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By Sean Boelman
L-R: Emilia Perez, I'm Still Here, The Seed of the Sacred Fig, The Girl With the Needle, Kneecap
On December 9, shortlist voting for the Best International Feature category at the Academy Awards opens, with the results to be announced on December 17. After the 15 films that make the shortlist are announced, they will be narrowed down to the five eventual nominees in January.
This year 89 films were submitted, with 85 being found eligible. We at disappointment media got the opportunity to screen 36 of the films submitted for this category. And, frankly, apart from one clear leader, this might be one of the more interesting International Feature races we’ve had in several years. The Sure Things
The presumed frontrunner in the International Feature race is France’s Emilia Pérez — Jacques Audiard’s cartel musical based on an unproduced opera he wrote himself. It’s this year’s only international contender that seems likely to compete in above-the-line categories, with nominations likely or possible in Picture, Actress, Supporting Actress (possibly two times over), Director, and a slew of technical categories. By virtue of this alone, Emilia Pérez is a virtual lock for a nomination and probably even a likely win.
That being said, since the film’s release in theaters and on Netflix in November, the musical has started to receive some pushbacks — most notably critics in the LGBTQIA+ community. The film also did not receive the level of attention that the streamer certainly hoped for from mainstream audiences, given that it stars two recognizable Hollywood A-listers in Zoe Saldaña and Selena Gomez. Does this leave the door open for an upset? If a film is to dethrone Emilia Pérez for its crown in the International Feature category, it is likely to be Brazil’s I’m Still Here. Filmmaker Walter Salles’s most famous film, Central Station, was previously nominated for an Oscar for Best Foreign Language Film, and many have hailed I’m Still Here as his best work in decades. This political drama about a mother struggling to hold her family together after it is torn apart by the military dictatorship hits all the right notes and could connect with voters if distributor Sony Pictures Classics puts the right push behind it. The other major contender is Germany’s submission of the Iranian film The Seed of the Sacred Fig. It’s a small miracle that Mohammad Rasoulof’s film is even in the conversation because of the broken process by which countries select the films to represent them. An anti-regime film like The Seed of the Sacred Fig would never be the Iranian submission. Thankfully, as much of the film’s funding is German (Rasoulof took refuge in Berlin after being banned from making films in his home country), Germany stepped up and submitted the film as its selection. That being said, the film’s US distributor, NEON, may be too busy with their Best Picture contender, Anora, to take this one all the way to a win. As a brief aside, many filmmakers were not as lucky as Rasoulof, having their films omitted or withdrawn from the race due to this broken process. Palestine did not choose the documentary No Other Land, and Jordan’s submission, My Sweet Land, was withdrawn from the section due to political pressure and censorship. Thankfully, both films are still competing in the Best Documentary race, where they would be deserving contenders, but this column will *always* advocate for a change in this category’s submissions process to preserve freedom of expression. To round out our predicted five nominees, we have the Danish entry The Girl With the Needle and the Irish entry Kneecap. The Girl With the Needle feels like a pretty safe bet — it has timely themes, stunning black-and-white cinematography, and strong performances from Vic Carmen Sloane and Trine Dyrholm. It doesn't quite scream “winner,” but it does seem like a likely nominee. Kneecap, on the other hand, feels like the most unlikely contender, but it’s a great film, and the amount of love it has earned on the festival circuit has positioned it nicely. It’s a crowd-pleasing sex and drugs and rock and roll biopic, but its message about cultural preservation is what puts it over the edge and makes it a legitimate player. Two other films could be in the running for those fourth and fifth spots, primarily because they seem like strong contenders in other categories. Latvian entry Flow seems like a pretty safe lock for a Best Animated Feature nomination, but its lack of linguistic content might make it a harder sell in the Best International Feature category than even an animated film with dialogue. Mati Diop’s documentary Dahomey — representing Senegal — is a player in the Best Documentary Feature race, but nonfiction films tend to be a tough sell for a Best International Feature nomination. Expect both to make the shortlist, though. The Heavy Hitters
Grand Tour
The Thai submission, the melodrama How to Make Millions Before Grandma Dies, has a small but passionate following from cinephiles. That should be more than enough to carry it to a shortlist spot and possibly even an outsider shot at a nomination if momentum continues to build. The star power of Renate Reinsve (The Worst Person in the World) should be enough for Norwegian entry Armand to coast to a shortlist spot, but it seems unlikely to get one of the final 5 nominations. The UK’s submission (set in India), Santosh, is an incredible film that deserves the love and will probably have enough momentum from festivals to earn a spot on the shortlist, but the first hour of the film is such a slow burn that general voters may have difficulty connecting with it.
The shortlist this year will likely be filled out with films by high-profile filmmakers or that got extensive festival buzz. The Canadian entry, Universal Language, is probably too weird for a nomination, but it could definitely end up on the shortlist. Portugal’s film, Grand Tour, is in a similar boat. Miguel Gomes’s film is phenomenal, with its formal ambition alone likely being enough to earn itself a spot on the shortlist. Still, getting the wider base of Academy voters to embrace the film will be a more difficult challenge. The Icelandic Touch is a lovely film that got a major theatrical release here in the U.S., but it’s a bit slight to be an awards contender. Chilean documentarian Maite Alberdi makes her narrative debut with In Her Place, and after her last two docs were shortlisted, her narrative likely will be too. And the Italian entry, Vermiglio, won the Grand Jury Prize at Venice, which should be enough to get it on the shortlist for Oscar. The Wild Cards
Nawi
There are a few potential upsets in the category, too. Japan’s submission, Kiyoshi Kurosawa’s Cloud, is actually probably the best film of any of the submissions we have seen. However, the film’s genre elements might keep it from being recognized in the category. Mexico is often a mainstay in this category, so it wouldn’t be surprising to see their entry, Sujo, take one of the aforementioned films out of the race. And for the past two years, Morocco has had their entry make the shortlist. This year’s submission, Everybody Loves Touda, is directed by Nabil Ayouch, whose work has often been submitted but never shortlisted. That being said, this is a fantastic film, and it would be a delight to see this be the year that breaks that trend.
Then, there are two potential upsets that might end up on the shortlist primarily for political reasons. The Palestinian submission, the anthology From Ground Zero, may have a passionate base rallying behind it for its message, but omnibus films are a tough sell. Few are successful in this category, with Wild Tales being the only recent success in memory. The Ukrainian entry La Palisiada is good and could gather some momentum out of support for Ukraine, but it’s very experimental. And with 20 Days in Mariupol missing a nomination in International Feature last year despite winning Documentary Feature, perhaps the political angle here is not as strong. One of the most exciting things about this category, though, is that there are often films that make the shortlist completely unexpectedly. Movies like Lunana: A Yak in the Classroom and The Quiet Girl have even gone on to get nomination slots against the odds. This year has plenty of those underdogs. The Kenyan submission, Nawi, is a great film about a young woman who is torn between the expectations of her traditional family in a patriarchal society and her own dreams and ambitions. It has a powerful message that needs to be heard, and a shortlist spot could give it the platform it needs to have that message heard by a wider audience. The Swedish entry, The Last Journey, is an adorable, funny, crowd-pleasing documentary about a father-son road trip. It would feel right at home on the shortlist as the heartwarming pick. Another great one is the Kazakh film, Bauryna Salu — a slice-of-life film depicting an unusual cultural practice in Kazakhstan. Even if these films don’t make the cut, hopefully their mere submission is enough to get eyes on them. The Power Ranking
Here are our final predictions for the 2024 Best International Feature Oscar Shortlist:
Likely Nominees:
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The Criterion Voyages (Spine #1222): VICTIMS OF SIN -- A Beautiful, Progressive Cine de Rumberas6/20/2024
By Sean Boelman
Some of the most exciting films to be added to the Criterion Collection are true, underseen discoveries. Emilio Fernández’s Victims of Sin is one such film, a potent Latin-American melodrama with a consistently gripping story and enthralling visuals that allow it to stand out as a highlight in Mexican cinema.
The movie takes place in a Mexican nightclub, where a dancer unexpectedly chooses to rescue an abandoned baby from a garbage can. In the aftermath of this fateful decision, she must deal with the baby’s pachuco father and the community that has begun to ostracize her for her choice. Victims of Sin is often an extremely sensationalistic film, but it approaches even the most exaggerated plot points with full-hearted authenticity. Victims of Sin is an example of a movie in the cine de rumberas movement, which was a prominent part of Mexico’s Golden Age in cinema. Because of this, the film contains extended sequences of cabaret-style dancing and singing performances, which are utterly mesmerizing. Yet, while these sections are fun to watch, their content, both in lyrics and emotions, pushes the story forward as well. Gabriel Figueroa's black-and-white cinematography is incredible and looks stunning in the beautiful 4K restoration. There’s a fluidity to it — particularly during the rumberas sequences — that lends the movie an infectious energy. The juxtaposition of these moments against the melodrama makes those devastating moments hit that much harder. 
Victims of Sin boldly tackles progressive themes, especially for its time in 1951. It offers a powerful feminist perspective on a patriarchal society, which still, unfortunately, resonates today. The movie’s critique of the justice system's failures to protect women from crimes like domestic abuse is also still uncomfortably relevant, making this stand out as an eerily timeless work of Latin American cinema.
The other aspect of Victims of Sin that stands out particularly well is its cast. Lead actress Ninón Sevilla gives a fantastic performance, pulling double duty. Her turn is equal parts physical and emotional. Of course, she thrives in the dance sequences, and her dance skills give her a command of expressing her emotions through mannerisms and motion. However, she also brings a ton of vulnerability to the dialogue-driven portions. It’s a skilled and balanced performance. The male cast is nowhere near as nuanced, but they do an effective job of playing to the archetypes of their roles. In terms of bonus features, the Criterion Collection edition of Victims of Sin is a wealth of riches. Highlights include an interview with filmmaker and archivist Viviana Garcia Besné and another with cinematographer Rodrigo Prieto (Killers of the Flower Moon) about Gabriel Figueroa’s work. There is also a documentary on the cine de rumberas movement, which includes interviews with Sevilla. Victims of Sin is an incredible film, both for the period in which it was created and for today. It holds up phenomenally thanks to excellent cinematography, strong performances, and a thoughtful, progressive approach to its themes. This makes the movie a wonderfully undersung piece of Latin American cinematic history. The Criterion Collection edition of Victims of Sin is now available.
By Sean Boelman
The Tribeca Film Festival is one of the biggest film events of the summer, taking place after the spring festivals of Sundance, Berlinale, and Cannes but before the Fall kicks off with Venice, Telluride, and TIFF. From exciting world premieres with buzzy stars to indies from exciting new voices and international gems, the Tribeca Film Festival has an incredibly diverse lineup of films to discover.
We at disappointment media got to cover this year’s Tribeca Film Festival, and here are some quick thoughts on some of the films that played as part of the festival: Come Closer
Tom Nesher’s Come Closer was the inaugural winner of the Viewpoints section of the Tribeca Film Festival, which, according to the festival, is designed to “discover the most boundary-pushing, rule-breaking new voices in independent film.” While Come Closer does boast some incredible visuals, it feels a little too afraid to push boundaries on a narrative level. Lia Elalouf’s performance in the lead role is excellent and full of emotional vulnerability. However, the story, which follows a woman who forms an unexpected connection with her late brother’s secret girlfriend after his death, is a bit too familiar in its approach to resonate.
Restless
Sometimes, the best films are those with the most straightforward premises. Unfortunately, that is not the case with Jed Hart’s Restless. Cinephiles will have seen this premise done in the thriller genre plenty of times before — a protagonist’s idyllic life is disturbed when a new neighbor moves in, causing a series of escalating conflicts. Only, in Restless, the conflicts don’t escalate nearly enough to be cinematic, much less compelling. Worse yet, Hart’s script has such low stakes that we are given little reason to care about this (un)neighborly conflict. Lyndsey Marshal’s turn in the lead role is passable, but like the role written for her, it lacks nuance.
Some Rain Must Fall
Qiu Yang’s Some Rain Must Fall premiered at the Berlin International Film Festival earlier this year before making its North American premiere at Tribeca. Visually, Qiu’s film shows an incredible command of cinematic language, with some absolutely stunning cinematography. That being said, the story of a housewife whose life begins to spiral out of control isn’t that engaging. The film is simply too slowly paced, dealing in mundanities, for it to connect with audiences.
Untitled Tim Burton Docuseries
Only one episode of Tara Wood’s to-be-titled docuseries on filmmaker Tim Burton screened at Tribeca, but those 60 minutes were some of the most engaging in the festival. Wood has a background telling the story of beloved filmmakers, having already made feature films about Quentin Tarantino and Richard Linklater, but the miniseries format seems to be even more conducive to her style. In the first episode (out of a planned four), she explores the early phase of his career, interviewing plenty of famous faces, including Michael Keaton, Winona Ryder, Johnny Depp, and more. Although it’s not particularly revelatory — especially for those who are fans of the director — it’s still fascinating.
The 2024 Tribeca Film Festival ran June 5-15 in New York City.
By Sean Boelman  In recent years, the Tribeca Festival has been working to expand its offerings beyond purely film screenings. Although the films in the lineup are often excellent — a combination of buzzed-about, starry premieres and some hits from earlier festivals in the year — some of the biggest highlights are the talkback sessions and other post-screening events that enrich the experience. Here are a few things we think you should check out at this year’s Tribeca, from great films to once-in-a-lifetime events paired with film screenings: Between the TemplesNathan Silver’s Between the Temples premiered at this year’s Sundance Film Festival and immediately cemented itself as one of the most hilariously uncomfortable films of the year. Starring Jason Schwartzman as a cantor who has recently become a widower and Carol Kane as his former elementary school teacher, the film switches between heartwarming, awkward, and funny — often all within the same scene. If you’re looking for an entertaining movie to watch at this year’s Tribeca, you’ll have a hard time finding one better than this. KneecapThe music dramedy Kneecap perfectly splits the line between crowd-pleasing and incendiary, which is why it has been such a hit on the festival circuit so far. The film, a fictionalized telling of the story of the formation of the eponymous Irish hip-hop group, also offers some unexpected insight into the need for cultural preservation. If the buzz around the film wasn’t enough to attract festivalgoers to see the movie, the band will be doing a special performance for ticketholders, making this a night you absolutely will not forget. She Loves Blossoms MoreTribeca is unique among mainstream festivals in that it features not one but two sections devoted to the cinema bizarro that exists on the fringes of the fest circuit. Launched last year, the Escape From Tribeca sidebar is separate from the traditional Midnight programming, featuring wild, crazy, and — most importantly — fun genre films. There isn’t a film that better encapsulates this in this year’s lineup than the Greek sci-fi film She Loved Blossoms More, which blends horror, comedy, and trippy experimental cinema in a way that is equal parts hypnotic and hilarious. The sickos of the cinephile community (a term endearingly used by one of your own) will *not* want to miss this. Skywalkers: A Love StoryHowever, it’s not just the limits of good taste that festivalgoers can expect to see pushed at Tribeca this year, they can also expect to see the limits of human capability tested. The documentary Skywalkers: A Love Story premiered to great acclaim at this year’s Sundance to great acclaim, and Tribeca is offering a rare opportunity for attendees to see the film about two Russian daredevils in IMAX. It’s a beautifully shot and unexpectedly compelling film, and you won’t want to miss the opportunity to see this on one of the best and biggest screens in NYC. TreasureAlthough its Berlinale premiere was overshadowed by the premiere of the similarly-themed (and buzzier) A Real Pain at Sundance, Julia von Heinz’s Treasure is making a stop at Tribeca ahead of its theatrical release later this month. The film stars Lena Dunham and Stephen Fry as a daughter and father who return to his homeland of Poland, which he left after surviving the Holocaust. It’s not a particularly subtle film, but it offers an interesting perspective on this story and explores a side of this conflict that hasn’t really been shown before. The 2024 Tribeca Film Festival runs June 5-15 in New York City.
By Sean Boelman
Pride Month kicked off a little early this year with NewFest’s annual NewFest Pride event — a showcase of some of the highest-profile queer films that have been playing on the festival circuit, along with a couple of world premieres and special screenings of exciting new projects. From lighthearted comedies to weighty dramas, this year’s NewFest Pride event showcased a variety of films by and about the LGBTQIA+ community that are designed to provoke conversation and celebrate the community.
We at disappointment media got the opportunity to cover this year’s NewFest Pride event remotely by screening some of the movies available as part of the virtual festival lineup. Here are our thoughts on some of the films we saw: Close to You
Close to You stars Elliott Page in one of his first roles since coming out as a trans man. Written and directed by Dominic Savage with a story co-written by Page himself, the movie follows a man who returns home for the first time in years since his transition, encountering a friend from high school along with several long-buried feelings. It’s a slow-burn queer drama driven by an incredible performance by Page. Although the film doesn’t have a ton of subtlety, it offers an emotionally rich exploration of themes that are often unexplored from a perspective that feels entirely authentic.
A House Is Not a Disco
A House Is Not a Disco is a verite-style look at the Fire Island Pines, the almost mythical “queer mecca” of Fire Island Pines, located about 50 miles from the heart of New York City. In the film, we get the chance to meet several of the people who take refuge in the “homo-normative” community every summer, and they tell their stories — from humorous anecdotes of debauchery to heartwarming tales of finding a place to belong. Although it’s not a particularly substantial movie, it’s very charming.
The Queen of My Dreams
Fawzia Mirza's The Queen of My Dreams has toured the festival circuit to great success since its premiere at TIFF last autumn, but it is unfortunate that it is coming on the heels of several other films told from a similar perspective. Recent South Asian queer romantic comedies like The Persian Version and A Nice Indian Boy hit a lot of the same beats, and while it’s undeniably refreshing to see stories like this being told from these perspectives, it would be nice to see them less formulaic. Still, it’s a cute, crowd-pleasing movie by every means, so it’s hard to hate.
Sebastian
The sex worker drama Sebastian follows an aspiring writer in London who takes up a job as a sex worker to do research for his debut novel. Although the movie shares several similarities with classics in the queer canon like Mysterious Skin, it also stands on its own thanks to a tender and empathetic approach to its characters. This is not a film that lingers on queer misery — instead, it is much more interested in exploring the reality of queer sex and love. When you add in Ruaridh Mollica’s incredible, ambiguous performance, it’s a truly effective entry in this subgenre.
NewFest Pride ran in NYC and online from May 30 to June 3.
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