International Feature Focus: Why Irish Film ‘The Quiet Girl’ Is Making Noise In The Oscar Race
deadline.comFor the last three years, the winner of the International Oscar has pretty much been a given: First came Bong Joon-ho’s Parasite, then Thomas Vinterberg’s Another Round, and then Ryusuke Hamaguchi’s Drive My Car — all anointed by Cannes and eased to the finish line after prominent festival play in the usual cosmopolitan areas.
This year’s shortlist, however, paints 2022 as being far from such a one-horse race. True, the supremacy of Cannes as the foreign-language kingmaker is unchallenged, having berthed nine of the 15 contenders, and it’s worth wondering whether Triangle of Sadness would be the film to beat had its director, Sweden’s Ruben Östlund, filmed it in his native tongue.
And, yes, once again, the field is overwhelmingly male, with just three female-directed titles — Morocco’s The Blue Caftan, France’s Saint Omer and Austria’s Corsage — vying with heavyweights like Park Chan-wook (South Korea) and Alejandro G.
Iñárritu (Mexico) for inclusion in the final five. However, the anomaly in this year’s shortlist is a film that challenges the usual notions of representation in the category.
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