Foreign Exchange: International Crossover Contenders

Each year the Academy makes up for its arcane process of selecting nominees for Best Foreign Language Film by reaching out to other representatives in the best of international cinema that might miss inclusion in that category. The movies eligible for screenplay honors gives us a handy checklist to see which titles were released in the window of opportunity to qualify across the board in all branches. I’ve sifted through the global titles and culled some of the most distinguished films that seem to have the best shot at being this year’s Pan’s Labyrinth.

It’s a good time to take a look at these possibilities because most are now widely available for screening in theaters or DVD. If I’ve neglected any likely contenders, those of you who have seen movies from other countries I might have missed, here’s your chance to wave the flag for your overlooked favorites.

ANTICHRIST (Actress, Cinematography)
BROKEN EMBRACES (Actress, Cinematography, Music)
COCO BEFORE CHANEL (Actress, Costumes)
IL DIVO (Cinematography, Editing, Screenplay)
THE MAID (Actress)
RED CLIFF (Editing, Cinematography)
SIN NOMBRE (Screenplay)
THE STONING OF SORAYA M. (Actress)
THE WHITE RIBBON (Director, Screenplay, Cinematography)

And a very special mention for a movie that’s not strictly foreign — but feels like it is because it’s far too literate and lyrical to have come from the studio factory system:

BRIGHT STAR (Director, Actress, Screenplay, Cinematography, Screenplay, Costumes)

It’s interesting to see so many standouts for Best Actress and Best Cinematography — an auspicious omen for those films because the potential for nomination in those two categories has proven favorable in recent years.

You’ll find a more complete list of international titles eligible in other categories after the cut.

AMREEKA
CHERRY BLOSSOMS EVA
THE HEADLESS WOMAN
LORNA’S SILENCE
OCEAN OF PEARLS
PARIS 36
PONYO (best shots: animated feature, score)
RUDO Y CURSI
SERBIS
SIMON & MALOU
THE SONG OF SPARROWS
THIRST
TOKYO SONATA
A WOMAN IN BERLIN

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I’ll follow this angle off on another tangent and list a few movies flavored with a “foreign” feeling that has probably hurt their reception in the USA-centric arena. Although like Bright Star, they may be in English, each one has that exotic otherness we find enriching international cinema. It’s a real shame that some equate complex with difficult, because it’s the absence of typical Hollywood tone and attitude is what makes these film especially appealing. And many of these showcase an extraordinary lead performance: