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The Foreign Language Film Oscar shortlist came out last Thursday with six of our predicted 9 films making the cut in addition to a 7th film we had pegged as an alternative also making the shortlist (A Fantastic Woman). Meanwhile, two films we did not see coming (On Body and Soul and Félicité) were shortlisted. As for the snubs – and there are always some – we had correctly predicted the BPM snub (knowing that LGBTQ films are bound to have some snubs are they’re not slam dunks in this category) but did not expect the snub of Angeline Jolie’s First They Killed My Father (thinking it’s in voters’ wheelhouse due to its themes and strong campaign).
Overall, it’s been a great shortlist with lots to offer (and we’re pleased that many of the films we loved did make the shortlist) – and so begins a new phase of the race. One thing to note before we start our analysis is that this shortlist is the most diverse and festival-centric in the past few years. In fact, ever since 2011, no FLF shortlist has been this diverse and least Euro-centric, a much-needed breath of fresh air and a wonderful surprise especially for female-centric and non-European stories.
When you have films like The Wound, Félicité and A Fantastic Woman (a film we put as an alt and not within our predicted 9 fearing it may get snubbed because of its female-centric narrative), there’s a lot to celebrate. True, there were snubs but compared to previous years, we’d argue that this is the best shortlist in the past 5 years (if not more). Some of the films we absolutely loved and believed in (Summer 1993, A Ciambra, Bingo) did not make it unfortunately – but with only 9 slots, you can’t fit in everyone.
In this new FLF analysis piece, we turn to Phase 2 of the race, where we start to predict the final 5 and the snubbed 4. With 4 weeks to go until the Oscar nominations, we’ll be posting a weekly analysis of two films in the race per article. And we’re kicking it off today with one of the surprising films we didn’t predict (and hadn’t actually seen before the shortlist was announced): FÉLICITÉ and a masterful film we had pegged as a lock ever since we saw it in Cannes: LOVELESS. Let’s take a look.
We saw this film in the Salle du Soixantième at Cannes on the day of its world premiere (that was 7 months ago) and yet, we still remember specific sequences in it. It’s that strong and superbly made, and we had pegged it as the second likeliest film with a chance at making the shortlist (85%) after Foxtrot (90%). Both films made it – and for reasons we’ve explained earlier: they’re among the most memorable, well made and superbly acted FLF contenders of the year.
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We have to admit that this inclusion was a big surprise (to us and many other Oscar watchers). In fact, we hadn’t seen this film before the shortlist announcement and finally got to watch it on screener this weekend. It’s a welcome addition because African stories are rarely represented in this category – and it’s always great to see voices and stories from regions that are constantly overlooked.
Next week: we take a look at 2 more FLF contenders and assess their chances.
[author title=”Mina Takla” image=”http://i63.tinypic.com/33f730i.jpg”]Mina Takla is a foreign correspondent for AwardsWatch and the co-founder of The Syndicate, an online news agency that offers original content services to several film brands including Empire Magazine’s Middle East edition and the Dubai Film Festival. Takla has attended, covered and written from over 10 film festivals online including the Dubai International Film Festival, Abu Dhabi Film Festival, Cannes, Venice and Annecy Film Festivals. He has been following the Oscar race since 2000 with accurate, office-pool winning predictions year after year. He writes monthly in Empire Arabia, the Arabic version of the world’s top cinema magazine and conducts press junkets with Hollywood stars in the UK and the US. He holds a Master’s degree in Strategic Marketing from Australia’s Wollongong University and is currently based in Dubai, UAE.[/author]
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