Academy Anonymous

Oscar Season 2024-2025; Final Predictions; Is Best Picture Favorite "Emilia Perez" Finally The Perfect Film For France To Overcome Its International Film Troubles

• Jules & Joseph • Season 1 • Episode 21

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On this episode of ACADEMY ANONYMOUS:

  • "Emilia Perez" - shoe-in and favorite to win OR shocking snub waiting to happen
  • "Flow" flexes its appeal with dual mentions in International Film and Animated Film. Voters motivated to nominated Latvia for the first time in Academy history.
  • "I'm Still Here" a sure-fire nominee, a massive box-office success for Brazil and a return for director Walter Salles
  • Neon to secure "Seed of the Sacred Fig" among the five nominees
  • "Kneecap" a strong dark horse after dominating at BAFTA
  • "Vermiglio" poised to bring a female filmmaker back into International film for the first time since 2020
  • UK might have a winning recipe with break-out "Santosh"
  • Netflix's inter-generational Thai film "How To Make Money Before Grandma Dies" a sleeper box-office hit and huge spoiler 
  • Diop's "Dahomey" lands in two longlists, looking good for at least one nomination and another success story for MUBI this year
  • Double entries this year from Netflix, Sony Classics, MUBI, and Janus
  • Can Sony Pictures Classics return to dominant form in this category and land two films among the five nominees, "I'm Still Here" and "Kneecap." A feat they have failed to repeat since 2018.
Joseph:

hey and welcome back to academy, anonymous. I'm your host, joseph, and I'm with jules, all right? Well, let's take a look at best international. That's a category that's always full of unexpected surprises, and we certainly have some favorites this year. Let's get things started, I think, with the favorite to be nominated here and the favorite to win, and that's Emilia Perez. What are you thinking?

Jules:

Right. I think this category is interesting because, as we've mentioned in previous episodes, the favorite here is certainly Emilia Perez. It stands to get several nominations. We're predicting at least I'm predicting double digits. However, this is one category where we've wondered for some time if we could be seeing a very shocking snub here, because Emilia Perez is such a Mexican story, but it's from a French filmmaker the very few Mexicans involved in the production Not shot in Mexico. It's not shot in Mexico. None of the actors are Mexican, except for Adriana Paz, who has a smaller part than the other three actresses. And so there's so many things about amita paris that, on paper, obviously, it seems that it would be a slam dunk nominee and a slam dunk winner. However, I can't help but wonder if there's going to be members of this branch who are going to be a little bit, um, not attracted to the idea of this mex story that has very little Mexican in it.

Joseph:

Yeah, I think it's sort of straddling that line, right, it has been all season where it's the poster child of sort of international global filmmaking, right. But I think is that possibly at the expense of Mexican authenticity, I suppose the debate would put it.

Jules:

Yes, absolutely, and so it's really hard to predict with certainty what's going to happen with that movie. I think right now, emilia Perez stands to be such a force within the total nomination hall on Oscar nomination morning that it does seem a little strange for me to say, okay, well, it gets snubbed from foreign film. That does seem strange. Even though it could get snubbed from foreign film and still land several nominations in the double digits. It doesn't even need foreign film to do that. And so you know, I don't know what's happening for certainty. Again, a part of me feels ridiculous saying, yeah, it's not going to get nominated here. But I think some people aren't paying enough attention to some of the red flags that are here and could possibly manifest on Oscar nomination morning.

Joseph:

I completely agree. I will say that I had predicted that amelia perez would not make the final short list, the 15 spots for international film right, I knew it made that first short list. I was not surprised that it was the movie that france elected to represent them, but I did not think that it would get this far.

Joseph:

The fact that it has gotten this far has demonstrated how popular it is among the international film community makes me feel like perhaps I was wrong. Right that you know, having crossed this first hurdle, it should be a walk to the finish line and a and secure a nomination now right, that's what I'm thinking, yeah, and I I agree with you there.

Jules:

I think that's something that that, and coupled with the you know, golden globe win. I thought that it would lose that category because it was going to win the bigger category instead of one both. Um, so that, coupled with what you were saying that it landed into this short list makes me think that maybe it's just too too strong of a contender to to to ignore here again, if it happens, you know, we'll just put it on the record that we have been waving this red flag for some time. Uh, right now it looks like it's not going to happen and it's going to get nominated, but in the event that it doesn't look to all of those reasons to be why it did not, if you're smart and you want to make a safe bet, you are going to include amelia perez.

Joseph:

It was embraced unanimously by the european film awards right it was embraced unanimously by the golden globes.

Joseph:

It was embraced unanimously by the British Academy. So, beyond some possibly overthinking or being overcritical about the film or thinking perhaps a little too critically about a situation, if you want to play it safe, emilio Perez should be there. If it's not there, I just want to say that France's history in this category is fraught with peril. In this category is fraught with peril, you know this goes back to the days of the artist, all the way up to last year, and anatomy of all versus taste of things. And I think france has not necessarily found the winning formula yet in electing a film that, again made by a french filmmaker, about mexico, shot in australia, starring starring Spanish actors and American actors, latinos. So I do think that this might not be the exact package that France wanted to put up to secure that nomination.

Jules:

Right, absolutely, and so that's a big question mark, like I said, said I'm not sure I have the balls to not predict it in this category. All I have is the foresight that, if it does happen, we told you so I think I'm again.

Joseph:

Anyone who has been paying attention, who wants to make a good bet, is going to include amelia perez. But if it does not happen, you can blame it on the curse of the french in an international film right and and all the other factors that we just said.

Jules:

Exactly, um, after that film which, again, if it does get nominated, it's going to walk to a win?

Joseph:

I think yes um, we should mention, by the way, that the general membership at large can opt in to vote in this category. Right, so this category could be somewhat populist, and that really bodes well for me. Yeah absolutely.

Jules:

And then I think the other two films that are absolutely lock here, their locks here, are the sea of the sacred fig, from Germany and I'm Still here from Brazil. I think those films are unquestionably in the top five. Even if Amelia Perez isn't, those are definitely going to be on there.

Joseph:

Well, I agree with both of those. Sea of the Sacred Fig from Neon. Neon's been doing really well in this category. It's the only film of Neon's that's shortlisted, so it should make one of the final spots. The iranian filmmaker the film being submitted by germany. But there you go, the situation of germany submitting this film by this iranian filmmaker. The context is just so different than emilia perez it's almost like 100 the necessity was there for it to be submitted by germany.

Joseph:

I think that's something that academy members are aware of and may play into the final five. But I do agree that Seed of the Sacred Fig should be pretty much a lock for a nomination. The submission from Brazil I'm still here should also be very much a lock for the nomination. I think it's in a position to probably steal nominations in other categories, like the other titles we mentioned Walter Saez has been welcomed into the academy before.

Joseph:

It was also a humongous hit huge, huge, huge hit in brazil, I think 12 million dollars just in brazil, I believe. So it's also a box office hit. On top of being a critical hit, it has a historical perspective. It's, it's the kind of film that the academy would really love. And then it's coming from sony picture classics, which does really well in this category, absolutely 100, then I think this is where things get interesting.

Jules:

I'm pegging so much of my bet that vermiglio will be nominated for foreign language film. It won the uh, the jury prize, I believe, at venice. Um, I have not seen it. I'm dying to see it. It looks like a ravishing film that almost feels like a novel a period piece, exactly a period piece, a novel, playing out in front of you.

Jules:

I think those type of films do really well in this category. Add to that that it's a female filmmaker making this film. I think that they would embrace that inclusion the last time that we had a female filmmaker in this category I believe it was 2020, with quavidi ida and the man who sold his skin from tunisia.

Joseph:

Both of those female filmmakers were able to land on this list, and usually this list has been very welcoming of female filmmakers and so the last couple of years we've had a dry spell. But I agree with you, I think vermiglio is just the film to break that streak 100, so I feel really good about that.

Jules:

I cannot wait to see.

Joseph:

It looks absolutely astonishingly beautiful also, you know janice films janice films has, you know, found a footing here in the international film category and this is one of the films that they're submitting right and then again making things interesting.

Jules:

in that last category you have films like how to Make Millions Before Grandma Dies, which was a huge crowd pleaser. It was a huge, huge, huge hit in Southeast Asia. It's certainly the kind of film that I think this branch would embrace, Like I said it's a big crowd pleaser.

Jules:

It's played at many festivals, to the joy of many people who've seen it. Um, so the thing that makes it complicated is that this category is not. It's not often where a studio can get two films into this category and, seeing as netflix has a great opportunity with emilia paris, can they really get in as well for how to Make Millions Before Grandma Dies, even if it is a huge crowd pleaser? I don't know. That's the thing that's making me feel iffy about this movie. Otherwise, I'd feel really confident about predicting it in this category. What do you think?

Joseph:

I think everything you've said is right. On the money, I know so many people who have seen this film that have been moved by it. It seems like a really emotional pick, a sentimental pick, and oftentimes that plays well to the Academy members. So I definitely think it's a dark horse. I don't know that Netflix can get two movies in. I would argue they have to choose between the Thailand entry or the French entry entry again huge box office success. But I think if any distributor is primed for two nominations in this category, it would be sony picture classics. The last time we had a distributor pull out two nominations in this category was 2019, so we've had a bit of a dry spell and the studio was neon, who got parasite in the eventual winner in this category and the best picture winner, along with honeyland, which managed nominations, I believe, in documentary as well.

Jules:

Yes, it did so.

Joseph:

Beyond that, sony picture classics was on a great streak of getting a couple of films here, whether it it was Cabernet and Never Look Away in 2018, or A Fantastic Woman and Loveless in 2017. In 2016, they had Tony Erdman and Land of Mine. So there is a chance that Sony Picture Classics comes back into dominant form here and is able to get both what seems like a lock and I'm still here in for Brazil, but also the Irish entry, kneecap, right, and so you saw what happened with kneecap at BAFTA, right yeah it did so well at BAFTA.

Jules:

I got six nominations at BAFTA. It was shortlisted for best film at the BAFTA, so I believe that was an indie hit in the UK. It's Ireland's entry and so I think you're right. If anyone can do it, I place more faith in Sony picture classics than Netflix. However, my thing with Neath Cap is that to me the film reads too hip, too modern, too edgy, and so I think they tend to like things a little bit less so edgy and modern and hip, you know. Think more how to make millions before grandma dies. Think less kneecap kind of thing. Um, but it's hard to argue with how well did at the BAFTA.

Jules:

Obviously there's there's probably overlap in the. There's there's certainly overlap in the academy and the. Obviously there's certainly overlap in the Academy and the BAFTA organization. I don't know. I hesitate to put it on for that reason and I know that there are chunks of the film that are spoken in English and so I also wonder if that's going to play well to the branch of wanting to cite a film that has a portion of it spoken in English side of film that has a portion of it spoken in English. I like that. What the film is about? About the sort of preservation of language is something that this branch might champion, but I don't know. I don't know how to read that film yet.

Joseph:

I think it's very interesting and if you're listening and you haven't done yourself the curious endeavor of playing the kneecap trailer right next to the trailer for how to make money before grandma dies, you're in for a treat you're talking about two very different films the energy they're going to give to members and voters are so opposite. You have one that's very sentimental and intergenerational and then you have one that's very possibly generation specific yeah, and so there's maybe going to be an interesting choice for Academy members.

Joseph:

That said, kneecap is another title that I did not expect to make it this far and the fact that it has, I think, speaks to how popular it is. And, like Amina Perez, I mean. It had such a fantastic day at BAFTA, being shortlisted excuse me, longlisted among the best films of the year, not making the final five, but certainly in the top 10, rubbing shoulders with A Complete Unknown and Wicked and Amelia.

Joseph:

Perez for the best film from the BAFTA, so I do think that there's a lot of favor among voters for this film. Ireland was able to get the quiet girl in, to the surprise of a couple of people, in 2022, even though the quiet girl again. Is is different maybe a little bit more like how how to make money for grandma, yeah that movie.

Jules:

That movie is gorgeous. I love the quiet girl. It's beautiful, it's sweet, it's really well done, but it's certainly operating at a lower, more nuanced register than a film like Kneecap it was also from a smaller distributor like Super, and it was still able to get in.

Joseph:

Kneecap has the strength or the power. The machine of Sony Picture Classics and Sony Classics has done this before. I'll tell you what you know. As the days have gone on, I've been tempted to put Knecap in and I think the consensus is forming that kneecap might just crack this list.

Jules:

Well, yeah, I think the big thing with this film is that, considering how far it's come and how well it's done, look for this film to land somewhere, and so I think a lot of people are placing their bets that it's going to land in foreign film. I personally am possibly placing more bets that it's going to land in foreign film. I personally am possibly placing more bets that it's going to land in Best Original Song, but certainly this is a film that should land somewhere in the Academy's nominations with the support that it has behind it. So I don't know, that's a tricky film. It's a dark horse. It's a big contender. And then another contender, um, and then another contender is flow yeah, we talked about it in the anime feature category exactly.

Joseph:

Here's a film that's listed twice. But to piggyback off that point that we've been making, janice films also gets two films in, so they have remiglio, and you and I are thinking that that's a movie that should crack this top five. But they have another film that possibly looks even more popular in flow right, right exactly I?

Jules:

I don't think the and I don't think that animation tends to have a great track record with this, uh, this branch. I know that flea would manage in 2021 to get nominated for, I believe, all three animated feature, documentary feature and international feature, if I'm not mistaken, flea. I believe so, but in general, I think they're a little bit less likely to nominate an animated film. I think what's really going for Flea is that it would be the first inclusion of Latvia in the category, which is a big deal and that might go into persuading a lot of voters into putting it on their ballot. So I think it's certainly contending for that spot. The other films they can choose if they're going to, rather, if they're going to decide that they'd rather go with an animated film as opposed to some of these other, you know, uh, possibilities well, here's some background on that is.

Joseph:

You know, last time, I believe, a country had the potential to break into the category for the first time in history. I believe was Lunana Ayak, in the classroom and it accomplished it.

Joseph:

And I think the film from Australia entitled Tana also was able to manage a nomination here. So I do think that members in this branch really take the opportunity to nominate these nations that don't normally get an opportunity to be here, who aren't here, whether it's italy or germany or france or spain. Right, you know, having a country break into this race for the first time ever is a big deal for them, and I think they take that into account. And I will also say, going for flow is.

Joseph:

Yes, flea was able to break into this category alongside animated film and documentary film, but the foreign language film branch has been welcoming of animation before. I remember in 2009, when they were recognizing the films from 2008, they were the ones that nominated Waltz of Bashir for a foreign language film when it was snubbed from, I believe, animated film. I think it might've been disqualified from documentary, but again, it's just this idea that it's a branch that is going to welcome animated films, and so, possibly, between it being the first Latvian nomination in this category, it bringing a animated film among the five, which is going to make the category look more diverse, and, at the same time, everything that the production had to do to mount, making this film with Latvian talent in Latvia. I think all that bodes really well for it.

Jules:

we have the girl, the girl with the needle, from denmark. Um, that premiered at con um. I think the film is too dark to make this lineup possibly. I don't see them going for it. I know it's based on true events, uh, but I think I think the experience of the film can be, you know, very um, you know there's a lot of dread in the movie, uh, there's a lot of darkness in the movie, and so I don't think it's the kind of thing this branch is going to. It's also very artistic, right, it's very art house. So I don't think this branch is going to embrace that particular pick.

Jules:

But a film that I think might have some fuel in it is universal language, because you know there's not a lot of comedy in the lineup if you don't include something like how to make millions, which has a comedic element to it. Right, you know sentiment, sentimentality, certainly, but some some humor, and so sometimes you'll see a comedic film have a sort of comedic presence in the lineup. And I like Universal Language, a very acclaimed film. I'm not 100% sure if it makes it in the end, but that's certainly a film that's on the radar. I don't know what you think, but another movie that I think is certainly somewhere in this conversation. But another movie that I think is certainly somewhere in this conversation is what about Dahomey, who might not get the nomination in documentary feature?

Joseph:

but land the nomination in foreign language film, is able to get two movies into this long list the girl with the needle very austere, very dark film, very somber I think it's possibly a little too dark to get in. But then you have the homie too, and it's listed in international film and documentary film. And not just that, but maddie diop has been embraced by this uh voting branch before because her debut film, atlantics, was spotlighted here as well. It did not make the final five, but it was long listed, and so I do think that it bodes well for Dahomey to make it into at least one category. Right now I have it in documentary, but I could see Dahomey getting into international film as opposed to documentary. And to speak to a minute to what you were saying about universal language, which is the canadian entry, it's really interesting because it's the canadian entry that went to con. At the same time it's subject matter right exactly is very also multicultural and multinational.

Joseph:

It has not received this sort of spotlight and sort of scrutiny that amelia perez has. So possibly the better poster child for this idea of a production that is right, more global and international is something like universal language. Right because it's it's using a lot of authentic elements in its film, despite it being made by a Canadian filmmaker. Exactly, but that's also ingrained in the narrative Right right, and what I think is a difficulty for that movie is the fact that it's being distributed by Oscilloscope.

Joseph:

Oscilloscope doesn't have the best track record at the Oscars and not even at foreign language film, unfortunately, but I do think it's interesting to consider universal language against amelia perez right exactly, I think you're right.

Jules:

That's really. That's a really interesting point. Um, and then probably the last film I would mention is santosh, which went to con and um is the entry from the uk. Um, interestingly enough, I think it had a poor showing in the long lists for BAFTA and it had a lesser showing than something like oh, imagine as Light, which does not qualify for foreign language film at the Oscars. So even though I've heard good things about that film and I think there are sort of there's a, there's some feminist politics, I think, to that film that could register with the academy, um, I think it's a little bit too far behind to sort of make up that ground. What do you think?

Joseph:

well, like vermiglio and like the homie. Here's another female filmmaker who has a chance to break in. I did not expect santosh to be here in this in this long list, and so the fact that it's here, I think, possibly points to an upset coming. I think it did really well at the British Independent Film Awards, but it did not do well at BAFTA. But if you kind of investigate what the film is about, it's made by a female filmmaker, but there's something quite transgressive about this sort of masculine space that the film and the filmmakers trying to penetrate that I

Joseph:

think is going to possibly you know steal some votes from other films. I remember back in a few years ago possibly, when we were talking about documentary film, I remember a film called to catch a tiger, I believe that was able to crash the documentary race again. It didn't have the same sort of spotlight that other films documentaries had that year, but by the nature of its topic and and the unique perspective it had, it was sort of able to stand out, and I think that's something that santosh has going for it. So I would not be surprised if it crashed the list. I expected it to do better at BAFTA in order to compel me to put it in that top five, but it's certainly something that could happen.

Joseph:

I think something that's going against it right now is that its distributor is a little less known. I believe it's Metrograph, and I think Metrograph is going to become a major player. You're going to hear it here first. They're really committed to releasing unique films, films with unique perspectives, artistic films, international films. They've picked up an individual who used to work for A24. So this is the first listing of Metrograph and I'm sure that in five or 10 years time it will be nominated in this category and possibly others, but I think it's great to see Santosh on this list and I think it can upset. Now I will say that for me, the title that we should be talking about as a possible upset is maybe an irresistible story, and that's armand right really yeah, I mean, what do you think?

Joseph:

about armand, because the headline for armand is that it's made by the grandson of ingmar bergman correct.

Jules:

Yeah, and Liv Ullman, I believe I have not seen the film, but I know that from what I've heard, the film takes a lot of risks and certainly has sort of a very distinct perspective. I think it's very much in the vein of an auteur film and, like the Girl with the Needle, I think that this category can sometimes be less embracing of these sort of distinct styles and distinct type of storytelling and more embracive of what the subject matter is and something a little bit more accessible, penetrable, um uh yeah, I, I agree.

Joseph:

I think that's a possibility. But I do think you know, speaking to some of these titles, movies like kneecap and Santosh and Armand did not get listed for very many awards at the european film awards, but they were all listed under european discovery yeah, and armand eventually won that category and a few weeks ago, a little while ago, armand was shortlisted amongst the best first time directors at the director's guild award. Yeah, and it's starring renata ryan's, which now a lot of academy members know and they may be more compelled to put the screening higher on their list.

Joseph:

Or at least to watch it. Or to watch the film and again, just the idea of it.

Jules:

You know, being the individual that might inherit the spotlight of Ingmar Bergman and Levulman, it's very interesting, but I also think that could be the opposite side of the coin as well, sort of you know, considering the background, there might be a certain level of expectation, yeah, that you have before you watch that film.

Joseph:

that might not necessarily go, uh, in the film's favor if you didn't like the movie, right, it's also from ifc, which was also listed in animated feature, so it's great to see ifc here. Yes, I think the last couple of films you have to talk about are touch from focus features, right, and that's from iceland, right, I got a major us release, I think in the fall or late summer. It didn't get much traction.

Jules:

Uh, from ground zero is from palestine, which was an interesting entry into this long list right, and it's sort of made up of these sort of episodic right short films, right, and I think something really going for it is that michael moore is included amongst its executive producers, right.

Joseph:

Perhaps that's a factor. It's also extremely timely. Yeah, and finally, I think you have waves from the czech republic right, a small distributor as well, but as far as I know it's doing really well in the czech republic and it's very Right.

Jules:

So very interesting long list, a very interesting short list, excuse me. So for my final five right now, my final predictions, I'm going to go ahead and say that Emilia Perez is just too strong to take down at this moment, even though, if it happens, I'm going to kick myself and also celebrate, because we said it, we've been waving this flag for a while.

Joseph:

Before you cement your final predictions, can I just mention something really quickly, which is that the BAFTA long list has been a very useful tool for multiple categories, including foreign film. In 2023, the BAFTA only nominated three films that would overlap with the Academy. If you examine their long list, they had an additional film there, so they got four films in from their long list into the Academy's eventual five nominees for best foreign language film.

Joseph:

And this is something that also occurred in 2022. In 2022, they had all five nominees in the BAFTA long list, even though, again, the BAFTA five for foreign film were not exactly the Academy five for foreign film. All five of the nominees were in the BAFTA long list. In 2022. Excuse me, in 2021, I believe you'll see four films from the BAFTA longlist on the Academy five for foreign film and you have to go to something like 2020, where they only had, I think, three films from the longlist make it into the final five for the Academy. I say this because there is not a lot of overlap between the film selected here and the BAFTA longlist Films. For example, like Universal Language did not make both. It made the Academy's longlist but not BAFTA longlist films. For example, like Universal Language did not make both. It made the Academy's longlist but not BAFTA's right and Vermiglio as well.

Joseph:

Vermiglio, I think, is one of the more notable titles that missed the BAFTA longlist well, when you, when you put it that way, it's kind of worrisome yeah for titles like that, but they're not always perfect. They were perfect that one year, but they're pretty reliable for four spots and at least three, and among the BAFTA nominees, the actual nominees, the top five. You should, I think, at least be getting two to three people from there, right.

Jules:

And so for my final predictions, I'm going to sort of go all in on amelia paris, defying the odds and getting this nomination. Um, if it happens again, we told you so, but if it happens to snub, but right now I think it's unlikely. So final predictions amelia paris the seed of the sacred fig. I'm still here, vermiglio, and I'm gonna do a little bit of a cop right now I'm in between two movies, and that's Flow and how to Make Millions Before Grandma Dies. My cop out here is I'm tempted right now to put how to Make Millions Before Grandma Dies, because it just feels to me like it fits in this list. It's something that I think the branch is going to like and, in the event that Emilia Perez does not get nominated, I like that. I still have some Netflix representation on this list, but I feel very weary about having two Netflix titles Emilia Perez and how to Make Millions and I think right now, flo has the momentum to break into this category, as you were saying. Yes.

Joseph:

Very interesting list. I think this category is going to be very tough to get exactly right. I think there's just too many films with a potential to upset here. I'm going to go with the first film I think is an absolute lock is the Seat of the Sacred Fig, and the second film I think is an absolute lock is I'm Still here After that. I think I'm going to go with Remiglio. Even though it did not make that BAFTA list, it just seems to me as one of the unique films here. It's a period piece directed by a female filmmaker did really well at Venice from Janice Films. So I have those in the three.

Joseph:

And then I do think a studio is going to excuse me, a distributor is going to double up here. And although I'm tempted to put in kneecap after all that support at BAFTA, I think I'm going to end up putting flow for the history that Lafayette would make here and its ability. Over these last few weeks it's been apparent, its ability to sort of transcend generations and speak to the artistic crowd, the international crowd, mainstream crowd. So I'm going to put Flo in fourth and that gives two nominations to Janice and my last spot it's not really a cop out, I'm going to call it the Netflix. Spotflix is going to get in here and I will say that I'm still going to say that amita perez does not get this nomination at the end and instead it goes to a bona fide box office hit from thailand. And that's how to make millions before grandma dies. Call me crazy, but I believe in the french curse.

Joseph:

I I'm very interested to see how this ends, but it's certainly a netflix spot. I think it's going to go to grandma, right I think that's very interesting.

Jules:

Um and I know that it might sound ridiculous to snub amina paris, but, as we've been mentioning for several episodes, and on today's episode, there's reason to be weary, yeah, okay, and that concludes our dive into our final predictions for foreign language film.

Joseph:

Again, we'll be posting our final predictions on Twitter. You can follow us on Twitter if you want to see a screenshot of the final predictions we are predicting before Oscar morning At Academy Anon. All right, that's everything for us here at Academy Anonymous today. We thank you for joining us Till next time. I'm Joseph.

Jules:

I'm Jules and it's been a pleasure. The music on this episode, entitled Cool Cats, was graciously provided by Kevin MacLeod and incompetechcom, licensed under Creative Commons by Attribution 3.0. Http//creativecommonsorg. Forward slash licenses forward slash buy. Forward slash 3.0.

Joseph:

Disclaimer the Academy Anonymous podcast is in no way affiliated or endorsed by the Academy of Motion Picture Arts and Sciences.