Drive My Car is a special movie. It’s Japan’s most Oscar-nominated film ever—and its first to be up for Best Picture. It enters the final weeks of awards season as the first non-English-language film to be picked at Best Picture by all three major American critics groups (including the New York Film Critics Circle, for whom one David Sims tallied the results).And its Oscar run comes at a time of tentative hope for the future of international film. Drive My Car won Best Foreign Language Film at the Golden Globes, an award whose last two winners were Lee Isaac Chung’s <a href="https://www.theatlantic.com/culture/archive/2021/02/minari/618009/">Minari</a> and Bong Joon Ho’s <a href="https://www.theatlantic.com/entertainment/archive/2019/10/parasite-and-curse-closeness/600385/">Parasite</a>. Minari’s nomination was <a href="https://www.theatlantic.com/culture/archive/2021/03/minari-and-the-invisible-stars-of-asian-led-movies/618169/">controversial</a> as a film set in Arkansas that deals with very American experiences around immigration and isolation. In both English and Korean though, Minari was put in the “foreign language” category.Reflecting on that recent history then, should Drive My Car’s success offer some hope for international film? After <a href="https://www.theatlantic.com/entertainment/archive/2019/10/parasite-and-curse-closeness/600385/">Parasite</a>’s 2019 Golden Globe win, director Bong Joon Ho urged viewers to “overcome the one-inch-tall barrier of subtitles.” Are audiences closer than ever to that goal?The language of Drive My Car isn’t just remarkable for its domestic success too: Based on a story by Haruki Murakami and directed Ryusuke Hamaguchi, the film is also a deeply moving examination of language itself. David Sims, Shirley Li, and Lenika Cruz came together to unpack the film, its message about how we communicate with one another, and why it resonated as widely as it has. They also discuss their love for Murakami, despite his gendered flaws and storytelling crutches. (“And then the phone rang and it was a secret agent!”)Further reading:<ul>
<li><a href="https://www.theatlantic.com/culture/archive/2022/01/drive-my-car-murakami-adaptation-film-review/621293/">An Electrifying Adaptation of Murakami's Drive My Car</a></li>
<li><a href="https://www.theatlantic.com/culture/archive/2022/03/drive-my-car-hamaguchi-language/626561/">Drive My Car Pushes the Limit of Language</a></li>
<li><a href="https://www.theatlantic.com/culture/archive/2020/09/haruki-murakami-translators-david-karashima-review/616210/">How Haruki Murakami's Translators Shaped His Early Novels</a></li>
</ul> Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices">megaphone.fm/adchoices</a>

Podurama

Home

Trending

Personal

Your Podcasts

New Episodes

My Files

Favourite Episodes

Tags (Folders)

Recently Played

Bookmarks

Followed Playlists

Drive My Car

The Review

AI Chapters

AI Insights

Reviews