A record 71 countries, including first-time entrant Kenya, have submitted films for consideration in the Foreign Language Film category for the 85th Academy Awards®. Not joining the list this year is Iran which is boycotting this year's Oscars because of fall out from the anti-Islam video Innocence of Muslims. Last year, Iranian director Asghar Farhadi won the Academy Award for Best Foreign-Language film for A Separation, a first for a filmmaker from that country. The list of contenders follows:
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Even as Iran's boisterous leader (but not supreme leader) President Mahmoud Ahmadinejad is in New York for the opening of the U.N. Assembly this week, and already causing some local controversy here staying at a luxury Manhattan hotel, his country is apparently opening a new front in its anti-U.S. proclivities - The Oscars. An Iranian official said his country should boycott the 2013 Academy Awards and not submit a film for Best Foreign-language consideration due to the anti-Islam video Innocence of Muslims which rocketed the Muslim world since its debut on YouTube earlier this month.
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The champagne's been tippled, the winners are all celebrating, and somewhere Uggie's getting a LOT of sausages. So let's relive the highlights of the 2012 Academy Awards show! Click through for Movieline's gallery and name your favorite moment from the big night. Was it Best Supporting Actress Octavia Spencer's emotional acceptance speech? Or Descendants co-scripter Jim Rash's impromptu Angelina Jolie impersonation? Those bits and more in vivid photographic detail after the jump!
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Hollywood's biggest (and possibly most anticlimactic) night is upon us, which can only mean one thing: Movieline's third annual Oscar Liveblog Extravaganza! Join your Movieline editors and loyal readers as we parse the Academy Awards to within an inch of their glamorous lives. The fun begins on the red carpet at 7 p.m. ET/4 p.m. PT, with the Oscarcast proper commencing at 8:30 p.m ET/5:30 p.m. PT. And in any case, keep abreast of this year's Oscar class with our commentary after the jump.
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And why? Because they're based on hype. But that's OK, Ben Zauzmer — Harvard freshman, analytical whiz kid and proprietor of the new "matrix algebra"-based awards prognostication site Ben's Oscar Forecast! Movieline's Institute for the Advanced Study of Kudos Forensics has the science down and is soliciting interns for next year's awards-season death march. Inquire within.
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Happy Oscar week! Time for another one of Movieline's virtual awards roundtables, this time featuring nominated filmmakers behind this year's contenders for Best Foreign-Language Feature. Meet our distinguished panel:
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Controversial Iranian actress Golshifteh Farahani was recently banned from her homeland after the French fashion magazine Madame Le Figaro published topless photos of her, thus prompting a support page on Facebook featuring other Iranian activists posing topless or entirely nude. Oy, guys, you're doing it wrong.
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Give the Academy some credit: They made awards season fun for a little bit longer. At least my mind was blown this morning as AMPAS president Tom Sherak and Jennifer Lawrence announced The Tree of Life, Extremely Loud & Incredibly Close, Demián Bichir and a few other shocks among the 2012 Oscar nominations.
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We're a little more than half a day away from learning who and what will compete for the 84th annual Academy Awards -- an elite class through which Movieline's Institute for the Advanced Study of Kudos Forensics had combed for four months in its fail-safe, fool-proof and bracingly handsome Oscar Index. This calls for one last sweep through each of the Academy's categories (with the exception of live-action, animated and documentary short, about which even our pointiest-headed Oscar wonk cannot speak yet with authority); check our team's work against your own, and drop back by Movieline tomorrow morning at 8:30 a.m. ET/5:30 a.m. PT as we deliver nominations, reactions, analysis and more.
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The filmmaking in Iranian director Asghar Farhadi's A Separation is so spare and unfussy that, save for the occasional camera jiggle, you're barely aware of the filmmaking at all. This is a drama about two families -- one deeply religious, one not -- who clash over an escalating series of misunderstandings, and the emotion Farhadi teases out of this increasingly complex situation are unvarnished but restrained. Nothing earth-shattering happens in A Separation, but the straightforwardness of this view of a disintegrating marriage, set in the context of complicated cultural and religious morés, is dramatic by itself.
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I found 2011 to be a great, overstuffed year in film, though the sweeping trend of nostalgia that peaked during this awards season left me a little cold. Hugo, War Horse, The Artist, The Adventures of Tintin, The Help, even the self-aware looking back of Midnight in Paris -- when it's been such a turbulent 12 months beyond the movies, the comfort of evoking the past, especially the cinephilic past, is understandable, particularly with attendance down once again. But the features I really loved tended to be more prickly, vital affairs, about tragedy and life messily, stubbornly going on in its aftermath -- ones that reminded us that film can not only be a great escape, but can also engage and reflect the outside world.
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