By Ray Pride Pride@moviecitynews.com

71 COUNTRIES VIE FOR 2012 FOREIGN LANGUAGE FILM OSCAR®

October 8, 2012
FOR IMMEDIATE RELEASE

BEVERLY HILLS, CA – A record 71 countries, including first-time entrant Kenya, have submitted films for consideration in the Foreign Language Film category for the 85th Academy Awards®.

The 2012 submissions are:

Afghanistan, “The Patience Stone,” Atiq Rahimi, director;

Albania, “Pharmakon,” Joni Shanaj, director;

Algeria, “Zabana!” Said Ould Khelifa, director;

Argentina, “Clandestine Childhood,” Benjamín Ávila, director;

Armenia, “If Only Everyone,” Natalia Belyauskene, director;

Australia, “Lore,” Cate Shortland, director;

Austria, “Amour,” Michael Haneke, director;

Azerbaijan, “Buta,” Ilgar Najaf, director;

Bangladesh, “Pleasure Boy Komola,” Humayun Ahmed, director;

Belgium, “Our Children,” Joachim Lafosse, director;

Bosnia and Herzegovina, “Children of Sarajevo,” Aida Begic, director;

Brazil, “The Clown,” Selton Mello, director;

Bulgaria, “Sneakers,” Valeri Yordanov and Ivan Vladimirov, directors;

Cambodia, “Lost Loves,” Chhay Bora, director;

Canada, “War Witch,” Kim Nguyen, director;

Chile, “No,” Pablo Larraín, director;

China, “Caught in the Web,” Chen Kaige, director;

Colombia, “The Snitch Cartel,” Carlos Moreno, director;

Croatia, “Vegetarian Cannibal,” Branko Schmidt, director;

Czech Republic, “In the Shadow,” David Ondrícek, director;

Denmark, “A Royal Affair,” Nikolaj Arcel, director;

Dominican Republic, “Jaque Mate,” José María Cabral, director;

Estonia, “Mushrooming,” Toomas Hussar, director;

Finland, “Purge,” Antti J. Jokinen, director;

France, “The Intouchables,” Olivier Nakache and Eric Toledano, directors;

Georgia, “Keep Smiling,” Rusudan Chkonia, director;

Germany, “Barbara,” Christian Petzold, director;

Greece, “Unfair World,” Filippos Tsitos, director;

Greenland, “Inuk,” Mike Magidson, director;

Hong Kong, “Life without Principle,” Johnnie To, director;

Hungary, “Just the Wind,” Bence Fliegauf, director;

Iceland, “The Deep,” Baltasar Kormákur, director;

India, “Barfi!” Anurag Basu, director;

Indonesia, “The Dancer,” Ifa Isfansyah, director;

Israel, “Fill the Void,” Rama Burshtein, director;

Italy, “Caesar Must Die,” Paolo Taviani and Vittorio Taviani, directors;

Japan, “Our Homeland,” Yang Yonghi, director;

Kazakhstan, “Myn Bala: Warriors of the Steppe,” Akan Satayev, director;

Kenya, “Nairobi Half Life,” David ‘Tosh’ Gitonga, director;

Kyrgyzstan, “The Empty Home,” Nurbek Egen, director;

Latvia, “Gulf Stream under the Iceberg,” Yevgeny Pashkevich, director;

Lithuania, “Ramin,” Audrius Stonys, director;

Macedonia, “The Third Half,” Darko Mitrevski, director;

Malaysia, “Bunohan,” Dain Iskandar Said, director;

Mexico, “After Lucia,” Michel Franco, director;

Morocco, “Death for Sale,” Faouzi Bensaïdi, director;

Netherlands, “Kauwboy,” Boudewijn Koole, director;

Norway, “Kon-Tiki,” Joachim Rønning and Espen Sandberg, directors;

Palestine, “When I Saw You,” Annemarie Jacir, director;

Peru, “The Bad Intentions,” Rosario García-Montero, director;

Philippines, “Bwakaw,” Jun Robles Lana, director;

Poland, “80 Million,” Waldemar Krzystek, director;

Portugal, “Blood of My Blood,” João Canijo, director;

Romania, “Beyond the Hills,” Cristian Mungiu, director;

Russia, “White Tiger,” Karen Shakhnazarov, director;

Serbia, “When Day Breaks,” Goran Paskaljevic, director;

Singapore, “Already Famous,” Michelle Chong, director;

Slovak Republic, “Made in Ash,” Iveta Grófová, director;

Slovenia, “A Trip,” Nejc Gazvoda, director;

South Africa, “Little One,” Darrell James Roodt, director;

South Korea, “Pieta,” Kim Ki-duk, director;

Spain, “Blancanieves,” Pablo Berger, director;

Sweden, “The Hypnotist,” Lasse Hallström, director;

Switzerland, “Sister,” Ursula Meier, director;

Taiwan, “Touch of the Light,” Chang Jung-Chi, director;

Thailand, “Headshot,” Pen-ek Ratanaruang, director;

Turkey, “Where the Fire Burns,” Ismail Gunes, director;

Ukraine, “The Firecrosser,” Mykhailo Illienko, director;

Uruguay, “The Delay,” Rodrigo Plá, director;

Venezuela, “Rock, Paper, Scissors,” Hernán Jabes, director;

Vietnam, “The Scent of Burning Grass,” Nguyen Huu Muoi, director.

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.

# # #

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards–in which the members vote to select the nominees and winners–Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

AWARDS PUBLICITY
8949 WILSHIRE BOULEVARD | BEVERLY HILLS, CA 90211-1907

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon