By Ray Pride Pride@moviecitynews.com

9 Foreign Language Films Vie For Oscar

BEVERLY HILLS, CA – Nine films will advance to the next round of voting in the Foreign Language Film category for the 85th Academy Awards®. Seventy-one films had originally qualified in the category.

The films, listed in alphabetical order by country, are:

Austria, “Amour,” Michael Haneke, director;
Canada, “War Witch,” Kim Nguyen, director;
Chile, “No,” Pablo Larraín, director;
Denmark, “A Royal Affair,” Nikolaj Arcel, director;
France, “The Intouchables,” Olivier Nakache and Eric Toledano, directors;
Iceland, “The Deep,” Baltasar Kormákur, director;
Norway, “Kon-Tiki,” Joachim Rønning and Espen Sandberg, directors;
Romania, “Beyond the Hills,” Cristian Mungiu, director;
Switzerland, “Sister,” Ursula Meier, director.

Foreign Language Film nominations for 2012 are again being determined in two phases.

The Phase I committee, consisting of several hundred Los Angeles-based members, screened the 71 eligible films between mid-October and December 17. The group’s top six choices, augmented by three additional selections voted by the Academy’s Foreign Language Film Award Executive Committee, constitute the shortlist.

The shortlist will be winnowed down to the five nominees by specially invited committees in New York and Los Angeles. They will spend Friday, January 4, through Sunday, January 6, viewing three films each day and then casting their ballots.

The 85th Academy Awards nominations will be announced live on Thursday, January 10, 2013, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2012 will be presented on Sunday, February 24, 2013, at the Dolby Theatre™ at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries worldwide.

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray