AriFolman Tagged Articles at Cinematical

As further proof that it's Slumdog Millionaire's world and we're all just living in it, Danny Boyle won the Directors Guild of America prize Saturday night. Slumdog, nominated for 10 Oscars, was already named best picture by the Producers Guild of America, and it could still win a Writers Guild award, too. Oh, and then there are the Oscars, where it's the front runner to win Best Picture.

All of the guilds are fairly good predictors of the Oscars (the guilds' memberships overlap quite a bit with the Academy voters), but none more so than the DGA. In the guild's 61 years of prize-giving, all but six recipients have gone on to win their respective Oscars. So if I were a betting man, I'd put money on Boyle's name being announced on Oscar night.

But with Slumdog now having won the PGA award and the DGA award, surely you are asking yourself: How often has the same film won both awards? And does that mean it's bound to win the Oscar for Best Picture, too?

The short answer is yes. In the 19 years that the PGA has given out awards, it has matched the DGA award 13 times. And of those 13 double-winners, 10 have gone on to win Best Picture at the Oscars. (The three exceptions were Apollo 13, Saving Private Ryan, and Brokeback Mountain.) Ergo, if I'm a betting man, I'm looking at Slumdog.

In other DGA award news, Ari Folman won the documentary prize for Waltz with Bashir, which is nominated for an Oscar, too ... but in the foreign-language category, not documentary. So you're on your own for predicting that one.

Mike Jones over at Variety's The Circuit Blog posted yesterday the first 27 films announced for the upcoming Toronto International Film Festival (TIFF)and, not surprisingly, most of them hail from previous fest premieres at Cannes, Berlin and SXSW.

The Gala Presentation will be South Korean director Kim Jee-woon's The Good, The Bad and The Weird, which I saw at Cannes earlier this year and loved. Somewhat reminiscent of Tears of the Black Tiger, the film is a crazy, busy Western that centers around a map to a treasure happened upon by a (seemingly) bumbling fool, who ends up being pursued by a good-guy law-enforcement type, a wicked bad guy dressed in black, and, at one point, an entire army. It runs a little long, but it's funny and sharp, with a spectacular chase sequence near the end and a nice final payoff. Toronto film fans should really enjoy this one.

Among the handful of titles Sony Pictures Classics snatched up for American distribution at the conclusion of the Cannes Film Festival, the animated Israeli documentary Waltz with Bashir makes the most sense. While Tyson certainly has potential to alter the public perception of the country's infamous boxer, and Lorna's Silence has appeal for crime fans and art house aficionados alike, both movies could perform well regardless of which distributor picked them up (more or less). Bashir, on the other hand, has SPC written all over it: Relentlessly downbeat and frequently unsettling, Bashir is director Ari Folman's account of his 1982 experience in the Israeli military during the infamous massacre of Palestinian refugees in Lebanon. The animated approach sometimes has a gimmicky feel to it, but that's probably the point; Folman's memories are so foggy that his reconstructions of them seem plausibly unrealistic.

Bashir isn't easy to get into, but you could say that about Thomas Pynchon, too. What we have here is an animated movie for grown-ups, which puts it squarely in SPC's line of expertise. The company has guided many mature animated films to audiences in a manner unparalleled by their colleagues. Last year, talented SPC co-presidents Michael Barker and Tom Bernard commandeered the releases of the outlandish anime Paprika and Marjane Satrapi's Persepolis, and the latter film very nearly won an Oscar. Remember The Triplets of Belleville? That was them, too. These people know their stuff. Listen up, guys: I hear Bill Plympton's new movie is quite good.