In recent years, this highest award in the filmmaking business has been kind to Latin American filmmakers, especially Mexican directors: Since 2014 five directing awards were won by Alfonso Cuarón (for Gravity in 2014 and Roma in 2019), Alejandro González Iñárritu (for Birdman in 2015 and The Revenant in 2016), and Guillermo del Toro (for The Shape of Water in 2018).
The wonderful leading actress in Roma, Yalitza Aparicio Martínez, became the first indigenous woman nominated for best actress at the Oscars in 2019. In 2017, Sebastián Lelio’s A Fantastic Woman was the First Chilean film to win Best International Feature Film and a year before, Colombia’s Embrace of the Serpent made the list of nominees. Brazil joined this list as well: In 2020, The Edge of Democracy directed by Petra Costa, which analyses the rise and fall of Presidents Lula and Dilma Rousseff and the ensuing socio-political crisis in Brazil, was nominated for Best Documentary Feature.
Until 1 December all countries could submit a film for the category of Best International Feature Film, but only one entry per country is allowed. The nominated films are usually selected by the national Ministry of Culture. Not only does the submitted film receive the full support of the country, but also some financial aid, as it is an expensive endeavour to promote the film amongst the active members of the Academy Members across the globe.
Babenco: Tell Me When I Die (Brazil)
Bárbara Paz’ first feature-length film made quite an impression in the film world when it premiered at the 2019 Venice Film Festival and immediately won the award for Best Documentary. It focuses on the last years of life of the internationally acclaimed Argentine-Brazilian filmmaker Héctor Babenco, who died of cancer in 2016.
The Mole Agent (Chile)
Spy movie meets documentary – Maite Alberdi’s stylish genre combination is a warm-hearted film about age and loneliness. It tells the story of 83-year-old Sergio who goes undercover in a Chilean nursing home to find out if the rumors of elderly abuse are true.
La Llorona (Guatemala)
For his third feature, Jayro Bustamente, director of Ixcanul and Temblores, uses captivating imagery and elements of the horror genre to tell the story of an aging paranoid war criminal, who faces death while being haunted by the ghosts of his past.
Canción Sin Nombre – Song Without a Name (Peru)
This solemn debut drama directed by Melina León combines beautiful black and white images with a heartbreaking story based on real-life events: Georgina is an indigenous woman whose daughter is stolen by members of a fake maternity clinic. Her desperate search for her child leads her to meet journalist Pedro Campas, who takes on the investigation.
The Sleepwalkers (Argentina)
Directed by Paula Hernández, this deliciously observant drama about an Argentinian family going on a New Year’s vacation examines the ways desire, expectation and underlying tensions clash when familial pressures push two women to their limits.
Land of Ashes (Costa Rica)
In her first feature film, Sofía Quirós Ubeda constructs the poetic and dreamlike tale of a girl who, after a bereavement, needs to take care of her grandfather and finds consolation in Costa Rica’s magical and mysterious landscapes.
Forgotten We’ll Be (Colombia)
Based on the true story of Héctor Abad Gómez, a Colombian university professor and human rights activist in the polarized, violent Medellin of the '70s, the film tells the story of a man torn between the love of his family and his political fight.
Chaco (Bolivia)
This historic drama focuses on a group of Bolivian indigenous soldiers who are lost in the dry and sparsely populated area of Chaco, under the commandment of German Captain Kundt during Bolivia's war with Paraguay in 1934.
A State of Madness (Dominican Republic)
This asylum-set film noir transports us to the Dominican Republic in 1953 during the cruel dictatorship of Rafael Leónidas Trujillo. A group of mental patients escapes from a clinic and newly appointed director Dr. Antonio Zaglul has to find them. But the real question is – does the madness live inside or outside the hospital’s walls?
Alelí (Uruguay)
In this black comedy directed by Leticia Jorge Romero, the death of their father causes three dysfunctional siblings to fight over their beloved childhood home.
This article was first published by Latin American Bureau. For other great articles visit www.lab.org.uk
