Background

The Iranian New Wave was characterised by a self-aware, poetic, documentary-style of storytelling that focused on lower and middle-class subjects. It also took inspiration from other new-wave film movements from other parts of the world, such as Italian Neorealism. “Filmfarsi” was the most common style of film in Iran before the new wave. These were commercial films that replicated the style of Bollywood movies of the time. Filmfarsi is often criticised for its low-quality and over-the-top plotlines and storytelling. The loss of popularity of Filmfarsi coincided with the growth of the Iranian New Wave. The Iranian New Wave is often subdivided into three waves;

First Wave

The first wave came in the sixties as Filmfarsi lost popularity amongst the general public. Filmfarsi did not accurately reflect the reality of Iranian life and locals began to seek out better artistic representation. An early precursor to the first wave was Serpent’s Skin (1964) by the director Hajir Darioush. Films like Shohare Ahoo Khanoom (1968) and The Cow (1969) opened the doors to fresh, new, politically-driven narratives that captioned the attention of movie-goers. These had philosophical yet realistic depictions of Iranian life, unlike the melodramatic musicals of Filmfarsi. This wave lasted until the Iranian revolution in 1979 which introduced Islamic restrictions on the film industry.

Second Wave

The second wave lasted till 1999 and introduced some of the most internationally recognised films to come from Iran. Despite political turmoil, the craftsmanship of Iranian films steadily improved. The critically acclaimed Children of Heaven (1997), directed by Majid Majidi, was one of the most recognised films of this era. Like some other films of the Iranian new wave, it followed the trend of focusing on children as its main subjects, which lent it an air of innocence and relatability. It depicts the struggle of a brother and sister surviving in a typical poor Iranian family. It later became the first Iranian film nominated for an Academy Award for Best Foreign Language Film.

Third Wave

The third wave, from 2000 to 2011, includes the most recent films of the movement. A great example would be A Separation (2011), directed by Asghar Farhadi. The drama explores the multifaceted lives of a couple with a struggling marriage in modern-day Iran. It won a Golden Globe for Best Foreign Film and an Academy Award nomination for Best Original Screenplay. It was also the first Iranian film to win the Golden Bear.

Impact

The distinct socially aware down-to-earth approach of the Iranian New Wave, fiction with the air of a documentary, has had a global impact on cinema as a whole. Filmmakers from Persia to Europe have paid homage to this unique artistry. A noted example is the English director Michael Winterbottom with his film In This World (2002).

Also Read: Global Cinema Spotlight: Dogme 95

Also Read: Global Cinema Spotlight: Cinema Novo

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Background

The movement was an attempt to create a niche of film free of Hollywood-esque technological gimmicks like special effects. Vinterberg and von Trier aimed to return to the basic ethos of filmmaking; story, theme, and acting. Essentially, it was a return to the pure foundation of film without the excess flab it often comes with. Hence the creation of a dogme (dogma) of strict rules for filmmakers.

The theory was introduced to the public at Le cinéma vers son deuxième siècle in Paris in March 1995. This was a conference celebrating 20th Century film. Lars von Trier was one of the directors invited to speak at this event. Before his speech, pamphlets that described the new Dogme 95 movement were distributed to the audience of filmmakers. The pamphlets were a manifesto co-written by Vinterberg and von Trier. They included a list of rules called “Vows of Chastity” that directors had to adhere to.

The rules included requirements that shooting must be done on location, no props can be brought in from outside location, no music can be added in post-production, the cameras must be handheld, and directors must not be credited, to name a few. Below is an excerpt from the last paragraph of the vows;

“Furthermore, I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to enforce truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.“

Application

It’s no surprise that the movement was named a dogma, considering its almost religious fundamentalism. Films had to be formally submitted for consideration to be classed as Dogme 95. A few of the films that made the cut didn’t meet all the criteria. In such cases, the directors had to first “confess” the ways they broke their vows. This amusing ritual reflects the fact that although the audio-visual theatrics of recent cinema may sometimes be unnecessary, they are often necessary for good storytelling.

The formalised process created a very rare occurrence in the global filmscape; this cinema niche had clearly defined lines and every film in its ranks is documented. To be exact, there are 35 Dogme films. Although the directors were not permitted to attach their names to the films, all 35 are listed with details on their official website. Other than its original founders, other notable directors of the movement include Kristian Levring, Søren Kragh-Jacobsen and Juan Pinzás.

Impact

As a whole, the films of Dogme 95 had mixed reviews. However, there were a few critically acclaimed gems. Consider Festen (1998), a tragic farce in which a birthday party reveals a dysfunctional family’s struggles with abuse, death, and incest; and Italiensk for Begyndere (2000), an absurdist romantic comedy in which a group of loners facing various life crises band together in an Italian language class. In the long run, Dogme 95 was a breath of fresh air in an industry that seemed to be straying from the basics of film.

Even after the dissolution of the collective, other directors like directors Jan Dunn and Brilliante Mendoza have used many of the founding Dogme principles. From Scandinavia to South Korea, the influence of the Dogme filmmaking style can be seen globally. Although the strictness of their manifesto is unattainable on a large scale, it can help all of us reflect on the importance of the traditional values of film.

Also Read: Global Cinema Spotlight: Cinema Novo

Also Read: Global Cinema Spotlight: Lollywood

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5. The King’s Speech (8.0)

The winner of the 2011 Best Picture award concerns Britain’s King George VI (Colin Firth) working with speech therapist Lionel Logue (Geoffrey Rush) to overcome his stammer and allow him to deliver his messages to the people of the UK and those in high positions with his own voice.

Despite some critics calling it Oscar bait, The King’s Speech charmed audiences. Not only scoring an 8 on IMDb but also becoming the highest-grossing British independent film of 2011. Initially, it was also involved in controversy because the BBFC gave the film a 15 certificate due to strong language. Despite the swearing serving the point of helping King George through his stammer. Ultimately thanks to the distributor’s appeal, the BBFC re-rated the film as a 12a. It also won Best Director for Tom Hooper, Best Actor for Colin Firth, and Best Original Screenplay for David Seidler.

4. Spotlight (8.1)

2016’s best picture recipient deals with another story based on true events. This time looking at several reporters working for the Boston Globe. Who uncover a series of child abuse crimes within the catholic church.

Spotlight was the first Best Picture winner since The Greatest Show on Earth to only win one other award at the ceremony. The other being Best Original Screenplay for Josh Singer and Tom McCarthy. It also was viewed as a surprise win, with many believing The Revenant would take the award home. Spotlight may have been a surprise winner but its high audience rating and great reviews from many critics show that it’s still something special.

3. 12 Years a Slave (8.1)

Steve McQueen’s dark drama is about the horrors experienced and witnessed by Solomon Northup (Chiwetel Ejiofor), a free man of colour living in New York who is captured, sold into slavery and must spend 12 years trying to survive.

12 Years a Slave was not only well-received by critics and general audiences but it also marked the first time that a film made by a black director won Best Picture. And it also earned statues for John Ridley’s screenplay and Lupita Nyong’o’s supporting performance. Showing that while 12 Years a Slave was a hard watch, it was also impactful and important.

2. Green Book (8.2)

Undoubtedly the most controversial Best Picture winner of the past decade. The story follows Tony Lip (Viggo Mortensen) who makes friends with Dr. Donald Shirley (Mahershala Ali) as he ferries him around the southern United States in the 1960s, ensuring he is safely able to play music at venues.

Green Book received several negative responses upon its release for its dated use of the white saviour narrative to tell the story of African American persecution. But it became even more controversial when it won the Best Picture Oscar, even though films from prominent black filmmakers like Spike Lee (BlacKkKlansman) and Ryan Coogler (Black Panther) were also nominated. Although Green Book clearly won over many, as evidenced by its award wins (also winning Best Original Screenplay for Nick Vallelonga, Brian Hayes Currie, and Peter Farrelly and Best Supporting Performance for Mahershala Ali), and IMDb rating, its win remains an embarrassing moment for the modern film industry.

1. Parasite (8.6)

This South Korean masterpiece focuses on the relationship between two families, the rich Parks, and the poor Kims. Asking many pointed questions about class and inequality in an odd, funny, dark, and enthralling way.

Parasite, the highest-rated Best Picture winner of the decade is also one of the highest-rated Best Picture Winners of all time on IMDb and was a trailblazer in so many ways. It was the first foreign-language film to win Best Picture, on top of winning Best International Film, Best Original Screenplay for Bong Joon-ho and co-writer Han Jin-won and Best Director for Bong Joon-ho. Along with this, it became the highest-grossing foreign-language film of all time in the UK. And despite the many controversies with the Academy Awards these past 10 years, seemingly all agree that Parasite deserved to win.

This ends our brief look back at the highest-rated Best Picture winners of the past 10 years. What is your favourite Best Picture winner from the past decade? Let’s hope that the next 10 years bring more Best Picture winners that audiences will love.

Also Read: Parasite Director Bong Joon-Ho Once Described The Oscars As Very Local

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