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Politics Part III: The Best Foreign Language Film Race

To complete the trifecta of politicization, look no further than the Best Foreign Language Film race. This year the nominees are Germany’s Toni Erdmann, Iran’s The Salesman, Denmark’s Land of Mine, Sweden’s A Man Called Ove, and Australia’s Tanna.

Let’s start with the ones that will not win. Tanna is a fascinating portrayal of aboriginal tribes in that continent, a tale that reminds one of past nominee The Embrace of the Serpent. These films are essentially documentaries that open a window into the culture of the country that is setting forth the submission, but, like Colombia’s entry, Australia’s is a bit too niche to have much resonance.

The same is likely true of Sweden’s entry, which is a story about an old man and how he discovers newfound meaning in life at a later stage, after much crankiness. It is also up for the Best Makeup award but, in a year where resonance seems to be a requirement in all races except Best Picture, this one does not seem to have the chops.

And then there is the entry that seems to be reserved for a World War II/Holocaust/Nazi-themed film. This year it is Denmark’s Land of Mine, about German POWs forced to clean the beaches of Denmark of landmines. A sad, harrowing tale, but the Academy seems to be moving away from this theme unless and until there is not much else to reward.

So it boils down to Germany vs. Iran. Toni Erdmann, a timely, modern tale about sexism and anxieties in the workplace, seemed to be heading for a sure victory. The film tells the story of a middle-aged woman as she struggles to find her place in the office and in life, all while her eccentric father comes for a visit and stays to give her additional lessons about happiness. The story is mostly a comedy, a well-told escape into the life of one person with so much more to offer. It was the undisputed front-runner, that is until a certain Executive Order was signed.

With the presidential directive that made it harder for people from certain countries, including Iran, to visit the United States, Iranian filmmaker Asgar Fahardi made it known that he would not be attending the ceremony. Could the Academy try to send a message about its view on the directive by awarding Fahardi again? You may recall he won a few years back for the family drama A Separation, so it is not out of the question.

It would be a shame, at least from the perspective of quality, for that to be the outcome. I’ve never really been partial to his work and I found The Salesman, about a man seeking to avenge his honor after his wife is sexually assaulted, to be more style than substance. Sure, there are subtle and important messages in there assailing censorship in the Iranian regime, and it is no doubt refreshing to see artists from that country express their collective anxieties about the shortcomings of their practices. But I found Toni Erdmann much more relevant at least to my own experience, and indeed one of my favorite of the year.

I’m still going to say Germany triumphs, but there is certainly a chance for a spoiler here. Politically, I can hardly blame the Academy, even though it is probably not the best movie. If they are going to just stay quiet while the world revolves around them, they will vote themselves into irrelevance.

Will win: Toni Erdmann
Could win: The Salesman

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