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More Foreign Oscar Nom Fire Power; SPC Knows Where to go with 'Where Do We Go Now?'

Posted by Eric Lavallee on Sep 28, 2011
Source: Sony Pictures Classics

Maintaining their longstanding policy of locking up as many possible Foreign Oscar nomination contenders as feasibly possible, Sony Pictures Classics are adding Where Do We Go Now?, Lebanon's official entry at the Oscars to their slate. After getting slammed by critics in Cannes and being cheered by audiences in Toronto, Nadine Labaki’s sophomore feature film (which follows Caramel, also Lebanon's entry) will probably receive continued festival play and targeted screenings for the Academy joining the likes of their other promising titles in A Separation (Iran), In Darkness (Poland) and Israel's Footnote

Gist: On the edge of a cratered road, a cortège-like procession of women solemnly makes its way towards the village cemetery. Takla, Amale, Yvonne, Afaf and Saydeh stoically brave the oppressive midday heat, clutching photographic effigies of their beloved menfolk, lost to a futile, protracted and distant war...

Worth Noting: In a very recent spurt - this picked up the Cadillac People’s Choice Award at TIFF and the Best European Film at San Sebastian. Could this "new" appreciation for the film have been the trigger for a U.S rights deal? We think so.

Do We Care?: We thought her debut film (Carmel) was a fine crowd-pleaser, as perhaps we all the extra-attention the pic is receiving now we might give it another chance.



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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