Oscar Entries Set to Shine at MAMI 2024!
The Mumbai Film Festival (MAMI) 2024 promises an exciting fusion of international cinema and captivating local stories, highlighting films that celebrate diverse narratives and innovative filmmaking. Festival-goers can look forward to exclusive screenings, engaging panels, and thought-provoking discussions, providing a unique platform for filmmakers and audiences to connect. With its commitment to showcasing the best in cinema, MAMI continues to establish itself as a vital hub for artistic expression and cultural exchange, celebrating the magic of storytelling in all its forms. This year’s festival is set to welcome a dazzling array of Oscar-participating talent and films, nominated by various countries, giving the attendees a visual treat. From UK’s Santosh to Norway’s Armand, here’s a list of Oscar Entries that will be a part of MAMI Film Festival 2024.
7 Oscar entries to be screened-
Santosh (UK’s Oscar Entry)
A newly widowed Santosh inherits her husband’s job as a police constable in the rural badlands of northern India as part of a government scheme. When a young Dalit girl is found raped and murdered, she is pulled into the investigation under the wing of charismatic Inspector Sharma. A riveting crime drama, Sandhya Suri’s feature debut bursts the bubble of the Indian feminist police fantasy with formidable intellect and urgency. As a study of power and powerlessness in the corrupt police force, Santosh remains politically critical while being emotionally contemplative. Working with cinematographer Lennert Hillege, Suri deftly leans into her documentary practice to stage tense outdoor set pieces that enable the gradual unveiling of the caste divisions prevalent in Indian society. Yet, there is also much to glean between the lines, especially in the naturalistic performances of lead actors Shahana Goswami and Sunita Rajwar and in the film’s inquiry into the blurring lines between the oppressor and the oppressed.
Shambhala (Nepal’s Oscar entry)
In a polyandrous village in Nepal, newlywed and pregnant Pema faces uncertainty when her first husband, Tashi, vanishes on a trade route. As her community questions the legitimacy of her unborn child, Pema embarks on a transformative journey into the wilderness. In *Enlightenment in Shambhala*. Min Bahadur Bham masterfully contrasts patriarchal burdens with Buddhist spirituality, capturing Nepalese social mores through breathtaking cinematography by Aziz Zhambakiyev in a visually striking, contemplative odyssey.
Armand (Norway’s Oscar Entry)
Camera d’Or winner “Armand”, directed by Halfdan Ullmann Tøndel, explores the turmoil of single mother Elizabeth (Renate Reinsve) after her son is accused of indecent conduct. The film deftly shifts focus from the children to the adults’ complex, often perverse dynamics, revealing the impact on young minds. Tøndel’s skillful storytelling is complemented by Reinsve’s intense performance, highlighted by her powerful “meltdown dance” scene, bringing depth to this disquieting drama.
Emilia Pérez (France Oscar Entry)
In “Emilia Pérez”, Jacques Audiard blends musical crime drama with a bold narrative about a former cartel leader who undergoes gender-affirming surgery to become a woman, Emilia. Faking her death, she seeks help from lawyer Rita (Zoe Saldaña) while navigating her transformation. Karla Sofía Gascón’s riveting portrayal of Emilia is complemented by a strong cast, including Selena Gomez. The film’s operatic musical numbers mark a stylistic departure from Audiard’s previous gritty realism, embracing a more flamboyant, surreal storytelling approach.
Kneecap (Ireland Oscar Entry)
“Kneecap” is a lively film set in post-Troubles Northern Ireland, following the real-life Belfast hip-hop trio Kneecap as they use music to fight for Irish language preservation. The film explores ongoing cultural tensions over national identity and language rights. Featuring the band members as themselves and Michael Fassbender as a former paramilitary-turned-yoga instructor, it blends political commentary with riotous humour, depicting the group’s anarchic rise as leaders of a civil rights movement.
The Girl with the Needle (Denmark Oscar Entry)
“The Girl with the Needle” is a gripping post-WWI period drama about Karoline, a pregnant factory worker in Copenhagen, who becomes entangled in Dagmar’s dark adoption racket. As Karoline uncovers Dagmar’s sinister operations, her life spirals into moral collapse. The stark black-and-white cinematography and haunting score intensify the film’s bleak atmosphere, drawing viewers into its unsettling world. Avoiding melodrama, the film tells a visceral and emotionally disturbing tale that lingers long after it ends.
Universal Language (Canada’s Oscar Entry)
In his sophomore film, Matthew Rankin reimagines Winnipeg as a vibrant, multilingual utopia, blending Farsi and French as its official languages. Through quirky vignettes, eccentric characters navigate their day, from two sisters finding frozen money to Rankin playing a melancholic version of himself. Merging Iranian and Canadian cultural elements, Rankin crafts a whimsical, surreal world reminiscent of Wes Anderson and Jacques Tati, offering a playful yet profound commentary on universal expression.
