It won’t exactly be on a par with Oscars nominations morning, but Monday will be one of the biggest December days in the history of the Academy Awards.
That’s because for the first time, the Academy isn’t systematically doling out the short lists of films that remain in contention. Instead, they’re dropping all the lists at once in a single press release that will trim the fields in Best Documentary Feature, Best Foreign Language Film, Best Original Song and six other categories.
One drop, nine categories, a total of 101 films that’ll get good news and far more that’ll be disappointed.
The strategy of dumping all the Oscars short lists at once has not been greeted with universal approval. For one thing, contenders in the different categories were used to having their individual moments in the spotlight. Music Branch voters, who are facing a pair of short lists for the first time, now have far less time to listen and decide than they used to. And pundits will need to whip up instant analysis in nine categories simultaneously.
But that’s the new rule, and all the lists will be out on the afternoon of Monday, Dec. 17.
(By the way, we hear that the news will come out in the afternoon because the procrastinators on the Foreign Language Film Award Executive Committee aren’t getting together until Monday morning to decide which three songs they’ll be adding to the six-film short list chosen by Oscars voters.)
Here’s the category-by-category breakdown of what will be coming on Monday.
Best Foreign Language Film
Three films seem guaranteed to land a spot: Mexico’s “Roma,” Poland’s “Cold War” and Lebanon’s “Capernaum.” Belgium’s “Girl” isn’t far behind, and voters reportedly adored Germany’s “Never Look Away.” Denmark’s “The Guilty” is a satisfying film that impressed voters, Sweden’s “Border” a twisted one that did the same.
The executive committee that adds three films to the shortlist may be hard-pressed not to take one or both of the two Asian standouts, South Korea’s “Burning” and Japan’s Palme d’Or winner “Shoplifters.” And watch out for the Paraguayan film, “The Heiresses,” which has strong support in both the general and executive committees.
Other possibilities include Iceland’s “Woman at War,” Norway’s “What Will People Say,” Colombia’s “Birds of Passage,” Hungary’s “Sunset” and Romania’s “I Do Not Care If We Go Down in History as Barbarians.”
Best Documentary Feature
The four box-office hits that made this one of the best years ever for nonfiction filmmaking should all land on the list: “Free Solo,” “RBG,” “Three Identical Strangers” and the de facto frontrunner, “Won’t You Be My Neighbor?” (On the other hand, it’d be uncharacteristic of the Academy not to leave at least one of them off the final list of five nominees, and not entirely surprising if one of them doesn’t make the short list.)
Ever since the doc-branch rules were changed to do away with special screening committees in this category, voters have gravitated toward the films that have gotten the most buzz and received the most nominations for the IDA Awards, the Cinema Eye Honors and the like. That should mean that critical and awards favorites like “Minding the Gap,” “Hale County This Morning, This Evening,” “Crime + Punishment,” “Bisbee ’17,” “Dark Money,” “Of Fathers and Sons” and “Shirkers” will all be in contention. And watch out for the Spanish film “The Silence of Others,” a potential sleeper.
We also shouldn’t rule out documentary legend Frederick Wiseman for “Monrovia, Indiana,” or other well-received docs like “On Her Shoulders,” “The Bleeding Edge” and “United Skates.” On the showbiz doc front, movies like “Hal,” “Filmworker” and “Be Natural: The Untold Story of Alice Guy-Blache” have a shot, as does the released-at-last Aretha Franklin movie “Amazing Grace” and the Quincy Jones doc “Quincy,” whose subject has been highly visible on the campaign circuit lately. And I refuse to abandon hope that voters will recognize Eugene Jarecki’s sharp Elvis-and-America meditation “The King.”
Finally, Michael Moore’s “Fahrenheit 11/9,” the followup to the top-grossing nonfiction film of all time, has been bypassed by nearly all the precursor awards and may well be left off of this one as well. But Moore could still find a way in — after all, he was the prime mover on the changes that led to the current method of picking the short list, and he’s still a strong voice in the doc world.
Best Original Song
The two music categories are introducing short lists for the first time ever, presumably in order to give all the members of the music branch to hear and consider the 15 semi-finalists before voting for nominations. But that means they have less time to consider all the contenders, which this year number more than 70 in the song category.
Yes, we know that “Shallow,” the one song entered from “A Star Is Born,” will make it. And probably at least one of the two songs entered from “Mary Poppins Returns.” The Music Branch’s taste for hip-hop might be tested by “All the Stars” from “Black Panther,” but why wouldn’t they want Kendrick Lamar at the Oscars?
They also have to consider songs from luminaries like Dolly Parton (“Girl in the Movies” from “Dumplin'”), Annie Lennox (“Requiem for a Private War” from “A Private War”), plus two competitive songs from movies about Ruth Bader Ginsburg: “I’ll Fight” from “RBG” (written by nine-time nominee Diane Warren) and “Here Comes the Change” from “On the Basis of Sex.” “Revelation” from “Boy Erased” has a real shot, as does “Gravity” from “Free Solo.” And if they want to get truly adventurous, how about the Coup’s “OYAHYTT” from “Sorry to Bother You,” or Thom Yorke’s “Suspirium” from “Suspiria”? (Would the Radiohead frontman show up at the Oscars?)
The branch is well known for taking care of its own, which can’t hurt past winner Carole Bayer Sager’s “Living in the Moment” from “Book Club.” They also tend to like songs that are performed onscreen — which, in addition to being one more reason “Shallow” will get in, could help the songs from “Hearts Beat Loud,” the quintessential but twisted Disney-princess anthem from “Ralph Breaks the Internet” or the fatalistic cowboy tune “When a Cowboy Trades His Spurs for Wings” from “The Ballad of Buster Scruggs.”
And then there are songs from Patti Smith and Robyn Hitchcock and Elton John and Arlissa and Quincy Jones and Post Malone and Kendra Smith and Aoife O’Donovan and Imagine Dragons and Sade and David Crosby … It’s a deep list, not a shallow one. (Sorry.)
Best Original Score
As usual, more than 100 scores are in contention, with early awards singling out a group that includes “Black Panther,” “First Man,” “If Beale Street Could Talk,” “Isle of Dogs,” “Mary Poppins Returns,” “A Quiet Place,” “Mary Queen of Scots” and “Green Book.” Most and perhaps all of those should make the list, with other contenders including “BlacKkKlansman,” “Can You Ever Forgive Me?,” “On the Basis of Sex,” “The Hate U Give,” “Hereditary,” “Bad Times at the El Royale,” “Red Sparrow,” “The Predator” and “Solo: A Star Wars Story.”
Best Makeup and Hairstyling
This is a category that’ll likely have three nominees, and one known for nominating films that won’t show up in any other category. This year, that could mean a “Suspiria” appearance on the short list. “Black Panther” and “The Avengers: Infinity War” will certainly be in play — and since makeup designed to make actors look like other people is usually a mainstay in the category, look for “Vice” and “Stan & Ollie” to show up as well. “Mary Queen of Scots” could make the cut too. And will Rami Malek’s Freddie Mercury teeth from “Bohemian Rhapsody” be enough to land that film a spot?
If a foreign film gets in, as one sometimes does (“A Man Called Ove,” “The 100-Year-Old Man Who Climbed Out the Window and Disappeared”), it could be “Border,” which turned a couple of actors into trolls.
Best Visual Effects
A committee from the Visual Effects Branch has already narrowed the field to 20 films, so now it’s just a matter of cutting that number in half. The elaborate visions of “Avengers: Infinity War,” “Black Panther,” “Ready Player One” and perhaps “Fantastic Beasts: The Crimes of Grindewald” and “Solo: A Star Wars Story” are clearly contenders, with the subtler effects of “First Man” and the more retro charms of “Mary Poppins Returns” definitely in the mix as well.
Dark horses could include “Christopher Robin” and “Paddington 2” for their blend of live action and CG figures, and the stop-motion “Isle of Dogs,” which would be following in the footsteps of recent nominee “Kubo and the Two Strings.” Several late-breaking films have a shot as well, including “Aquaman,” “Bumblebee” and “Welcome to Marwen.”
Best Documentary Short
The shorts categories are hard to predict because most of the films haven’t been widely seen. But Academy volunteers have been watching them to compile the three lists, and it’s possible to pick up some buzz from festival screenings and awards campaigns.
Netflix has been a major player in doc shorts recently (it won its first Oscar for “The White Helmets”), and this year it has “Zion,” “Out of Many, One,” “End Game” and “Lessons From a School Shooting: Notes From Dunblane,” at least two of which should end up on the list. The New York Times Op-Docs series has “Dulce,” “Earthrise,” “We Became Fragments” and the wry and well-liked “My Dead Dad’s Porno Tapes,” the only short nominated by both the IDA Awards and Cinema Eye Honors.
Other IDA and Cinema Eye nominees include “Black Sheep,” “Baby Brother,” “Concussion Protocol,” “Fear Us Women,” “Lifeboat,” “Los Comandos,” “Mosul,” “Sidelined,” “Skip Day,” “The Girl and the Picture,” “Volte” and “We Are Not Done Yet.” The DOC NYC short list also singled out “’63 Boycott,” “The Head & the Hand,” “RX Early Detection” and “Take Back the Harbor,” while “Lotte That Silhouette Girl” tells the story of a woman animation pioneer from the pre-Disney days and could be attractive to the Academy.
Best Animated Short
The Annie Awards, the top prize given to animated films, singled out “Grandpa Walrus,” “Lost & Found,” “Solar Walk,” “Untravel” and “Weekends.” Pixar’s big short this year is “Bao,” and Pixar’s big short usually gets nominated. DreamWorks Animation, which has less consistent success in the category, is represented by “Bilby” and “Bird Karma.”
Other possibilities include “La Noria,” “Animal Behavior,” “Crow: The Legend” and “Age of Sail,” a Google Spotlight VR short made by John Kahrs, who won an Oscar for “Paperman.” “Raccoon and the Light,” “Daisy,” “The Green Bird” and “Re-Gifted” qualified by winning Student Academy Awards, while “The Driver Is Red” won the industry prize at theWrap’s ShortList Film Festival.
Best Live-Action Short
In a category where it’s almost impossible to get an overview of the field unless you’re a festival shorts programmer, standouts include “Fauve,” “Wren Boys,” “Skin” and “Bonbone,” as well as “Souls of Totality,” featuring Tatiana Maslany, and “Dear Chickens,” with Philip Baker Hall.
Timely films about the refugee crisis in Europe include “Bismillah” and “Magic Alps,” and Student Academy Award qualifiers are “Spring Flower,” “Lalo’s House,” “This Is Your Cuba,” “Get Ready With Me,” “Almost Everything” and “A Siege”; if history is any guide, at least one of them will make the list.
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It’s been seven years since Jodie Foster has starred in a film that she’s directed, but the two-time Oscar winner is pulling double duty again for the English-language remake of the Iceland eco-thriller Women at War. The eccentric comedy-drama thriller, which follows a teacher who moonlights as a vigilante environmental activist, is Iceland’s official submission for Foreign […]
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Jodie Foster is set to star in, co-produce and direct an English-language remake of “Woman at War,” an individual with knowledge of the project told TheWrap.
“Woman at War” is an Icelandic thriller directed by Benedikt Erlingsson that is the country’s official submission to the upcoming Academy Awards.
Foster will reinterpret the role of Halla (originally played by Halldóra Geirharðsdóttir), a lone eco-terrorist working to disrupt a corporation that’s harming the environment. But she soon becomes torn toward the dedication to her cause when she’s presented with an opportunity to adopt a child from Ukraine after a multi-year delay in her application, causing her to choose between motherhood and her beliefs.
And as in the original film, Foster will also play two roles, both the part of Halla and her identical twin sister. In the Icelandic “Woman at War,” Geirharðsdóttir also plays Asa, who together with her sister also applied to adopt a child, but is oblivious to Halla’s activism and is even critical of her actions.
Foster will, however, relocate the movie from Iceland to the American West. Foster’s Egg Pictures will produce alongside Slot Machine, which produced the original “Woman at War.” No timetable has yet been set.
This is Foster’s fifth directorial effort and will be her follow-up to 2016’s “Money Monster,” which starred George Clooney and Julia Roberts. She also directed a 2017 episode of “Black Mirror” and starred in this year’s “Hotel Artemis.”
“Woman at War” debuted at this year’s Cannes Film Festival in May and was a nominee for the Critics Week Grand Prize. It does not yet have American distribution, but it is Iceland’s official submission in this year’s Oscars Foreign Language Film race.
Deadline was first to report.
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Have you circled the entire month of April on your 2019 calendar while waiting patiently for more news about the final season of “Game of Thrones”? Good, because David Nutter — a frequent director on the D.B. Weiss and Damon Benioff-created series — hosted a Reddit Ask Me Anything on Tuesday, giving up some hints about Season 8.
Nutter — the director behind the Ad Council’s new short film “Rising,” which will air on Showtime this Friday — directed Episodes 1, 2 and 4 of the HBO fantasy epic’s final season. He previously directed iconic installments like Season 2’s “The Rains of Castamere,” aka The Red Wedding, and the Season 5 finale “Mother’s Mercy,” which kicked off the “Is Jon Snow dead?” debate and won Nutter an Emmy.
Here’s what we learned from Nutter’s AMA.
1. The final six episodes will be over an hour each.
2. HBO hackers are gonna have a tough time this year.
According to Nutter, “Season 8 was a very very tight ship. It was limited viewing on many things. Not a lot of paper on the set, like none. No scripts were printed, we only used iPads and things of that nature. It was much more serious than in the past but the security has always been high. I remember in season 5 we were shooting in Croatia the walk of shame and it was a situation where we had body doubles as well — I kept thinking somebody would get photographs of this cause Dubrovnik is a rather open place — all kinds of angles to get photographs but no one did and they spent all this money on security and we got by off the hair of our chinny chin chin.”
3. Time travel is an option.
“Well, I’ll be the first to tell you that I have no time travel in my episodes. That’s the only clue I’m going to give you,” Nutter replied, when asked if there is time travel this season in general. Nice save, Dave.
4. The Red Wedding is nothing compared to the final season — and that’s coming from the guy who directed the Red Wedding.
“I remember I was shooting season 2 in Iceland and Dan took me to a restaurant in Reykjavik and we had a multi course, multi wine dinner and wanted to talk to me about directing Red Wedding trying to talk me into it,” Nutter wrote. “Well, he didn’t have to talk me into it, I was looking forward to doing it very much — and I hadn’t read the books cause I wanted to let the scripts guide me into where I was going. So I had no idea the pressure I was under except the pressure I always put myself under in order to make it great. The more I get into the project of course the more pressure I realize there really was. That was one of the ultimate moments of the series as far as some major characters are concerned and I just wanted to make it good and live up to the books. One of the most interesting things to me that surprised me the most was the responses of the audience — the YouTube videos showing people reacting to what they were watching I felt great about cause I felt like I had succeeded in doing so. As far as season 8 compared to the Red Wedding I just have to tell you – hang onto your seat cause it’s going to be special.”
5. Nutter is totally cool with the ending.
“I’m completely satisfied with how season 8 ends,” Nutter wrote. “I think that David and Dan did a tremendous job, and they took into consideration what the fans want, as well as what is right as far as storytelling is concerned. I guarantee there’s going to be lots of surprises and shocking moments, but it’s really very compelling stuff.”
6. And he worked very hard crafting the beginning.
“I’ve never directed an opening episode of GOT before until season 8 but I think it’s really important to make a splash,” Nutter wrote. “You have to reset the table, put everyone back in their place, you have to take them to their next position. But you have to entertain, that’s what’s most important.”
7. Describe it in three words
“Spectacular, inspiring, satisfying.”
8. Getting the band back together.
Nutter said the final season “was a chance for a lot of characters to work together that hadn’t worked together before” and some that “hadn’t worked together in a long time.” Make of that what you will.
P.S. No, you can’t ask him about the prequel pilot.
“I’m not involved in it. I’m not sure if I will be involved in it right now but I wish them a lot of luck.”
The eighth and final season of “Game of Thrones” premieres April 2019 on HBO.
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Filmed in Iceland.
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Ariana Grande is moving on after ending her engagement to Pete Davidson — just ask her brother Frankie Grande.
“Ariana is doing well,” the former Big Brother star, 35, told Entertainment Tonight at Bette Midler‘s Hulaween party on Monday. “She’s working really hard, getting prepped for tour … and another album. Like, it’s too much! Lots of stuff is going on.”
The “No Tears Left to Cry” singer, 25, is leaning on family after she and Davidson called it quits in October and after her ex-boyfriend Mac Miller died in September. “We just had a game night together the other night,” Frankie shared with ET. “It was me, Mommy and Nonna, and we just had a great time. Mommy won.”
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Earlier in October, Frankie offered a message of encouragement for his sister on his Instagram story following the split. “Good morning to my beautiful, beautiful sister. I love you so much and you’re with me right now in Iceland. Listen!” he said, launching into the chorus of Ariana’s song “Breathin’.”
“You know, you gotta keep on breathin’ — that’s true,” he continued.
Sources told PEOPLE that Ariana’s and Davidson’s inner circles were “relieved” that they called off the wedding.
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“She threw herself into the relationship with Pete. She is young, but at least mature enough to realize this wasn’t the right relationship or the right time to get married,” an insider said.
“ always thought the engagement to Pete happened way too quickly,” the insider noted. “They didn’t want her to get married to Pete. And Ariana never got to the wedding planning stage. It was all way too soon.”
Frankie had previously embraced his sister’s whirlwind romance. “It’s lovely and wonderful,” he told PEOPLE Now about the relationship at the MTV Video Music Awards in August.
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“I’m just so happy she’s so happy,” he added. “It’s such a wonderful thing. We have so much to celebrate right now. Of course, the wedding and the engagement is part of that.”
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Here’s a list of what the Icelandic director Benedikt Erlingsson says is missing from his new film “Woman at War”: “No misery, no violence, no death, not even a gun, and no sex.”
Despite the absence of those mainstays, he said “Woman at War” is an action thriller with lessons for Hollywood films. It’s a tense, topical film of espionage, sabotage and personal demons about a lone eco-terrorist (Halldóra Geirharðsdóttir) being hunted by the Icelandic government and a massive corporation doing harm to the environment.
And because this is an Icelandic film, its hero has a trio of musicians who follow her across hill sides, rooftops and into her home providing the film’s brisk, invigorating score as she goes. At one point, a drummer seemingly tips her off to the danger awaiting her.
“I wish they would do more of this,” Erlingsson told TheWrap’s Steve Pond at a post-screening Q&A on Wednesday. “Imagine Tom Cruise with a band, saving the world.”
“Woman at War,” Iceland’s submission to the 2019 Foreign Language Oscars race, screened as part of TheWrap’s Awards and Foreign Screening series at the Landmark Theatres in Los Angeles.
While it has a peculiar sense of humor courtesy of its onscreen band, Erlingsson doesn’t consider his film a comedy, and he strived to make a film that tackles complex subjects like global warming in a way that could still be considered “accessible.”
“Everything you do really has to have some meaning. You have to have something to say. This subject is really complicated, and there are a lot of gray areas, and it touches many ideas,” Erlingsson said. “So the challenge was to really make an accessible, mainstream blockbuster film about this. An art-house blockbuster on a very complicated issue. Is that possible, in a feel-good film?”
In that spirit, Erlingsson offered an optimistic perspective on the climate change crisis — based on his experience as an activist who once chained himself to a whaling boat to keep it from sailing out to hunt. (If you want to know how to take down an electricity pylon as the lead character Halla does in the film, he encouraged anyone to talk to him after the screening.)
These days, he has changed his lifestyle to become more environmentally friendly — and encourages aspiring politicians to share a similar message: “Vote for me, and I will fight that you will get less of everything. This is the challenge.
“If I was a publicist, you will get less of everything, but what you will get will last longer,” he said. “You will get a better lifestyle. More meat, more movement. The lifestyle change ahead of us is not so drastic. And you can throw in, ‘And I will give you more games, I will give you more films, love, sex, poetry, theater.”
“Woman at War” also takes an unexpected turn away from politics, exploring how Halla juggles her guerrilla activism with the prospect of being a mom when a four-year-old adoption application suddenly comes through.
The character’s dilemma should be very relatable to a politically-minded American audience, Erlingsson said. “How am I going to change the world? Is it not to change myself? Should I save myself, or should I take action?” he asked. “This is an element we are all struggling with, and we have to do both.”
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On the October 8 2018 episode of /Film Daily, /Film editor-in-chief Peter Sciretta is joined by /Film Managing Editor Jacob Hall, Weekend Editor Brad Oman, Senior Writer Ben Pearson, and writers Hoai-Tran Bui and Chris Evangelista to talk about what they’ve been up to at the Water Cooler. You can subscribe to /Film Daily on […]
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Eighty-seven films have qualified in the 2018 Oscars race for Best Foreign Language Film, the Academy announced on Monday.
The number is five less than last year’s record of 92 entries, but significantly larger than the 60-odd qualifying films that were the norm only a few years ago. The 2018 race is also expected to be one of the most competitive in years, with a number of esteemed international directors and award-winning films competing for only nine spots on the shortlist and five nominations.
Los Angeles-based volunteers from all branches of the Academy will now watch all the eligible films at AMPAS screenings at the Samuel Goldwyn Theater in Beverly Hills and the Linwood Dunn Theater in Hollywood. This year, the Academy has made it easier to qualify to vote, dropping the number of films each voter must see from 17 or 18 down to 12 and eliminating the color-coded groups that made each voter choose from a specific group of films to which he or she had been assigned.
The Mexican entry, Alfonso Cuaron’s “Roma,” is the clear frontrunner, since it is also considered a strong contender for a Best Picture nomination. (In Oscars history, six films have been nominated in both categories, the last one being “Amour” in 2011.)
But the Polish entry, “Cold War,” is the new film from Pawel Pawlikowski, whose last film, “Ida,” won the foreign-language Oscar; it too is considered a likely nominee. So is the Lebanese entry, Nadine Labaki’s “Capernaum,” a powerful drama about a young boy in the slums of Beirut who sues his parents for bringing him into the world.
Two other directors are recent winners in the category, Florian Henckel von Donnersmarck with the German entry “Never Look Away” (his “The Lives of Others” won in 2007) and Laszlo Nemes for Hungary’s entry, “Sunset” (his last film, “Son of Saul,” won in 2016).
Also in the race: recent nominees Rithy Panh (“Graves Without a Name,” Cambodia) and Ciro Guerra (“Birds of Passage,” a Colombian film co-directed with his ex-wife, Cristina Gallego).
Other strong Oscars contenders include Lee Chang-dong’s “Burning, which is vying to become the first South Korean film ever to be nominated; Hirokazu Kore-eda’s “Shoplifters,” which won the Palme d’Or at this year’s Cannes Film Festival; Nuri Bilge Ceylan’s “The Wild Pear Tree,” the Turkish entry; Lukas Dhont’s “Girl,” which won the acting award in the Un Certain Regard section at Cannes; and Matteo Garrone’s “Dogman,” which took the best-actor award in Cannes’ main competition.
Entries from Ukraine, Egypt, Sweden, Denmark, Israel, the U.K., Spain, Paraguay and several other countries are also contending for the prize.
Malawi and Niger have submitted films for the first time.
Official Academy screenings will begin on Oct. 15 and run through Dec. 10. At that point, the six films that have received the highest average scores from the voters will advance to a nine-film shortlist, along with three additional films chosen by an executive committee.
TheWrap has compiled a complete list of the qualifying films, with descriptions and links to trailers when available.
The list of qualifying films:
Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director;
Algeria, “Until the End of Time,” Yasmine Chouikh, director;
Argentina, “El Ángel,” Luis Ortega, director;
Armenia, “Spitak,” Alexander Kott, director;
Australia, “Jirga,” Benjamin Gilmour, director;
Austria, “The Waldheim Waltz,” Ruth Beckermann, director;
Bangladesh, “No Bed of Roses,” Mostofa Sarwar Farooki, director;
Belarus, “Crystal Swan,” Darya Zhuk, director;
Belgium, “Girl,” Lukas Dhont, director;
Bolivia, “The Goalkeeper,” Rodrigo “Gory” Patiño, director;
Bosnia and Herzegovina, “Never Leave Me,” Aida Begi?, director;
Brazil, “The Great Mystical Circus,” Carlos Diegues, director;
Bulgaria, “Omnipresent,” Ilian Djevelekov, director;
Cambodia, “Graves without a Name,” Rithy Panh, director;
Canada, “Family Ties,” Sophie Dupuis, director;
Chile, “…And Suddenly the Dawn,” Silvio Caiozzi, director;
China, “Hidden Man,” Jiang Wen, director;
Colombia, “Birds of Passage,” Cristina Gallego, Ciro Guerra, directors;
Costa Rica, “Medea,” Alexandra Latishev, director;
Croatia, “The Eighth Commissioner,” Ivan Salaj, director;
Czech Republic, “Winter Flies,” Olmo Omerzu, director;
Denmark, “The Guilty,” Gustav Möller, director;
Dominican Republic, “Cocote,” Nelson Carlo De Los Santos Arias, director;
Ecuador, “A Son of Man,” Jamaicanoproblem, director;
Egypt, “Yomeddine,” A.B. Shawky, director;
Estonia, “Take It or Leave It,” Liina Trishkina-Vanhatalo, director;
Finland, “Euthanizer,” Teemu Nikki, director;
France, “Memoir of War,” Emmanuel Finkiel, director;
Georgia, “Namme,” Zaza Khalvashi, director;
Germany, “Never Look Away,” Florian Henckel von Donnersmarck, director;
Greece, “Polyxeni,” Dora Masklavanou, director;
Hong Kong, “Operation Red Sea,” Dante Lam, director;
Hungary, “Sunset,” László Nemes, director;
Iceland, “Woman at War,” Benedikt Erlingsson, director;
India, “Village Rockstars,” Rima Das, director;
Indonesia, “Marlina the Murderer in Four Acts,” Mouly Surya, director;
Iran, “No Date, No Signature,” Vahid Jalilvand, director;
Iraq, “The Journey,” Mohamed Jabarah Al-Daradji, director;
Israel, “The Cakemaker,” Ofir Raul Graizer, director;
Italy, “Dogman,” Matteo Garrone, director;
Japan, “Shoplifters,” Hirokazu Kore-eda, director;
Kazakhstan, “Ayka,” Sergey Dvortsevoy, director;
Kenya, “Supa Modo,” Likarion Wainaina, director;
Kosovo, “The Marriage,” Blerta Zeqiri, director;
Latvia, “To Be Continued,” Ivars Seleckis, director;
Lebanon, “Capernaum,” Nadine Labaki, director;
Lithuania, “Wonderful Losers: A Different World,” Arunas Matelis, director;
Luxembourg, “Gutland,” Govinda Van Maele, director;
Macedonia, “Secret Ingredient,” Gjorce Stavreski, director;
Malawi, “The Road to Sunrise,” Shemu Joyah, director;
Mexico, “Roma,” Alfonso Cuarón, director;
Montenegro, “Iskra,” Gojko Berkuljan, director;
Morocco, “Burnout,” Nour-Eddine Lakhmari, director;
Nepal, “Panchayat,” Shivam Adhikari, director;
Netherlands, “The Resistance Banker,” Joram Lürsen, director;
New Zealand, “Yellow Is Forbidden,” Pietra Brettkelly, director;
Niger, “The Wedding Ring,” Rahmatou Keïta, director;
Norway, “What Will People Say,” Iram Haq, director;
Pakistan, “Cake,” Asim Abbasi, director;
Palestine, “Ghost Hunting,” Raed Andoni, director;
Panama, “Ruben Blades Is Not My Name,” Abner Benaim, director;
Paraguay, “The Heiresses,” Marcelo Martinessi, director;
Peru, “Eternity,” Oscar Catacora, director;
Philippines, “Signal Rock,” Chito S. Roño, director;
Poland, “Cold War,” Pawel Pawlikowski, director;
Portugal, “Pilgrimage,” João Botelho, director;
Romania, “I Do Not Care If We Go Down in History as Barbarians,” Radu Jude, director;
Russia, “Sobibor,” Konstantin Khabensky, director;
Serbia, “Offenders,” Dejan Zecevic, director;
Singapore, “Buffalo Boys,” Mike Wiluan, director;
Slovakia, “The Interpreter,” Martin Šulík, director;
Slovenia, “Ivan,” Janez Burger, director;
South Africa, “Sew the Winter to My Skin,” Jahmil X.T. Qubeka, director;
South Korea, “Burning,” Lee Chang-dong, director;
Spain, “Champions,” Javier Fesser, director;
Sweden, “Border,” Ali Abbasi, director;
Switzerland, “Eldorado,” Markus Imhoof, director;
Taiwan, “The Great Buddha+,” Hsin-Yao Huang, director;
Thailand, “Malila The Farewell Flower,” Anucha Boonyawatana, director;
Tunisia, “Beauty and the Dogs,” Kaouther Ben Hania, director;
Turkey, “The Wild Pear Tree,” Nuri Bilge Ceylan, director;
Ukraine, “Donbass,” Sergei Loznitsa, director;
United Kingdom, “I Am Not a Witch,” Rungano Nyoni, director;
Uruguay, “Twelve-Year Night,” Álvaro Brechner, director;
Venezuela, “The Family,” Gustavo Rondón Córdova, director;
Vietnam, “The Tailor,” Buu Loc Tran, Kay Nguyen, directors;
Yemen, “10 Days before the Wedding,” Amr Gamal, director.
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Pushing yourself to complete scary but exhilarating activities can give you a lasting sense of strength and accomplishment. Our columnist went scuba diving in Iceland to test the theory.
www.wsj.com | 9/24/18
Eden Hazard and Romelu Lukaku score the goals as Belgium get their Nations League campaign off to a winning start in Iceland.
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Nootka lupine, introduced in the 1970s to control soil erosion, has spread wildly, threatening native species. But many adore its purplish blue flowers.
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Xherdan Shaqiri scores one goal and has a hand in two others as Switzerland thrash Iceland in the Uefa Nations League.
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Books of The Times: An Epic From Iceland, Complete With Unicorns, Angels and a Stamp-Collecting Werewolf
Sjon’s “CoDex 1962” is a romance, a crime novel and a science fiction story — for starters.
www.nytimes.com | 9/4/18
Iceland women's football team can reach their first World Cup with a win over Germany this weekend.
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While most visit Iceland to see the Blue Lagoon, Style Director Pandora Amoratis traveled to Reykjavik and discovered much more about the hipster town. FEMAIL reveals what to do and see there.
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I’m not even going to pretend that Donald Trump is *particularly* sweaty this week, because I think his current unhinged state has been happening for a while. I still believe that the Treason Summit in Iceland was the dividing line – Trump of course had been unhinged and terrible before then, but everything that came […]
www.celebitchy.com | 8/23/18
The Mountain From ‘Game of Thrones’ Pulls Huge Cart of Chicken Sandwiches as the KFC Colonel (Video)
Hafþór Júlíus Björnsson, better known as Gregor “The Mountain” Clegane on HBO’s “Game of Thrones,” took time away from Westeros to step into the sought-after role of the Kentucky Fried Chicken Colonel.
In a new campaign for its “Double Crispy Colonel Sandwich” which is exactly as it sounds (two crispy chicken patties), KFC enlisted Björnsson as its special “Double Colonel.”
But wait, if the colonel is supposed to be from Kentucky, then how does Björnsson explain his Icelandic accent (besides this being a totally made-up character?) Well, KFC has the receipts. You see, the Double Colonel left his native Kentucky as a child and went to Iceland (as all kids do) “to train, to become more — twice more.”
In the video, which you can watch above, Björnsson pulls a “world record” amount of Double Crispy Colonel Sandwiches across the room. Before his “Game of Thrones” fame, Björnsson was known as a professional strongman – he currently holds the title for “World’s Strongest Man.” He is the first to have ever won the Arnold Strongman Classic, Europe’s Strongest Man and World’s Strongest Man in the same calendar year.
But have no fear Jason Alexander, who currently plays the normal-sized Colonel. A spokesperson for KFC tells TheWrap that Björnsson will be used only for this specific campaign.
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www.thewrap.com | 8/21/18
"I'm here to warn you: Shadow's planning an attack, man." Signature Entertainment has debuted a new UK trailer for an animated adventure comedy titled Flying the Nest, originally titled Ploey - You Never Fly Alone. This film comes from Iceland, telling the heart-warming tale of how far a little bird will go to be reunited with his true love. The story follows a young plover bird, a wading bird similar to sandpipers. Left behind by his flock, a little plover named Ploey must embark on a journey where he must use his cunning, and rely on the help of newly-found friends to make it through the winter and see his true love again. The voice cast includes Jamie Oram, Harriet Perring, Iain Stuart Robertson, Richard Cotton, Þórunn Erna Clausen, and Thomas Arnold. All the birds in this are super cute, it looks like an entertaining film. Here's the official UK trailer (+ intl. poster) for Árni Ásgeirsson's Flying the Nest, direct ...
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Lonely Planet has a lot of travel writers - and around 200 of them contributed to the guide's new Epic Hikes of the World book. It also covers Australia, Utah, Morocco, Iceland and more...
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Alex Somers demonstrates his ethereal and delicate production skills in new remix with London-based duo Solomon Grey Alex Somers is best known for his production work in both music and TV. An American composer, based out of his studio Reykavik, Iceland, Somers’ work with Sigur Ros’ 2013 album, ‘Valtari’ help to place him on the […]
www.imposemagazine.com | 8/16/18
After releasing "Breakwater" as a digital single on all streaming platforms last Friday, the wolves around mastermind Tuomas Saukkonen didn’t just return to their den. Today Wolfheart unveils the result of their long journey into the ice and snow of Iceland’s glaciers to record the official music video. Here you can see the final result. It is the ... Read More/Discuss on Metal Underground.com
www.metalunderground.com | 8/14/18
A supermarket and brewery team up to produce an unusual beer in a bid to reduce food waste.
www.bbc.co.uk | 8/12/18
Great Britain take silver in the mixed team event at golf's first European Championships as Iceland clinch gold.
www.bbc.co.uk | 8/11/18
A partial solar eclipse on Aug. 11, 2018 will be visible from most of Asia, far northern Europe, Iceland and Greenland, and northern Canada. Here's what you need to know.
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Kristjan Loftsson’s company is the last one in the world still hunting fin whales. His credo: “If it’s sustainable, you hunt.”
www.nytimes.com | 8/10/18