3 international film actors who deserve a little love at the Oscars

With films in languages ​​other than English finally breaking out of their limited, Oscar-nominated category in recent years, it’s outrageous that the actors in these stories rarely get similar recognition.

Although “Parasite” won several Oscars, including Best Picture, the cast was left out of the acting categories – even the lead role of Song Kang-ho, whose performance is critical to the film’s success. Last year Danish star Mads Mikkelsen was also overlooked, while “Another Round” won the award for best international feature film and Thomas Vinterberg was nominated for best director. This season, several stars from abroad could enrich the range of contenders.

Another glaring oversight is that none of the captivating performances of Iranian master Asghar Farhadi’s two Oscar-winning films, “A Separation” and “The Seller”, have received accolades in the United States. Still, there is a chance for redemption this year with his latest drama, “A heroWhich features presumably imperfect characters caught in morally ambiguous circumstances.

As Rahim, a humble family man serving prison time as he is presented to the public as a role model for citizens to admire, actor Amir Jadidi talks seriously. Although surrounded by outside suspicion about an incredibly selfless act, his Rahim offers shyly silly smiles and, at the start of his local fame, acts in a shy and cheerful manner when people recognize him.

But Farhadi does not disinfect his image, and therefore Jadidi’s construction of this besieged individual slowly reveals an underlying current of helplessness, of a man who has tried to accept his position on the social ladder and who does not still can’t get a break. Whether or not one fully trusts her account of events, the gradual erosion of her restraint is both captivating and heartbreaking.

In “Drive my carA meditative triumph for director Ryusuke Hamaguchi who has already amassed top critics’ prizes, star Hidetoshi Nishijima embodies a different type of man in a slowly developing crisis. For the role of Yûsuke Kafuku, a successful actor and director mourning deep personal loss, Nishijima maintains an almost impenetrable cerebral demeanor amidst inner turmoil. Haunted by his unsuccessful quest for answers from his unfaithful wife, Kafuku launches and repeats a multilingual version of Chekhov’s “Uncle Vanya” as a form of escape.

Thanks to Nishijima’s effectively stoic portrayal of a grieving person who doesn’t want to face what he feels head-on, the protagonist’s interactions with others carry a certain distance, even in close proximity. However, in the presence of his imposed personal driver, Misaki (Tôko Miura), with whom he establishes a bond, this hardened outer envelope melts very slightly.

Nishijima rides the waves of deceptively subtle yet piercing emotions with dignified vulnerability. Kafuku’s accumulated pain never manifests in dramatic outbursts, and yet, as subterranean as it is, there is an unspoken heaviness in him that we can perceive.

Meanwhile, Norwegian actor Anders Danielsen Lie delivers another devastating turn in Joachim Trier’s romantic comedy-drama “The worst person in the world”- although his is a medium based on the time he spends on the screen. The director’s longtime muse, Danielsen Lie has now starred in all three of the Oslo Trèves trilogy, including “Reprise” (2006) and “Oslo, August 31” (2011).

In this final chapter, Danielsen Lie plays Aksel, a controversial comic book artist and seemingly understanding partner of Julie (Renate Reinsve), the film’s alluring and ambivalent lead role. When the turning point in their life surprises him, the actor calibrates the character’s desperation and anger as he tries to save their relationship.

In a scene at the end of the tale, as the two sit across from each other to recall and face the inevitable fate of their relationship, Aksel appears at his freest – and Danielsen Lie delivers his moments. the most moving. Impossible to pin down in layman’s terms, the character contains both problematic traits and an openness to engage with the hard truths about love.


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Darcy J. Skinner