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Foreign-Language Oscar Entries Start to Pile Up

With the deadline for the Academy Awards foreign-language entries looming, several countries have thrown their hats in the ring.

The Academy accepts one entry from each country in the category that has to be submitted by Oct. 1. The entries are whittled down to a shortlist of nine films from which nominations will be announced on Jan. 14 for the Oscars that will be held Feb. 22 at the Dolby Theatre in Hollywood.

Last year a record 83 countries entered for the prize that was won by Italy, with Paolo Sorrentini’s “The Great Beauty.”

Films submitted so far by country, with directors noted.

Bosnia & Herzegovina, “Our Everyday Life,” Ines Tanovic
Brazil, “The Second Mother,” Anna Muylaert
China “Totem Pole,” Jean-Jacques Annaud, Columbia
Colombia, “Embrace of the Serpent,” Ciro Guerra
Croatia, “The High Sun,” Dalibor Matanic
Dominican Republic, “Sand Dollars,” Isabel Cárdenas and Laura Amelia Guzmán
Estonia, “1944,” Elmo Nuganen
Finland, “The Fencer,” Klaus Haro
Germany “Labyrinth of Lies” Giulio Ricciarelli,
Greece, “Xenia,” Panos Koutras
Guatemala, “Ixcanul Volcano,” Jayro Bustamante
Hungary, “Son of Saul,” Lászlo Nemes
Iceland, “Rams,” Grímur Hákonarson
Ireland, “Viva,” Paddy Breathnach
Iraq, “Memories on Stone,” Shawkat Amin Korkiv
Japan “100 Yen Love,” Masaharu Take
Jordon, “Theeb,” Naji Abu Nowar
Kazakhstan, “Stranger,” Ermek Tursunov
Kosovo, “Babai” Visar Morina
Luxembourg, “Baby(a)lone,” Donato Rotunno
Netherlands, “The Paradise Suite,” Joost van Ginkel
Nepal, “Talakjung vs Tulke,” Nischal Basnet
Norway, “The Wave,” Roar Uthaug
Pakistan, “Moor,” Jamshed Mahmood Raza
Palestine, “The Wanted 18,” Paul Cowan, Amer Shomali
Panama “Box 25,” Mercedes Arias and Delfina Vidal
Paraguay “Cloudy Times,” Arami Ullón
Romania, “Aferim!,” Radu Jude
South Korea “The Throne,” Lee Joon-ik, Showbox
Sweden “A Pigeon Sat on a Branch Reflecting on Existence”
Switzerland, “Iraqi Odyssey,” Samir
Taiwan, “The Assassin,” Hou Hsiao-hsien
Turkey, “Sivas,” Kaan Müjdeci
Venezuela “Gone With the River,” Mario Crespo

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