Sherwan Haji and Niroz Haji in "The Other Side of Hope" (Credit: Pandora Film) Of all the awards-season categories that industry prognosticators fuss over, none feels quite as confused as that of the “foreign film.” In an increasingly globalized world where a low-budget American action-thriller shoots in Bulgaria, or a would-be prestige production sets up shop in Norway — to take advantage of tax credits, and where talent feels free to pass between borders, industries and national cinemas unfettered — one is increasingly led to wonder: What even constitutes foreignness? In the case of the Oscars and the Golden Globes, the distinction is made to seem simple: a foreign film is a film that features a predominantly non-English dialogue track.
Comment on Finnish master Aki Kaurismäki discusses his unsentimental refugee drama “The Other Side of Hope”
John Semley, Salon: Movie
Sun, 12/17/2017 - 4:30pm
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