3 international film actors who deserve the love of 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 Hero,” which features presumably flawed 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 thus 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 Car”, the meditative triumph of director Ryusuke Hamaguchi who has already amassed top reviewers’ awards, star Hidetoshi Nishijima plays a different kind 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 quality of 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.

Oscar international film actors

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” – though it’s a supporting role based on his time spent in the movie. 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 down across from each other to recollect and face the inevitable fate of their relationship, Aksel appears at his freest – and Danielsen Lie delivers his moments most more 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.

Originally from Mexico City, Carlos Aguilar was chosen as one of six young film critics to participate in the first Roger Ebert Fellowship organized by the Sundance Institute and IndieWire in 2014. Aguilar’s work has appeared in publications such as IndieWire , MovieMaker Magazine, Filmmaker Magazine, Variété Latino, Americas Quarterly, Remezcla, among others. In addition to his work in journalism, Aguilar works regularly as a reviewer for the Sundance Film Festival and a screenplay reader for the Sundance Screenwriters Lab. In the spring of 2016, Aguilar was selected as one of the participants in the Hola Mexico Film Festival‘s inaugural Tomorrow’s Filmmakers Today program, which aimed to expose young Latino talent to industry professionals and mentors. He was invited to be part of the jury of the Palm Springs International Film Festival 2017 in the Cine Latino section. Aguilar currently co-hosts “One Week Only”, a weekly podcast highlighting independent and international cinema.

Darcy J. Skinner