Foreign Films: The Final Frontier for American Moviegoers

Perpetually at the forefront of innovative filmmaking, foreign cinema in recent years has proven itself not only meritorious of critical attention, but also capable of commercial success. Perhaps it is just a theory of mine, but I feel as if a new age has recently been dawning for the American public: we have slowly but surely been further embracing the cinematic fare of other countries.

Although no definitive study can be performed to gauge just to what extent we Americans have allowed foreign filmmakers to assimilate their cinematic visions into our culture at large, it is undeniable the increased press they have been receiving, especially in recent years. For proof of this, one need look no further than this year’s crop of Academy-Award hopefuls, with two French films garnering nominations, and in some instances wins, in major categories.


Julian Schnabel’s The Diving Bell and the Butterfly, based on the memoir of French journalist Jean-Dominique Bauby, chronicles Bauby in the aftermath of a massive stroke, which renders him paralyzed in all but his left eyelid. Schnabel, himself not of Frenchmen, learned to speak the language so that his film might have the authenticity of being a believable adaptation. The Diving Bell and the Butterfly has been widely acknowledged for its unique direction and faithful screenplay: in addition to having appeared on numerous critics’ top ten lists, the film has also attained four Academy Award nominations, including a well-deserved nomination for Schnabel as Best Director.


The second French film last year to traverse the Atlantic and reach American shores is Oliver Dahan’s biopic, La Vie en Rose. Unflinching in its approach, Dahan’s film depicts the life of chanteuse Édith Piaf from the cradle to the grave, rendering the world of the French songbird all too vividly. The film is immeasurably built upon the brilliant performance of Marion Cotillard as Piaf: she does not condescend to the flawed character she plays, but rather immerses herself into the role that justly won her an Academy Award for Best Actress. To help clarify the scope of this matter, the last actress to win for a performance in a foreign film is Sofia Loren, some forty-seven years ago.

Although the world of foreign film is not strictly limited to these French paradigms, it should be noted how they attest to an increasing trend in Hollywood. This is not to say, of course, that America has not welcomed foreign films into its movie theaters in the past – if you question me on this, simply check out the box office receipts for Ang Lee’s Crouching Tiger, Hidden Dragon. This new wave of well-received, critically lauded films merely appears to indicate that America has finally begun to consistently view foreign films as being on par with native productions, if for no other reason than because they are of such high caliber.

The time has come for us view the cinematic work of other countries with open eyes, to embrace films the likes of House of Flying Daggers, Maria Full of Grace, and Pan’s Labyrinth – even if it does mean that we’ll have to read subtitles the next time we go out to the local movie theater.