Austrian horror Goodnight Mommy has been gathering some highly impressive reviews, ever since debuting at the Venice Film Festival last year. The film has already picked up a number of awards, and now it’s looking for the big one, an Oscar.
RADiUS is proud to announce that its art house horror film Goodnight Mommy has been selected as the Austrian entry for Best Foreign Language Film consideration at the 2016 Academy Awards. This coveted honor was decided by the representatives of the Association of the Film and Music Industry.
“With Goodnight Mommy, the filmmakers created a visually exciting and nerve-wracking film – equal parts horror and art-house. The clever and sometimes perverted bends and twists are as cleverly designed as they are elegantly staged,” said the Association of Film and Music Industry in a statement.
“It is a great honor for us to be the official Austrian submission for the 88th Academy Awards. We are extremely proud and very excited. When we set out to make this film, we had no idea how big things could become. Every movie starts small: one person (ok, two in our case) has an idea, on his own, all alone. Then, begins a long journey with no one knowing where it will end. Our journey has been incredible so far and we can only hope that it ends at this year’s Oscars,” said filmmakers Franz and Fiala.
The Academy of Motion Picture Arts and Sciences will select the five final nominees for Best Foreign Language Film in January. The 88th Academy Awards ceremony will take place on February 28, 2016 at Dolby Theatre in Los Angeles.
The film is about two twins whose Mother returns from a hospital operation with a bandaged face, but is it really their Mother underneath those bandages?
Goodnight Mommy is written and directed by Severin Fiala and Veronika Franz. The cast includes Susanne Wuest, and real-life twins Elias Schwarz and Lukas Schwarz.
In the heat of the summer. A lonesome house in the countryside between woods and corn fields. Nine-year-old twin brothers are waiting for their mother. When she comes home, bandaged after cosmetic surgery, nothing is like before. The children start to doubt that this woman is actually their mother. It emerges an existential struggle for identity and fundamental trust.