Cannes presents audience hits and award winners for worldwide box office success; some even make it into the Oscar race.
What does it mean in the long run to win an award at Cannes? It depends which — the Palme d’Or and acting awards carry more impact than all nine awards. For every Penélope Cruz in Volver or Rooney Mara in Carol who went on to be nominated for an Oscar, there is a Renate Reinsve who raked in a spate of Worst Person Alive nominations but never received an Oscar mention .
A Cannes award can help a screenplay-winning film like Heavenly Boy get distributed, even in North America. And it increases a film’s chances of being nominated for an Oscar by its home country, although neither Swedish-Egyptian filmmaker Tarik Saleh’s Boy from Heaven nor Iranian-Danish Ali Abbasis Holy Spider, which won best actress for Zar Amir Ebrahimi, a journalist fighting for justice for murdered prostitutes, is presented by Egypt and Iran respectively. Both filmmakers are persona non grata in these countries because they deal with taboo subjects. (Sweden or Denmark might do the honors, however.)
“This film is about women,” said Amir Ebrahimi. “It’s about their bodies, it’s a film full of hands, feet, breasts, sex, everything that you can’t show in Iran. Thank you Ali Abbasi for being so crazy and so generous and thank you for directing this powerful film against all odds.”
Most of the non-English language films at Cannes that could end up in the Oscar race will be competing for Best International Feature Film, although in recent years Parasite, Cold War, Drive My Car and Worst Person have all been there. in the World” also participated in other races including script, camera, direction and picture.
Cannes can make a career. “25 filmmakers first fell in love with cinema and this Cannes Film Festival,” said Rossy de Palma, President of the Camera d’Or jury that selected the first film award for Un Certain Regard’s War Pony. an indigenous story directed by Riley Keough and Gina Gammell, the only American winner of the Cannes selection; David Cronenberg’s “Crimes of the Future”, Kelly Reichardt’s “Showing Up” and James Gray’s well-reviewed “Armageddon Time” did not make it to the competition jury.
After two weeks of experience, the jury was beaming when discussing 21 films. “I am terribly sad, happy and joyful,” said President Vincent Lindon. “I loved everything: the people and the films, the electricity that pervades the air on the streets. The jury was as generous, demanding and combative as viewers and film experts… The engaging and passionate debates were exhausting. The decisions were all made with a nice majority.”
Neon did well in Cannes, earning its third consecutive Palme winner. The distributors of Titane and Parasite will be sure to push their surprise Palme d’Or winner Triangle of Sadness, which the distributor won in a bidding war and has plummeted below $8 million . The hilarious satire of the super-rich became the consensus pick of the diverse jury of men and women, actors and filmmakers, although Swedish filmmaker Ruben Östlund won for 2017’s The Square. But the film will compete with its merits as an English language film, Östlund’s first; it should prove to be a commercial theatrical release, and a screenplay Oscar nomination would be a good bet.
The filmmaker kissed each judge. Wanting to entertain while also stimulating post-screening conversations, he said: “It’s a unique thing about cinema to be able to watch together, to have something to talk about, but also to have fun and have an experience that we can share want to share with others. ”
Neon will urge Japan to submit “Broker” from Cannes, regular and Oscar-nominated “Shoplifters” winner and 2018 Palme d’Or winner Hirokazu Kore-eda, whose Korean star song Kang Ho (“Parasite”) is best actor went home. It was a good day for Korea, which was set to submit Cannes director-winning Park Chan-wook’s moody noir cop “Decision to Leave” (Mubi) for the Oscars, starring Tang Wei as the murder-suspected femme fatale. This stylish critic hit could play for audiences anywhere in the world.
“With the pandemic, the borders between countries have been closed,” Park said. “It was difficult to communicate; sometimes it was quite complicated. We were very afraid of each other. And the cinemas were empty. We got over the virus and we hope people will go back to the cinemas.”
Courtesy of Cannes Film Festival
The jury’s split prize went to Poland’s “Eo” (“Hee-haw”) from impish 84-year-old Cannes long-time favorite Jerzy Skolimowski, who said, “Thank you my donkeys, eeoooo!” Belgium will have a dilemma when it about the selection of his Oscar entry. You have three choices: “The Eight Mountains,” which was co-directed by married couple Charlotte Vandermeersch and Felix Van Groenigen, who learned Italian to shoot in Italy. Another Belgian winner, however, was the frequent Cannes winners of the Dardenne brothers, who have previously won the Palm twice (‘Rosetta’, ‘L’Enfant’) and therefore settled for a special prize for their move to mark the festival’s 75th anniversary have given drama “Tori and Lokita”, which tells the story of two African refugees under duress. This film was not charted in North America.
However, the most likely Belgian entry to generate the most cheers from Palais audiences was Lukas Dhont’s tender relationship drama Close, which shared the second prize, the Grand Prix, with Claire Denis’ English-language romance. Stars at Noon, starring Joe Alwyn and Margaret Qualley. The veteran French filmmaker spotted the young actress at Cannes in Quentin Tarantino’s Once Upon a Time in Hollywood and “fell into a state of ecstasy,” she said. Both are distributed by A24.
“In recent years we have had to stay away from those we loved to protect them,” Dhont said. “I realized how much I needed my friends… I wanted to make a film of tenderness about young people… Allowing people to get close to you can be a superpower.”
As usual, France will have several nominees for the Oscar submission, including the competition title “Mother and Son” by Léonor Seraille; Neither “Brother and Sister” by Arnaud Desplechin nor Michel Hazanavicius’ premiere comedy “Final Cut” did well enough to be strong candidates. Mia Hansen-Love’s Léa Seydoux romance One Fine Morning (Sony Pictures Classics), which inexplicably starred Director’s Fortnight, is another possibility.
And Austria was able to submit acclaimed filmmaker Marie Kreutzer’s irreverent costume drama “Corsage,” starring versatile Berlin actress Vicky Krieps (Cannes entry “Bergman Island” 2021) as Austria-Hungary’s rebellious Empress Elisabeth (“Sissi”), who many thought that it should have been programmed in competition. Krieps shared the Un Certain Regard Award for Best Actress. With proper handling by IFC Films, the revisionist royal play of 19th-century life could compete for best actress and costume design, as well as international feature film.
On the documentary front, Cannes has always had trouble finding prime spots for the best documentaries of the year, ceding that ground to Sundance and other festivals from Tribeca and Toronto to New York. Best-known documentary, Brett Morgen’s Moonage Daydream (Neon), the IMAX-bound kaleidoscopic portrait of David Bowie, debuted in the midnight section, while special screenings featured Ethan Coen’s Jerry Lee Lewis: Trouble in Mind (A24) and Shaunak Sens lyrical portrait of the Black Kites of Delhi, Sundance debut All That Breathes (HBO), which won the Cannes Documentary Jury Prize 2022. All could be Oscar contenders.
As for mainstream Cannes premieres, Joseph Kosinski’s Top Gun: Maverick starring Tom Cruise is smashing at the box office and likely to compete in the same Oscar tech categories as most studio sequels; a script nomination for writers Ehren Kruger, Eric Warren Singer and Christopher McQuarrie would also be well-deserved. He could win an Oscar: Lady Gaga’s song “Hold My Hand”.
Also Baz Luhrmann’s dazzling musical biopic “Elvis” (Warner Bros.), which follows the playbook “Bohemian Rhapsody” and could catapult not only Austin Butler into the running for the best actor, but also Luhrmann for the director and his wife Catherine Martin for another costume Oscar, not to mention the sound, cut and hair and make-up. As for Three Thousand Years of Longing, George Miller’s gorgeously edited fantasy romance starring Idris Elba and Tilda Swinton, its September release will require special treatment from MGM/UA to last into Oscar season .