Because I love making lists, here's my Top 13 Horror Films. There are a number of critically acclaimed and cult-classic horror films that I have yet to see (among them Henry: Portrait of a Serial Killer, [Rec], Scream, and Japanese classics like Onibaba and Kaidan), but I've had a good helping of many titles in the genre over the years. This list may change as I get to watch more of the older films that I've missed, but here are my favorites so far. My honorable mentions:The Blair Witch Project (1999) - ahead of its time, chilling, unfairly bashed nowadays; The Descent (2005) - one of the best and most genuinely frightening films of recent years; The Haunting (1963) - bar none, the best haunted house film of all time; Itim (1976) - eerie and atmospheric, quite possibly the best Filipino horror film ever made; May (2002) - creepy yet endearing, with a breakthrough performance from Angela Bettis, an instant cult classic; Night of the Living Dead (1968) - the low-budget classic that started it all; Nosferatu, eine Symphonie des Grauens (1922) - one of the pioneers, dark and mesmerizing, with a masterclass performance from Max Schreck; El Orfanato (2007) - an atmospheric Spanish horror film that proves that kids can be creepy; Shutter (2004) - the original Thai film, simply spine-tingling; The Texas Chainsaw Massacre (1974) - gory and realistic, Leatherface is horrifying! Titles I have to re-assess: Takashi Miike's Odishon (1999), and the first three Alien movies (maybe at least one of the first two should have made the list...) Titles I have to see NOW: Henry: Portrait of a Serial Killer (1986), Scream (1966), The Wicker Man (1973), Japanese horror classics, more zombie films, Lovecraft-inspired horror movies, and loads more! And now...MY TOP 13 HORROR FILMS
13. Suspiria (1977) Director: Dario Argento Cast: Jessica Harper, Stefania Casini Oscar nomination/win: None
It's one of those films that many love to hate, if only because they believe the cult following has been built on its gore and its dazzling visuals. Of both, Suspiria has loads. But it also has hypnotically eerie music courtesy of the rock band Goblins, fine set pieces, and a terrifying premise in the existence of three witches, the evil ancient Mothers. Inferno and La Terza Madre are inferior sequels, but Suspiria is Dario Argento's best and starts off an ultimately memorable and worthwhile trilogy of mystic horror.
12. Vargtimmen (Hour of the Wolf; 1968) Director: Ingmar Bergman Cast: Max von Sydow, Liv Ullman Oscar nomination/win: None
My favorite director, the master Ingmar Berman, tried his hand at horror and came up with a chilling, hair-raising masterpiece that may be counted as one of his best. Just like Bergman's most intimate films (among them Persona, one of my favorite all-time films), it is the general sense of stillness and the interplay of characters that make Hour of the Wolf such an involving movie. While the concept of the dark hour and the talk of apparitions are in themselves already creepy, it's when the managerie of strange entities manifest their true forms that the film becomes an example of pure horror.
11. The Shining (1980) Director: Stanley Kubrick Cast: Jack Nicholson, Shelley Duvall, Danny Lloyd Oscar nomination/win: None
The word I would use to describe Stanley Kubrick's The Shining is "claustrophobic." That, and "mesmerizing." The splashes of red, the repeated invocation of "redrum," Jack Nicholson's leering face...it is a film strengthened by the sheer power of its individual parts. I have seen this only once, but my memories of the scenes are as vivid as when I first saw them. I have a feeling that this, perhaps the best of the adaptations of Stephen King's books (though he himself reputedly did not like it), would have ranked higher after a second viewing...which I intend to give it soon.
10. The Birds (1963) Director: Alfred Hitchcock Cast: Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette Oscar nomination: Special Visual Effects
The Birds is not a truly frightening film, and many would wonder why I consider this a better "horror" film than many people's favorite, Psycho. But birds attacking for no given reason and, at the end of the film, seeming to be an unstoppable force of violence against humans is no laughing matter. Pecked eyes, children being chased by a swarm of irate black birds, Alfred Hitchcock's interesting shots of Tippi Hedren's horror...the whole film works and stands up to repeated viewings.
9. Janghwa, Hongryeon (A Tale of Two Sisters; 2003) Director: Ji-woon Kim Cast: Kap-su Kim, Jung-ah Yum, Su-jeong Lim, Geun-yeong Mun Oscar nomination/win: None
Just like the Japanese, Koreans have come up with some of the more interesting and memorable horror films in recent years. Of all of them, A Tale of Two Sisters may be the best. It feels a bit long and indeed takes its time to clarify why all of the strange things have been happening, but it's well worth the wait. Psychologically chilling, it's one of the smartest and most engaging horror films out there. It's also one of the most well-acted. With this and the recent Hansel & Gretel (2007), I'm convinced that Korean children are among the best child actors in the world.
8. The Sixth Sense (1999) Director: M. Night Shyamalan Cast: Bruce Willis, Haley Joel Osment, Toni Collette Oscar nominations: Picture, Director, Supporting Actor (Haley Joel Osment), Supporting Actress (Toni Collette), Original Screenplay, Editing
Inarguably still M. Night Shymalan's best. He'll have a hard time topping or even matching this one. Elegant and memorable twist aside, the film is an extremely well-crafted drama that also happens to be genuinely hair-raising. Haley Joel Osment and Toni Collette give astounding performances, Bruce Willis is also in fine form (could this have been his best singular performance, aside from his John McClane in Die Hard?), the plot is strong and never wavers...all these amidst some of the scariest ghostly apparitions put in film. The Sixth Sense has the quality that every big-budget horror film should strive for. In my humble opinion, it should have won the Best Picture Oscar over American Beauty (then again, I'm a horror fan).
7. Shaun of the Dead (2004) Director: Edgar Wright Cast: Simon Pegg, Kate Ashfield, Nick Frost, Lucy Davis, Dylan Moran, Nicola Cunningham Oscar nomination/win: None
I know what you're thinking. It's definitely one of the best British comedies in recent years, if not THE best. It's a humorous homage to Romero's zombie films. Does the presence of zombies make it a genuine horror film? Well, ask yourselves how meticulous and convincing the makeup and acting of the zombies were (at par with the best of Romero's films) and how frightening they were when they were beginning to go out into the streets and when they were massing around the pub, how hopeless the situation of Shaun and his friends quickly becomes amidst the humor. Enough said.
6. The Omen (1976) Director: Richard Donner Cast: Gregory Peck, Lee Remick, David Warner, Billie Whitelaw, Harvey Stephens Oscar nomination: Original Song Oscar win: Original Score
For me and a lot of horror fans, the musical score plays an integral part in making a film truly scary. There is no better example of this than The Omen, the ultimate anti-Christ movie. Ravenous dogs and baboons, chilling deaths, scary nannies, and an unknowingly diabolical mother-hating child all play to the Jerry Goldsmith's spine-tingling chorals and Latin chants. The most prominent is the "Ave Satani," probably the Academy's bravest choice ever for an Oscar nomination (I'd love to see how it was performed on the stage, if it was). The performances by the actors, in particular Gregory Peck, are superb. Avoid the 2006 remake like the plague.
5. Dawn of the Dead (1978) Director: George A. Romero Cast: David Emge, Ken Foree, Scott H. Reiniger, Gaylen Ross Oscar nomination/win: None
Zombies in a mall! It may sound like an absurd idea, but it makes for what many rightly consider the best zombie film of all time. Notwithstanding the own mundane horrors brought about by consumerism (which Romero none-too-subtly pokes at with this film), locking yourself in a big building with swarms of mindlessly hungry undead is truly an experience in terror. I'd take being alone in a dark mall over sharing it with zombies anytime. Of the many scenes involving the living dead, perhaps the most memorable are the scene in the elevator and the jolting attack from behind a mannequin. This is also the film where we first hear the chilling words: "When there's no more room in hell, the dead will walk the Earth."
4. The Others (2001) Director: Alejandro Amenabar Cast: Nicole Kidman Oscar nomination/win: None
One of the finest ghost films, also with a twist that while more predictable than that in The Sixth Sense still packs a punch. Nicole Kidman's performance here is flawless, but the real strength of The Others lies in the visual darkness of the film, an atmospheric flavor that is tied to the entire plot. This is an example of those horror films that make one shiver in fright.
3. Rosemary's Baby (1968) Director: Roman Polanski Cast: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer Oscar nomination: Adapted Screenplay Oscar win: Supporting Actress (Ruth Gordon)
Starting off with an eerie lullaby, the film, one of auteur Roman Polanski's best, moves quickly from an exploration of ambition, married life, and raising a family to the diabolical workings of Satan and his inconspicuous minions. Or is it all a product of Rosemary's paranoia? Whatever the truth (it's likely both), this is definitely one of the gems of the horror genre: finely crafted, tense, superbly acted (particularly by Mia Farrow and Oscar winner Ruth Gordon), and, for its implications on how much we can truly ever know about our caring neighbors, genuinely frightening.
2. Ringu (1998) Director: Hideo Nakata Cast: Nanako Matsushima, Miki Nakatani, Hiroyuki Sanada Oscar nomination/win: None Japanese Academy nomination: Actress (Nanako Matsushima) Japanese Academy win: Most Popular Film
The premise of a cursed videotape may still seem silly to many, but watching how events unfold in this seminal Asian horror masterpiece should easily drive those thoughts away. Eerie sounds and tones (and the lack thereof) contribute to the dark, foreboding atmosphere that is the power of the original Ringu. And of course, the malevolence of Sadako, in my opinion cinema's scariest creation (interpreted from the novel), takes it to an entirely different level of pure terror. Can anyone honestly say that the way they look at TV sets did not significantly change after seeing that unforgettable scene? I cannot ever agree with those who think that the American version is superior on any level.
1. The Exorcist (1973) Director: William Friedkin Cast: Ellen Burstyn, Linda Blair, Max von Sydow, Jason Miller Oscar nominations: Picture, Director, Actress (Ellen Burstyn), Supporting Actor (Jason Miller), Supporting Actress (Linda Blair), Art Direction-Set Direction, Cinematography, Film Editing Oscar wins: Adapted Screenplay, Sound
Is there any question? Our generation may not find Regan MacNeil's Pazuzu-possessed, mangle-faced, pea-spitting, head-turning appearance as horrifying as our parents' did (a lot of them could not sleep for many days afterwards), but the power of The Exorcist to disturb and put to question faith and the rightness of the world has not wavered. This is as demonic as a film of such astounding quality can get. Even without Regan's spider-climb down the stairs in the director's cut, her possession is truly a horrifying abomination. It deserved its 10 nominations and should have won more than the two that it got. I don't foresee a horror film being so well made and honored with as many accolades in the near future. The Exorcist may be one of the most powerful films ever made, regardless of genre.
The release of Julie Taymor's The Tempest, buzzed for potential Oscar nods for Helen Mirren's performance and Sandy Powell's costumes, has also been moved to 2010.
Oscar predictions here will be updated by 1 September.
IN COMPETITION
Soul Kitchen - Fatih Akin (Germany)
La Doppia Ora - Giuseppe Capotondi (Italy)
Yi Ngoi (Accident) - Pou-Soi Cheang (China-Hong Kong)
Persecution - Patrice Chereau (France)
Lo Spazio Bianco - Francesca Comencini (Italy)
White Material - Claire Denis (France)
Mr. Nobody - Jaco Van Dormael (France)
A Single Man - Tom Ford (USA)
Lourdes - Jessica Hausner (Austria)
Bad Lieutenant: Port of Call New Orleans - Werner Herzog (USA)
The Road - John Hillcoat (USA)
Ahasin Wetei (Between Two Worlds) - Vimukhti Jayasundara (Sri Lanka)
Al Mosafer (The Traveler) - Ahmed Maher (Egypt)
Levanon (Lebanon) - Samuel Maoz (Israel)
Capitalism: A Love Story - Michael Moore (USA)
Zanan-E Bedun-E Mardan (Women Without Men) - Shirin Neshat (Germany)
Il Grande Sogno - Michele Placido (Italy)
36 Vues du Pic Saint Loup - Jacques Rivette (France)
Survival of the Dead - George Romero (USA)
Life During Wartime - Todd Solondz (USA)
Baaria - Giuseppe Tornatore (Italy)
Tetsuo the Bullet Man - Shinya Tsukamoto (Japan)
Prince of Tears - Yonfan (China-Taiwan, Hong Kong)
Director: Marilou Diaz-Abaya
Writers: Jun Lana, Ricardo Lee, Peter Ong Lim
Cast: Cesar Montano, Joel Torre, Jaime Fabregas, Gloria Diaz, Gardo Versoza, Monique Wilson, Chin Chin Gutierrez, Mickey Ferriols, Pen Medina
Runtime: 178 minutes
What was the Film Academy of the Philippines (FAP) thinking when it did not choose to send Jose Rizal as the country's contender for the Best Foreign Language Film Oscar in 1998? It's a biopic on the national hero, who is known all around the world. The film was directed by Marilou Diaz-Abaya, a key figure in the Second Golden Age of Philippine cinema. That year was the celebration of the centennial of Philippine independence.
Above all, it is a magnificent film.
GMA Films certainly spared no expenses. The authentic costumes, dialogue, and sets, an effort so seldom seen in an industry burdened by laziness and underachievement, immerse the audience into the time of Jose Rizal's (Cesar Montano) trial by his enemies among the Spaniard colonialists. Such has been done before, with Tikoy Aguiluz's Rizal sa Dapitan and Mike de Leon's surreal Bayaning Third World being the more popular other examples, but Diaz-Abaya's film is the largest in scale. Philippine cinema is not so well known for epics, but with this film she shows that we are capable of making a spectacular, big-budgeted project that does not feel bloated, overly indulgent, or innane. Though Bayaning Third World tops Jose Rizal in terms of ambition, the latter manages to add a mesmerizing angle to the Rizal story; scenes from the national hero's novels Noli Me Tangere and El Filibusterismo are interspersed with the natural events. In a key point in the film, there is even an overlap, and it provides one of the more intriguing perspectives on the mind of a figure almost deified in Philippine society.
Montano, now a multi-awarded actor and director, is brilliant as Rizal; it is difficult to think of a more definitive portrayal on screen. Joel Torre, heretofore the go-to man for Rizal depictions (he takes on that role in Bayaning Third World), shows in his role as Simon Ibarra, the lead character in Rizal's novels, why he is one of the most respected actors in the local industry. A characteristically powerful, controlled turn. Veteran Jaime Fabregas plays Rizal's defense lawyer, a Spaniard who learns to respect and love Rizal as a friend, and he deserves the many awards that he received for the stirring performance.
Since its release, the Philippines has not seen a film as grand and as deserving of the term as Jose Rizal. The subject matter notwithstanding, there exist in this country only a few opportunities to marry great direction and overall quality with a big budget. One hopes that when the opportunity does come, we end up with a cinematic gift as worthy of representing the country as Jose Rizal is.
(You Have Been Weighed and Found Wanting)
Director: Lino Brocka
Writers: Lino Brocka, Mario O'Hara
Cast: Lolita Rodriguez, Lilia Dizon, Eddie Garcia, Mario O'Hara, Hilda Koronel, Christopher de Leon
Runtime: 126 minutes
In Lino Brocka's distinguished oeuvre, Tinimbang Ka Ngunit Kulang is one of the true gems. The title itself--in both Filipino and English--suggests a powerful morality piece, and the film is nothing short of that.
Junior (Christopher de Leon), born into a life of privilege, is contentedly living his life as a young man with everything laid out for him. He is educated, his family is affluent, and he is in a relationship with local beauty Evangeline (Hilda Koronel). But then his path crosses with those of social outcasts Kuala (Lolita Rodriguez), a woman driven to madness by the forced abortion of her child, and the leper Bertong (Mario O'Hara). As he spends more time with the unlikely--and scandalous, at least to the townsfolk--pair, his perspectives dramatically change. Not all is right with the world that he has become accustomed to, and Evangeline's ambivalence toward him does nothing to convince him otherwise. As Brocka films tend to, this ends on a tragic note, but there is something cathartic and hopeful in seeing Junior, the lone light, weave his way through the shadowed crowd with a newly born child cradled in his arms.
Brocka's Philippines was the harsh, suppresive Philippines of the Marcos era, and he never failed to indict the government or at the very least shed light on the country's social ills in his more prominent films. Here he showcases the marginalization that has had Philippine society in such a strong grip for much of its colonial history, and the hypocrisy born out of religion that has served to emphasize it. The title (perhaps one of the best in Philippine cinema) notwithstanding, the movie's emotional power comes from Brocka's sure-handed direction, his and O'Hara's strong screenplay, and the superb performances of de Leon, Rodriguez, O'Hara, and the supporting players.
Despite the obvious though still arguable differences between the Marcos era and the current one, Tinimbang remains as watchable and as truthful now as it did when it was first released. On top of being a piece on the social ills that still prevail in many parts of the country, it is, quite simply, a great film. That in itself ensures it a permanent lofty place in the history of Philippine cinema and social commentary.
Photo source: Philippine Cinema Vault
Could Oscar-related news get any bigger than this? The Academy of Motion Picture Arts and Sciences (AMPAS) has announced that for the first time since the rule changed in the early 40s, there will be 10 nominees in the Best Picture race starting in the 82nd Academy Awards.
Click HERE for the official AMPAS press release.
(Children Only Once)
Directors: Sadhana Buxani, Ditsi Carolino
Runtime: 50 minutes
Few students and graduates of private high schools in the Philippines have not been exposed to the harsh realities of child labor in the country through the powerful and indelible documentary Minsan Lang Sila Bata. It is a testament to the sheer strength of the film--and of the documentary genre, a form of full-length feature rarely made and discussed in this celebrity-obsessed country--that schools use it to open the eyes of more privileged students and that, more importantly, it works.
The documentarists capture the struggles of severely young children forced by their social standing to work at ports, slaughterhouses, and sugarcane fields, even as they clearly express their desire to become educated and make better lives for themselves. And yet through the heavy lifting of sacks of cement, the unintentional bathing in the stench and blood of butchered animals, and the scorching heat of life by the sickle, the children maintain a sense of humor that endears them and their fate to the viewers as much as their hardships do.
Minsan Lang Sila Bata is easily the definitive, most well known, and perhaps most seen Filipino documentary. For good reason. They are, indeed, children only once, but there are generations more of them that have been and could further be saved by such rare, socially conscious gems as this.
Image source: Database of Philippine Movies
Director: Maryo J. De Los Reyes
Writer: Michiko Yamamoto
Cast: Jiro Manio, Lorna Tolentino, Albert Martinez, Gloria Romero
Runtime: 122 minutes
A lot of modern Philippine cinema is exemplified by melodrama: overly saccharine, histrionic, overblown portrayals of family squabbles and against-all-odds romance. The actors that fill the roles are beautifully polished matinee idols, many of whom have little to speak of besides their striking looks.
And then there is the rare film that relies instead on an intelligent, moving screenplay and an endearing central performance by an unknown actor. Magnifico is all that, and then some. Quite simply, it is one of the most superbly crafted of Filipino films.
The title character (Jiro Manio) is a jovial, optimistic boy born into a poor family saddled with hardships that go beyond financial difficulties: his sister (Isabella De Leon) is mentally handicapped, his brother (Danilo Barrios) has lost his scholarship, and his grandmother (Gloria Romero) is ailing. It is when his grandmother is hospitalized and he hears his parents (Lorna Tolentio and Albert Martinez) argue about where to get the money for her burial and their other needs that he decides to do his part. Unbenownst to his family, he and his friend (Joseph Robles) begin to construct a coffin for his grandmother and hatch plans to raise funds for her burial. Throughout this process, which provides some of the most touching scenes of the film (that of Magnifico innocently taking his grandmother's measurements with her active and all-too-understanding participation is heart-aching), he never loses his enthusiasm for life or his overwhelming love for his family. The film ends on a devastating note--unusual for a Filipino film--but it is an appropriately powerful close to a film that grabs the heart and mind from the start and never lets go.
Director Maryo J. De Los Reyes elevates this film to something much more substantial than a typical tearjerker, but due compliments must go to the brilliant writing of Michiko Yamamoto, who went on to write the screenplay to the similarly excellent Ang Pagdadalaga ni Maximo Oliveros. There is also no false note in the acting of the principals or the supporting cast, with Manio providing a bravura performance that has won him accolades and assured his status as a highly dependable young actor. The film itself has garnered many awards both locally and internationally, major prizes from the 2004 Berlin International Film Festival being the most significant among them. Magnifico is a film with a lot of heart, and it proves that Philippine cinema is capable of producing films that are both technically excellent and emotionally satisfying.
Director: Peque Gallaga
Writers: Jose Javier Reyes, Peque Gallaga, Mario Taguiwalo, Conchita Castillo
Cast: Manny Ojeda, Liza Lorena, Sandy Andolong, Cherie Gil, Fides Cuyugan-Asensio, Joel Torre, Maya Valdez, Lorli Villanueva, Ronnie Lazaro
Runtime: 194 minutes
Most Filipino film-goers nowadays would know Peque Gallaga best for his prosthetics-heavy horror flicks (Shake, Rattle & Roll; Tiyanak; Aswang), kiddie fantasy pics (Magic Temple; Mortal Kombat: Alamat ng Damortis), or erotika (Scorpio Nights; Virgin Forest). But before those, he contributed one of the few genuine masterpieces of Philippine cinema: the unmatched epic Oro, Plata, Mata.
The film starts innocuously with a lively party that brings together two aristocratic families in Negros during World War II. Here, Maggie Ojeda (Sandy Andolong) is introduced to society as a young woman, while her sister Trining (Cherie Gil) experiences her first kiss with childhood sweetheart Miguel Lorenzo (Joel Torre). The prospect of war looms over the event, with Don Claudio Ojeda (Manny Ojeda) discussing it with his fellow landowners amidst the joviality, but it is not until the celebration is cut short by news of the fall of Corregidor to the Japanese that the descent to darkness truly begins for the characters. To escape from the war that approaches them, the Ojedas and the Lorenzos are forced to flee the latter's manor for the forest, where they encounter first-hand the depths to which man can be forced by the terrors of war. Those that survive the ordeal are ultimately changed, a far cry from the figures of naive complacency that they had been in the beginning.
Though the attempt to portray the loss of innocence can be heavy-handed at times (the vindictive rampage of Miguel Lorenzo near the end and the fate of a supposed diwata being the most glaring examples), Gallaga and his co-writers have woven an uncharacteristically tight and powerful Filipino film that cuts no corners. Throughout the film, there is a palpable aura of dread and ill portent, even as it closes off with the inevitable celebration of the Japanese's defeat in the war. Not much was spared in bringing the prospect of violence to the fore, with the characters driving their carabaos and belongings through raging fires (a truly memorable sequence, perhaps one of the greatest in Philippine cinema) and carnal desires being fulfilled amidst the backdrops of towering trees and flowing rivers. The film would go on to win major awards, including Best Picture, from the critics of the Urian, but this is one movie that deserves much more praise and a more prominent place in Philippine film history than it has been granted. There are already telltale signs here of Gallaga's future career as a master of blood-drenched and prosthetics-laden popcorn flicks, but nothing he has made since has matched Oro, Plata, Mata for sheer gravitas, scale, and simple quality. Nor have most films from any other director, for that matter.
Here are the winners of the 2009 Festival de Cannes:
Palm d'Or
The White Ribbon (Michael Haneke, Austria)
Grand Prize
A Prophet (Jacques Audiard, France)
Jury Prize
Fish Tank (Andrea Arnold, Britain) and Thirst (Park Chan-wook, South Korea)
Special Prize
Alain Resnais
Best Director
Brillante Mendoza (Kinatay, Philippines)
Best Actor
Christoph Waltz (Inglourious Basterds, United States)
Best Actress
Charlotte Gainsbourg (Antichrist, Denmark)
Best Screenplay
Feng Mei (Spring Fever, China)
Camera d'Or
Samson and Delilah (Warwick Thornton, Australia)
Best Short Film
Arena (Joao Salaviza, Portugal)
Reviews of Oscar-buzzed films are pouring in from Cannes courtesy of Variety. Here are the ones for Agora, Antichrist, Bright Star, and Taking Woodstock. Click on titles for the full reviews.
Agora
"The mother of all secular humanists fights a losing battle against freshly minted religious zealots in “Agora,” a visually imposing, high-minded epic that ambitiously puts one of the pivotal moments in Western history onscreen for the first time. Alejandro Amenabar’s first feature since “The Sea Inside” five years ago foreshadows the transformation of the Roman-dominated ancient world into Christian medieval times through the story of the much-celebrated astronomer and mathematician Hypatia in 4th-century Alexandria. This elaborately produced English-language Spanish production is consistently spectacular and features enough conflict and action to make it marketable, but a certain heaviness of style and lack of an emotional pulse could pose problems for mass audience acceptance, at least in the U.S."
Antichrist
"Lars von Trier cuts a big fat art-film fart with "Antichrist." As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images that might have impressed even Hieronymus Bosch, as the director pursues personal demons of sexual, religious and esoteric bodily harm, as well as feelings about women that must be a comfort to those closest to him. Traveling deep into NC-17 territory, this may prove a great date movie for pain-is-pleasure couples. Otherwise, most of the director's usual fans will find this outing risible, off-putting or both -- derisive hoots were much in evidence during and after the Cannes press screening -- while the artiness quotient is far too high for mainstream-gore groupies."
Bright Star
"The Jane Campion embraced by 1990s arthouse audiences but who’s been missing of late makes an impressive return with “Bright Star.” Breaking through any period-piece mustiness with piercing insight into the emotions and behavior of her characters, the writer-director examines the final years in the short life of 19th-century romantic poet John Keats through the eyes of his beloved, Fanny Brawne, played by Abbie Cornish in an outstanding performance. Beautifully made film possesses solid appeal for specialized auds in most markets, including the U.S., where it will be released by Bob Berney and Bill Pohlad’s yet-to-be named new distribution company, although its poetic orientation and dramatic restraint will likely stand in the way of wider acceptance."
Taking Woodstock
"Gentle, genial and about as memorable as a mild reefer high, “Taking Woodstock” takes a backdoor approach to revisit the landmark musical weekend through the antics and efforts of some of the people who made it happen. A sort of let’s-put-on-a-show summer-camp lark for director Ang Lee after the dramatic rigors of “Brokeback Mountain” and “Lust, Caution,” the picture serves up intermittent pleasures but is too raggedy and laid-back for its own good, its images evaporating nearly as soon as they hit the screen. Set for release in August on the 40th anniversary of the event, the Focus release looks like a mild B.O. contender."
From these reviews, Bright Star seems to be destined to become Jane Campion's comeback into the winner's circle and a major Oscar contender come year's end. Best Picture and Best Director nominations are a distinct possibility, while a Best Actress citation for Abbie Cornish is looking likely. A Best Actor nod for Ben Whishaw is less so but still possible. As with most period films, there are chances for technical nominations, with Mark Bradshaw's score getting special mention. Agora seems to be headed for a number of technical Oscar nominations, the likeliest among them Costume Design (Gabrielle Pescucci), Art Direction (Guy Hendrix Dyas) and, to a lesser extent, Cinematography (Xavi Gimenez) and Original Score (Dario Marianelli). Antichrist has an outside, all-too-slim chance of getting cited for its lensing (last year's winner, Anthony Dod Mantle). While it is never perfectly wise to completely discount Ang Lee films, the response sounds too tepid to warrant much interest. Prior to wide U.S. release, possibilities seem limited to citations for the supporting turns of Imelda Staunton and Liev Schreiber.
Since 1946, the Festival de Cannes has showcased among the most interesting and diverse slices of world cinema and given international cineastes an additional reason to celebrate films. Even before Cannes started to give out the coveted award that has come to be known as the Palm d'Or, it has honored actors for their excellence and contribution to the process of film-making. I have been hearing of the festival and have been aware of its significance for several years (even if the true film fanatic in me was not born until 2001), but the first time that the Fest and its winners truly registered in my mind was in 2000, when Bjork won the Best Actress award for her amazing performance in Lars von Trier's Dancer in the Dark. It is still my opinion that her having failed to subsequently snag at least an Oscar nomination for it is one of the great missteps of the Academy.
Now that we are days into the 2009 Festival de Cannes, I thought that it would be interesting to look at the actresses who have been honored by the jurors since 1946 and what their careers have been like since then. Since this is primarily an Oscar site, I'm adding info on whether or not these actresses were nominated for the Oscar for the same performance.
1946
MICHELE MORGAN
La Symphonie Pastorale (France)
Role: A blind woman who becomes the subject of affection of a minister and his son.
Oscar: None.
Status: Morgan's last credited project (as per IMDb) was for television in 1999. Since winning at Cannes, she has won citations from the Cesar Awards and the Venice Film Festival, and was selected as president of the jury of the 1971 Festival de Cannes.
1949
ISA MIRANDA
Le Mura di Malapaga (Italy)
Role: A worker at a trattoria who falls in love with a man on the run from the law and whom her daughter also loves.
Oscar: None.
Status: Died in 1982. Miranda's last performance was in a miniseries in 1978. She was a member of the Cannes jury in 1955.
1951
BETTE DAVIS
All About Eve (USA)
Role: Aging stage actress and diva Margo Channing, who has to contend with age and with a manipulative ingenue.
Oscar: A nomination for Best Actress in 1951.
Status: Died in 1989. Davis is regarded as one of the greatest American actresses to have graced film, with 11 Oscar nominations and two wins to prove it.
1952
LEE GRANT
Detective Story (USA)
Role: A naive shoplifter caught up in a drama at a police precinct.
Oscar: A nomination for Best Supporting Actress in 1952.
Status: Grant last appeared in a film in 2005. Since debuting in the film and getting the Cannes win and Oscar nomination for it, she has been Oscar-nominated thrice more, winning once.
1956
SUSAN HAYWARD
I'll Cry Tomorrow (USA)
Role: A Broadway star with an overly ambitious mother, and whose life spirals downward in alcoholism and failed relationships before she finds redemption.
Oscar: A nomination for Best Actress in 1956.
Status: Died in 1975. Hayward's Oscar nomination for this film was her fourth. Three years later, she won her first and last Oscar.
1957
GIULIETTA MASINA
Le Notti di Cabiria (Italy)
Role: A prostitute who looks for love but finds only misery and heartache.
Oscar: None.
Status: Died in 1994. Masina was never nominated for an Oscar, but she is widely beloved by cineastes, particularly in her performances in films directed by her husband Federico Fellini. She scored nominations from BAFTA and a citation from the Berlinale.
1958
BIBI ANDERSSON, INGRID THULIN, EVA DAHLBECK, BARBIO HIORT AF ORNAS
Nara Livet (Sweden)
Roles: Three pregnant women (Andersson, Thulin, Dahlbeck) and a nurse (Hiort Af Ornas).
Oscar: None.
Status: Andersson and Thulin (died in 2004) are staples in Ingmar Bergman films and both have been honored with BAFTA nominations. Andersson, still a working actress, has won in Berlinale and was a member of the Cannes jury in 1972. Dahlbeck (died early this year) last appeared on film in 1970 and was BAFTA-nominated once. Hiort Af Ornas last appeared in Swedish television in 2001.
1959
SIMONE SIGNORET
Room at the Top (United Kingdom)
Role: An unhappily married woman who falls for a man who is ultimately forced to leave her for another woman whom he has impregnated.
Oscar: A win for Best Actress in 1960.
Status. Died in 1985. Signoret won an Oscar and was nominated once more. She also won multiple citations from BAFTA, the Golden Globes, the Cesar, and the Berlinale.
1960
MELINA MERCOURI
Never on Sunday (Greece)
and
JEANNE MOREAU
Moderato Cantabile (France)
Roles: A prostitute whom an American scholar in Greece tries to transform (Mercouri); a wealthy and bored woman who becomes a witness to murder (Moreau).
Oscar: A nomination for Best Actress in 1961 (Mercouri).
Status: Mercouri (died in 1994), widely respected in her native Greece, garnered several nominations from BAFTA and the Golden Globes, aside from the from the Academy for this film. Moreau is a world cinema icon with various wins from BAFTA, Berlinale, and the Cesar. She was selected as president of the Cannes jury twice, in 1975 and 1995.
1961
SOPHIA LOREN
La Ciociara (Italy)
Role: A mother who desperately tries to protect her daughter in World War II Italy.
Oscar: A win for Best Actress in 1962.
Status: Loren is an international screen legend, having gained various accolades from major festivals and award-giving bodies. These include two Oscar nominations and, on top of the win for this film, an Honorary Award from the Academy in 1991. She will next be seen in 2009 in Rob Marshall's Nine, five years after her last appearance. She was selected as the president of the Cannes jury in 1966.
1963
MARINA VLADY
L' Ape Regina (Italy)
Role: A young Catholic virgin who marries an older man and desperately wants to have a baby.
Oscar: None.
Status: Vlady last appeared to audiences in 2001 in television, where she had spent the latter years of her career.
1964
ANNE BANCROFT
The Pumpkin Eater (United Kingdom)
Role: A woman saddled with an unfaithful third husband and seventh child.
Oscar: A nomination for Best Actress in 1965.
Status: Died in 2005. Bancroft made a mark in film with memorable performances, for which she was Oscar-nominated five times and won once. She also had a string of critically acclaimed and awarded performances in television.
1965
SAMANTHA EGGAR
The Collector (USA)
Role: An art student held captive by a psychopath.
Oscar: A nomination for Best Actress in 1966.
Status: Eggar has been working mostly in television. She was last seen in "Commander-In-Chief."
1966
VANESSA REDGRAVE
Morgan--A Suitable Case for Treatment (United Kingdom)
Role: The wife of a dreamer who finally loses his grip on reality.
Oscar: A nomination for Best Actress in 1967.
Status: Redgrave is one of the most respected living actresses. She is still a highly active actor, having last been seen and Oscar-buzzed in Atonement. She has six Oscar nominations and a win to her credit, on top of many other citations.
1969
VANESSA REDGRAVE
Isadora (United Kingdom)
Role: The scandalous, iconic 1920s American dancer.
Oscar: A nomination for Best Actress in 1969.
Status: Redgrave is one of only two actresses to have won consecutively in Cannes and one of only four to have won more than once.
1970
OTTAVIA PICCOLO
Metello (Italy)
Role: The saintly wife of a working class man in 19th century Italy.
Oscar: None.
Status: Piccolo has been working mostly in television in recent years.
1971
KITTY WINN
The Panic in Needle Park (USA)
Role: A homeless woman with a drug addiction.
Oscar: None.
Status: Winn's last appearance was in an episode of the show "Jessie" in 1984. She is perhaps best known for having played the character Sharon in The Exorcist.
1972
SUSANNAH YORK
Images (Ireland)
Role: A housewife driven to delusions and paranoia.
Oscar: None.
Status: An Oscar nominee (for They Shoot Horses, Don't They), York is still working actively in film and television. She was a member of the 1979 Cannes jury.
1973
JOANNE WOODWARD
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (USA)
Role: A self-centered and abusive mother who makes life miserable for her daughters.
Oscar: None.
Status: Woodward, wife of Paul Newman, has won an Oscar and garnered three other nominations. She is even more awarded for her television work, with six Emmy nominations and three wins for her work. She last appeared in television in 2005.
1974
MARIE-JOSE NAT
Les Violins du Bal (France)
Role: Dual; mother and wife of film-maker Michel Drach
Oscar: None.
Status: Nat was working steadily until 2006, with much of her later years as an actress in television.
1975
VALERIE PERRINE
Lenny (USA)
Role: The wife of stand-up comic Lenny Bruce.
Oscar: A nomination for Best Actress in 1975.
Status: After getting the Cannes win and Oscar nomination for the same role, most of her career has been relegated to bit parts in film and guest roles in television.
1976
DOMINIQUE SANDA
L' Eredita Ferramonti (Italy)
and
MARI TOROCSIK
Deryne Hol Van? (Hungary)
Roles: A manipulative young temptress (Sanda); A grande dame actress whose fading popularity and competition prompt her to reassess her life (Torocsik).
Oscar: None.
Status: Sanda still appears in international films and television. Torocsik is an active and highly regarded actress in her native Hungary.
1977
MONIQUE MERCURE
J.A. Martin Photographe (Canada)
and
SHELLEY DUVALL
3 Women (USA)
Roles: The wife of photographer J.A. Martin (Mercure); a woman who swaps personalities/status with another woman (Duvall).
Oscar: None.
Status: Mercure still works actively in films and is multi-awarded in Canada. Duvall last appeared in a 2002 film and is perhaps best known for her role opposite Jack Nicholson in The Shining.
1978
ISABELLE HUPPERT
Violette Noziere (France)
and
JILL CLAYBURGH
An Unmarried Woman (USA)
Roles: A woman who leads a double wife and schemes to murder her parents to inherit their wealth (Huppert); a woman who tries to find herself after being left by her husband (Clayburgh).
Oscar: A nomination for Best Actress in 1979 (Clayburgh).
Status: Huppert is a highly regarded French actress with twelve nominations and one win in the Cesar Awards. She also has awards from Berlinale and BAFTA, and still works actively. She was a member of the Cannes jury in 1984. Clayburgh has been twice nominated for an Oscar. She was last seen in Running with Scissors and as a guest in "Nip/Tuck" and will next appear as Pat Nixon in Dirty Tricks.
1979
SALLY FIELD
Norma Rae (USA)
Role: A single mother and textile worker who helps unionize her mill.
Oscar: A win for Best Actress in 1980.
Status: Field is two-for-two with the Academy and is a respected film actress but is even more honored for her television work. She is currently in one of the lead roles in "Brothers & Sisters" and will star as Mary Todd Lincoln in next year's Lincoln by Steven Spielberg. She was a member of the Cannes jury in 1989.
1980
ANOUK AIMEE
Salto nel Vuoto (Italy)
Role: A suicidal woman with a manipulative jurist brother.
Oscar: None.
Status: Aimee is a respected international actress whose name is instantly recognizable to cineastes. She has one Oscar nomination and citations from several other organizations, including the Berlinale.
1981
ISABELLE ADJANI
Possession (Germany/France) and Quartet (United Kingdom)
Roles: A woman who leaves her family for something unspeakable (Possession); a novelist with a extramarital affair (Quartet).
Oscar: None.
Status: Adjani is a French screen legend with two Oscar nominations and four wins out of seven nominations from the Cesar Awards. She was selected as president of the Cannes jury in 1997.
1982
JADWIGA JANKOWSKA-CIESLAK
Olelkezo Tekintetek (Hungary)
Role: A woman murdered amidst the political and sexual repression of post-revolution Hungary.
Oscar: None.
Status: Jankowska-Cieslak is a respected actress in her native Poland.
1983
HANNA SCHYGULLA
Storia di Piera (Italy)
Role: A mother in an incestuous relationship with her daughter.
Oscar: None.
Status: Schygulla is a German screen icon and protege of the late renowned German director Rainer Fassbinder.
1984
HELEN MIRREN
Cal (United Kingdom)
Role: A woman whose husband is murdered by the IRA but unknowingly falls in love with a man partly responsible for the crime.
Oscar: None.
Status: Mirren is one of the most highly regarded British actresses working today. She won her first Oscar in 2007 after two other nominations and numerous accolades elsewhere, including ones for her television work.
1985
NORMA ALEANDRO
La Historia Oficial (Argentina)
and
CHER
Mask (USA)
Roles: A high school professor and housewife who searches for the buried truth about her daughter's identity (Aleandro); a biker gang mother with a deformed child (Cher).
Oscar: None.
Status: Aleandro is a respected actress, director and playwright in Argentina and elsewhere in South America. She has one Oscar nomination. Cher is still more popularly known as a musical performer than as an actress, but she has two Oscar nominations and a win to her credit.
1986
FERNANDA TORRES
Eu Sei Que Vou Te Amar (Brazil)
and
BARBARA SUKOWA
Rosa Luxemburg (Germany)
Roles: The socialist philosopher and revolutionary who co-founded the Spartacist League (Sukowa).
Oscar: None.
Status: Torres is a respected and multi-awarded actress in her native Brazil. Sukowa was a prominent German actress who last appeared in Romance & Cigarettes in 2005.
1987
BARBARA HERSHEY
Shy People (USA)
Role: Ferociously protective mother, married at 12 to an absent abusive man
Oscar: None.
Status: Hershey enjoyed her greatest popularity and acclaim as an actress in the 1980s, though she was not nominated for an Oscar until 1997. She still appears in films and television.
1988
LINDA MVUSI, JODHI MAY, BARBARA HERSHEY
A World Apart (United Kingdom)
Roles: Characters struggling against apartheid and generation gaps in South Africa.
Oscar: None.
Status: This film is Mvusi's sole project. May is still an active actress and will appear in this year's Defiance. Along with Vanessa Redgrave, Hershey is the only actress to have won consecutively. Along with three other actresses, she has been awarded more than once.
1989
MERYL STREEP
A Cry in the Dark (Australia/United Kingdom)
Role: A mother accused of killing her infant, who she insists was killed by a dingo.
Oscar: Nominated for Best Actress in 1989.
Status: Streep is widely regarded as the greatest living actress. She is the reigning queen of the Oscars, with 14 nominations and two wins.
1990
KRYSTYNA JANDA
Przesluchanie (Poland)
Role: A woman who wakes up in prison to be tortured to confess a crime that she is not aware of.
Oscar: None.
Status: Janda is a multi-awarded actress in her native Poland and was a member of the jury of Berlinale in 1993.
1991
IRENE JACOB
La Double Vie de Veronique (Poland/France)
Role: Two women in different places with intertwining lives.
Oscar: None.
Status: Jacob is an acclaimed actress who is most known for her performances in this film and in Trois Couleurs: Rouge.
1992
PERNILLA AUGUST
Den Goda Viljan (Denmark/Sweden)
Role: The mother of Ingmar Bergman.
Oscar: None.
Status: August has also won in Berlin and appeared in a small but important role in the first two installments of the Star Wars prequels.
1993
HOLLY HUNTER
The Piano (New Zealand/Australia/France)
Role: A mute woman sent to New Zealand with her daughter for an arranged marriage.
Oscar: A win for Best Actress in 1994.
Status: Hunter is an acclaimed actress with four Oscar nominations and a win (for this film). She currently stars in the television drama "Saving Grace." She was a member of the Cannes jury in 1999.
1994
VIRNA LISI
La Reine Margot (France)
Role: Catherine de Medicis, the powerful mother of Charles IX.
Oscar: None.
Status: Lisi is a multi-awarded actress, particularly in Italy.
1995
HELEN MIRREN
The Madness of King George (United Kingdom)
Role: Queen Charlotte, George III's loyal queen consort.
Oscar: A nomination for Best Supporting Actress in 1995.
Status: Mirren is one of only four actresses to have won this award more than once.
1996
BRENDA BLETHYN
Secrets & Lies (France/United Kingdom)
Role: A common white woman who discovers that she is the mother of a successful black woman.
Oscar: A nomination for Best Actress in 1997.
Status: Blethyn began in theatre and television, and she has become more famous to international audiences and appeared in more high-profile films since her Oscar nomination for this film and a second two years later.
1997
KATHY BURKE
Nil by Mouth (United Kingdom)
Role: The wife of a violent man in working-class London.
Oscar: None.
Status: Burke is a popular British comedian with awards from BAFTA and other British awards bodies.
1998
ELODIE BOUCHEZ, NATACHA REGNIER
La Vie Revee des Agnes (France)
Roles: Two penniless women who become friends, live together, and face issues regarding family, love, and their shared flat.
Oscar: None.
Status: Both Bouchez and Regnier also won the European Film Award for their performances in this film. Both have also won several awards, including ones from the Cesar Awards, since winning at Cannes.
1999
EMILIE DEQUENNE
Rosetta (Belgium/France)
and
SEVERINE CANEELE
L' Humanite (France)
Roles: A woman who is willing to do anything to keep her job (Dequenne); a sexual factory worker who is also a gentle soul (Caneele)
Oscar: None.
Status: Dequenne has been nominated thrice at the Cesar Awards since her debut in this film. Caneele has appeared in only three other films since this win, the last in 2004.
2000
BJORK
Dancer in the Dark (Denmark)
Role: A mother who goes blind and tragically struggles to prevent the same from happening to her child.
Oscar: None.
Status: Bjork is more popular as an internationally acclaimed musical artist. She has practically forsaken a career as an actress, appearing only once more, in husband Matthew Barney's Drawing Restraint 9.
2001
ISABELLE HUPPERT
La Pianiste (Australia/France)
Role: A piano teacher who enters a sadomasochistic relationship with her younger student.
Oscar: None.
Status: Huppert is one of a few actresses who have won this award more than once, along with Redgrave, Hershey, and Mirren.
2002
KATI OUTINEN
The Man Without a Past (Finland)
Role: A Salvation Army worker in whom the lead, a man suffering from amnesia after a vicious beating, finds love.
Oscar: None.
Status: Outinen is multi-awarded in her native Finland and is particularly well known in Germany and France.
2003
MARIE-JOSEE CROZE
Les Invasions Barbares (Canada/France)
Role: A young drug addict who offers unusual assistance and friendship to a dying history professor.
Oscar: None.
Status: Croze has appeared in high-profile international projects and been critically acclaimed since winning in Cannes. She was last seen in last year's The Diving Bell and the Butterfly.
2004
MAGGIE CHEUNG
Clean (France)
Role: A woman who struggles to remain drug-free after the death of her husband, her imprisonment, and her rekindled desire to take care of her son.
Oscar: None.
Status: Cheung is one the most respected and awarded actresses in Hong Kong and mainland China. She was the first Chinese actress to win in the Berlinale and Cannes. Her most recent film was 2004's 2046. She was a member of last year's Cannes jury.
2005
HANA LASZLO
Free Zone (Israel/France/Spain/Belgium)
Role: A taxi driver in Jordan who brings her passenger along on an eventful journey.
Oscar: None.
Status: Laszlo is an Israeli actress who has two nominations from her native country's film academy.
2006
PENELOPE CRUZ, CARMEN MAURA, CHUS LAMPREAVE, YOHANNA COBO, LOLA DUENAS, BIANCA PORTILLO
Volver (Spain)
Roles: Family and friends whose lives are affected by the ghost of a dead mother.
Oscar: A nomination for Best Actress in 2007 (Cruz).
Status: Cruz has found a newly elevated status as an actress with her Oscar nomination for this film. She has since worked with Woody Allen and is working once more with Pedro Almodovar, who directed this film. Maura is a widely respected and multi-awarded actress. Lampreave is also multi-awarded and is an Almodovar regular. Cobo is an actively working young actress. Duenas and Portillo are both awarded actresses on stage and in film.
2007
DO-YEON JEON
Secret Sunshine (Korea)
Role: A woman who lives in utter tragedy.
Oscar: None.
Status: Jeon started in television but has since become a highly regarded and multi-awarded film actress in her native Korea.
2008
SANDRA CORVELONI
Linha de Passe (Brazil)
Role: A pregnant single mother of four sons with different fathers, working as a maid for a middle-class family.
Oscar: None
Status: Corveloni began her career as a theater actress. This is only her third film and she has yet to make another.
Statistics:
-Of the 68 actresses who have won this award, 15 are French or were from films produced wholly or partly by France. Other strong performers: USA (12), United Kingdom (11), and Italy (8).
-Of these 72 winning performances, only 18 (25%) were also nominated for the Oscar for either Best Actress or Best Supporting Actress. Of these, four won the Oscar.
-Of the 17 actresses who both won in Cannes and were nominated for the same performance, nine are American or were born in the USA. Four are British or were born in the UK.
-Of the 72 winning performances, six are film debuts. Of these, only one (Lee Grant's) was also nominated for an Oscar.
Images from: IMDb
