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All in Foreign
This week, we oldest/highest movie on the list. Celebrating its 70th anniversary this year, this film is a rare example of age, language, or length of a film not inhibiting its ability to feel modern, fast paced, funny, dramatic, action packed…it has it all. It is easy to see how all films have taken influence from this absolute classic. Seven Samurai (1954), directed by Akira Kurosawa.
This week, we watch a movie that takes a uniquely positive spin on the atrocities of the holocaust. Aiming to and arguably achieving the goal of telling a story of unfazed positive outlook on life, this film is somewhat divisive in its decision to potentially lighten the historical events. Life is Beautiful (1996), directed by Roberto Benigni.
This week, we watch the newest Japanese Godzilla film that is breaking box office records on top of being nominated for an Oscar for Visual Effects.. See this film on the biggest screen and the loudest speaker system you can. Godzilla Minus One (2023), directed by Takashi Yamazaki.
This week, we watch the newest and likely final Hayao Miyazaki movie. This film was in production for seven years due to a combination of COVID and Miyazaki’s slower working pace due to age. It was well worth the effort in our opinions, as he has possibly created the most beautiful movie in his legendary filmography. The Boy and The Heron (2023), directed by Hayao Miyazaki.
This week, we’re reposting an episode on a film that has come up a lot since we watched it over five years ago, including during our last episode on Past Lives. If a film has stayed in the conversation as long as this one has, it is worth a second look to those who might have missed it.. Tokyo Story (1953), directed by Yasujiro Ozu.
This week, we watch the final installment of Krzysztof Kieślowsk's three colors trilogy. Weather we understand it or not or are moved by the connections across the three films, the film is a masterpiece of design. 'Three Colors: Red' (1994).
This week, in our art-house drama journey, we delve into 'Three Colors: White' (1994). We spotlight the film's intriguing plot, Julie Delpy's performance, and Kieślowski's celebrated storytelling. Does this second installment of the trilogy resonate differently with our hosts? Explore 'Three Colors: White', another installment of the trilogy directed by Krzysztof Kieślowski.
This week, we venture into the emotionally charged world of the first installment in a French trilogy, "Three Colours: Blue" (1993), directed by Krzysztof Kieslowski. We dissect its compelling narrative that intertwines themes of love and loss, focusing on the film's intent, execution, and the thought-provoking elements it unveils. Join us as we navigate the captivating storytelling and distinctive cinematic style in this part of a renowned trilogy.
This week, we're diving into an extraordinary narrative of mental freedom amidst physical paralysis. We analyze 'The Diving Bell and the Butterfly' (2007), directed by Julian Schnabel, focusing on its compelling storytelling, emotional depth, and the profound human resilience it showcases.
This week, we delve deep into a poignant French drama that explores an unconventional friendship crossing boundaries of class, race, and physical disability. We dissect The Intouchables (2011), directed by Olivier Nakache and Éric Toledano, focusing on its intent, execution, and the social implications it portrays.
This week, we watch the 2023 Oscar nominee for Best International Film from Argentina. This film depicts the historical court case that came after the downfall of those in power during the long run of dictatorships, where the perpetrators of various crimes are tried for accountability. Argentina, 1985 (2022), directed by Santiago Mitre.
This week, we round of our “Best Foreign Picture” Oscar nominee watchlist with the Norwegian drama (see: not a comedy). This film was on Obama’s best movies of the year list, so…theres that. The Worst Person in the World (2021), directed by Joachim Trier.
This week, we continue our Oscar binge with the film from Japan that is nominated for this year’s Best Picture, Best Foreign Picture, Best Adapted Screenplay, and Best Director. This one requires full attention for 3 hours, so prepare yourself for the watch. Drive My Car (2021), directed by Ryusuke Hamaguchi.
This week, we continue our Oscar binge with the film from Denmark that is nominated for this year’s Best Foreign Picture, Best Documentary, and Best Animated Film Academy Awards (the first film to ever be nominated for all three of these Oscars). Our review is - this film is amazing, do yourself a favor and put it at the top of your queue. Flee (2021), directed by Jonas Poher Rasmussen.
This week, we continue our Oscar binge with the film from Bhutan that is nominated for this year’s Best Foreign Picture academy award. Filming at an elevation of approximatly 16,000 feet, this movie utilizes the non-actor population of the mountain town Lunana to create a very simple and nice story about teaching, learning, and the many ways to utilize yak droppings. Lunana: A Yak in the Classroom (2021), directed by Pawo Choyning Dorji.
This week, we continue our Oscar binge with the Italian film that is nominated for this year’s Best Foreign Picture academy award. This dreamlike story has some striking imagery to be seen, so make sure you have your Netflix account upgraded to include the UHD / 4k video. The Hand of God (2021), directed by Paolo Sorrentino.
This week, we watch the Grand Prix winner at this years Cannes Film Festival, which is equivalent to second place (first place being last weeks movie, Titane). The writer/director who gave us the dramatic masterpiece A Separation back in 2011 is bound to get the same kind of recognition yet again for this new film. A Hero (2021), directed by Asghar Farhadi.
This week, we watch the Palme d’Or winner at this years Cannes Film Festival. Nothing we say in a write up will prepare you for what you will see/experience in this movie. If you aren’t totally adverse to gore or weirdness, do yourself a favorite and watch this film. Titane (2021), directed by Julia Ducournau.
