The long-forecast “Holocaust fatigue” among filmmakers and their audiences has not yet arrived, judging by the entries for 2013 Oscar honors by producers and directors in numerous countries.
Each of a record 71 foreign — meaning non-English-speaking — countries has submitted its top film, ranging alphabetically from Afghanistan to Vietnam.
So broad a representation of the world’s tastemakers and opinion-shapers, though hardly scientific proof, tends to reflect the topics and themes likely to attract home audiences.
So, just as in Hollywood, there are lots of movies on love in all its permutations; high and low comedies; and spy, action and detective thrillers.
But also entered are five movies that deal directly with the Jewish fate during the Nazi era and its aftermath, one film with talmudic roots and one on the wartime clash between Russian and German armed forces.
Also of special interest to Jewish moviegoers are the Israeli entry, and, after an absence, a Palestinian film.
Probably the least-expected entry is “Lore,” submitted by Australia. While the Aussies speak in what might still be considered colonial dialect, that would hardly be considered a foreign language by the standards of the Academy of Motion Picture Arts and Sciences.
But “Lore” features an all-German acting and -speaking cast. The title character is a 14-year-old girl, the daughter of a high-ranking SS officer and his like-minded wife, who are arrested by Allied authorities in the closing days of World War II in Europe.
Lore is charged by her mother to take her four younger siblings, one still a baby, across rubble-strewn Germany, pass through the Russian-occupied zone and find the farm of her grandmother in American-ruled West Germany.
Along the way, Lore is befriended and protected by a young man, to whom the adolescent girl is physically and emotionally attracted. To her horror, the Nazi-suckled Lore discovers that her protector seems to be one of the despised and evil Jews she has been taught to hate all her life.
The only Australian part of the film is its director, Cate Shortland, and under the Academy rules, that entitles her country to enter “Lore” as its own.
Shortland, who with the Journal during a visit to Los Angeles, was asked why she would make a film on this particular topic and in a language she doesn’t speak.
“I have long been interested in totalitarianism and, especially, what it does to children,” she said, adding that it was challenging to view ultimate evil from the perspective of the perpetrators.
Her decision was reinforced by her marriage to a man whose German-Jewish parents arrived as refugees in Australia, and by her own conversion to Judaism four years ago.
Aside from “Lore,” the other four entries dealing with the Holocaust were made in Eastern European countries dominated in the postwar decades by communist regimes, which largely ignored the extermination of its Jewish populations during World War II.
One of the entries is from Macedonia and another from Serbia, two countries established by the breakup of the former Yugoslavia.
“The Third Half,” by Macedonian director Darko Mitrevski, has some of the elements of a Hollywood product — poor boy falls in love with rich girl, and the underdog team beats the champion.
In this case, a scruffy, low-class workingman and part-time soccer player pursues the aristocratic daughter of a rich Jewish banker, and his laughable provincial team beats the league’s top team.
What sets “The Third Half” apart is the time — 1941 — and the locale of Macedonia, occupied by Nazi ally Bulgaria. The occupiers introduce all of Hitler’s racial agenda, including the graphically depicted humiliation and deportation of the Jews.
Bulgaria, which saved its own Jews but turned the Jews of occupied Macedonia over to the Germans, has bitterly protested the film as a perversion of history. According to Mitrevski, Bulgarian authorities have retaliated by blocking talks for Macedonia to join the European Union.
The director remains unfazed. “I am fascinated by the individual stories of Holocaust survivors,” he said. “There should be 11 million such movies of Jewish, Gypsy, homosexual and political survivors.”
In Serbia’s submission, “When Day Breaks,” an elderly music professor, who has always considered himself a Christian, discovers that he is the son of Jewish parents, who left him with a farmer’s family and later perished in the Holocaust.
As the stunned professor wanders through present-day Belgrade, he finds that few people remember the war years or that the city’s neglected fairground served as a concentration camp for the city’s Jews. With his musician friends, he set about to establish a memorial on the site.
Like the professor, “I cannot not remember,” said director Goran Paskaljevic in a phone interview. “If we forget the crimes committed during World War II, and later in Bosnia, that opens the door to new crimes.”
The Czech Republic’s entry, “In the Shadow,” starts as a film-noir detective story, but as it evolves, it leads to the anti-Zionist and anti-Semitic show trials of the 1950s, staged by the communist regime in Prague.
The Holocaust targeted not only Jews, but also other “racially inferior” people, particularly the Romas (Gypsies). Hungary, an Axis partner during the war, relives this past in its Oscar entry, “Just the Wind.” The movie depicts the murder of five Romani families in an isolated village and the subsequent trial of the suspects.
“White Tiger” is an enigmatic Russian film that centers on some of the devastating tank battles between German and Soviet forces during World War II. The title character is a massive German tank, which appears suddenly to destroy its Russian opponents and just as suddenly disappears into the void.
Critics have interpreted the film’s underlying theme as pointing to war as a natural part of the human condition or as a representation of the German lust for power and domination, which will fade away for some time and then suddenly reappear.
The Latvian movie, “Gulf Stream Under the Iceberg,” goes back to the biblical and talmudic legend of Lilith, the reputed first wife of Adam, who in subsequent reincarnations controls men through her sexual attraction.
Israel’s contender, “Fill the Void,” wrestles with profound issues of faith within the Charedi (ultra-Orthodox) community of Tel Aviv. Director Rama Burshtein, a New York native who became fervently Orthodox after making aliyah, focuses the film on whether 18-year-old Shira will follow her mother’s wishes to marry the husband of her older sister, who died in childbirth.
Shira is caught between the strictures of her community — whose rituals and lifestyle are depicted in loving detail and not without humor — and personal choice.
In the Palestinian film, “When I Saw You,” Tarek is a precocious 11-year old, who flees his West Bank village after the Six-Day War and ends up with his mother at a refugee camp in Jordan.
Seeking freedom and adventure, Tarek leaves the camp and falls in with a group of militant anti-Israel fighters.
The motion picture academy will winnow down the 71 foreign entries to an initial shortlist of nine semifinalists and is scheduled to announce the results on Dec. 21. Subsequently, five finalists will be made public on Jan. 10. The Oscars will be presented on Feb. 24.
Among film critics, the favorites for the top prize are Austria’s “Amour” and France’s “The Intouchables,” which were both nominated for Golden Globe awards. However, Israel’s “Fill the Void” and Australia’s “Lore” also are considered likely contenders, and the selection committees for best foreign-language film are well known for their often-unexpected choices.
In the meantime, though, the academy has already announced its 15 nominees for best documentary choices. Included are “5 Broken Cameras” by directors Emad Burnat, a Palestinian, and Guy Davidi, an Israeli; and “The Gatekeepers” by Israel’s Dror Moreh. “The Gatekeepers” consists of lengthy and surprisingly frank interviews with six former heads of Shin Bet, Israel’s internal security agency, discussing the past and likely future of the tumultuous regional conflicts.
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