollywood films become foreign to Egypt for example, but because of Hollywood’s control over filmmaking and the media, films They are classified as foreign films and films only. These foreign films have a share allocated to them in the American awards. This year, the Academy of Sciences and Arts known as the Oscars decided to change the name of its award from the best foreign language film to the best international film so that films do not become limited by The language ball becomes a more comprehensive category.
In the past years, the presence of non-American films has become more clear, and its viewers are more comprehensive. Often, these “foreign” films have broken their exclusive presence in nominations of a certain category and have become absolute films as they should be. Last year, the Romanian film nominated Roma for the Best Film and Best Director award, and in this The year is noteworthy that the rise of several films in non-English languages from various productions to public awareness and popular viewing, such as the Parasite parasite of Bong Joon Ho or the pain and glory of Pedro Almodvar, the first nominated for six Oscars including the nomination for Best Film and Best Director Award, while nominating Second for awards One Oscar in the best actor category, this is of course in addition to the category of the best global film which nominated her films.
In one of his interviews with Korean director Bong Joon Ho, when asked about the success of his film globally and outside of Korea, he replied that he thought he was making a movie about a specific place with a specific and local character but now he is considered after most nationalities interact with his movie that we all live in a country One is called Capitalism, and this response has a vision – Bong Joon Ho – about his movie and the nature of foreign films.
On the pretense of a parasite, an interesting story about a family trying to rise by absorbing the blood of another family higher on the social ladder, Bong combines several cinematic genres and creates artwork that addresses ideological issues that every citizen of any country can interact with and at the same time provides an interesting and interesting movie that makes The spectator sits on the edge of his chair awaiting the next event, that mixing cinematics in addition to the fun and excitement has made my parasite one of the most successful non-Hollywood movies in recent years. The film was nominated for six Oscars and won the Golden Globe in the Best Foreign Film category, as it won On the ringworm Gold from Cannes.
2. Pain and Glory
Pedro Almodovar has a great name in Spanish and international cinema, because of his distinctive style that makes classic classic melodrama films conscious of their emotional exaggerations and rich in human details and special visual aesthetics, and in his last film he visits the same usual features, family relations and the study of female characters and the nature of motherhood, but this time and without His habit adopts a men’s viewpoint, his hero is his supreme self, a director who faces a crisis in his art and contemplates his childhood and relationship to his mother and his emotional and sexual awakening.
The pain and glory of one of Almodovar’s films can be considered one of the most subjective films, revealing himself to the world as great bone directors did before him like Federico Fellini in his most famous movie “Eight and a half”. And it leaves us with the opportunity to see a composite film-like action inside a movie, Antonio Banderas won the Best Actor award from the Festival de Cannes, and the film was nominated in two categories for both the Academy Awards and the Golden Globe.
3. It Must Be Heaven
If we look at cinema as a global language, following the local and foreign classification will not be appropriate here, but hearing a familiar language in a film that is presented in the scope of European festivals is something that does not happen every day. Suleiman knows very well the cinemas abilities to overcome all barriers related to language and cultural background and believes in the importance of the image and movement Cinematic.
In his fourth feature film, ten years after his latest film, he returns with another film that mixes silent comedy and social satire, and makes the world a location for his photography to move from culture to culture, to the conclusion that the world is not the difference that he envisions after all.
4. Les Miserables
French financial director Ladge Lee quotes in his first film the title of one of the most famous literary works in history, The Miserables of Victor Hugo, and to prove that it is not a coincidence his film begins with a quote from the novel so the recipient is put on alert perhaps to witness a contemporary treatment of the tragic beloved novel, but the miserable takes many aspects other than Expected with it is difficult to classify or exit from it as I entered it, deals with me of a real incident and turns it into an in-depth study in the layers and categories of French society, the relationship of the authorities with the citizens and the power struggles between those classes and groups within them.
Lee adopts a realistic style of his movie, portable cameras and exciting and frantic events, but his film is not without visual aesthetics, aesthetics emerging from within the ugliness that stand out and frame it with unforgettable images, the film was nominated in the foreign movie category in both the Oscars and the Golden Globe.
5. Portrait of a Lady on Fire
After winning the screenplay award at the Cannes Film Festival, the period film drew a self-portrait of a woman in distress, with his charming filming locations and charming heroines, Celine Sama is a director who has always dealt in her films with thorny subjects, a girl who considers herself a boy in Tom Boy, for example, and this time she tells very gently the story of a love relationship Forbidden in France eighteenth century.
The relationship in the film is framed by a very accurate and honest study of the artist’s relationship to the subject of his art, and in this case the woman in particular, the artist’s relationship to his model is a relationship based on the idea of control and mono view, and in the Siama movie exploits that view to make it reciprocal, and it makes it a space to explore the self and the other and fall into Love intelligently makes Siama from her movie a space for discussing feminist issues that are out of date but still exist such as: abortion, marginalization of female artists and forced marriage, but in essence it is a film about impossible love and the memory of the lover.
6. The Farewell
Unlike the aforementioned films, Farewell is an American film, produced by an American and his American director of Chinese origin, but considered as part of the system (foreign films) related to the area of the non-English language used in it.
“Farewell” tells a warm family story, tragic in its essence, but Lulu Wang’s choices made her more like romantic comedy films. It is a movie about duality, the experience of living between two worlds, East and West, family and individuality, life and death, all from the eyes of his American Chinese hero as well. And her experience, while accepting the inevitable death of her grandmother, who is considered her close friend, and branching from that questions about identity, human relations and the extent of mono-values such as honesty in the darkest moments of life, Acquina our film hero won the Golden Globe Award for Best Actress and also nominated the film in the category of foreign film.
7. Talking about Trees
The film Talking about Trees is a movie that tells the story of the death of Sudanese cinema, but it is on its way to revive it and put it on the map again. By chance, another successful Sudanese movie, “You Will Die in Twenty”, is presented to Amjad Abu Al-Ala.
Four Sudanese directors who witnessed their renaissance in the sixties and are now in their sixties in a country without cinema are trying to organize a public screening simply because most of the youth of Sudan have not experienced the experience of collecting a movie collectively, the young director Suhaib Al-Bari depicts his older heroes at their maximum youthful potential, overwhelms them Hope sometimes and despair at other times because of the stupidity of laws and obstacles facing them, Alpari makes from this simple adventure a story about the value of art in the face of dark times simply and without major speeches, the film won two categories for the documentary film at the Berlin Festival.
8. About Endlessness
The name Roy Anderson does not hide any follower of the cinema of the world. The eccentric Swedish who makes cinematic cadres with fixed plates that enable the viewer to scrutinize every detail of it.
After the absence of four years, he returns with what we can consider to be the fourth addition to his trilogy about man, tragedy and magnificence in this world, about eternity. Anderson appears more gentle and optimistic. In a group of separate scenes, we follow daily life situations accompanied by a narrator’s voice described by Anderson as more like a fairy, which tells us Stories completely truncated like Shahrazad in a thousand and one nights make us crave more.
In his second feature film, Russian director Kantimir Balagov makes a film about war without a single fight scene or battlefield, drawing on a non-war book The Female Face of Stylvana Alekseevich.
The hollows of the two women who were mentally and physically destroyed by the war, in their background are a hospital that treats men with war casualties, the film is dominated by a feeling of losing control of the body, we see that the inherent deficiency in the war experience drives the tragedy of the two heroes, but they try to find solace in the company of each other, the film won a better award A director in a contest for what looks at Cannes.
The film Bacorao is categorized qualitatively as “exotic westernness”, a Western subspecies that mixes with other genres such as science fiction or horror, but the curiosity really is the first thing that catches the eye of Bacorau who won equally with the Les Miserables the Cannes Arbitration Award.
An unknown town that does not exist on the map lives primitively despite the presence of strange manifestations of technological development, visited by strangers from outside it and ends up with endless chaos and deadly violence, the Portuguese directors Culber Mendonca and Juliano Dornelis contemplate issues such as geographical and cultural colonialism and attempts to erase identity and make a feverish film leaving the viewer with A lot to think about after its end.