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Klaudia Reynicke’s Berlin prize-winning family drama Reinas has sold around the world, including to the US, ahead of it screening in the Piazza Grande section of next month’s Locarno Film Festival.

The feature, directed by Swiss-Peruvian Reynicke, has sold to Outsider Pictures (US), Films We Like (Canada), Penny Black Media (worldwide airlines), Ads Service, Estinfilm (Estonia), Belas Artes Grupo (Brazil), Falcon Pictures (Indonesia) and Arsenal Filmverleih.

Distribution in Switzerland will be handled by Filmcoopi, BTeam Pictures in Spain and Tondero Distribución in Peru, releasing early in September in Switzerland and Spain and late August in Peru. Reinas will...

Line-up for the 25th edition of the market includes 16 completed features, 15 Wip, 17 films in development.

Films by Sweat director Magnus von Horn and Margrete: Queen of the North filmmaker Charlotte Sieling will be presented at the 25th Nordic Film Market (January 31-February 2), the film marketplace of Goteborg Film Festival.

The projects are among the 15 Nordic films in post-production being showcased in the Works in Progress strand.

Scroll down for the full Market selection

Swedish director von Horn attends with The Girl With The Needle, a horror story set in 1910s Denmark, starring Trine Dyrholm and produced by Creative Alliance’s Malene Blenkov.

The Göteborg Film Festival’s film industry confab, the Nordic Film Market, unspooling Jan 31-Feb. 2, has unveiled in exclusivity to Variety its 2024 lineup comprising 58 new and upcoming Nordic films.

These are directed by newcomers and bona fide helmers such as Hans Petter Moland, Rúnar Rúnarsson, Charlotte Sieling, Daniel Espinosa and Pirjo Honkasalo.

Just over two weeks before kick-off, a record number of delegates – 507 from 33 countries – have signed up for the biggest film market in the Nordic region.

The 90-plus international buyers, 90 funding bodies, 60 festival programmers and 50 sales agents can look forward to a revamped showcase, both in terms of programming and set-up, with a new hub for networking and accommodation at the Clarion Hotel Draken. “We’re very excited about making this year’s venue both new and familiar for delegates coming to Göteborg,” said head of industry Josef Kullengård.

“The industry has entered a slowdown, but creatively, the Nordic...

The selection also includes projects from Kirill Serebrennikov and Agnieszka Holland

David Cronenberg’s The Shrouds is among 32 projects to receive a share of €8.3m in Eurimages’ latest round of co-production funding.

Cronenberg’s new feature, a co-production between Canada and France, received €500,000 – the largest amount awarded in this round of funding. Vincent Cassel plays a widower who creates a device that allows you to connect with the dead. Diane Kruger and Guy Pearce also star in the thriller.

Scroll down for full list of titles

The only other project to also receive €500,000 was Adrià Garcia’s animation The Treasure Of Barracuda,...

The Eurimages Project Evaluation Session of 2023 have just been announced and among the 32 supported films we have some veteran filmmakers in David Cronenberg (The Shrouds), Agnieszka Holland (The Green Border) and Kirill Serebrennikov (Disappearance aka La disparition) landing some significant coin amounts. Also grabbing some noteworthy sums of euros are filmmakers Burhan Qurbani (No Beast So Fierce), Jonathan Millet (Lives of Hamid), Nóra Lakos (I Accidentally Wrote a Book) and Scandi helmers Jeanette Nordahl (Connections) and Fanny Ovesen (Laura). Here is the entire list which includes docus and animated films:

A Light at Midday – Elena Manrique (Spain) – €300 000

Aïcha – Mehdi Barsaoui (Tunisia) – €150 000

Bestiaries, Herbaria, Lapidaries – Martina Parenti, Massimo D’Anolfi (Italy) – €80 000 Documentary

Blood and Mud – Jean-Gabriel Leynaud (France) – €140 000 Documentary

Catane – Ioana Mischie (Romania) – €150 000

Connections – Jeanette Nordahl (Denmark) – €302 000

Disappearance – Kirill Serebrennikov (Russia) – €350 000

DJ Ahmet – Georgi Unkovski (North Macedonia) – €160 000

Dreaming of Lions – Paolo Marinou-Blanco (Portugal) – €150 000

Filipinas – Leonor Noivo (Portugal) – €74 500 Documentary

Flow – Gints Zilbalodis (Latvia...

Festival continues through Sunday.

Danish director Lea Glob’s Apolonia, Apolonia has won best film in the international competition at the 35th edition of International Documentary Festival Amsterdam (IDFA), running 9-20 November.

The award,which comes with a €15,000 euro cash prize, was confirmed on Thursday evening in a ceremony at Ita (International Theatre Amsterdam) that was streamed live.

Apolonia, Apolonia, backed by HBO Max and Arte and sold by Cat&Docs, follows brilliant young artist Apolonia Sokol over a period of 13 years. It was produced by Sidsel Siersted for Danish Documentary Production.

“This film has characters who breathe life and take us on a journey,...

Lea Glob’s documentary “Apolonia, Apolonia,” depicting French figurative painter Apolonia Sokol over the course of 13 years, has won the best film award in the International Competition section as well as €15,000 at documentary film festival IDFA in Amsterdam.

The coming-of-age story with Bohemian Paris as its backdrop was pitched at IDFA Forum back in 2015. In his Variety review for “Apolonia, Apolonia” Guy Lodge described the docu as “an impressively idiosyncratic, far-reaching work, assured of further festival play and specialist arthouse attention.” The film is a co-production between Denmark, Poland and France.

This marks the third time that Glob, a Danish director, has been at IDFA with a docu.

Glob’s “Olmo & the Seagull” which she co-directed with Petra Costa screened at IDFA 2015, while “Venus,” which was co-directed with Mette Carla Albrechtse, made its world premiere at IDFA in 2016.

“(‘Apolonia, Apolonia’) has characters who breathe life and take us on a journey,...

“It means the work is causing some discomfort.”

Laura Poitras, the Oscar and Golden Lion-winning director of documentaries including Risk, Citizenfour and this year’s All The Beauty And The Bloodshed, revealed the calculated risks she takes and the extraordinary lengths to which she goes to protect her footage at a masterclass at the International Documentary Film Festival Amsterdam (IDFA) this weekend where she is this year’s guest of honour.

She used the masterclass to voice her fears about what she believes will be an increased threat to filmmakers and journalists from governments if Wikileaks founder Julian Assange is extradited to the US.

U.S. director-producer Laura Poitras, who won an Oscar and an Emmy with Edward Snowden film “Citizenfour,” and recently took the Golden Lion at Venice with opioid epidemic pic “All the Beauty and the Bloodshed,” will be the Guest of Honor at the International Documentary Film Festival Amsterdam. The 35th edition of the festival takes place from Nov. 9 to 20.

Poitras will be honored at IDFA with the Retrospective and Top 10 programs, in which she curates 10 films. The Top 10 program includes reflections on political imprisonment (“Hunger” by Steve McQueen; “This Is Not a Film” by Jafar Panahi and Mojtaba Mirtahmasb), incarceration and psychiatry (Frederick Wiseman’s “Titicut Follies”), and genocide (Claude Lanzmann’s “Shoah”). As part of the Top 10, Poitras will be in conversation with several of her selected filmmakers during the festival’s public talks program.

In the Retrospective section, IDFA presents all seven films directed by Poitras from 2003 to today.

Oscar-winning director Laura Poitras will be guest of honor at the 35th International Documentary Film Festival Amsterdam (IDFA), running from November 9 to 20.

Poitras is currently on a packed festival tour with All The Beauty And The Bloodshed, which won the Golden Lion in Venice and is now an awards season contender. After Venice, the title screened in Toronto and has dates set for New York and the BFI London Film Festival.

As guest of honor at IDFA, Poitras will be feted with a retrospective and has also been given carte blanche to curate 10 films that have influenced her work and shaped her view of the world.

Her Top 10 selections include Steve McQueen’s Hunger, Jafar Panahi and Mojtaba Mirtahmasb’s This is Not A Film, Frederick Wiseman’s Titicut Follies and Claude Lanzmann’s Shoah.

As part of the sidebar, Poitras will also conduct on-stage conversations with a number of the selected filmmakers.

Over the course of a celebrated 40-year career, veteran Danish editor Niels Pagh Andersen has worked on critically acclaimed films including Pirjo Honkasalo’s “The 3 Rooms of Melancholia” and Joshua Oppenheimer’s Oscar-nominated “The Act of Killing” and “The Look of Silence.”

One of the key takeaways from those collaborations, which he explores in his new book “Order in Chaos: Storytelling and Editing in Documentary Film,” is the importance of the creative synergy that forms between an editor and a filmmaker.

“The artistic vision is the director’s responsibility. But with the [editing] process, there I feel it’s also my responsibility that we get the best out of the two of us,” says Andersen, who gave a masterclass this week at the Thessaloniki Documentary Festival. “If you can have the creative dialogue, then you create something that is bigger than the individual.”

In “Order in Chaos,” Andersen offers readers a...

London-based sales agency Film Republic has boarded Finnish film “Eden” as it prepares for the European Film Market in Berlin. The company has released a teaser for the film.

“Eden,” the debut feature film by Ulla Heikkilä, is produced by Miia Haavisto from Tekele Productions. It will be released in Finland in the summer by Nordisk Film.

A coming-of-age film about a religious summer camp, Eden tells the story through the eyes of three youths who are torn between ideology, independence and falling in love.

Heikkilä said: “It’s been a wonderful experience to be making a coming-of-age film. For me, youth is condensed humanity: it’s almost like being an adult but not having had the time to get used to all the drama that life consists of. The bliss and the pain of growing up move me, maybe because I’m still feeling both all the time. I...

With his epic fourteen-hour documentary “Women Make Film: A New Road Movie Through Cinema,” writer/director Mark Cousins doesn’t skimp in his continuing pursuit to celebrate female filmmakers. Set to finally screen at its full-length (in five parts) next month at the Toronto International Film Festival, the movie is narrated by an eclectic list of voices.

UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.

“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.

With his epic fourteen-hour documentary “Women Make Film: A New Road Movie Through Cinema,” writer/director Mark Cousins doesn’t skimp in his continuing pursuit to celebrate female filmmakers. Set to finally screen at its full-length (in five parts) next month at the Toronto International Film Festival, the movie is narrated by an eclectic list of voices.

UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.

“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.

The world of documentary filmmaking is as diverse as that of its fiction sibling, although what’s regularly shown on television or in larger theater chains may lead you to believe otherwise. While fiction is seemingly freer to imagine different stories and forms, the culturally dominant approach to nonfiction cinema hardly suggests its possible dynamism. Since documentaries are often hamstrung by notions ironically imported from mainstream fiction filmmaking—character arcs, straight-forward storytelling, satisfying conclusions—the kind of nonfiction movies that achieve broader cultural interest tend to be neatly packaged delivery vehicles for information one could easily glean much more quickly from an article. This approach while most visible is hardly the norm, and the world is far too messy and filmmakers far too adroit at being inspired by this terrific confusion to be limited to the commercial standards of truth-telling. After all, while the truth is a necessary component of living,...

Ghost Town AnthologyThe titles for the 69th Berlin International Film Festival are being announced in anticipation of the event running February 7-17, 2019. We will update the program as new films are revealed.COMPETITIONThe Ground Beneath My FeetThe Golden Glove (Faith Akin, Germany/France)By the Grace of GodThe Kindness of StrangersI Was at Home, but A Tale of Three SistersGhost Town Anthology (Denis Côté, Canada)Berlinale SPECIALGully Boy (Zoya Akhtar, India)BrechtWatergate (Charles Ferguson, USA)Panorama 201937 Seconds (Hikari (Mitsuyo Miyazaki), Japan)Dafne (Federico Bondi, Italy)The Day After I'm Gone (Nimrod Eldar, Israel)A Dog Called Money (Seamus Murphy, Ireland/UK)Waiting for the CarnivalChainedFlatland (Jenna Bass, South Africa/Germany/Luxembourg)Greta (Armando Praça, Brazil)Hellhole (Bas Devos, Belgium/Netherlands)Jessica Forever (Caroline Poggi, Jonathan Vinel, France)AcidMid90s (Jonah Hill, USA) Family MembersMonos (Alejandro Landes, Columbia/Argentina/Netherlands/Germany/Denmark/Sweden/Uruguay) O Beautiful Night (Xaver Böhm,...

Keep up with the wild and wooly world of indie film acquisitions with our weekly Rundown of everything that’s been picked up around the globe. Check out last week’s Rundown here.

– Exclusive: Breaking Glass Pictures has acquired North American distribution rights to Nick Corporon’s debut feature film, “Retake.” The film follows “a handsome businessman [who] hires a prostitute to role-play as his long-lost love. What follows is a road trip full of manipulation and mystery as both men near their final destination.” The film premiered in 2016 at Frameline, and went on to play ImageOut, Reel Q, Seattle Twist, Reel Affirmations and Outfest. It stars Tuc Watkins and Devon Graye.

Breaking Glass is planning a theatrical premiere in Los Angeles followed by an On Demand and DVD release early in the first quarter of 2017.

– Strand Releasing has acquired all U.S. rights to Portuguese director Joao Pedro Rodrigues’ “The Ornithologist,...

St Petersburg’s Efp showcase will features eight titles this year.

The Swiss gay docu-drama The Circle is among eight European films being shown as part of European Film Promotion’s (Efp) third edition of its Westwind showcase in St Petersburg, October 21-25.

The line-up includes: the Spanish comedy Living Is Easy With Eyes Closed, which will be accompanied in person by its director David Trueba; Tom Collins’ Irish drama The Gift, attended by actors Dara Devaney and Paul Griffin; Montenegrin writer-director Nikola Vukčević’s revenge thriller/melodrama The Kids From Marx and Engels Street; Finnish filmmaker Pirjo Honkasalo’s dreamlike odyssey Concrete Night; and German feature debutant Sebastian Ko’s We Monsters which had its North American premiere in the Discovery sidebar in Toronto this month.

The other films programmed to screen in the Hotel Angleterre cinema are Pol Cruchten’s drama Never Die Young and Daniel Dencik’s historical drama Gold Coast as well as...

Now in its fourth year, the Finnish Film Affair, which runs Sept 22-24, has attracted a record number of 70 guests and top Us executives for a panel on how to develop films for the American market. New this year is the award for Best Pitch in the works-in-progress presentation worth 3000 Euros of international marketing funds. The Finnish Film Affair takes place as part of the Helsinki International Film Festival, a.k.a. Love & Anarchy.

With Jalmari Helander putting Finland on the map with "Big Game" starring Samuel L. Jackson and its international success, local filmmakers can find out more on how to tackle the U.S. market from leading U.S. experts, including Ryan Wickers (Director of Development of U.S. Production at EuropaCorp), Peter Trinh (Agent, International and Independent Film ICM), Robert Burke (Managing Director, TenOne Entertainment) and Sundance Film Festival senior programmer Hussain Currimbhoy. The panel’s moderator is La-based producer Gudrun Giddings (CEO & Producer at G4C Innovation).

Last year’s Finnish Film Affair projects that went on to international success were Pirjo Honkasalo’s "Concrete Night," which won the Spotlight Award from the American Society of Cinematographers this year, and Klaus Härö's "The Fencer," which is this year’s Oscar entry for Finland and sold is by the Little Film Company.

This year’s Works-in-Progress line-up of nineteen projects includes work by as many as six female directors: Katja Gauriloff ("Canned Dreams," Berlin 2012), Zaida Bergroth ("The Good Son," Tiff 2011), Selma Vilhunen (Academy Award-nominee for Best Short Film "Do I Have to Take Care of Everything?" 2014), and Elli Toivoniemi (producer of "Do I Have to Take Care of Everything?," now launching her directing career).

As Hiff executive director Sara Norberg comments, “It’s great to see former Finnish Film Affair titles doing so well. After three successful editions, the Finnish Film Affair has clearly established itself internationally as the place to discover new local talent. Our aim is to strengthen that local talent with our panels, the Project Development Clinic and now the new award for best pitch. At a time when the discussion about equal funding opportunities for female directors has become a hot topic, we are especially proud to be presenting so many female-driven projects.”

The Project Development Clinic will feature ten projects by first and second-time filmmakers. Confirmed guests include sales companies, distributors and programmers from Europe and North America: Fortissimo, Urban Distribution, Picture Tree International, Dogwoof, Trust Nordisk, Cinemavault, Nonstop Entertainment, Sundance, and SXSW.

For more information and the full line-up of films screenings visit Here.

Academy invitee Eddie Redmayne in 'The Theory of Everything.' Academy invites 322 new members: 'More diverse and inclusive list of filmmakers and artists than ever before' The Academy of Motion Picture Arts and Sciences has offered membership to 322 individuals "who have distinguished themselves by their contributions to theatrical motion pictures." According to the Academy's press release, "those who accept the invitations will be the only additions to the Academy's membership in 2015." In case all 322 potential new members say an enthusiastic Yes, that means an injection of new blood representing about 5 percent of the Academy's current membership. In the words of Academy President Cheryl Boone Isaacs (as quoted in the press release), in 2015 "our branches have recognized a more diverse and inclusive list of filmmakers and artists than ever before, and we look forward to adding their creativity, ideas and experience to our organization." In recent years, the Academy membership has...

©Renzo Piano Building Workshop/©Studio Pali Fekete architects/©A.M.P.A.S.

The Academy of Motion Picture Arts and Sciences announced this week that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall.

“I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Mayor Eric Garcetti. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.”

“We are grateful to our incredible community of supporters who have helped make this museum a reality,” said Dawn Hudson, the Academy’s CEO. “Building this museum has been an Academy...

After the Academy of Motion Picture Arts and Sciences announced Friday it has invited 322 people to join this year, many pundits remarked upon the considerable number of younger invitees, women and minorities among them. I noticed that, too, but something else also caught my eye: the fact that at least three dozen of them were born somewhere other than America or the U.K. That number is, by all indications, unprecedented in the history of the 88-year-old organization. Among this year's foreign-born invitees are directors Guy Davidi (Israel), Pirjo Honkasalo (Finland), Bong Joon-ho (South Korea), Francois

read more...

Strangely dropping a press release on a historic day where the nation's attention is elsewhere, the Academy of Motion Picture Arts and Sciences revealed their annual list of new member invitees this morning. For those who criticize the makeup of the Academy there was some good news and the stark realization the organization still has a long way to go. The Academy has spent the last eight to 10 years attempting to diversify its membership and this year's class mostly reflects that. There are significantly more invitees of Asian and African-American descent, but the male to female disparity is still depressing. Out of the 25 potential new members of the Actor's Branch only seven are women. And, no, there isn't really an acceptable way for the Academy to spin that sad fact. Additionally, It's important to realize the 322 people noted in the release have only been invited to join Hollywood's most exclusive club.

With all the Hollywood glamour and star-studded red carpets that awards season entail, sometimes the craft and talent behind the films get overlooked. Last week, the Asc handed out their annual awards celebrating the most impressive achievements in cinematography, and we were happily surprise to see Peter Flinckenberg win the Asc Spotlight Award for "Concrete Night." Showcasing flawless, expressive, black-and-white cinematography, recognizing this intimate film was definitely a wise decision.

Read More: Interview with Dir. Pirjo Honkasalo on the Visually Stunning "Concrete Night"

The film was directed by Pirjo Honkasalo and it was chosen as Finland's Oscar entry in the Best Foreign Language Film race. This is the first time that a Finnish DoP was nominated, let along won a major tech award from an American association. The American Society of Cinematographers created this award last year to recognize new or forward thinking talent. The other nominees were Darius Khondji, Asc, Afc, for "The Immigrant" and Daniel Lavin, Bsc, for "Under the Skin."

“These nominees have created some of the more inspiring and imaginative visuals our members have seen recently,” said Asc Awards Chairman Lowell Peterson. “We’re proud to recognize their innovative work, and we hope at the same time to raise the profile of these films, so more audiences have a chance to see them.”

Read More: Tribeca Review - "Love and Engineering"

Flinckenberg is one of the most courageous and experienced cinematographers of the younger film generation in Finland. He has worked both in documentaries and features, and his latest works include the Oscar® nominated short "Do I Have to Take Care of Everything?"(by Selma Vilhunen, 2012), "Miss Blue Jeans" (by Matti Kinnunen, 2012), "Love and Engineering" (by Tonislav Hristov, 2014, Tribeca Film Festival) and "Pixadores" (by Amir Escandari, 2014, Idfa).

"Concrete Night" marks Finnish director Pirjo Honkasalo’s return to fiction, following years of internationally acclaimed documentaries. This boldly shot drama about the fateful misinterpretation of brotherly advise continues Honkasalo’s equally strong hand in fiction. The film clearly builds on her earlier features that premiered in Cannes, Venice and Locarno, which landed Honkasalo a spot in Tiff’s prestigious Master Series in 2013, which in previous years included Bernardo Bertolucci, Abbas Kiarostami and Michael Haneke

Based on a 1981 novel by leading author and Pirjo's life partner Pirkko Saisio, "Concrete Night" charts the last day and night of two young brothers as they roam around dreary high-rises and a hot, unforgiving Helsinki. Honkasalo envelops their dynamic in a dream-like noir tension, which leads Simo, the younger brother to emulate his brother Ilkka, who is due to start his prison sentence the next day. A boundless admiration for Ilkka, his only available role model, leads Simo to look for his identity in all the wrong places.

The film was produced by Bufo. Founded in 2007 by producers Misha Jaari, Mark Lwoff and screenwriter Vesa Virtanen, Bufo has produced a number of fiction films of which many have received international recognition.

Despite all the acclaim and recognition, "Concrete Night" is still looking for a U.S. Distributor to bring this hypnotic coming-of-age tale to American screens. World sales for the film are handled by nm5579306 autoXavier Rashid[/link]'s Film Republic.

Naomi Kawase, Michael R Roskam, Noomi Rapace among attendees.

Danish drama Key House Mirror, directed by Michael Noer (R), will open the 2015 edition of the Göteborg Film Festival (Jan 23 - Feb 2).

Ghita Nørby and Sven Wollter play the lead roles in the drama about an elderly woman who strikes up an unexpected relationship with a fellow care-home resident.

Jorn Donner’s docu-biopic of Finnish designer Armi Ranta, Armi Alive!, will close the festival.

Eight Nordic films will compete for the $125,000 Nordic prize with this year’s jury comprising directors Pernille Fischer Christensen, Pirjo Honkasalo, Anja Breienand Benedikt Erlingsson, as well as actress Maryam Moghaddam.

The nominees are:

Key House Mirror by Michael NoerMy Skinny Sister by Sanna LenkenIn Your Arms by Samanou Acheche SahlstrømParis of the North by Hafsteinn Gunnar SigurðssonThey Have Escaped by Jukka-Pekka ValkeapääHomesick by Anne SewitskyUnderdog by Ronnie SandahlWomen in Oversized Men’s Shirts by Yngvild Sve FlikkeDebut prize

The Ingmar Bergman International Debut Award...

So much for the tentative peace in the region, which despite a lull in violence since 2009, has come with heavy tolls: displacing hundreds of thousands and killing more than 150,000 people....Made in the early 2000s, deep into the Second Chechen War, Finnish filmmaker Pirjo Honkasalo’s The 3 Rooms of Melancholia offers a startling snapshot of the human cost of the Russian-Chechen conflict.>> - Anthony Kaufman...

So much for the tentative peace in the region, which despite a lull in violence since 2009, has come with heavy tolls: displacing hundreds of thousands and killing more than 150,000 people....Made in the early 2000s, deep into the Second Chechen War, Finnish filmmaker Pirjo Honkasalo’s The 3 Rooms of Melancholia offers a startling snapshot of the human cost of the Russian-Chechen conflict.>> - Anthony Kaufman...

In a year of 83 record submissions, a pack of critically applauded frontrunners stand out in a lively foreign Oscar race defined by quality and quantity, including Poland's "Ida," Belgium's "Two Days, One Night" and Russia's "Leviathan." Yet if I had my pick of the lot, here are five standout entries due for consideration, and in the case of Finland's "Concrete Night," Us distribution as well. You can catch all five at the Palm Springs International Film Festival next month. Honorable mentions and other contenders picking up heat include: "Wild Tales" (Argentina), "Timbuktu" (Mauritania), "White God" (Hungary), "Beloved Sisters" (Germany), "The Circle" (Switzerland) and, with some trepidation, Nuri Bilge Ceylan's bloated, but haunting talkfest "Winter Sleep" (Turkey). "Concrete Night" (Dir. Pirjo Honkasalo, Finland) While this black-and-white snapshot of a 14-year-old boy's...

The Palm Springs International Film Festival has increasingly become an important stop on the awards calendar for foreign language films. While the desert fest hands out an international critics prize, it’s more about the filmmakers getting a chance to rub shoulders with Academy members just before nominations ballots are due. The upcoming 26th annual fest is running January 2-12 and has announced the movies that will compete for the Fipresci prize in its Awards Buzz section. Fifty of the 83 official submissions for the Best Foreign Language Film Oscar are on the list with the titles chosen believed by festival programmers to be the strongest entries in this year’s Academy Awards race. A special jury of international film critics will screen the films and hand out a Fipresci for an individual title as well as Best Actor and Best Actress. While the fest doesn’t always match the eventual Oscar winner,...

The organisers of the 26th annual Palm Springs International Film Festival (Psiff) will screen 50 of the 83 foreign-language Oscar submissions.

A jury of international film critics will be convened to bestow the Fipresci Award for best foreign language film of the year, as well as best actor and best actress in this category.

Further film programmes will be announced in the coming weeks. Psiff is set to run from January 2-12.

The Awards Buzz selections in alphabetical order of country are:

A Few Cubic Meters Of Love (Afghanistan), Jamshid Mahmoudi:

Wild Tales (Argentina), Damián Szifrón;

Charlie’s Country (Australia), Rolf de Heer;

The Dark Valley (Austria), Andreas Prochaska;

Nabat (Azerbaijan), Elchin Musaoglu;

Two Days, One Night (Belgium-France-Italy), Jean-Pierre Dardenne, Luc Dardenne;

The Way He Looks (Brazil), Daniel Ribeiro;

Mommy (Canada), Xavier Dolan;

To Kill A Man (Chile), Alejandro Fernández Almendras;

The Nightingale (China), Philippe Muyl;

Mateo (Colombia), Maria Gamboa;

Cowboys (Croatia), Tomislav Mršić;

Behavior (Cuba), Director [link=nm...

Transformed into an obscure landscape with endless possibilities, Helsinki comes alive in Pirjo Honkasalo’s latest work “Concrete Night.” Through her lens, the acclaimed Finnish filmmaker navigates the city and its characters while following Simo (Johannes Brotherus), a young boy who loses his way as he tries to find himself by connecting with his brother Ilkka (Jari Virman). Shot in spectacular black and white, the film combines its stunning visuals with the human darkness that Simo encounters along the way. Poetic, tragic, and above all beautifully executed, “Concrete Night” marks Honkasalo’s return to narrative filmmaking after working in the documentary realm for many years.

The film is based on the novel by Pirkko Saisio, who is also Honkasalo’s lifelong partner, and it presents a coming-of-age story that highlights the city it takes place in and the ambiguity of its character’s choices. Despite the stark themes her film exposes, Honkasalo humorous demeanor speaks of her incessant passion to reinvent her work without taking herself too seriously. Watching her film it’s easy to see she has an observant eye for human nuance that can only come from years of experience working in non-fiction and with actors both in film and theater.

“Concrete Night” is Finland’s official submission for the Academy Awards in the Best Foreign Language Film category. The colorful and warm Pirjo Honkasalo talked to us recently in L.A. about her extensive career and her return to fiction.

Carlos Aguilar: You worked in documentaries for several years before making “Concrete Night.” What did you decide to concentrate on non-fiction for a big part of your career?

Pirjo Honkasalo: I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered. It’s said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don’t have to make their film [Laughs]. That’s probably why I got tired of it. I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn’t make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film [Laughs]. Of course, it didn’t go that way.

Aguilar: The novel on which the film is based was written by your partner Pirkko Saisio several years ago. Was it the novel that pushed you to return to fiction? Why did you decide to make this film now?

Pirjo Honkasalo: I first read the novel when it came out 30 years ago. This is the first film I’ve done based on a novel, and I think that too often we, film directors, think that a big epic novel and feature film are the same. It’s a lie. A feature film is much closer to a short story actually. If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can’t cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film [Laughs].

If you have all these climaxes then you have no time for the rest of the film. This way the film would lack depth because you have all the things that happen but you have no motive for them on a more profound level. This novel immediately felt like it was the perfect size for a feature fiction film. The story is simple enough that it gives you the possibility to portray all these layers with image and sound. I was also very touched by the main character and how he was portrayed in the book.

I didn’t do the film at the time when I first read the novel, and then ten years ago I decided it was time to make it. I held auditions and I chose the actors, but suddenly I was invited by German and Japanese people to make a feature documentary in India and Tokyo. I fell into the temptation [Laughs]. After that I continued making documentaries for some time. At some point I felt like I had come to a certain borderline in documentary. I had always felt like I was able to bring something new until then. Documentaries started to come too close to fiction, which showed me that it was time to go back. I had chosen the actors back then, and when I finally decided to make it I called Jari Virman, the actor who was going to play the older brother, and I said “Come visit me, I want to see what you look like now “ [Laughs]. He was, of course, ten years older, but I took him anyway. With the actor I had originally chosen to play the 14-year-old that wasn’t going to work because he was now 24.

Aguilar: When adapting a novel into a screenplay it seems like one of the biggest issues is to know what to include or what to leave out? What was this process like with Pirkko?

Pirjo Honkasalo: Pirkko wrote the first version of the script by taking out a few things and rewriting some dialogue because amazingly enough in 30 years the language has changed quiet a lot. We don’t use certain words anymore, so she rewrote the dialogue. I work with her on the actual script but I didn’t shorten much. We didn’t really need to shorten it because it was the size of a feature film to begin with.

Aguilar: One of the most remarkable qualities of the film is the cinematography. Tell me about your approach in terms of the visual aesthetics and why did you decide to shoot the film in black and white?

Pirjo Honkasalo: Yes, the cinematography was of course incredibly important to me because I graduated as a cinematographer. In all my documentaries I did all the camera work, but in fiction I didn’t want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time. If you fill your time as a director talking about lights and technique with the crew then it’s frightening for the actors to be left alone. Somebody has to keep them safe from the mess that is the machinery. [Laughs]. Still, I did test shoots to show the Dp what kind of lighting I wanted. We did very profound test shoots, so much that when we started shooting the film we new exactly the visual look we were going for. We only had 21 shooting days.

Somehow the film naturally felt to me like it had to be black and white. Not only because black and white is wonderful, which is really not black and white but 260 shades of gray [Laughs], but I also felt like it is not important for the story to be placed in a particular year like 1980 or 2012. It was better for the time period not to be so clear. Almost everything was shot in Helsinki and the city looks very different in black and white. It’s really a different city, and that was also great because it took away any over realism that comes from all the colorful commercial signs. This way the film centers on the people. Most of the crew was quiet young and they had never done black and white. They totally fell in love with it, so much that when some of the dailies had color in them all the young filmmakers would go, “Yuck” or “Eww” [Laughs].

Aguilar: However, the dream sequences in the film look different from the “present.” There is a bit of color in those scenes.

Pirjo Honkasalo: I decided to do that so that so I didn’t have to tell the financiers that it was entirely in black and white [Laughs]. “There is a little color there is not black and white.” Of course, the colors in the dream sequences are highly manipulated. These scenes are not meant to be fully in color.

Aguilar: This is Simo’s coming-of-age story, what did you find so fascinating about this teenage character in particular?

Pirjo Honkasalo: The central element in the film is the relationship between the two brothers. When I think of this story I think about this 14-year-old boy who is still totally open to things, yet he could never lean or rely on his parents or anyone in his family. He is from the suburbs, and this night with his brother in downtown is his first night in downtown. It’s a completely new world and he has no tools. He is seeing things as they are as none of us see them anymore because we have built filters to protect ourselves. We would go insane if we saw how things really are, it’s unbearable.

Aguilar: Simo’s older brother Ilkka is the only role model the boy has. Yet, Ilkka seems to be a bit hopeless and warns Simo about he dangers of nurturing hope. Is he really hopeless?

Pirjo Honkasalo: I actually think that at the end of the film he represents hope in the sense that he cracks. At the end he allows himself to feel again. He has been protecting himself for so long in such a negative way that he can’t express positive feelings at all anymore. It’s hard to know if he is serious when he talks to his younger brother. It’s so flattering for him to know that he can manipulate someone else. He is really driven by this power to manipulate another soul because it’s wonderful [Laughs], and he has no idea that it’s so serious for Simo. I think we all do a lot of that.

Aguilar: What’s the difference between working with actors and dealing with real subjects in documentary filmmaking?

Pirjo Honkasalo: We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can’t wash away your life’s history, which is written on your face, unless you get a facelift [Laughs]. That’s the only way you could lose all of your history. That’s why it’s so important to know which actors to choose, because you are choosing their history to be in the film. You have to build the role accepting that they are bringing this history.

When you read a book you have a certain image of the character, but when you have a concrete person he or she never looks like what you imagined. You can interpret the character in the book through this real person, but you have to accept that the actor brings his history. I think that I have seen hundreds and hundreds of hours of ordinary people through my loop in the camera that I’m super allergic to anything that’s fake. I’ve seen how real people are. If an actor offers me something that is fake I don’t buy it. Why should I demand actors less than what I demand from real people when they are in front of the camera? When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time though the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.

Aguilar: How do people, both actors and non-actors, change when they are in front of the camera? Is there a way to really find objectivity when there is a camera rolling?

Pirjo Honkasalo: Every documentary is subjective. It’s a total lie to say there are objective documentaries. When you frame the first shot you have made a choice. Of course, having a camera around affects those in front of it. This is going to sound crazy, especially in America where there is a total inflation of the word “love,” but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don’t have to pretend just because they are scared.

It’s the same with actors. I don’t think the concept of “directing actors” exits in the sense that if you get what you order from an actor you’ll always get bad acting. Every actor is scared just like a regular person. You have to place them in a situation that creates the content of the scene. You have to take away their fear, and then if you succeed in doing this you get something you didn’t order, which is the only thing that is interesting. I like to get something that is impossible to verbally order. Sometimes it’s something the person is not even conscious of, and it’s something you could never ask of them specifically. It’s just there.

Aguilar: Given your vast experience with actors and the way people behave in front of the camera, what was it about Johannes Brotherus, who plays Simo, that caught your eye?

Pirjo Honkasalo: I auditioned dozens of 14-years-olds. When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions. All the other boys reacted in an expected way, “What the hell is this?” They didn’t know how long it’ll last or what to expect from me. Some of them started to laugh, some walked out, Johannes was the only one who chose to solve this by going inward. He went inside himself. He experienced the music by going inward and it was so beautiful to watch.

Aguilar: Besides your personal connection to Pirkko, what was it about this novel that inspired you to transform it into a film? Was it the subject matter?

Pirjo Honkasalo: It was because of the way it portrays this interesting age in the life of a human being. At this age your ego is so fragile, it hardly exists. I remember how I felt in my own teenager years. I felt. I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn’t exist yet. At 14 I thought, “Who was that girl who was in England last year? Because now I feel that I am me” At 13 I was someone that didn’t have a personality yet. It’s a fascinating period in a human life. It’s so exciting because you are in between childhood and adulthood and I think the novel describes it perfectly.

The novel says that when Simo is looking in the mirror he feels that he doesn’t have a face. He understands that one doesn’t get a face as a birth right. You have to deserve it. You have to build it. The film questions, “How do you get a face in one night? “ or “How do you find yourself in the mirror?” Without consciously thinking about it I have made several films about characters of that age. It took me 20 years to ask myself, “Why do I always make films about teenagers?”[Laughs].

Aguilar: You film is representing Finland at the Academy Awards, is this something that excited you or puts any pressure on you?

Pirjo Honkasalo: I think it’s wonderful and it’s a very interesting position to be in, but I also take it with humor. One shouldn’t take it too seriously. [Laughs]. I think that as a filmmaker your work ends when the film premiers. The filmmaker’s job lasts from the first thought to the premier of the film. If you look to find satisfaction in what follows after the premier you’ll never be satisfied because human beings are so greedy.

“Concrete Night” won 6 Jussi Awards, which are the Finnish Oscars, but for some people that might not be enough and they might want to have the real Oscar. Once they get that they will want to go after another prize. It’s the wrong way to find what belongs to you regarding the film. What’s yours is the trip from the beginning to the premier. If you are not satisfied with that then you better start doing something else. You give your film away to the audience once it’s done. I never look at my films after the premier. The film needs to start its own history.

Documentary festival to include a Q&A with CitizenFour director Laura Poitras and a strand dedicated to women in docs.

The 27th edition of International Documentary Festival Amsterdam (Idfa) (Nov 19-30) opened last night with the world premiere of Heddy Honigmann’s Around the World in 50 Concerts - made to celebrate the 125th anniversary of Amsterdam’s Royal Concertgebouw Orchestra.

With guests ranging from Naomi Klein and British director Nick Broomfield to Star Trek’s George Takei, Jay Jay French from Twisted Sister and documentary legend D.A. Pennebaker, this year’s edition is shaping up to be a typically lively affair.

Idfa is also a key industry event. Over 300 distributors, sales agents and festival programmers are registered for the annual “Docs For Sales” bazaar.

Meanwhile, the Forum, Idfa’s co-financing and coproduction market, will kickstart a number of new projects, among them Heddy Honigmann’s latest doc 100Up, a film about people from around the world who are...

Every year Hollywood gets a curated batch of films from dozens of countries seeking an Academy Award nomination for Best Foreign Language Film. One film per nation is chosen to represent the best of its cinematic production during the previous year. Certainly the chosen film is not always the ideal candidate, but the reasoning behind the selection usually follows two patterns: there are countries that go with the best film even if this is not the most appealing choice and there are countries that go with the most ambitious, industry-friendly, and financially successful work. This year the astonishing number of submissions – a total of 83 – makes for an incredible list of films that range from those that sport festival pedigree of the highest caliber, unknown gems looking for an audience, expensive visual achievements, and obscure art house hopefuls.

This year more than most, there are a great number of films with serious possibilities. There is no unshakable front-runner, but there are numerous favorites. Yet, looking at last year’s 9 shortlisted films and eventual 5 nominees, nothing is written in stone. Critics and audience favorites like “ The Past” (Iran), “Gloria” (Chile), “Heli” (Mexico), and “Wadjda” (Saudi Arabia) were left out to include surprises like “The Missing Picture“ (Cambodia), “An Episode in the Life of an Iron Picker” (Bosnia & Herzegovina) or “The Notebook” (Hungary).

With Awards Season now in full swing and knowing that this is one of the most difficult races to follow, here is a comprehensive list that includes information for each of the 83 submissions. Below each poster you will find the title of the film linked to its page on IMDb Pro followed by the title in the original language; the director’s name also linked to his/her IMDb Page; the language the film is primarily in; the name of the U.S. distributor if there is one; the name of the film’s International Sales Agent (Isa) or Production Company (PC) linked to the film’s page on Cinando; and a link to the film’s trailer (most of them have English subtitles, others are only in the original language, and a few are videos related to the film because a trailer wasn't available). In addition, reviews and interviews with many of these filmmakers will be added regularly.

Before getting into the list, let’s take a look at some of the statistics and patterns among these 83 foreign language features.

Period Dramas/Biopics

Several countries selected films based on the lives of prominent local figures or great period pieces, both showcase the level of films being produced across the globe in terms of production value and scope. Mexico’s “Cantinflas,” Venezuela’s “The Liberator,” Kyrgyzstan “Kurmanjan Datka Queen of the Mountains,” Bolivia’s “Forgotten,” Indonesia’s “Soekarno,” Greece’s “Little England,” Macedonia’s “To the Hilt,” Hong Kong’s “The Golden Era,” Austria’s “The Dark Valley,” Switzerland’s “The Circle,” Bulgaria’s “Bulgarian Rhapsody,” Serbia’s “ See You in Montevideo,” Slovakia’s “A Step Into the Dark” and New Zealand’s “The Dead Lands” are some of the most expensive films ever made in their respective territories. All of them are epic productions that highlight an important historical period using impressive cinematography, a great number of extras, intricate costumes, lavish locations, detailed production design, as well as great battle sequences in several of them. Other more traditional biopics/period pieces on the list include France’s “Saint Laurent,” The Netherlands “ Accused,” Germany’s “Beloved Sisters,” Spain’s “Living Is Easy with Eyes Closed” and the Czech Republic’s “Fair Play”

Masters and Festival Winners

Not surprisingly many of the films on the list come into this race after winning important awards at international festivals. Furthermore, a handful of them are from master filmmakers, masters in the making, or unique new voices. These films include Belgium’s “Two Days, One Night” (Cannes, Telluride, Tiff, Nyff, AFI Fest) by the Dardenne Brothers, Canada’s “Mommy” (Cannes, Telluride, Tiff, AFI Fest) by prodigy Xavier Dolan, Chile’s “To Kill a Man” (Sundance, Rotterdam, Cartagena) by Alejandro Fernandez Almendras, Hungary's "White God" (Cannes) by Kornél Mundruczó, Norway’s “1001 Grams” (Tiff) by Bent Hamer, Poland’s “Ida”(Tiff, Sundance) by Pawel Pawlikowski, Russia’s “Leviathan” (Cannes, Telluride, Tiff, AFI Fest) by Andrey Zvyagintsev, Sweden’s “Force Majeure” (Cannes, Telluride, Tiff) by Ruben Östlund, and Turkey’s “ Winter Sleep” (Cannes, Telluride, Tiff) by Nuri Bilge Ceylan. All of these films have played at renowned international festivals and most have earned important recognition there.

Out of the Box

Whether they are aware of their actual possibilities at a nomination or not, each year a few countries take the risk of sending a film that defies convention despite having more safe choices. But that is not say they are entirely out of the race, films like “The Missing Picture” and “Dogtooth” prove that sometimes there is room for daring and unique filmmaking. With “Rocks in My Pockets” Latvia is the only country to submit an animated film this year. The film is an inventive and colorful look at depression. Then there is the almost-silent and highly poetic Ecuadorian entry “Silence in Dreamland” and Singapore’s musically driven drama “Sayang Disayang.” However, the boldest selection has to be the Philippines’ “Norte, the End of History” by acclaimed auteur Lav Diaz, which runs over four hours and is inspired by Dostoyevsky Crime and Punishment.

Documentaries

Only two countries chose to go with non-fiction entries. One of them is Panama’s “Invasion,” which deals with the aftermath of the U.S. intervention in that country in 1989. This is the Central American nation’s first ever Oscar submission. The other documentary contending is Portugal’s “ What Now? Remind Me,“ a self-portrait by filmmaker Joaquim Pinto exploring his struggles living with HIV. One should note that Portugal is one of the few countries in Western Europe to have never obtained a nomination in the category despite entering films consecutively for several decades.

Lgbt

Films with stories that highlight sexual diversity occasionally make their way into this list. Last year the only Lgbt title submitted was “ Soongava: Dance of the Orchids,” which surprisingly came from Nepal and dealt with the relationship between two young women in the traditional Asian society. This time around two countries selected films with similar themes. Brazil’s festival darling “ The Way He Looks” – a sweet coming-of-age tale- was an audacious choice among the many other films the South American country produces every year. Then there is Switzerland’s “The Circle” about a pioneering gay publication during the 1940s/1950s in Zurich and the real life relationship between two of its prominent members.

Surprising Choices

As it usually happens, some countries go against what the industry expects and decide to send films that weren’t on most people’s radars. Bulgaria for example selected “Bulgarian Rhapsody” by veteran director Ivan Nitchev over Sundance’s “Viktoria” by young female director Maya Vitkova. Similarly, Ukraine overlooked Cannes favorite “The Tribe”- a powerful drama entirely in sign language - and decided to go with “The Guide” by Oles Sanin. Nevertheless, the most shocking decision came from China. Instead of selecting a Chinese-directed film like Berlin’s Golden Bear winner “Black Coal, Thin Ice” or Zhang Yimou’s “Coming Home,” the Chinese selection committee chose “The Nightingale” by French director Philippe Muyl. Despite having a European helmer the film is authentically Chinese in terms of language and story, but it was still an unexpected move from the traditionally patriotic country.

First Timers

The unprecedented number of entries is in part due to the addition of countries submitting for the first time. Besides aforementioned Panama, there are three other debutant nations in the mix. Kosovo- a tiny Balkan state often associated with the rampart war that afflicted the region a few decades ago - is finally showcasing its film production. Their entry titled “Three Windows and a Hanging” is said to be a high quality, affecting drama. Malta - a European island nation near Italy - is often used as astonishing location for big budget studio films. This year, however, “ Simshar,” a great immigration drama will represent the country. Lastly, Mauritania – a prominently Muslim nation in Sub-Saharan Africa – selected Abderrahmane Sissako’s “Timbuktu,”which played in competition at Cannes,as their inaugural submission. Although Sissako has had several successful films at international festivals, this is the first time his country decides to participate.

Female Directors

Out of the 83 films, 14 were directed by women. That’s 17% of all entries. What’s more interesting is the fact that some of these films come from countries that are often seen as traditionally patriarchal societies. 3 Latin American entries were created by female directors: Colombia’s “Mateo,” Costa Rica’s “Red Princesses” and the Dominican Republic’s “Cristo Rey.” 4 from Asia: Hong Kong’s “ The Golden Era,” India’s “Liar’s Dice,” Japan’s “The Light Shines Only There,” and Pakistan’s “Dukhtar.” 2 from the Middle East: Israel’s “Gett: The Trial of Viviane Amsalem” (Co-directed) and Palestine’s “Eyes of a Thief.” Lastly, 5 films from Europe: The Czech Republic’s “Fair Play,” Finland’s “Concrete Night,” Latvia’s “ Rocks in My Pockets,” Malta’s “Simshar” and the Netherlands’ “Accused.”

U.S. Distribution

Another interesting fact is the number of these films that already have U.S. distribution. Several of them have actually already opened theatrically here, and others are set to open early next year. Out 83 films, 24 already have U.S. distribution. That’s 29% of all films. Hopefully that number increases by the end of the season. The films are: Argentina’s “Wild Tales,” Austria’s “The Dark Valley,” Belgium’s “Two Days, One Night,” Brazil’s “The Way He Looks,” Canada’s “Mommy,” Chile’s “To Kill a Man,” France’s “Saint Laurent,” Germany’s “Beloved Sisters,” Hungary’s “White God,” Israel’s “ Gett: The Trial of Viviane Amsalem,” Italy’s “Human Capital,” Latvia’s “Rocks in My Pockets,” Mauritania’s “Timbuktu,” Mexico’s “Cantinflas,” Norway’s “1001 Grams,” The Philippines “Norte, the End of History,” Poland’s “Ida,” Portugal's "What Now? Remind Me," Russia’s “Leviathan,” Spain’s “Living Is Easy with Eyes Closed,” Sweden’s “Force Majeure,” Switzerland’s “The Circle,” Turkey’s “Winter Sleep,” and Venezuela’s “ The Liberator.”

To see which distribution company has each of these films please refer to the list below.

Afghanistan

"A Few Cubic Meters of Love" (چند متر مکعب عشق)

Dir: Jamshid Mahmoudi

Language: Persian

U.S Distribution: None Yet

Isa: Dreamlab Films

Trailer

Argentina

"Wild Tales" (Relatos Salvajes)

Dir: Damián Szifrón

Language: Spanish

U.S Distribution: Sony Pictures Classics

Isa: Film Factory Entertainment

Trailer

Austria

"The Dark Valley" (Das finstere Tal)

Dir: Andreas Prochaska

Language: German

U.S Distribution: Film Movement

Isa: Films Distribution

Trailer

Australia

"Charlie's Country"

Dir: Rolf de Heer

Language: Yolŋu Matha/English

U.S Distribution: None Yet

Isa: Visit Films

Trailer

Azerbaijan

"Nabat"

Dir: Elcin Musaoglu

Language: Azerbaijani

U.S Distribution: None Yet

Isa: Dreamlab Films

Trailer

Bangladesh

"Glow of the Firefly" (Jonakir Alo)

Dir: Khalid Mahmood Mithu

Language: Bengali

U.S Distribution: None Yet

PC: Impress Telefilm

Trailer

Belgium

"Two Days, One Night" (Deux jours, une nuit)

Dir: Jean-Pierre Dardenne & Luc Dardenne

Language: French/Arabic

U.S Distribution: Sundance Selects

Isa: Wild Bunch

Trailer

Bolivia

"Forgotten" (Olvidados)

Dir: Carlos Bolado

Language: Spanish

U.S Distribution: None Yet

PC: Flor de Loto Pictures

Trailer

Bosnia & Herzegovina

"With Mom" (Sa mamom)

Dir: Faruk Loncarevic

Language: Bosnian

U.S Distribution: None Yet

PC: Scca/pro.ba

TraileR

Brazil

"The Way He Looks" (Hoje Eu Quero Voltar Sozinho)

Dir: Daniel Ribeiro

Language: Portuguese

U.S Distribution: Strand Releasing

Isa: Films Boutique Trailer

Bulgaria

"Bulgarian Rhapsody" (българска рапсодия)

Dir: Ivan Nitchev

Language: Bulgarian

U.S Distribution: None Yet

PC: Cinepaz Eood

Trailer

Canada

"Mommy"

Dir: Xavier Dolan

Language: French/English

U.S Distribution: Roadside Attractions

Isa: Seville International

Trailer

Chile

"To Kill a Man" (Matar a un Hombre)

Dir: Alejandro Fernández Almendras

Language: Spanish

U.S Distribution: Film Movement

Isa: Film Factory Entertainment

Trailer

China

"The Nightingale" (夜莺/Le promeneur d'oiseau)

Dir: Philippe Muyl

Language: Mandarin

U.S Distribution: None Yet

Isa: Kinology

Trailer

Colombia

"Mateo"

Dir: Maria Gamboa ♀

Language: Spanish

U.S Distribution: None Yet

Isa: Alpha Violet

Trailer

Costa Rica

"Red Princesses" (Princesas Rojas)

Dir: Laura Astorga ♀

Language: Spanish

U.S Distribution: None Yet

Isa: Latido Films Trailer

Croatia

"Cowboys" (Kauboji)

Dir: Tomislav Mrsic

Language: Croatian

U.S Distribution: None Yet

Isa: Wide

Trailer

Cuba

"Behavior" (Conducta)

Dir: Ernesto Daranas

Language: Spanish

U.S Distribution: None Yet

Isa: Latido Films

Trailer

Czech Republic

"Fair Play"

Dir: Andrea Sedlácková Andrea Sedlácková

Language: Czech

U.S Distribution: None Yet

Isa: IntraMovies

Trailer

Denmark

"Sorrow and Joy" (Sorg og glæde)

Dir: Nils Malmros

Language: Danish

U.S Distribution: None Yet

PC: Nordisk Film Production

Trailer

Dominican Republic

"Cristo Rey"

Dir: Leticia Tonos ♀

Language: Spanish

U.S Distribution: None Yet

Isa: The Little Film Company

Trailer

Ecuador

"Silence in Dreamland" (El Silencio en la Tierra de los Sueños)

Dir: Tito Molina

Language: Spanish

U.S Distribution: None Yet

PC: La Facultad

Trailer

Egypt

"Factory Girl" (فتاة المصنع )

Dir: Mohamed Khan

Language: Arabic

U.S Distribution: None Yet

PC: DayDream Art Production

Trailer

Estonia

"Tangerines" (Mandariinid)

Dir: Zaza Urushadze

Language: Estonian/Russian

U.S Distribution: None Yet

Isa: Cinemavault

Trailer

Ethiopia

"Difret"

Dir: Zeresenay Mehari

Language: Amharic

U.S Distribution: None Yet

Isa: Films Boutique Trailer

Finland

"Concrete Night" (Betoniyö)

Dir: Pirjo Honkasalo ♀

Language: Finnish

U.S Distribution: None Yet

Isa: Film Republic Trailer

France

"Saint Laurent"

Dir: Bertrand Bonello

Language: French

U.S Distribution: Sony Pictures Classics

Isa: Europacorp

Trailer

Georgia

"Corn Island" (სიმინდის კუნძული)

Dir: George Ovashvili

Language: Georgian/Abkhazian/Russian

U.S Distribution: None Yet

Isa: Arizona Productions

Trailer

Germany

"Beloved Sisters" (Die geliebten Schwestern)

Dir: Dominik Graf

Language: German /French

U.S Distribution: Music Box Films

Isa: Global Screen

Trailer

Greece

"Little England" (Μικρά Αγγλία)

Dir: Pantelis Voulgaris

Language: Greek

U.S Distribution: None Yet

PC: Black Orange

Trailer

Hong Kong

"The Golden Era" (黄金时代)

Dir: Ann Hui ♀

Language: Mandarin

U.S Distribution: None Yet

Isa: Edko Films

Trailer

Hungary

"White God" (Fehér isten)

Dir: Kornél Mundruczó

Language: Hungarian/English

U.S Distribution: Magnolia Pictures

Isa: The Match Factory

Trailer

Iceland

"Life in a Fishbowl" (Vonarstræti)

Dir: Baldvin Zophoníasson

Language: None Yet

U.S Distribution: None Yet

Isa: Films Boutique Trailer

India

"Liar's Dice" (लायर्स डाइस)

Dir: Geethu Mohandas ♀

Language: Hindi

U.S Distribution: None Yet

PC: Jar Pictures Trailer

Indonesia

"Soekarno"

Dir: Hanung Bramantyo

Language: Indonesian

U.S Distribution: None Yet

PC: Mvp Pictures

Trailer

Iran

"Today" (امروز )

Dir: Reza Mirkarimi

Language: Persian

U.S Distribution: None Yet

Isa: Dreamlab Films

Trailer

Iraq

"Mardan"

Dir: Batin Ghobadi

Language: Kurdish

U.S Distribution: None Yet

Isa: Versatile Trailer

Ireland

"The Gift" (An Bronntanas)

Dir: Tom Collins

Language: Irish/English

U.S Distribution: None Yet

PC: Rosg/De Facto Films

Trailer

Israel

"Gett: The Trial of Viviane Amsalem" (Gett: Le Procès de Viviane Amsalem)

Dir: Ronit Elkabetz ♀ & Shlomi Elkabetz

Language: Hebrew/French/Arabic

U.S Distribution: Music Box Films

Isa: Films Distribution

Trailer

Italy

"Human Capital" (Il Capitale Umano)

Dir: Paolo Virzì

Language: Italian

U.S Distribution: Film Movement

PC: Indiana Production Company

Trailer

Japan

"The Light Shines Only There" (そこのみにて光輝く)

Dir: Mipo Oh ♀

Language: Japanese

U.S Distribution: None Yet

Isa: Open Sesame

Trailer

Kosovo

"Three Windows and a Hanging" (Tri Dritare dhe një Varje)

Dir: Isa Qosja

Language: Albanian

U.S Distribution: None Yet

PC: CMb Productions

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Kyrgyzstan

"Kurmanjan Datka Queen of the Mountains" (Курманжан Датка)

Dir: Sadyk Sher-Niyaz

Language: Kirghiz

U.S Distribution: None Yet

PC: Aitysh Film

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Latvia

"Rocks in My Pockets" (Akmeņi manās kabatās)

Dir: Signe Baumane ♀

Language: Latvian

U.S Distribution: Zeitgeist Films

Isa: New Europe Film Sales

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Lebanon

"Ghadi" (غدي)

Dir: Amin Dora

Language: Arabic

U.S Distribution: None Yet

Isa: Fortissimo Films

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Lithuania

"The Gambler" (Lošėjas)

Dir: Ignas Jonynas

Language: Lithuanian

U.S Distribution: None Yet

Isa: Wide

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Luxembourg

"Never Die Young"

Dir: Pol Cruchten

Language: French

U.S Distribution: None Yet

Isa: EastWest Distribution

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MacEdonia

"To the Hilt" (До балчак)

Dir: Stole Popov

Language: Macedonian/French/English/ Turkish

U.S Distribution: None Yet

PC: Triangle Film- Skopje

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Malta

"Simshar"

Dir: Rebecca Cremona ♀

Language: Maltese

U.S Distribution: None Yet

PC: Kukumajsa Productions

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Mauritania

"Timbuktu"

Dir: Abderrahmane Sissako

Language: French/Arabic/Bambara/English/Songhay/Tamasheq

U.S Distribution: Cohen Media Group

Isa: Le Pacte

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Mexico

"Cantinflas"

Dir: Sebastian del Amo

Language: Spanish/English

U.S Distribution: Pantelion Films

Isa: 6 Sales

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Moldova

"The Unsaved" (La Limita de Jos a Cerului)

Dir: Igor Cobileanski

Language: Romanian

U.S Distribution: None Yet

Isa: Insomnia World Sales Trailer

Montenegro

"The Boys from Marx and Engels Street" (Djecaci iz ulice Marksa i Engelsa)

Dir: Nikola Vukcevic

Language: Serbian

U.S Distribution: None Yet

PC: Artikulacija Production

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Morocco

"The Red Moon" (القمر الأحمر)

Dir: Hassan Benjelloun

Language: Arabic

U.S Distribution: None Yet

PC: Bentaqerla

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Nepal

"Jhola" (झोला)

Dir: Yadav Kumar Bhattarai

Language: Nepali

U.S Distribution: None Yet

PC: Media for Culture

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The Netherlands

"Accused" (Lucia de B.)

Dir: Paula van der Oest ♀

Language: Dutch

U.S Distribution: None Yet

Isa: Fortissimo Films

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New Zealand

"The Dead Lands"

Dir: Toa Fraser

Language: Maori

U.S Distribution: None Yet

Isa: Xyz Films

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Norway

"1001 Grams" (1001 Gram)

Dir: Bent Hamer

Language: Norwegian/French/ English

U.S Distribution: Kino Lorber

Isa: Les Films du Losange

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Pakistan

"Dukhtar" (دختر، بیٹی)

Dir: Afia Nathaniel ♀

Language: Urdu

U.S Distribution: None Yet

PC: Zambeel Films

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Palestine

"Eyes of a Thief" (عيون الحراميه)

Dir: Najwa Najjar ♀

Language: Arabic

U.S Distribution: None Yet

PC: Ustura Films Trailer

Panama

"Invasion" (Invasión)

Dir: Abner Benaim

Language: Spanish

U.S Distribution: None Yet

Isa: Apertura Films Trailer

Peru

"The Gospel of the Flesh" (El Evangelio de la Carne)

Dir: Eduardo Mendoza de Echave

Language: Spanish

U.S Distribution: None Yet

PC: La Soga Producciones

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The Philippines

"Norte, the End of History" (Norte, Hangganan ng Kasaysayan)

Dir: Lav Diaz

Language: Tagalog/English

U.S Distribution: The Cinema Guild

Isa: M-Appeal World Sales

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Poland

"Ida"

Dir: Pawel Pawlikowski

Language: Polish

U.S Distribution: Music Box Films

Isa: Portobello Film Sales

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Portugal

"What Now? Remind Me" (E Agora? Lembra-me)

Dir: Joaquim Pinto

Language: Portuguese

U.S Distribution: The Cinema Guild

PC: C.R.I.M Productions

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Romania

"The Japanese Dog" (Câinele Japonez)

Dir: Tudor Cristian Jurgiu

Language: Romanian/Japanese

U.S Distribution: None Yet

Isa: M-Appeal World Sales

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Russia

"Leviathan" (Левиафан)

Dir: Andrey Zvyagintsev

Language: Russian

U.S Distribution: Sony Pictures Classics

Isa: Pyramide International

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Serbia

"See You in Montevideo" (Montevideo, vidimo se!)

Dir: Dragan Bjelogrlic

Language: Serbian/Spanish/ English

U.S Distribution: None Yet

PC: Intermedia Network

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Singapore

"Sayang Disayang"

Dir: Sanif Olek

Language: Malay/Indonesian

U.S Distribution: None Yet

PC: ReelJuice

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Slovakia

"A Step Into the Dark" (Krok do tmy)

Dir: Miloslav Luther

Language: Slovak

U.S Distribution: None Yet

PC: Trigon Production Trailer

Slovenia

"Seduce Me" (Zapelji me)

Dir: Marko Santic

Language: Slovenian

U.S Distribution: None Yet

PC: Radio-Television Slovenia

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South Africa

"Elelwani"

Dir: Ntshaveni Wa Luruli

Language: Venda

U.S Distribution: None Yet

Isa: EastWest FilmDistribution

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South Korea

"Haemoo" (해무)

Dir: Sung Bo Shim

Language: Korean

U.S Distribution: None Yet

Isa: Finecut

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Spain

"Living Is Easy with Eyes Closed" (Vivir es fácil con los ojos cerrados)

Dir: David Trueba

Language: Spanish

U.S Distribution: Outsider Pictures

Isa: 6 Sales

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Sweden

"Force Majeure" (Turist)

Dir: Ruben Östlund

Language: Swedish/English

U.S Distribution: Magnolia Pictures

Isa: Coproduction Office (Paris)

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Switzerland

"The Circle" (Der Kreis)

Dir: Stefan Haupt

Language: Swiss German/ German/ French

U.S Distribution: Wolfe Video

Isa: Wide House

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Taiwan

"Ice Poison" (冰毒)

Dir: Midi Z.

Language: Burmese/Chinese

U.S Distribution: None Yet

Isa: Flash Forward Enterteinment

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Thailand

"The Teacher's Diary" (คิดถึงวิทยา)

Dir: Nithiwat Tharathorn

Language: Thai

U.S Distribution: None Yet

Isa: Gth

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Turkey

"Winter Sleep" (Kis uykusu)

Dir: Nuri Bilge Ceylan

Language: Turkish/English

U.S Distribution: Adopt Films

Isa: Memento Films International

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Ukraine

"The Guide" (Поводир)

Dir: Oles Sanin

Language: Ukrainian/Russia/English

U.S Distribution: None Yet

PC: Pronto Film

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United Kingdom

"Little Happiness" (Uzun Yol)

Dir: Nihat Seven

Language: Turkish

U.S Distribution: None Yet

Isa: 7&7 Producers' Sales Services

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Uruguay

"Mr. Kaplan"

Dir: Álvaro Brechner

Language: Spanish

U.S Distribution: None Yet

Isa: Memento Films International

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Venezuela

"The Liberator" (Libertador)

Dir: Alberto Arvelo

Language: Spanish/English/ French

U.S Distribution: Cohen Media Group

Isa: Mundial

Trailer...

Icelandic writer-director Benedikt Erlingsson and producer Fridrik Thor Fridriksson have won lucrative The Nordic Council Film Prize for Of Horses and Men.

The prize, worth about $59,000 (DKK350,000) was presented at Stockholm City Hall last night.

The committee said: “Of Horses and Men, a strikingly original film with its roots in the laconic humour of the Icelandic saga tradition, deals with the strong bonds connecting humankind and nature. At the heart of the film’s interconnected tales is humankind’s eternal attempts to control nature and pathetic failure to do so, often with disastrous consequences.

“The director demonstrates a profound understanding of the primal side of both horses and humans. Using the animal’s point of view to depict tragicomic human behaviour endows Of Horses and Men with a distinctive lyricism as well as a darkly comic tone.

“Director Benedikt Erlingsson combines powerful visuals, editing and music in a way that makes the film itself stand out as...

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A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards. Kosovo, Malta, Mauritania and Panama are first-time entrants.

The 2014 submissions are:

Afghanistan, “A Few Cubic Meters of Love,” Jamshid Mahmoudi, director;

Argentina, “Wild Tales,” Damián Szifrón, director;

Australia, “Charlie’s Country,” Rolf de Heer, director;

Austria, “The Dark Valley,” Andreas Prochaska, director;

Azerbaijan, “Nabat,” Elchin Musaoglu, director;

Bangladesh, “Glow of the Firefly,” Khalid Mahmood Mithu, director;

Belgium, “Two Days, One Night,” Jean-Pierre Dardenne and Luc Dardenne, directors;

Bolivia, “Forgotten,” Carlos Bolado, director;

Bosnia and Herzegovina, “With Mom,” Faruk Lončarevič, director;

Brazil, “The Way He Looks,” Daniel Ribeiro, director;

Bulgaria, “Bulgarian Rhapsody,” Ivan Nitchev, director;

Canada, “Mommy,” Xavier Dolan, director;

Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;

China, “The Nightingale,” Philippe Muyl, director;

Colombia, “Mateo,” María Gamboa, director;

Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;

Croatia, “Cowboys,” Tomislav Mršić,...

More than 80 documentaries to receive world premieres.

The line-up for the 27th Idfa (International Documentary Festival Amsterdam) has been unveiled.

A total of 298 titles, selected from 3,200 submissions, will be screened from Nov 19-30 in Amsterdam - of which 81 will receive their world premiere.

This year, a special themed programme, titled The Female Gaze, is dedicated to the role of women in documentary.

Another strand, Of Media and Men, will focus on how opinions are shaped within a democracy through the media.

This year’s Top 10 is provided by Heddy Honigmann, and a retrospective of her work will also be screening. Her film, Around the World in 50 Concerts, opens this year’s Idfa and also plays in Competition.

Idfa and Eye, the Netherlands national museum for film, will be present a joint themed programme concentrating on hybrid film: Framing Reality.

The festival’s main locations will once again be Pathé Tuschinski, Pathé de Munt...

The Academy of Motion Picture Arts and Sciences announced on Thursday the final submissions for the Foreign Language Film category for the 87th annual Academy Awards. A record 83 countries have entered a film for consideration, including Kosovo, Malta, Mauritania, and Panama for the first time. Notable selections include Xavier Dolan's Canadian drama Mommy, a favorite at this year's Cannes, Sweden's Force Majeure, and the Russian retelling of the Book of Job, Leviathan, winner of the Best Screenplay award at Cannes. Nominations will be announced on Thursday, Jan. 15, ahead of the live telecast on ABC Sunday, Feb. 22, from Hollywood. Last...

The Academy of Motion Picture Arts and Sciences has released the list of submissions for the 2015 Best Foreign Language Film Academy Award. According to the Academy's press release, a record 83 countries have submitted films for consideration, including first-timers Kosovo, Malta, Mauritania, and Panama. Now, if only all those movies were made available for online viewing — or at least on DVD (outside of their respective countries). The 2015 Oscar nominations will be announced live on Thursday, January 15, at 5:30 a.m. Pt in the Academy's Samuel Goldwyn Theater in Beverly Hills. The 2015 Oscar ceremony will be held on Sunday, February 22, at the Dolby Theatre at Hollywood & Highland Center in Hollywood. In the United States, the Oscarcast will be televised live by ABC; additionally, the Oscars will be televised live in more than 225 countries and territories worldwide. See below the full list of 2015 Best Foreign Language Film Oscar submissions. Afghanistan, A Few Cubic Meters of Love,...

The Academy has announced the complete list of 2015 Foreign Language Oscar contenders for the 2015 Oscar awards and again its a new record, topping last year's record 76 submissions, this year the list reaches 83 total submissions. Kosovo, Malta, Mauritania and Panama are first-time entrants. I've seen a few more on the list than I did last year and I actually have to assume with the buzz from those I've seen they may end up being major players. I'm particularly happy to see Xavier Dolan's Mommy in the field from Canada and it's great seeing the hilarious Wild Tales submitted by Argentina. The Russian submission of Leviathan (Leviafan) came, I think, as a bit of a surprise to everyone considering its subject matter, which could be looked at as critical of its native country. The Dardennes' Two Days, One Night has received a lot of acclaim everywhere it has played and we...

The Academy has received a record 83 submissions for the Best Foreign-Language Film Oscar.

Last year, a record 76 countries submitted features and the eventual winner was Italian entry The Great Beauty, directed by Paolo Sorrentino.

Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 15, 2015.

The awards ceremony will be held on Feb 22, 2015 in the Dolby Theatre, Hollywood.

The 2014 submissions are (in alphabetical order of country):

Afghanistan, A Few Cubic Meters Of Love, Jamshid Mahmoudi

Argentina, Wild Tales, Damián Szifrón

Australia, Charlie’s Country, Rolf de Heer

Austria, The Dark Valley, Andreas Prochaska

Azerbaijan, Nabat, Elchin Musaoglu

Bangladesh, Glow Of The Firefly, Khalid Mahmood Mithu

Belgium, Two Days, One Night, Jean-Pierre Dardenne and Luc Dardenne

Bolivia, Forgotten, Carlos Bolado

Bosnia and Herzegovina, With Mom, Faruk Lončarevič

Brazil, The Way He Looks, Daniel Ribeiro

Bulgaria, Bulgarian Rhapsody, Ivan Nitchev

Canada, Mommy, Xavier Dolan

Chile, To Kill A...

Finnish Oscar submission Concrete Night won Director of the Year for Pirjo Honkasalo and Producers of the Year for Mark Lwoff-Misha Jaaari at Helsinki’s Finnish Film Week.

Having already swept the Jussi awards - the Finnish national film prize – winning six categories, including Best Film and Best Director, Concrete Night (Betoniyö), received the two prizes at the closing ceremony of the fourth Finnish Film Week last night (Sept 25) at Helsinki’s Dubrovnik Restaurant, where Finnish industry organisations honoured their members.

“A vital masterpiece, a pure film from the master of Finnish cinema” said the Finnish Film Directors’ Association of Honkasalo’s return to features after 15 years with documentaries.

Lwoff and Jaaari were emphasised by their colleagues for “their exceptional, internationally acknowledged art-house film that carefully follows the story with emphasis on cinematography and quality.”

Organised during the Finnish International Film Festival-Love & Anarchy, the Finnish Film Week screened 12 local features and documentaries, both previews...

Keeping track of the Foreign Language submissions for the Oscars each year is something I constantly forget to keep on top of, but I have just done a full update as we are now up to 56 total submissions, only 20 shy of last year's record-breaking 76 submissions with only eight days to go before the October 1 submission deadline. Notable new entries on the list include Belguim's submission of Jean-Pierre and Luc Dardenne's festival favorite Two Days, One Night as well as Canada submitting Xavier Dolan's Mommy, which knocked the socks of Cannes audiences and did the same to me in Toronto this year (read my review here). It should also be noted France has submitted Bertrand Bonello's Saint Laurent instead of last year's buzzy title Blue is the Warmest Color, which missed the release date cut off date last year, making it eligible for this year's Oscars, but the...

Entries for the Best Foreign-Language Film at the Academy Awards 2015.

Submissions for the Best Foreign-Language Film at the 87th Academy Awards are coming in and will continue until October, when the full list of eligible submissions will be revealed.

Last year, a record 76 countries submitted features and the eventual winner was Italian entry The Great Beauty, directed by Paolo Sorrentino.

This year’s nominations must be submitted by Oct 1.

Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 15, 2015.

The awards ceremony will be held on Feb 22, 2015 in the Dolby Theatre, Hollywood.

Afghanistan, A Few Cubic Meters of Love, Jamshid Mahmoudi

Austria, The Dark Valley, Andreas Prochaska

Bolivia, Olvidados, Carlos Bolado

Brazil, The Way He Looks, Daniel Ribeiro

Bulgaria, Bulgarian Rhapsody, Ivan Nitchev

Chile, To Kill a Man, Alejandro Fernández Almendras

Colombia, Mateo, Maria Gamboa

Croatia, Cowboys, Tomislav Mršić

Czech Republic, Fair Play, Andrea...

This year’s European Film Awards are officially out of the gates with a not so lean 50 film submissions to select from. The 27th edition collects titles that date back to last year’s Venice and Toronto Int. Film Festivals moving into Sundance-Rotterdam-Berlin and finally Cannes of ’14. Among the 31 European countries represented, we’ve got likes of the Palme d’Or winner Nuri Bilge Ceylan leading the huge pack of contenders including Jonathan Glazer’s Under the Skin and Pawel Pawlikowski’s Ida. Here’s the complete list of 50!:

Alienation

ОТЧУЖДЕНИЕ (Otchujdenie)

Bulgaria

Directed By: Milko Lazarov

Written By: Milko Lazarov, Kitodar Todorov & Georgi Tenev

Produced By: Veselka Kiryakova

Amour Fou

Austria/Luxembourg/Germany

Written & Directed By: Jessica Hausner

Produced By: Martin Gschlacht, Antonin Svoboda, Bruno Wagner, Bady Minck, Alexander Dumreicher-Ivanceanu & Philippe Bober

Beautiful Youth

Hermosa Juventud

Spain/France

Directed By: Jaime Rosales

Written By: Jaime Rosales & Enric Rufas

Produced By: Jaime Rosales,...

More than 30 European countries represented in the line-up.Scroll down for list in full

The 50 films recommended for a nomination for the European Film Awards (EFAs) have been unveiled.

The European Film Academy and Efa Productions revealed the titles at a press conference in Riga, Latvia where this year’s 27th EFAs will take place on Dec 13.

A total of 31 European countries are represented. In the 20 countries with the most Efa members, these members have voted one national film directly into the selection list.

To complete the list, a selection committee consisting of Efa Board Members and invited experts have included further films. Those experts include Screen International chief film critic and reviews editor Mark Adams (UK), Marit Kapla (Sweden), Stefan Kitanov (Bulgaria), Paz Lázaro (Spain), Christophe Leparc (France) and Elma Tataragic (Bosnia & Herzegovina).

In the coming weeks, more than 3,000 members of the European Film Academy will vote for the nominations in the categories European Film, Director...

Themed programme to include discussions with 15 leading female directors including Kim Longinotto.

The International Film Festival Amsterdam (Idfa) is to investigates the role of women in documentary as part of its next edition (Nov 19-30).

The Female Gaze will comrise a programme of titles by women directors as well as discussions with filmmakers at the festival.

A total of 15 female directors, including Pirjo Honkasalo, Barbara Kopple and Kim Longinotto, have compiled a programme of old and new documentaries by themselves and others.

Idfa will also investigate the share female directors have had of the festival’s own selections during the past ten years, and attention will be devoted to the question of how women are represented in documentaries and of whether a ‘female gaze’ can be said to exist within the documentary genre.

The festival will organise a debate on the role of women for the documentary industry on Nov 22.

The directors who made a selection for Idfa...

There are five films now nominated for the 2014 Nordic Council Film Prize.

The $62,000 (Dkk 350,000 prizewinner) will be announced during the Session of the Nordic Council in Stockholm on Oct 29.

The nominees, put forward by the national juries, are:

Nymphomaniac (Denmark)

Director/writer Lars von Trier and producer Louise Vesth

Concrete Night (Finland)

Director/writer Pirjo Honkasalo, writer Pirkko Saisio and producers Mark Lwoff and Misha Jaari

Of Horses And Men (Iceland)

Director/writer Benedikt Erlingsson and producer Friðrik Þór Fridriksson

Blind [pictured] (Norway)

Director/writer Eskil Vogt and producers Sigve Endresen and Hans Jørgen Osnes

Force Majeure (Sweden)

Director/writer Ruben Östlund, and producers Erik Hemmendorff and Marie Kjellson

“The five films nominated, comprising work by well-established and newer filmmakers alike, represent the crème de la crème of modern Nordic cinema,” said Petri Kemppinen, CEO of Nordisk Film & TV Fond.

Their portrayals of human emotions and the forces of nature reflect a surprising diversity. Together with its...

Three new submissions hope to make the shortlist for Best Foreign-Language Film at the Oscars 2015.

Croatia, Finland and Serbia are the latest countries to submit entries for the Best Foreign-Language Film category for the 87th Academy Awards.

Best Foreign-Language Film Academy Award submissions 2015

Croatia has chosen Tomislav Mršić’s Cowboys. The comedy is based on a hit play and centres on eight outsiders who trying to create a theatre production while breaking every rule of the stage.

The film, which won the audience award at the Pula Film Festival in 2013, was submitted by the Film Artists’ Association of Croatia following a secret ballot.

Finland has selected Pirjo Honkasalo’s Concrete Night. The drama focusses on a teenage boy in a Helsinki slum who takes some unwise life lessons from his soon-to-be-incarcerated older brother.

The feature, which debuted at Toronto in 2013, won six prizes at Finland’s Jussi Awards including best film and best direction.

Serbia will send...

Early predictions have emerged for most Academy Award categories. As the studios reveal their hopeful offers to be released in the final months of the year, the speculation increases. But despite all the information available on the centerpiece awards, other more obscure races remain a complete mystery at this point. Among these, the Best Foreign Language Film Oscar is almost certainly the most complex to prognosticate. The lengthy process that precedes the announcement of the final nominees makes for a competition that begins months in advance in nations around the globe.Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.

Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.

Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.

Read More: Oscars 2015 : Best Foreign Language Film Contenders - The Americas

Here is the first part of the list on Europe (Albania -Lithuania)

Albania

Last year the Balkan state had one of its strongest contenders in recent history, Robert Budina’s “Agon,” a powerful drama dealing with the ethnic identity of the region. This time around, there are three films that qualify to be selected. The front-runner is “ Amsterdam Express, ” which has the highest international profile of the three being a co-production between Albania, U.K The Netherlands and Germany. The film explores the sociopolitical situation of the country through the eyes of an Albanian man who immigrates to Dutch territory illegally. Following along are two other dramas, “The Last Wish” (Amaneti) and “Ada.” Having three clearly viable options, it is almost certain that Albania will compete once again this year.

1. "Amsterdam Express" PC: F&Me

2. "The Last Wish" (Amaneti) PC: Media Vision

3. "Ada" PC: Concordia Pictures

Armenia

Having submitted only four times as an independent nation, it is difficult to predict whether Armenia will decide to participate this year. However, they do have a few films that could represent them at the Academy Awards. Even though the country’s film industry is still precarious and struggling, they have their own annual awards and consistently complete feature length works. Since many of them don’t fulfill the quality standards of major festivals, few of their offers ever get passed their border. The most feasible candidate this year is “Tevanik,” a film about the Karabakh war that screened at the Cannes film market and that has also screened theatrically in its home country. Another possible selection is dark comedy “The Romanticists,” which won the Best Screenplay award at the Hayak National Cinema Awards and had some international exposure. Drama “From Two Worlds as a Keepsake, ” could also be a good candidate as it premiered last year at the World Film Festival in Montreal. Less likely are comedy “The Heart in the House ,” a Russian co-production, and Hayak Best Film nominee “Caucho,” which might be a bit too avant-garde to be chosen.

1. "Tevanik" PC: Fish Eye Art

2. "The Romanticists" (Rromantiknery) PC: Aysor-Plus Film Productions

3. "From Two Worlds as a Keepsake" (Yerku ashkharhic i hishatak) PC: National Film Centr of Armenia

4. "The Heart in the House" (Domik v serdtse) PC: Berg Sound

5. "Caucho"

Austria

Since Austrian productions are heavily influenced by the German film industry and often intertwined with it, it is no surprise that the major winner at the German Film Awards was the co-production “The Dark Valley.” But given that the director Andreas Prochaska is Austrian, as well as most of the creative control and resources, the Germans couldn’t claim it as their own. This, and the fact that Sam Riley is in it, make it an ideal, high profile candidate to be Austria’s Oscar submission. Nominated for five awards in the past Austrian Film Awards, “October November” is also a descent candidate. A close third followed is “The Last Dance” the latest film by Houchang Allahyari, whose film “I Love Vienna” represented the country a couple decades ago. Then we have “ Soldier Jane,” which also nominated for Best Film at the National Awards. Lastly, “The Silent Mountain, “ an epic period piece about World War I is not entirely far fetched. Other films that have had positive receptions at festivals such as “Macondo,” or “Amour Fou” will be released closer to the end of the year.

1. "The Dark Valley" (Das Fisntere Tal) Isa: Films Distribution

2. "October November" (Oktober November) Isa: The Match Factory

3. "The Last Dance" (Der letzte Tanz) PC: Allahyari Filmproduktion

4. "Soldier Jane" (Soldate Jeannette) Isa: Premium Films

5. "The Silent Mountain" ( Der Stille Berg) Isa: Premiere Entertainment Group

Azerbaijan

It's always great to see a country like Azerbaijan submitting a film and making an attempt at getting exposure for their filmmakers and industry. Their films rarely make it to the world stage of glamorous festivals, thus they remain mostly obscure and inaccessible outside their homeland. Nevertheless, this year an Azerbaijani film, “Nabat,” could change that as it will screen at the Venice Film festival. This war film has already screened in the country at least at a special event, it is difficult to know if it will qualify this time around. If it does, it is their best bet. Should they decide to save it for next year, the country has another option of mild prestige. “Chameleon,” a small drama set in a remote village, screened last year at Locarno and that alone could help its chances. Lastly, there is “Down by the River,” which was part of the Karlovy Vary Film Festival selection. It will almost certainly be released until past the deadline, but might be a strong contender in the future. Two other dramas, one of epic proportions and a biopic could get in the mix but there is hardly any information available besides the fact that they have been screened in the capital city of Baku.

1. "Nabat" Isa: Dreamlab Films

2. "Chameleon" (Buqälämun) PC: Arizona Productions

3. "Down the River" (Axinla ashagi) PC: Azerbaijanfilm

Belarus

The small ex-Soviet state has been mostly producing documentaries for local viewing. Their output of material that can be successful abroad is minimal, and even when they have been presented with a great opportunity to participate at the Academy Awards, they simply don’t. This was the case of Sergey Loznitsa's “In the Fog” a couple years back, which could have represented them but was not entered. In fact, they have only participated on two occasions, the last one being in 1996. Although it is unlikely they will show interest, the country has a couple of promising choices. Belarus’ best bet would be the international coproduction “ The Role,” a solemn period piece that was nominated for five Nika Awards (the Russian Oscars) and actually won for Best Screenplay. Highly improbable, but given their small number of contenders, the country could also choose to send “BaBu,” an Azerbaijani coproduction about the kidnapping of a businessman’s daughter.

1. "The Role" (Rol) Isa: Reflexion Films

2. "BaBu"

Belgium

With the return to Cannes of the country’s most iconic filmmakers, the Dardenne Brothers, Belgium has an easy decision to make. Starring Oscar-winner Marion Cotillard, “Two Days, One Night” looks like the obvious favorite. Nevertheless, the Dardennes have been overlooked before, as it was the case two years ago when the Belgians decided to send “Bullhead” over the duo’s “The Kid with a Bike.” The only real threat could be “Marina” by Stijn Coninx, who was nominated for an Oscar in this category back in 1992 with “Daens.“ His latest work is a period piece about Rocco Granata’s life, an Italian singer who lived in Belgium in his youth. A more audacious decision, but not entirely impossible, would be to select the beautifully nightmarish “The Strange Color of Your Body’s Tears,” which has had noticeable international presence. Two other titles, “ The Verdict” and “The Treatment” have been well received at home but since they are facing works by revered filmmakers, their chances are slight.

1. "Two Days, One Night" (Deux jours, une nuit) Isa: Wild Bunch

2. "Marina" Isa: Media Luna New Films

3. "The Strange Color of Your Body's Tears" (L'étrange couleur des larmes de ton corps) Isa: Bac Films International

4. "The Verdict" (Het Vonnis) Isa: Media Luna New Films

5. "The Treatment" (De Behandeling) Isa: Be for Films

Bosnia & Herzegovina

The last film by the poster child for Bosnian cinema, Danis Tanovic, managed to make it to the 9-film shortlist last December. This year, the country doesn’t have such a prominent candidate. Based on release date, festival exposure, and language, their safest selection would be the family drama “ With Mom.” Another title that could qualify is “Krivina,” which is technically a 2012 film, but did not premier in Bosnia until late last year. If eligible, it would definitively be a great runner-up. In third place is the incredibly small local film “ Krajina: Life or Death,” and it’s in that position simply because it meets all the minimum requirements to qualify - language included. The last two films mentioned here are longer shots not due to lack of quality, but because of their production details. One, “Bridges of Sarajevo,” is an anthology film created by over a dozen filmmakers from around the world. Even though one of the filmmakers is Bosnian and all sections are in a language other than English, it will be hard to consider it an actual Bosnian film. The other, “For Those Who Can Tell No Tales,” is a Bosnian production directed by Jasmila Zbanic, but the dialogue seems to be mostly in English, which would make it ineligible.

1. "With Mom" (Sa Mamom) PC: Scca/Pro.BA

2. "Krivina" Isa: Princ Films

3. "Krajina: Life and Death" (Ja sam iz Krajine, zemlje kestena) PC: Depo Production

4. "Bridges of Sarajevo" (Les Ponts de Sarajevo) Isa: Indie Sales

5."For Those Who Can Tell No Tales" (Za one koji ne mogu da govore) PC: Mpm

Bulgaria

In recent years the country has decided to send films that have won or have been nominated for their local film awards. This year the winner of the top award for Best Film was “Alienation,” seemingly making it the favorite to be submitted. This might actually not be the case. Premiering at Sundance earlier this year, “Viktoria,” an epic drama about a peculiar mother-daughter relationship, might actually be the frontrunner. The film has been rightfully hailed as the most important Bulgarian film of 2014 as it has been praised at several international festivals. The only concern was its release date, but that has been put to rest since the filmmakers have announced a one-week theatrical run of the film in Sofia this September. This might imply they are seriously considering the possibility of being chosen. Other less likely options are “Roseville,” another Best Film nominee at the local film awards, “Rat Poison,” which won Best Screenplay at those same awards, and the comedy “ Living Legends.” “The Judgement,” another important Bulgarian film that opened the Sofia International Film Festival in March, won’t opened theatrically until after the deadline.

1. "Viktoria" PC: Viktoria Films

2. "Alienation" PC: Red Carpet/ Bnt

3."Roseville" Isa: Wide

4. "Rat Poison" PC: Bulfilm Nfc

5. "Living Legends" PC: Euro Dialogue Productions

Croatia

Dominating last year’s Pula Film Festival with seven Golden Arena awards and presented at other international festivals, the drama “ A Stranger” is by far the most qualified choice. Bobo Jelcic’s film follows a man who returns to his hometown only to attend a funeral, but is forced to deal with several other issues from his past while there. Closely following is complex family drama “Hush…,” which also won several awards at the same festival. Other films that could come into play include “Vis-à-Vis,” a story about a film director and on his actor trying to write a screenplay, crime thriller “Not All About the Money, ”and the comedy “Handymen” by Dalibor Matanic, whose film “Fine Dead Girls” represented Croatia in 2002. It is important to note that three other relevant Croatian films, “The Bridge at the of the World,” "Number 55” and “The Reaper,” will probably be released in the next few months and will be in the running next year.

1. "A Stranger"(Obrana i zastita) Isa: Rendez-vous Pictures

2. "Hush..." (Šuti) PC: Kinorama

3. "Vis-a-Vis" PC: Copycat Production House

4. "Not All About the Money" (Nije sve u lovi) PC: Interfilm

5. "Handymen" (Majstori) PC: Hrvatska Radiotelevizija

Cyprus

As one of the few countries in Europe that has never submitted a film, it is likely they will continue on that path once again. Yet, if they decide otherwise, there is a film that could represent them. Crime drama “Stratos” directed by Cyprus-born Yannis Economides and produced with support from the Cyprus Ministry of Education and Culture could actually be the island nation’s lucky charm. Another Cypriot production, the romantic comedy “ Committed,” would be listed here as a possibility if it wasn’t for the fact that it is entirely in English.

1. "Stratos" (To Mikro Psari) Isa: The Match Factory

Czech Republic

Last year was rough for the Czechs. The ambitious historical courtroom drama “Burning Bush” by acclaimed filmmaker Agnieszka Holland, was disqualified as their submission because it was originally conceived as a TV miniseries. They were forced to select another film “The Don Juans,” which that didn’t do much them. This time around things are looking up with a wide array of films to choose from. Playing at Karlovy Vary recently and opening theatrically just in time to qualify is “Fair Play,” a sports drama about a sprinter attempting to make it to the Olympic Games in 1980. Then there is “Clownwise, ” a quirky dramedy that was nominated for Best Film and won Best Supporting actor at the local Czech Lion Awards. In the third spot is “Hany,” a film conformed of a single continuous shot depicting the madness occurring during a night out in the city. “The Way Out, ” a drama that screened in the Acid sidebar at Cannes, could also be picked based on that notable international exposure. Lastly, “Delight,” another Czech Lion Best Film nominee, could be the surprise selection, but it will probably prove to be a tad too abstract for voters.

1. "Fair Play" Isa: Intramovies

2. "Clownwise" (Klauni) Isa: Latido

3. "Hany" PC: Barletta

4. "The Way Out" (Cesta Ven) Isa: Premium Films

5. "Delight" (Rozkos) PC: Cineart TV Prague

Denmark

These days Denmark is a powerhouse in this category. After almost tasting glory once again with Vinterberg’s “The Hunt, ” the Danish will return to seek their third consecutive nomination. In order to continue their great streak, they need to choose wisely. “Someone in Love,” about a musician in crisis, has garnered praise from critics internationally, and will seem like the obvious choice. On the other hand, there is the mystery flick “ The Keeper of Lost Causes,” which opened in Denmark late last yearand was nominated for 4 Bodil Awards. Then there is “Sorrow and Joy” another powerful drama from Nils Malmros, whose film “Barbara” represented Denmark in 1992. Unique coming-of-age tale ”Speed Walking” could also be a contender. On the final slot there is the romantic drama “The Miracle,” a film that did well at the Montreal World Film Festival, unlikely but not impossible. Whichever it is, it will certainly be something to watch out for throughout the race.

1. "Someone You Love" (En du elsker) Isa: TrustNordisk

2. "The Keeper of Lost Causes" (Kvinden i buret) Isa: TrustNordisk

3. "Sorrow and Joy" (Sorg og glæde) PC: Nordisk Film Production

4. "Speed Walking" (Kapgang) PC: Nordisk Film Production

5. "The Miracle" (Miraklet) PC: Film i Vast

Estonia

This Baltic country’s film industry has increasingly become more consistent at delivering interesting films. Winning awards across festivals, their absolute frontrunner is “Tangerines, ” a Georgian coproduction about a Estonian man caught up in the middle of a war. Its biggest competition is the black and white historical film “In the Crosswind,” “which is a viable choice given that it deals with a painful episode in the region's history: the mass deportation of Baltic people to Siberia by Russia. Though it looks beautifully done, its particular visual aesthetic might seem to unconventional to some voters. It is still really possible they decide to send it regardless. Finally there is “ Kertu” a romantic drama about an unlikely relationship.

1. "Tangerines" (Mandariinid) Isa: Cinemavault

2. "In the Crosswind" (Risttuules) PC: Allfilm

3. "Kertu, Love is Blind" (Kertu) Isa: Paul Thiltges Distribution Sarl

Finland

Despite the countries long filmmaking tradition, the Finnish have only been nominated once for Aki Kaurismäki's “The Man Without a Past” in 2002. Fortunately for them, they have several great eligible films that will make for a difficult decision. Black and white philosophical drama “ Concrete Night” from Pirjo Honkasalo earned 6 Jussi Awards, given by Finland’s film professionals. Such overwhelming recognition will make it hard to ignore despite the serious competition. The film also had a great festival run. Right behind it are two films by prolific Dome Karukoski, who has represented his country at the Oscar previously. The first one is “The Grump,” a comedy based on the character created by Tuomas Kyro. It will screen at Tiff and will open locally just in time to qualify. Karukoski’s other film “Heart of a Lion,” tells a more serious story about a Neo-Nazi who reconsiders his views after falling in love. Either one of them could be picked as a way to honor the consistently great work this filmmaker puts out. Yet another interesting possibility is “Korso,” about a young man with big basketball dreams. The film was partially produced by the same company that created last year’s Oscar nominated short “Do I Have to Take Care of Everything?” There are several other plausible films, but from all those, the one that seems to have the best prospects is the historical comedy “August Fools.”

1. "Concrete Night" (Betoniyö) Isa: Film Republic

2. "The Grump" (Mielensäpahoittaja) Isa: The Yellow Affair

3. "Heart of a Lion" (Leijonasydän) Isa: The Yellow Affair

4. "Korso" PC: Bufo/Tuffi Films

5. "August Fools" (Mieletön elokuu) Isa: Insomnia World Sales

France

Narrowing down France’s possible selection to five titles is by far one of the must uncertain and difficult tasks. The French film industry releases a vast number of films every year in a variety of genres and sizes. This gives them endless possibilities. Yet, there are some indicators that provide insight to what they might end up choosing. First off, the Cesar Awards. This year’s big winner was Guillaume Gallienne's “Me, Myself and Mum, ” which is a delightfully funny film that shines with originality. It was released last November and could definitely be their selected entry. On the other hand, they could choose to honor legendary filmmaker Alain Resnais- who past away earlier this year - by submitting his last film “Life of Riley.” The film received mixed reactions, but won the Fipresci Prize and the Alfred Bauer Award in Berlin. If they want to go with some fresh young talent, there is Cannes Directors' Fortnight Winner “Love at First Sight, ” the debut feature by Thomas Cailley. Another award winner that qualifies is Katell Quillévéré’s “Suzanne” about a woman that loses it all for the love a deviant man. Last but not least, Mathieu Amalric’s latest directorial effort “The Blue Room” could be a surprise player given the actor’s prestige and talent both in front and behind the camera. It is still up in the air.

1. "Me, Myself and Mum" (Les Garçons et Guillaume, à table!) Isa: Gaumont

2. "Life of Riley" (Aimer, boire et chanter) PC: F Comme Film

3. "Love at First Sight" (Les Conbattants) PC: Nord-Ouest Productions

4. "Suzanne" Isa: Films Distribution

5. "The Blue Room" (La Chambre Bleue) Isa: Alfama Films

Georgia

Impressively on the rise, the Georgian film industry keeps on delivering great works that often make waves across international festivals. Last year’s submission “In Bloom,” was a great success and managed to get U.S. distribution for a small theatrical release. On this occasion, they have three films that have done well internationally. Out of the batch, the most successful has been Levan Koguashvili’s “Blind Dates, ” a charming story of a unique quest for love. A second strong competitor is “Brides,” a drama that screened both at the Berlinale and Tribeca this year. Then, just fresh from winning at Karlovy Vary, there is “Corn Island,” a poetic vision of life from the perspective of rural Georgia. It appears like all three titles will release at home in time to qualify. If that’s the case, Georgia has a tough decision to make

1. "Blind Dates" (Shemtkhveviti paemnebi) Isa: Films Boutique

2. "Brides" (Patardzlebi) Isa: Rezo

3. "Corn Island" (Simindis kundzuli) PC: Arizona Productions

Germany

After releasing a 15-film shortlist, Germany’s prospects look clearer. There are several titles on the list that won’t merit a nomination, but the prominent film that remain will make for a competitive final selection. Winning two prizes in Berlin, “Stations of the Cross,” a look at fundamentalist Catholicism, sounds like a front-runner. However, its subject matter might play against it. Feo Aladag’s latest film “Inbetween Worlds,” about a German soldier in Afghanistan, seems to be a powerful drama on the vein of Susanne Bier’s “In a Better World.” On the third slot is “West,” a moving film about a woman and her son escaping socialist East Germany to discover the other side also has its darkness. Then there is “Beloved Sisters,” a costume drama that seems like a safer choice. It might be too familiar to be selected, but not at all improbable. Lastly, “Home from Home,” which won several national awards. It'ss possible, but its narrative style and extensive running time (225 min.) might make it a much more harder sell.

1. "Stations of the Cross" (Kreuzweg) Isa: Beta Cinema

2. "Inbetween Worlds" (Zwischen Welten) Isa: The Match Factory

3. "West" (Westen) Isa: Picture Tree International

4. "Beloved Sisters" (Die geliebten Schwestern) PC: Bavaria Film

5. "Home from Home - Chronicle of a Vision" (Die andere Heimat - Chronik einer Sehnsucht) Isa: Arri Worldsales

Greece

Even though it not an absolute rule, the Greeks tend to select the Hellenic Awards Best Film winner as their submission. Taking that into account, the clear favorite and almost certain choice is “Little England,” a period piece that won big locally. It’s biggest flaw; however, is the lack of international exposure. If for some reason they wanted to make a bold move and reward an impressive festival run, then Alexandros Avranas’s marvelously perverse “Miss Violence” would be ideal. Another great festival darling is Elina Psikou‘s feature debut “The Eternal Return of Antonis Paraskevas,” a sardonic exploration on fame and identity. On the fourth spot, there is “ The Enemy Within,” a tense crime drama about a family in the aftermath of a home invasion. The film was also honored at the Hellenic Awards. Finally, “Standing Aside, Watching,” about corruption, sexism, and intimidation in a small village, could also be a great entry. Un Certain Regard film “Xenia” by Panos H. Koutras, won’t open in Greece until October, but will be a possible option next year.

1. "Little England" (Mikra Anglia) PC: Black Orange

2."Miss Violence" Isa: Elle Driver

3."The Eternal Return of Antonis Paraskevas" (I Aionia Epistrofi tou Antoni Paraskeva) Isa: M-Appeal World Sales

4."The Enemy Within" (O Ehthros Mou) Isa: Patra Spanou

5. "Standing Aside, Watching" (Na kathesai kai na koitas) Isa: Patra Spanou

Hungary

Hungary’s last submission “The Notebook” managed to make it into the highly competitive 9-film shortlist. This year they have even brighter hopes with a slate of titles that have done very well around the world. Un Certain Regard winner “White God” is undoubtedly the one to beat. It is a rare occasion for the country to win such a high profile prize, thus making it almost impossible to ignore. Nevertheless, if that is not enough to convince the selection committee, “Free Fall” the latest film György Pálfi - whose films “ Hukkie” and “Taxidermia” have represented Hungary in the past - would be the next best choice. It also won several awards recently at Karlovy Vary, which could be of help. Less likely is Virág Zomborácz‘s “Afterlife” another drama that screened at the renowned Czech festival. Other possible titles include Lgbt romantic drama “Land of Storms, “ which screened in Berlin, and dark “ “Heavenly Shift,” which descent international presence.

1. "White God" (Fehér isten) Isa: The Match Factory

2. "Free Fall" (Szabadesés) PC: Jiff Project

3. "Afterlife" (Utóélet) Isa: Hungarian National Film Fund

4. "Land of Storms" (Viharsarok) Isa: M-Appeal World Sales

5. "Heavenly Shift" (Isteni müszak) Isa: Hungarian National Film Fund

Iceland

This small Scandinavian nation seems to have a very easy decision to make. The film “Life in a Fishbowl” has been dubbed by local critics as “the best Icelandic” film ever made” and it has also been an absolute box-office hit in its homeland. The multi-narrative film is by far the most likely to be submitted. However, its closest competitor is Ragnar Bragason‘s “ Metalhead,” a drama about a girl coping with her brother’s death. It was released late last year and won several Edda Awards. With far less possibilities given the two frontrunners is the dramedy “Paris of the North, ” which screened at Karlovy Vary, and comedy “ The Grandad,” which lacks exposure and buzz.

1. "Life in a Fishbowl" (Vonarstræti) Isa: Films Boutique

2. "Metalhead" (Málmhaus) Isa: Picture Tree International

3. "Paris of the North" (París Norðursins) PC: Arizona Productions

4. "The Grandad" (Afinn) PC: Thorsson Productions

Ireland

Since most of country’s releases are in English rather than in the Irish language, most years the country doesn’t have any candidates for this category. Ireland has only submitted to films for consideration as foreign language films. It is unlikely they’ll enter the race this year, but if it manages to be released in time, Irish director Johnny O'Reilly‘s Russian-language film “Moscow Never Sleeps” could be their selected candidate. The film was produced with the help of the Irish Film Funs, a fact that could help claim it as an Irish production. Another film in the Irish language, “An Bronntanas” (The Gift), would be a great choice, but it seems to be originally envisioned for TV as a five part miniseries. It’s hard to know if it will manage to qualify.

1. "Moscow Never Sleeps" (Москва никогда не спит) PC: Snapshot Films

Italy

Returning as current champion, Italy - which is the most successful nation ever in this category – has two main contenders and a couple other minor players. At the top of the list is “Human Capital,” which beat out “The Great Beauty” at the local David di Donatello Awards. Added to that, the film has won almost every award at home and several others abroad. It would be shocking to see the film be ignored. The biggest threat to its flawless run is Cannes Competition film “The Wonders.” It received mixed reviews but the Cannes pedigree could play a big role. Local success “The Mafia Only Kills in Summer” is less likely to have a chance. However, it also received tons of praise at home, so it shouldn’t be entirely disqualified. “Misunderstood,” by Asia Argento, played in the Un Certain Regard section but faces tough competition. Rounding up these five possibilities is “Those Happy Years, ” a personal film by Daniele Luchetti, which received very positive reviews internationally.

1. "Human Capital" (Il capitale umano) PC: Indiana Production Company

2. "The Wonders" (Le meraviglie) Isa: The Match Factory

3. "The Mafia Only Kills in Summer" (La mafia uccide solo d'estate) Isa: Rai Com

4. "Misunderstood" (Incompresa) Isa: Other Angle Pictures

5. "Those Happy Years" (Anni felici) Isa: Celluloid Dreams/Nightmares

Kosovo

The surprise submission could come from the recently independent, war-torn Balkan state. They have a promising feature film by Isa Qosja's “Three Windows and a Hanging,” which has been called “the best film from Kosovo to date.” Dealing with the forced silence and shame rape victims experience in a small village ruled by patriarchal norms, the film seems to be a perfect candidate to be their first submission. It recently premiered at the Sarajevo Film Festival, so its biggest challenge would be qualifying based on its unknown release date at home.

1. "Three Windows and a Hanging"

Latvia

Unfortunately for Latvia, their possibilities are extremely limited this year. There are only two films that seem as possible candidates. One is the slasher horror film “The Man in the Orange Jacket.” It sports a great production value and might be an interesting offer, but it is hard to see it get far in the race. Nonetheless, it is still their best chance. The other film "Escaping Riga" is a documentary on historical figures Sergei Eisenstein and Sir Isaiah Berlin. Given its subject matter it wouldn’t be surprising if they chose to with this. Hopefully next year their output gives them more to pick from.

1. "The Man in the Orange Jacket" (M.O.Zh.) Isa: Wide

2. "Escaping Riga" PC: Mistrus Media

Lithuania

Opposite to its Baltic neighbor mentioned above, Lithuania has several notable films that could represent them. After winning the top prizes at the Lithuanian Silver Crane’ awards, “The Gambler” became the clear favorite. However, it is important to mention that despite having narrative features to choose from, Lithuania decided to send a small documentary to represent them last year. This curious fact could play in favor of “ Cenotaphs,” a doc focusing on the search for the remains of dead soldiers from World War II. The film won Best Documentary and was nominated in other categories at the local awards. Then there are three other Silver Crane nominated films. Coming-of-age flick “ Non-Present Time,” family drama “Santa,” and crime thriller “Name in the Dark.” The winner of several of these awards, “The Excursionist” was released too early last year to be considered this time around. Local financial success “Redirected” is mostly in English, thus ineligible.

1. "The Gambler" (Losejas) Isa: Wide

2. "Cenotaph" (Kenotafas) PC: Studio Uljana Kim

3. "Non-Present Time" (Nesamasis laikas) PC: Just a Moment

4. "Santa" PC: Artbox

5. "Name in the Dark" (Vardas tamsoje) PC: Fralita Films...

Top Croatian winners are Number 55, The Reaper and Happy Endings; Concrete Night wins international competition.

The 61st Pula Film Festival handed out its awards in the city’s stunning amphitheatre last night (July 26), with Kristijan Milić’s Number 55 winning best Croatian Film.

The jury said its award went to “the film produced according to highest professional standards and the film that achieves an authentic and emotional presentation of a true event from the Croatian War of Independence.”

The winning packages includes €10,000 worth of post production services from Teleking.

The film swept a number of prizes in the Croatian competition, including best screenplay and best director.

Set in 1991, Number 55 is based on a true story of a small group of Croatian soldiers who are ambushed while on patrol and have to hide from rebel Serbs, the Yugoslav Army and Serbian Special Forces.

The Reaper, about a lonely man coming to terms with his past crimes, won the two...