By Camden Ferrell

This year's Academy Award nominees for Best Live Action Short Film covers all walks of life like a family trying to obtain a green card, an intelligent young factory worker in India, a ranger protecting African rhinos, a train being stopped in search of Muslims, and a woman suffering an identity crisis in a tech-heavy world. Catching up on each year's slate of nominees is always an interesting task as these categories are unpredictable and expose you to films both good and bad that one might not have otherwise seen. Below, we at disappointment media will break down the highs and lows and try and offer some insight into who will be going home victorious on Oscar night.

5. Anuja

A well-intentioned short film following Anuja, a factory worker (who is played by an actual girl from a children's home for Indian street children and working children), this movie is adequately made and conventional to a fault. Anuja is a brilliant young girl who finds herself torn between a society that forces her to work and aspirations to put her intelligence to good use. It highlights a troubling reality that exists for many kids in India, but it ultimately feels inconsequential. It doesn't adequately explore her story in any meaningful way to the point that it almost feels like a proof of concept for a feature that would inevitably do the story more justice. There are some good performances from these child actors, but it doesn't feel like it has the substance to be anything more than passable.

4. The Last Ranger

This is yet another competently made movie that feels like it's a piece of something much bigger and more compelling. Litha is a young child who gets a chance to experience Africa's natural beauty alongside a ranger. However, as we are all too aware, poachers arrive in an attempt to brutally steal a rhino's horn. What ensues is danger and an all too common reality for the men and women who protect some of Earth's most scarce and majestic creatures. Cindy Lee directs a mostly decent film, but at nearly half an hour, it doesn't feel like it fully earns that runtime. It's also a short film that feels far more suited for the documentary format in order to capitalize off of the call to action it is so desperately aiming for. 

3. I'm Not a Robot

Definitely the lightest of the nominees in this category (although this one can still get quite dark), this is an intriguing film that gets points for its creativity if nothing else. Lara is a woman who consistently fails to pass a CAPTCHA online, leading her to suspect she might not be a human after all. What follows is a full-blown Black Mirror-esque identity crisis. It features a strong leading performance from Ellen Parren and decent musings on humanity from writer/director Victoria Warmerdam. However, there's some invisible factor here that's preventing it from elevating to anything more than a moderately intriguing thought experiment. Like I said, it gets points for creativity, but it just doesn't satisfy the same itch as the better nominees in this category.

2. The Man Who Could Not Remain Silent

This short film follows a train traveling in Europe that is stopped by paramilitary forces who are attempting to locate Muslims and take them off the train. As the title suggests, one man stands up to this timely act of oppression. What this film does so well is subvert expectations in a way that truly solidifies its core themes. In addition to that, there's an extremely nuanced and profound message about the the absolutely thin line between action and a desire to action. We must confront our own characters and see if we can delicately traverse the gray area between who we are and who we want to be when faced with adversity. However, despite these great elements, what's keeping it from my #1 spot is that even for its brief runtime of 14 minutes, I feel like it was losing some steam that unfortunately softened the impact of its final moments.

1. A Lien

This was easily the hardest of the short films to watch. While these categories often skew towards timely themes, this one is especially brutal to watch given the current climate and new administration in the United States. This film follows a family as they show up for their interview to start the green card process when unforeseen complications arise. Writer and directors David and Sam Cutler-Kreutz create an utterly chaotic and stress-inducing environment without feeling like they have relinquished any control as directors. Its erratic camera work, execution, and great performances make this a memorable and distressing experience that shines a light on a pervasive and predatory issue plaguing this nation that was founded by immigrants not too long ago.

Will Win: The Man Who Could Not Remain Silent
Can Win: Anuja
Should Win: A Lien

The 20th annual Oscar® Nominated Short Films theatrical release, presented by SHORTS, is coming to cinemas starting February 14, 2025.​

By Sean Boelman

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 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 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.

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.

Here are our final predictions for the 2024 Best International Feature Oscar Shortlist:

Likely Nominees:

1. Emilia Pérez
2. I’m Still Here
3. The Seed of the Sacred Fig
4. The Girl With the Needle
5. Kneecap

Serious Contenders:

1. How To Make Millions Before Grandma Dies
2. Flow
3. Dahomey
4. Armand
5. Santosh

Filling Out the Shortlist:

1. Universal Language
2. Grand Tour
3. Touch
4. In Her Place
5. Vermiglio

Potential Upsets:

• Cloud
• Sujo
• From Ground Zero
• La Palisiada
• Everybody Loves Touda

Please Consider:

• Cloud
• Everybody Loves Touda
• The Last Journey
• Nawi
• Bauryna Salu

Other Submissions:

• Reinas
• Triumph
• Old Fox
• Saturn Return
• Drowning Dry
• Memories of a Burning Body

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:

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. 

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.

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. 

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