Category: Non-English Film

The Virgin Spring (1960)

After the brutal rape and murder of his teenaged daughter, the devout Christian Max von Syndow stumbles on an opportunity to enact a furious revenge on the perpetrators. For a film with such a simple plot and short runtime, in it lies a deep exploration of religion and classic views on vengeance and innocence. Even beyond the medieval setting, the film presents the tale as a bit of age-old folklore. Unsurprisingly, Ingmar Bergman’s inspiration for the film was taken from a ballad describing the origins of a 12th century Swedish church.

Oscar Win: Best Foreign Language Film

Oscar Nomination: Best Costume Design, Black-and-White

Sin Nombre (2009)

After killing the leader of his gang who had murdered the girlfriend he had been keeping secret, Edgar Flores runs away as a stowaway on a train heading to the United States. He meets an Honduran family also making the journey, trying not to develop a relationship with Paulina Gaitán who is travelling with her […]

The Magic Flute (1975)

In this beloved work by Mozart, the Queen of the Night enlists prince Tamino to rescue her daughter Pamino from Sarastro. He’s helped on his quest by the peculiar bird catcher Papageno who is searching for a wife of his own. Not being familiar with the work, I was unaware that it is essentially a simplistic fairy tale set to opera music, which I’m sure is totally someone’s bag, but it’s not mine. Filmed to come across as a live production, the entire intro and a number of shots thereafter are of a random crowd of people indifferently staring straight ahead as an audience to the performance. But even for showing the performance, there are also a lot of closeups of the actors’ faces which detracts from being able to relish the delightful stage pieces and costumes (though looking at pictures online they could have gone much further on Papageno’s). It’s certainly an oddity in director Ingmar Bergman’s oeuvre, but really about what I’d expect from a filmed opera.   Musical  Fantasy

Oscar Nomination: Best Costume Design

Lola Montès (1955)

Real life famous mistress of many well-known men Lola Montez, portrayed by the fantastic Martine Carol, is at last left to performing in a circus act that regales audiences with the details of her notorious life, which are told in flashbacks for movie viewers. While not my favorite of director Max Ophüls’s films that I’ve seen thus far, it presents a harsh take on celebrity, romance, and the treatment of women through the ages. The garish spectacle of the circus makes for a compelling parallel to Montez’s whirlwind life and a further parallel between how the men and world at large have treated her and so many others like her with the circus audience’s disregard for the humanity of the performers.

The French Way (1945)

Parisian neighbors Micheline Presle and Georges Marchal have fallen in love but their parents’ long standing feud sits in the way of their long-term bliss. Enter cabaret star Josephine Baker and World War II with its necessary bomb shelter drills to bring the families together. A short and fluffy Romeo and Juliet tale, I really checked it out to see Baker in one of her film roles. She really lights up a screen, making everyone else, who are more than competent in their roles, dull in comparison.  Romance  Comedy

La Belle Noiseuse (1991)

Upon meeting painter David Bursztein and his girlfriend Emmanuelle Béart, blocked fellow artist Michel Piccoli finds his creative spark renewed with a desire to use Béart as the model for a painting he was unable to finish long ago. A thorough reflection on the artistic process, it is four hours long and tedious. Full minutes go by where the only sound that is heard are scratches made on a sketch pad. In the end both the artist and his subject are broken and reborn in ways, but every grueling moment of that is felt by the viewer.

Incendies (2010)

To fulfill their mother’s last wish, adult twins Mélissa Désormeaux-Poulin and Maxim Gaudette are sent on a journey to her homeland, an unnamed Middle Eastern country, in search of their long lost brother and father. Denis Villeneuve is a director I keep my eyes out for because of his gorgeous visuals and complex storytelling and this film does indeed deliver on both of those fronts. The weaving of the past and present lead to an unsurprising ending, but the journey to get there is riveting and emotional.  War  Mystery

Oscar Nomination: Best Foreign Language Film of the Year

Paprika (2006)

When the prototype of a device that can see people’s dreams is stolen, Dr. Atsuko Chiba, with the help of her co-workers and her dream world alter-ego Paprika, must find the thief before everyone’s dreams merge with reality and take over. Using animation to tell a story that couldn’t be told conventionally, it’s a candy-colored festival for the eyes. I’m not sure I would have understood half of what was going on without reading along to a synopsis. Even if the dreams in the film weren’t like anything I’ve personally experienced, watching it gave the feeling that it was pulling imagery from deep inside my own brain to throw on screen. The DVD interestingly allowed the film to be simultaneously watched with subtitles and English dubbing which offered an interesting comparison making me wonder which parts were closer to the original Japanese.  SciFi  Mystery

Ascension (2021)

The Chinese Dream is explored through stunning imagery of contemporary China. Presented with little dialogue and no commentary, it is really ambiguous as to what the director Jessica Kingdon was trying to convey or even the context for some of the footage featured. It’s not the type of film I generally find engaging. Centering primarily on the workplace, it seems the Chinese Dream does not differ much from the American Dream, everyone works so they can consume the products they are work to produce in an endless cycle.

Oscar Nomination: Best Documentary Feature

Drive My Car (2021)

Two years after the unexpected death of his wife, actor-director Hidetoshi Nishijima accepts an offer to direct a multilingual production of Uncle Vanya for a Hiroshima theatrical festival. Because of insurance purposes, the festival organizers require him to be driven by professional driver Toko Miura, an introverted young woman who has also experienced loss in her life. Like director Ryusuke Hamaguchi’s previous film, I wasn’t sure if I was really wanting to continue with this early on, especially as the credits for this film don’t appear until after 40 minutes at point which the main story begins. That isn’t to say the earlier minutes were unnecessary fluff, it was just difficult to see where it was going. Visually gorgeous with relatable themes of relationships entwined and sharing grief, it never feels like it’s three hour run time. My biggest takeaway remains as a fascination with the idea of a multilingual performance. I’d love to see one on stage now, but it’s already incredible watching the necessary process to make such a thing work unfold.  Best Picture Nomination

Oscar Win: Best International Feature Film

Oscar Nominations: Best Motion Picture of the Year; Best Achievement in Directing; Best Adapted Screenplay

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