Best International Film: Poland's "The Peasants" & the Philippines' "The Missing"

by Cláudio Alves

As Guillermo del Toro loves to remind us, animation is cinema. It's not a genre but a medium with its own particularities and styles, distinct idioms, and formal grammar. This year, some countries have taken these values to heart, selecting animated works to represent them at the Oscars. Curiously, two of them offer original ways to consider Rotoscoping as an animation practice, defying those who dismiss such films as lesser. They are Poland's The Peasants, from the same team behind Loving Vincent, and The Missing from the Philippines. Between painterly ravishment and digital befuddlement, these filmmakers take Rotoscope cinema to its limits and beyond…

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Best International Film: Italy's "Io Capitano" and Belgium's "Omen"

by Cláudio Alves

Immigrant stories manifest across multiple Oscar submissions this year. There's Sweden's Opponent and Australia's Shayda, with their focus on Iranian expats trying to rebuild in another nation, as well as a vital narrative thread in Germany's Teachers' Lounge. The films from Italy and Belgium turn their gazes to Sub-Saharan Africa, though their perspectives are inverted. Io Capitano considers an odyssey from Senegal to the Italian shore, while Omen starts with a Congolese immigrant looking back to his origins. One is a journey in search of a new life, the other a reflection on an old life left behind. 

Each proposes a cinema hinged on the tension of modern realism and folkloric tradition, dictating wild tonal swerves and keeping in line with many of the most interesting African films in recent memory…

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Interview: 'The Missing' director Carl Joseph Papa and actor Gio Gahol on making Oscar history for the Philippines

by Juan Carlos Ojano

Carlo Aquino and Dolly de Leon.

Carl Joseph Papa's Oscar submission The Missing (original title: Iti Mapukpukaw)  centers on a mouthless young man whose life is rocked when a familiar alien returns to his life. In telling this deeply personal story using animation, Papa examines the long-term effects of childhood trauma on people and how far kindness could go in helping them in reclaiming their voice. The Missing is the Philippines' official submission for Best International Feature Film at the 96th Academy Awards, becoming the country's first animated feature film to represent the country (out of 33 submissions). Out of the eight countries that submitted for the category's first competitive year in 1956, only the Philippines is yet to be nominated.

In this in-depth discussion, writer-director Carl Joseph Papa and actor Gio Gahol tackle the taboo topic of childhood sexual abuse in the country, pulling off the feat of shooting the film within four days, the artists that inspired them in their craft, and working with BAFTA nominee Dolly de Leon (Triangle of Sadness)...

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Best International Film: Switzerland's "Thunder" and Austria's "Vera"

by Cláudio Alves

After a litany of TIFF titles, Sweden's Opponent, and a pair of Latin American gems, let's take our Best International Film odyssey to Central Europe. There, we find a most curious couple from neighboring nations – a Swiss period piece about sexual repression and an Austrian docu-drama hybrid on an Italian celebrity. Both countries succeeded with the Academy in the past, having won twice each. Switzerland had its heyday in the last decades of the 20th century, taking the trophy for 1984's Dangerous Moves and 1990's Journey of Hope. For Austria, the triumph's more recent, with 2007's The Counterfeiters and 2012's Amour.

Thunder and Vera aren't likely victors like those past titles, but they're worth your time, nevertheless…

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Best International Film: Argentina's "The Delinquents" and Mexico's "Tótem"

by Cláudio Alves

In its long history, the Academy has awarded the Best International Film Oscar to a Latin-American country four times. The first two were from Argentina, 1985's The Official Story and 2009's The Secret in Their Eyes, followed by Chile with 2017's A Fantastic Woman, and Mexico with 2019's Roma. Looking at those dates, it's fair to say AMPAS has become more open to Latin cinema in the 21st century, even though Europe remains the category's continental champion. Hope remains eternal that voters will broaden their horizons. 

I've already reviewed Chile's submission, The Settlers, when at TIFF. So, it's time to consider the films of the other two Latin victors of yesteryear. There's Argentina's newly released The Delinquents, and Mexico's Berlinale prize-winner Tótem…

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