Words: MUSA

Within the context of Cinema’s history, 2020 became a legendary year for the film industry. For the first time in the history of The Academy Awards, commonly known as The Oscars, a film not in the English language was finally nominated, and won, Best Picture. The film in question is South Korean Director Bong Joon-Ho's dark comedy, Parasite; a social thriller exploring relevant and strong themes of today such as class conflict, social inequality and wealth disparity. Most of the filmmaking community already saw Parasite as the best film of the year, earning it the Palme D’Or (considered one of the most prestigious awards in the International film industry) at Cannes in 2019. However, The Oscars has a cultivated habit of favouring Hollywood films, never reaching the net too far from the shores of its own self-aggrandising image. For this reason, Parasite has been revolutionary in giving Hollywood a much-needed wake up call, which poses the question of why it took nearly 100 years for The Oscars to award Best Picture to a subtitled film.

The majority of die-hard film fans know that The Oscars isn’t necessarily the golden standard of excellence within film, however, with a mainstream following, most of the public buy into The Oscars being a decider on what films are good and which films are bad. When only Hollywood films, in English, are being selected and championed, it prevents viewers from accessing some of the best talent out there. An awareness of this lack of diversity was spotlighted in April Reign’s 2015 campaign, #OscarsSoWhite, challenging who and what was dictating the choices of participants and winners.

The beauty of cinema is that no one country has the monopoly on greatness; cinema by its very nature is used to open audiences up to new ideas, ideologies and perspectives. And as Parasite’s Director, Bong Joon-Ho says, ‘Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films’. This is part of Parasite’s important legacy; that by winning Best Picture, it opens the door for other foreign language films to finally receive recognition, and in turn, bigger budgets in the future. It also should encourage people to look into the past to recognise the abundance of talented directors, script writers and storytellers from around the world delivering game changing films. With that in mind, here is a curated list of ten foreign language films from the past decade for you to get to know.

The Hunt (2012) directed by Thomas Vinterberg

The legendary Danish director, Thomas Vinterberg, confronts some tough questions without compromise in this drama; seemingly able to build tension without feeling the need to give the audience a break. We should have known considering his most notable work, the Dogme 95 film Festen (1998) which won at Cannes, breaking all the rules of filmmaking at the time. The Hunt is stripped back in style, similar to Festen, and results in a lean, intense, and above all, very well-acted film. A return to form for a filmmaker who arguably wouldn’t be able to reach the incredible heights of his former film, Festen. It feels like Vinterberg decided to focus on the importance of acting, helped tremendously by a sympathetic Mikkelsen performance.

Force Majeure (2014) directed by Ruben Östlund

An excellently written comedy/drama film that deftly tackles so many topics, regarding gender roles and our innate human nature, in the space of two hours. It’s a painfully uncomfortable watch for much of the film but just before it becomes unbearable, Östlund manages to bring through the comedy. Most of the laughs come from the absurdity of the situations, so you never feel like he’s compromising or detracting from the themes of the story. This is a film that can be discussed for hours, because it intricately challenges so many of our norms. Initially, you might feel like he could be more ambitious with the camera, yet you quickly realise that the precise selection and editing pace allow for the actors to really deliver the story with great performances.

Bacurau (2019) directed by Kleber Mendonça Filho and Juliano Dornelles

What I loved about Bacurau was it’s reminder to us of what it is to be a filmmaker and take chances. It’s a film that is strange, yet completely enthralling and crosses every single genre imaginable. It’s a western, yet a horror film, with sci-fi elements but can also be used as socio-economic commentary. I think that’s what makes this so genius, you can have something wacky and left field, but grounded in something very real and tangible, (such as the socio-political concerns of Brazil which this film navigates). You get something that resonates on the surface but sticks with you and seeps into your brain. It’s an extremely strange film, granted. But its uniqueness is very much why it’s important. Nobody else could have made this film. It’s everything cinema should be, funny at times, sad, exciting, real, imaginative, genre-bending but most importantly, carries a message from somebody that has a lot of to say – and that’s why it makes this list.

Girlhood (2014) directed by Céline Sciamma

A coming of age story that challenges conceptions of race, gender and class, yet through a very compelling story. Recognised for the use of the song Diamonds by Rhianna, this story really is refreshing, not only for the chance to see Black women on screen but the way it’s told with authentic camaraderie, jokes, conflict, panic, and hope. What I loved about this film is that it wasn’t attempting to tell you what being a Black woman in Paris was about specifically, but how Black women growing up in Paris live their lives with incredible likeness and realism. From there you can apply greater social ideas to the film. The films director, Sciamma was honest, in an interview stating, “I'm not saying, 'I'm going to tell you what it's like being Black in France today'; I just want to give a face to the French youth I'm looking at". Black faces in French Cinema are heavily underrepresented – it’s refreshing to see a new wave of directors making positive steps (special shout out to Atlantics by Mati Diop – a film that narrowly missed out on this list) – because the stories are obviously there. Films that reveal truth are the most important and worthwhile ones, our only representation of French women are usually white Parisiennes, which is an idea that is sold across the world – yet there are so many interesting characters in France and this is a film that gives them a chance to tell their story. By no stretch of the imagination is this a happy story, yet because of that, coupled with amazing performances – it doesn’t feel patronising to the struggles.

The Handmaiden (2016) directed by Park Chan-Work

Probably the most entertaining thriller of the decade period. In terms of execution, this film is spot on, showing Park Chan-Work as a technical master at work. His style and ability to build tension, whilst pulling the rug out from the audience is still unrivalled in world cinema. This is an erotically charged film, filled with lust, love, and hatred. Not only will the plot surprise you, but the characters roles, set up as one thing and then completely changing midway through, leaves you marvelling at his work. Again, it also has greater connotations; no doubt this is a landmark South Korean film in its depiction of sex, but also it’s ability to empower to a degree. Although identities change throughout the whole film, you finish it feeling like you should’ve known all along, as Park Chan-Work ties the intricate plot and characters up as only he can. It’s an exhibition of the technical level film can reach, as a period piece, every outfit and setting feels right, with nothing going amiss. Likewise, the cinematography is truly beautiful, and editing is always perfectly timed. An excellently put together and exhilarating thriller – no shortcuts were taken here.

My Life as a Courgette (2016) directed by Claude Barras

As far as stop motion comedy-dramas go – I don’t thnk you can do much better than this. A really heartfelt and deep emotional message packaged in a lightweight title and with funny little characters - My Life as a Courgette offers an indication on the power of love and support. Céline Sciamma co-wrote this so you could say this is the second time she appears on this list. But this was directed by Claude Barras in his debut and what a debut it is. A Courgette has no real flavour of its own but when combined with ingredients around it and treated properly it takes on all the flavours around it, and therefore becomes part of the whole. That is ultimately the message behind this film – and boy does it pack a punch. Mix the heart filled message, with the incredible screenplay and finally add in a very visually interesting film bursting with colours and you get an incredible animated film, that at times can be bleak, but ultimately comes good. It challenges issues that real children face.

Shoplifters (2018) directed by Hirokazu Kore-eda

Kore-eda’s films are a true treasure in cinema - in my eyes he is probably one of the greatest filmmakers working now. We’re truly blessed to have such a talented director so prolific; he has had 8 films out in this decade already. But for me, his best and the one that has made this list is his Palme D’or winning Shoplifters. A family drama that is heart-warming, yet dark then heart-warming, then dark and ultimately heart-warming by the end. It allows the audience to think deeply about what family means and how society treats the poor. It also grossed over 70 million which is truly unheard of for a pure arthouse drama! Kore-Eda works with such compassion and empathy that I don’t feel is matched by many. His subject matters may seem, on the surface, as if they are not worthy of a film, yet Kore-eda really knows how to get to the core of characters, and what this does is make you feel like you’re watching someone you know.

Capernaum (2018) directed by Nadine Labaki

This Lebanese drama film treads the line very closely between heart warming and heart breaking - it offers viewers the chance to see what life is like in the balance. Although melodramatic in places, it’s balanced out by the grittiness of the situations these children are faced with. The locations are real, the performances never feel contrived. Looking into how this was made, Nadine Labaki shot A LOT of footage, with apparently 500 hours of rushes, and edited it over a year and half long period. What you get from that are very naturalistic performances from the actors. In terms of baby performances, this is the greatest you’ll see and will ever see.

Tomboy (2011) directed by Céline Sciamma

Probably the most recognised film on gender non-confoming children. This French drama film is summed up by it’s Director Sciamma as being "made with several layers, so that a transsexual person can say 'that was my childhood' and so that a heterosexual woman can also say it.’" A really sensitively made film, with an understated lead and great child acting performances, this is the third film on the list with Sciamma’s involvement and second that she wrote and directed. Couple that with Portrait of a Lady on Fire, which was neck and neck with Parasite in this award season, it is clear that Sciamma is one of the most important filmmakers of the last decade. She’s only four films in and already has four incredible films. Tomboy is her second feature film and is filled with the honesty and tenderness that characterise her creations.

Paradise: Love (2012) directed by Ulrich Seidl

This film is controversial to say the least, yet it is completely engrossing throughout. The risks taken in story and style, mixed with first-time actors and professionals, having a loose script makes the whole film completely engrossing. There are some real excruciating scenes, yet you find yourself fixed to the story. Director Seidl confronts and encourages the viewer to look at the wrongs in the situation he narrates without giving us any kind of agenda. This is hard to watch, but cinema’s responsibility is to confront the viewer at times, because only then are we motivated to talk openly. There are so many sinister themes underlying this film including the idea of fetishization and manipulation and we’re cast into a very sickening world where we don’t experience much honesty at all. Seidl’s ability to mix non-actors with first-timers is incredible. His steady and matter of fact camera creates a sense of uneasiness throughout. Overall Seidl is known as a provocateur and this film shows us why.

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Words: MUSA