Thirty years ago, former Orion Classics heads Michael Barker, Tom Bernard and Marcie Bloom created the independent arm of Sony Pictures Entertainment with full autonomy to produce, acquire and distribute films from cinema’s notable auteurs.
In the decades since, Sony Pictures Classics has picked up 158 Oscar nominations and 37 statuettes (41 in total for films helmed by Barker and Bernard). It has also made history: Ang Lee’s “Crouching Tiger, Hidden Dragon” (2000) earned 10 Oscar nominations, the most ever for a non-English-language movie, and went on to win four trophies, including foreign language film. It also racked up $214 million at the global box office.
Aside from “Crouching Tiger,” the studio has amassed eight other best-picture-nominated films: “Howard’s End” (1992), “Capote” (2005), “An Education” (2009), “Midnight in Paris” (2011), “Amour” (2012), “Whiplash” (2014), “Call Me by Your Name” (2017) and “The Father” (2020).
Led by Bernard and Barker after Bloom suffered a cerebral hemorrhage in 1996, SPC has thrived by being diverse and inclusive without being self-congratulatory. This is just part of its DNA.
One example: Brazilian Fernanda Montenegro became the first Latina nominated for best actress for her powerhouse turn in Walter Salles’ “Central Station” (1998).
The indie distributor has been the greatest supporter of Spanish auteur Pedro Almodóvar’s LGBTQ stories and creative vision. “All About My Mother” (1999) won the foreign language film trophy, while “Talk to Her” (2002) won the original screenplay award after his home country snubbed it by submitting another film in the foreign language category.
It’s because of Barker and Bernard’s fearless leadership that veteran character actor J.K. Simmons (“Whiplash”) and legendary screenwriter James Ivory (“Call Me by Your Name”) have Oscars today. The same goes for the late Philip Seymour Hoffman, honored for playing author Truman Capote.
Barker and Bernard spotlighted the magic of Carey Mulligan in Lone Scherfig’s “An Education.” She received her first Oscar nomination for the film. They also showed the world how special Asghar Farhadi’s filmmaking is with his masterful “A Separation” (2011), and gave Hollywood a lesson in how to truly utilize Anne Hathaway’s depth of talent in one of Jonathan Demme’s final features, “Rachel Getting Married” (2008).
The indie arm managed to bring Germany’s “The Lives of Others” (2006) from Florian Henckel von Donnersmarck to the Oscar winner’s circle, despite the film being rejected by several notable festivals, including Cannes, Berlin and Venice. I still believe that Penélope Cruz nearly pulled off the actress win for “Parallel Mothers” (2021) after snagging a nomination that pundits thought would go to Lady Gaga for her “House of Gucci” performance.
The studio’s slate for 2022 is as dynamically rich as ever which has included the charming “The Phantom of the Open” with Mark Rylance and the documentary “Salvatore: Shoemaker of Dreams” from Luca Guadgnino. The main contenders exist in Florian Zeller’s “The Son” with Hugh Jackman, Oliver Hermanus’ “Living” with Bill Nighy, Mia Hansen-Løve’s “One Fine Morning” with Léa Seydoux and the musical docs “Hallelujah: Leonard Cohen, a Journey, a Song” and “The Return of Tanya Tucker: Featuring Brandi Carlile.”
Read Variety’s list of the 25 best Sony Pictures Classics films of its first 30 years, along with a clip of the best scene from each film.
Honorable mentions: “Capernaum” (2008); “The Fog of War” (2003); “Frozen River” (2008); “House of Flying Daggers” (2004); “Indochine” (1992); “The Lives of Others” (2006); “The Lunchbox” (2014); “Moon” (2009); “Un Prophete” (2010); “Waltz with Bashir” (2008)
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The Opposite of Sex (1998)
Starring: Christina Ricci, Lisa Kudrow, Lyle Lovett, Johnny Galecki, Ivan Ergei
Director: Don Roos
Writer(s): Don Roos
Producer(s): David Kirkpatrick, Michael BesmanSynopsis: A 16-year-old girl visits her gay half-brother and ends up seducing his boyfriend, thus wreaking havoc on all of their lives.
The scene that proves it: “Well… too bad he’s however you’d put it.”
Wednesday Addams is grown up and Phoebe Buffay is out of New York. That sums up the priceless dark humor and masterful work by Christina Ricci and Lisa Kudrow in Don Roos’ late 90s joint. As uncomfortable as it is entertaining, cringe-comedy was in rare form due to the sharp dialogue and brings about some amazing laughs.
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Animal Kingdom (2010)
Starring: Joel Edgerton, Ben Mendelsohn, Guy Pearce, Jacki Weaver, Luke Ford, Sullivan Stapleton, James Frecheville
Director: David Michôd
Writer(s): David Michôd
Producer(s): Liz WattsSynopsis: A seventeen-year-old navigates his survival amongst an explosive criminal family and the detective who thinks he can save him.
The scene that proves it: “Janine blackmails Randall.”
David Michôd’s crime drama might have given birth to the TNT television series but it introduced many of the mainstream worlds to the powerhouse that is Jacki Weaver. The thriller boats terrific camera work, intoxicating musical cues and a memorable finale that stays with you long after it ends.
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An Education (2009)
Starring: Carey Mulligan, Peter Sarsgaard, Alfred Molina, Rosamund Pike, Dominic Cooper, Olivia Williams, Emma Thompson
Director: Lone Scherfig
Writer(s): Nick Hornby (based on “An Education” by Lynn Barber)
Producer(s): Finola Dwyer, Amanda PoseySynopsis: A coming-of-age story about a teenage girl in 1960s suburban London, and how her life changes with the arrival of a playboy nearly twice her age.
The scene that proves it: “Hard and boring.”
The Hollywood arrival of Carey Mulligan is one of the most memorable of the 2009 cinematic year, and that’s thanks to director Lone Scherfig, who helmed the coming-of-age drama “An Education.” The British film also is a major part of Academy history as the first time that two films helmed by women filmmakers were nominated for best picture, along with the eventual winner “The Hurt Locker” from Kathryn Bigelow.
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Persepolis (2007)
Starring: Chiara Mastroianni, Catherine Deneuve
Director: Marjane Satrapi, Vincent Paronnaud
Writer(s): Marjane Satrapi, Vincent Paronnaud (based on “Perseoplis” by Marjane Satrapi)
Producer(s): Xavier Rigault, Marc-Antoine RobertSynopsis: A precocious and outspoken Iranian girl grows up during the Islamic Revolution.
The scene that proves it: “What’s that, Michael Jackson?”
Taken from the graphic novel that centers around Marjane as a child during the Iranian revolution who is sent to Austria, the animated classic proves the medium can be anything we want in storytelling. Animation is a fabulous way to discuss things that are oftentimes too difficult with living people and imagery. A work of art.
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Whiplash (2014)
Starring: Miles Teller, J.K. Simmons, Paul Reiser, Melissa Benoist
Director: Damien Chazelle
Writer(s): Damien Chazelle (based on Chazelle’s short film)
Producer(s): Jason Blum, Helen Estabrook, Michel Litvak, David LancasterSynopsis: A promising young drummer enrolls at a cutthroat music conservatory where an instructor who will stop at nothing to realize a student’s potential mentors his dreams of greatness.
The scene that proves it: “Final performance.”
Before he won best director for “La La Land,” Damien Chazelle’s best film was his first, which looks at mankind’s undying wish to be great. With Miles Teller and the Oscar-winning J.K. Simmons, drums have never felt so dangerous in the best picture-nominated modern-day classic.
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Volver (2006)
Starring: Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo, Yohana Cobo, Chus Lampreave
Director: Pedro Almodóvar
Writer(s): Pedro Almodóvar
Producer(s): Esther GarcíaSynopsis: After her death, a mother returns to her hometown in order to fix the situations she couldn’t resolve during her life.
The scene that proves it: “Singing.”
Depending on how you feel about “Parallel Mothers” (2021), Penélope Cruz’s work in “Volver,” which got her a best actress nom, is her defining moment in cinema. It’s hard to continuously write how amazing her frequent collaborator Pedro Almodóvar is as a filmmaker. But as her muse, the two create magic in a way that historians will speak about, long after they’re gone.
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The White Ribbon (2009)
Starring: Christian Friedel, Ulrich Tukur, Josef Bierbichler
Director: Michael Haneke
Writer(s): Michael Haneke
Producer(s): Stefan Arndt, Veit Heiduschka, Michael Katz, Margaret Ménégoz, Andrea OcchipintiSynopsis: Strange events happen in a small village in the north of Germany during the years before World War I, which seem to be ritual punishment. Who is responsible?
The scene that proves it: “Riding the carriage.”
What’s more terrifying than the start of the Nazis? How does a mindset such as that begin? Michael Haneke’s visceral look into this world is brutal but almost required as we see hatred thrive while love tries relentlessly to break through.
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Searching for Sugar Man (2012)
Starring: Sixto Rodriguez
Director: Malik Bendjelloul
Writer(s): Malik Bendjelloul
Producer(s): Malik Bendjelloul, Simon ChinnSynopsis: Two South Africans set out to discover what happened to their unlikely musical hero, the mysterious 1970s rock n’ roller Rodriguez.
The scene that proves it: “Crucify your mind.”
“Searching for Sugar Man” is the best documentary to come out of SPC, and the last of theirs to win the Oscar in that realm. Constructed by the late Malik Bendjelloul, the music of Rodriguez has found mainstream audiences and his story will live on forever, thanks to the innovative love and care provided. One more example of a doc that should have been nominated for best picture.
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Before Midnight (2013)
Starring: Ethan Hawke, Julie Delpy
Director: Richard Linklater
Writer(s): Richard Linklater, Ethan Hawke, Julie Delpy (based on characters created by Richard Linklater and Kim Krizan)
Producer(s): Richard Linklater, Christos V. Konstantakopoulos, Sara WoodhatchSynopsis: We meet Jesse and Celine nine years on in Greece. Almost two decades have passed since their first meeting on that train bound for Vienna.
The scene that proves it: “Arguing in the hotel room.”
One of the rare cases where a sequel outdoes the original. In fact, when it comes to the “Before” series, it gets better with every outing. Jesse and Celine’s third outing (please, God give us one more) has Ethan Hawke and Julie Delpy delivering their best turns as the famed characters, and among the best of their careers.
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Junebug (2005)
Starring: Embeth Davidtz, Amy Adams, Ben McKenzie, Celia Weston, Alessandro Nivola, Scott Wilson
Director: Phil Morrison
Writer(s): Angus MacLachlan
Producer(s): Mindy Goldberg, Mike S. RyanSynopsis: A dealer in “outsider” art travels from Chicago to North Carolina to meet her new in-laws, challenging the equilibrium of this middle-class Southern home.
The scene that proves it: “At the hospital.”
“Junebug” is known as the “birth of Amy Adams,” at least in the Oscar echelon. The now six-time nominated actress picked up her first mention for her whimsical and beautiful take on the pregnant Ashley. An all-star cast surrounds her, under the visceral thumb of the film’s sly direction and palpitating script.
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Novitiate (2017)
Starring: Margaret Qualley, Melissa Leo, Julianne Nicholson, Dianna Agron, Morgan Saylor, Maddie Hasson, Liana Liberato
Director: Maggie Betts
Writer(s): Maggie Betts
Producer(s): Carole Peterman, Celine Ratray, Trudie StylerSynopsis: Set in the early 1960s and during the era of Vatican II, a young woman in training to become a nun struggles with issues of faith, the changing church and sexuality.
The scene that proves it: “Silence.”
It’s almost tragic how little people know of Maggie Betts’ inspired and captivating peek behind the Catholic curtain of becoming a nun. Margaret Qualley’s fearless turn is surgical and precise as she brings a 17-year-old’s moral dilemma to the forefront. She also received help from an Oscar-snubbed Melissa Leo and a dynamically rich Dianna Agron.
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Central Station (1998)
Starring: Fernanda Montenegro, Vinícius de Oliveira, Marília Pêra
Director: Walter Salles
Writer(s): João Emanuel Carneiro, Marcos Bernstein, Walter Salles
Producer(s): Arthur Cohn, Martine de Clermont-Tonnerre, Robert RedfordSynopsis: The emotive journey of a former schoolteacher who writes letters for illiterate people and a young boy whose mother has just died, as they search for the father he never knew.
The scene that proves it: “Crying on the bus.”
The first Latina ever nominated for best actress, Brazilian star Fernanda Montenegro, came from Sony Pictures Classics’ studio. Their campaign power got her into a lineup that included Cate Blanchett, Gwyneth Paltrow, Meryl Streep and Emily Watson. The film also represented Brazil in the international feature race. With his straightforward approach, Salles brought a seemingly simple road trip movie to life while also elevating its story with universal themes.
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Foxcatcher (2014)
Starring: Steve Carell, Channing Tatum, Mark Ruffalo, Vanessa Redgrave, Sienna Miller, Anthony Michael Hall
Director: Bennett Miller
Writer(s): E. Max Frye, Dan Futterman
Producer(s): Anthony Bregman, Megan Ellison, Jon Kilik, Bennett MillerSynopsis: U.S. Olympic wrestling champions and brothers Mark Schultz and Dave Schultz join “Team Foxcatcher”, led by eccentric multi-millionaire John du Pont, as they train for the 1988 Olympic Games in Seoul, South Korea — but John’s self-destructive behavior threatens to consume them all.
The scene that proves it: “Mark’s hotel room.”
The dark and brooding story of masculinity and loss of reality is a tough sit from the Oscar-nominated Bennett Miller, who surprised on nomination morning. Miller builds a world that you don’t want to spend a lot of time in, while simultaneously not wanting to turn your eye away. The transformations of Channing Tatum and the Oscar-nominated Steve Carell and Mark Ruffalo are well executed, but it’s the film’s lasting effect that truly haunts you.
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The Rider (2018)
Starring: Brady Jandreau, Lilly Jandreau, Tim Jandreau, Lane Scott, Cat Clifford
Director: Chloé Zhao
Writer(s): Chloé Zhao
Producer(s): Chloé Zhao, Mollye Asher, Bert Hamelinck, Sacha Ben HarrocheSynopsis: After suffering a near-fatal head injury, a young cowboy undertakes a search for a new identity and what it means to be a man in the heartland of America.
The scene that proves it: “The last ride.”
Before Chloé Zhao went on to win best picture and director for “Nomadland” (2020), she began in the hallways of Sony Pictures Classics with the western “The Rider.” Utilizing her signature techniques of “non-trained” actors, Zhao brings the heartbreaking story to life with gorgeous camera work by Joshua James Richards and a beautiful score by Nathan Halpern.
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Son of Saul (2015)
Starring: Géza Röhrig, Levente Molnár, Urs Rechn
Director: László Nemes
Writer(s): László Nemes, Clara Royer
Producer(s): Gábor Sipos, Gábor RajnaSynopsis: A Jewish-Hungarian concentration camp prisoner sets out to give a child he mistook for his son a proper burial.
The scene that proves it: “Opening scene.”
It was the best of 2015 that I said I would never watch again. László Nemes’ grim and honest depiction of Auschwitz and the Holocaust is heartbreaking and downright riveting. Steered by a terrific turn by Géza Röhrig, the Oscar winner for international feature should have been much more represented in its respective calendar year, but remains a force in the history of non-English language winners.
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Howard's End (1992)
Starring: Anthony Hopkins, Emma Thompson, Vanessa Redgrave, Helena Bonham Carter, James Wilby, Samuel West, Jemma Redgrave, Prunella Scales
Director: James Ivory
Writer(s): Ruth Prawer Jhabvala (based on “Howard’s End” by E.M. Forster)
Producer(s): Ismail MerchantSynopsis: A businessman thwarts his wife’s bequest of an estate to another woman.
The scene that proves it: Henry’s proposal
The best picture nominated period piece of the famed story by E.M. Forster represents a lot in Oscar history. First, was Emma Thompson’s first Oscar win, and her only for acting (her second win is for adapted screenplay for “Sense and Sensibility”). Adapted screenplay winner Ruth Prawer Jhavvala is one of eight films written by women, to win the category in the Academy’s history. She’s the only woman to ever win this category twice (the other win was for “A Room With a View”). The rich costumes and production sets still soar, even today.
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Call Me by Your Name (2017)
Starring: Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victorie Du Bois
Director: Luca Guadagnino
Writer(s): James Ivory (based on “Call Me by Your Name” by André Aciman)
Producer(s): Peter Spears, Luca Guadagnino, Emilie Georges, Rodrigo Teixeira, Marco Morabito, James Ivory, Howard RosenmanSynopsis: In 1980s Italy, romance blossoms between a 17-year-old student and the older man hired as his father’s research assistant.
The scene that proves it: “Dancing.”
No matter where you fall on the overall quality of director Luca Guadagnino’s mainstream breakthrough, its capture in the echo chambers of cinema is almost unmatched, especially in the lives of the LGBTQ community. Chalamet’s tender turn vibrates throughout, especially in his one-scene killer with Michael Stuhlbarg as his father. Aside from its multiple Oscar noms including best picture, the film also earned writer James Ivory his overdue statuette for adapted screenplay, becoming the oldest competitive winner in history.
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Amour (2012)
Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert
Director: Michael Haneke
Writer(s): Michael Haneke
Producer(s): Margaret Ménégoz, Stefan Arndt, Veit Heiduschka, Michael KatzSynopsis: Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple’s bond of love is severely tested.
The scene that proves it: “Playing the piano.”
While many focus on the “depressing” aura that Haneke’s film has, gargantuan performances are tucked into the subtle deliveries of its stars – Oscar-nominated Emmanuelle Riva and the criminally ignored Jean-Louis Trintignant. The film’s best picture nom is wholeheartedly deserved, and even though it doesn’t exactly inspire a fun Saturday afternoon watch, cinema is better because of its existence.
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All About My Mother (1999)
Starring: Cecilia Roth, Marisa Paredes, Candela Peña, Antonia San Juan, Penélope Cruz, Rosa Maria Sardà, Fernando Fernán Gómez, Fernando Guillén, Toni Cantó, Eloy Azorín, Carlos Lozano
Director: Pedro Almodóvar
Writer(s): Pedro Almodóvar
Producer(s): Agustín AlmodóvarSynopsis: Young Esteban wants to become a writer and also to discover the identity of his second mother, a trans woman, carefully concealed by his mother Manuela.
The scene that proves it: Return to Barcelona
Winning the international feature Oscar for Spain, Almodóvar’s classic is a compassionate piece and will create arguments among the visionary filmmaker’s most loyal supporters regarding if it’s his finest outing. Honestly, we’re splitting hairs when it comes to the vast tapestry of such a filmmaker, but satisfaction is undoubtedly felt by the end credits.
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Take Shelter (2011)
Starring: Michael Shannon, Jessica Chastain, Shea Whigham, Katy Mixon, Kathy Baker
Director: Jeff Nichols
Writer(s): Jeff Nichols
Producer(s): Sophia Lin, Tyler DavidsonSynopsis: Plagued by a series of apocalyptic visions, a young husband and father question whether to shelter his family from a coming storm, or from himself.
The scene that proves it: “There’s a storm coming like nothing you’ve ever seen…!”
Writer and director Jeff Nichols’ psychological thriller embarks upon a quest that is both intriguing and wholly satisfying. Anchored by a career best turn from Michael Shannon, the slow build to the film’s final moments is among the most exceptionally orchestrated of its respective decade. Often overlooked are the technical merits of the film’s artisans, notably Adam Stone’s cinematography and David Wingo’s music. However, Shannon’s greatness doesn’t translate without his co-pilot Jessica Chastain, in one of her seven films that were released during the calendar year, ultimately helping her nab a nomination for “The Help.” “Take Shelter” is a stunning example of two powerhouse turns that were both worthy of double noms.
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Rachel Getting Married (2008)
Starring: Anne Hathaway, Rosemarie DeWitt, Bill Irwin, Anna Deavere Smith, Tunde Adebimpe, Debra Winger
Director: Jonathan Demme
Writer(s): Jenny Lumet
Producer(s): Jonathan Demme, Neda Armain, Marc E. PlattSynopsis: A young woman who has been in and out of rehab for the past 10 years returns home for the weekend for her sister’s wedding.
The scene that proves it: “Did I sacrifice every bit of love in this life because I killed our little brother?“
Jonathan Demme may be best known for helming the horror best picture winner “The Silence of the Lambs” (1991). However, his mastery of direction is splashed across every frame of his moving drama about Kym, a recovering addict who returns home for her sister’s wedding. With Anne Hathaway’s Oscar-nominated turn leading the charge, the film’s luxurious script by Jenny Lumet helped usher underappreciated character actors like Bill Irwin and Rosemarie DeWitt to the forefront.
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Capote (2005)
Starring: Philip Seymour Hoffman, Catherine Keener, Clifton Collins Jr., Bruce Greenwood, Mark Pellegrino, Amy Ryan, Chris Cooper
Director: Bennett Miller
Writer(s): Dan Futterman (based on “Capote” by Gerald Clarke)
Producer(s): Caroline Baron, William Vince, Michael OhovenSynopsis: In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel “In Cold Blood,” Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
The scene that proves it: “I did everything I could.”
Philip Seymour Hoffman’s Oscar-winning turn as famed novelist Truman Capote is a work of art featuring one of the aughts’ best directorial debuts from Bennett Miller. Dan Futterman’s riveting script portrays the author’s relationship with convicted killer Perry Smith (played exquisitely by an Oscar-snubbed Clifton Collins Jr.). It offers the viewer morally complex questions as they are transported into the period drama. Nominated for five Oscars, including supporting actress for Catherine Keener and best picture, the biopic remains undeniably great.
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A Separation (2011)
Starring: Leila Hatami, Peyman Moaadi, Shahab Hosseini, Kimiya Hosseini, Babak Karimi, Sareh Bayat, Sarina Farhadi, Merila Zarei
Director: Asghar Farhadi
Writer(s): Asghar Farhadi
Producer(s): Asghar FarhadiSynopsis: A married couple is faced with a difficult decision — to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer’s disease.
The scene that proves it: Termeh telling the judge who she wants to live with.
Asghar Farhadi’s complex look at the end of a marriage is a somber and tautly orchestrated beauty with incredible performances from its cast, particularly Payman Maadi as Nader and Leila Hatami as his wife, Simin. Standing as Farhadi’s single best cinematic endeavor of his career thus far, the film won the international feature Oscar for Iran. In addition, it nabbed him a much-deserved nom for original screenplay.
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Talk to Her (Hable con ella) (2002)
Starring: Javier Cámara, Darío Grandinetti, Leonor Watling, Geraldine Chaplin, Rosario Flores
Director: Pedro Almodóvar
Writer(s): Pedro Almodóvar
Producer(s): Agustín Almodóvar, Michel RubenSynopsis: Two men share an odd friendship while they care for two women who are both in deep comas.
The scene that proves it: At the theater – Marco y Alicia
Pedro Almodóvar has been a mainstay of SPC; many of his most exemplary efforts have been distributed by the indie arm. In “Talk to Her,” a story that blends love and obsession, he plays with tone masterfully, seamlessly bringing palettes and bold choices. “Talk to Her” received a surprise nomination for best director, and its win for original screenplay represents one of the best choices that Academy voters have made.
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Crouching Tiger, Hidden Dragon (2000)
Starring: Chow Yun-fat, Michelle Yeoh, Zhang Ziyi, Chang Chen, Lang Sihung, Cheng Pei-pei
Director: Ang Lee
Writer(s): Wang Hui-ling, James Schamus, Tsai Kuo-jung (based on “Crouching Tiger, Hidden Dragon” by Wang Dulu)
Producer(s): Bill Kong, Hsu Li-kong, Ang LeeSynopsis: A young Chinese warrior steals a sword from a famed swordsman and then escapes into a world of romantic adventure with a mysterious man.
The scene that proves it: Jen vs. Shu Lien duel
Before “Parasite” (2019) became the first non-English-language film to win best picture, Ang Lee’s martial arts masterpiece came close, receiving the prestigious DGA Award and walking away with four Oscars, including foreign language feature (now international feature) for Taiwan. Among Oscar travesties: the lack of nominations for Michelle Yeoh and Ziyi Zhang. Nevertheless, with its beautiful music, beautiful sets and rich narrative, the movie stands tall as Sony Pictures Classics’ most remarkable achievement.