After a whirlwind two weeks of screenings, red carpet appearances and masterclasses – suddenly it’s over.
However, as hostess of the evening Chiara Mastroianni said, the ending is not really an ending, it’s simply a new beginning.
The films shown during the international event will now go out into the world to be seen in festivals and cinemas around the globe. The “conversation continues”, she says.
Special guest American actress Jane Fonda, who held a Masterclass earlier this week, admitted she hadn’t been back in Cannes since 1963.
Before introducing the Palme d’Or award, she noted that the last time she came there were no women directors. “It didn’t occur to us that there was nothing wrong with that. We’ve come a long way, but we’ve got a long way to go”.
This year, there were a record seven women directors in competition, and it just so happens that the top prize (Palme d’Or) went to Justine Trier pour her film “Anatomie d’une chute” (Anatomy of a Fall).
Three women for Palme d’Or
It’s the tenth time for a French film in the event’s history and only the third for a woman director in 76 years.
I’m not surprised this film won the top spot to be honest. It has all the ingredients to draw in the audience from excellent acting to intrigue, sharp dialogues and perfect use of music and sound.
Carefully scripted (by Triet herself and Arthur Harari), it presents an autopsy of a dead body (the husband) that quickly becomes a dissection of not only the intimacy of a marriage, but also parenthood, society’s expectations and prejudice. It goes to show how fragile our lives are and above all, how delicate our memories can be.
Much of the tension and magic of the film revolves around the wonderful performance of Milo Machado Graner, who plays the visually impaired 11 year-old son Daniel, who hears everything. Through the drawn-out legal proceedings, he is exposed to the worst that society has on offer. And yet, he brings a strength and light to the film that is otherwise very dark.
While accepting her prize, Triet made reference to the pension reform protests and how the cinema industry had not been left unscathed. “This protest was brutally repressed, the cinema industry was no exception. Culture is being sold off like merchandise”, she said, openly criticising goverment policies that undercut cultural development.
Women fighting to exist
The Palme for best actress went to Merve Dizdar for her role in in “About dry Grasses” (Kuru Otlar Ustune ) by Nuri Bilge Ceylan from Turkey. When the young woman came up onto the stage, she mumbled that so great was her surprise, she even forgot words in her native language. When she finally recovered, she expressed her desire to dedicate the prize to women in peril.
“The character Nuray is fighting for her existence and has faced many difficulties. I didn’t need to prepare for the role because I know how women live in this geography, it’s where I’m from. I’d like to dedicate this prize to all the women who have to fight to exist in this world”.
Women filmmakers also got a shout out in the short film category. The jury, headed up by Hungarian director Ildikó Enyedi, explained that they had chosen two recipients: a special mention for “Far” (Intrusion) from Iceland’s Gunnur Martinsdottir Schluter, and the Palme d’Or short film went to “27” by Flora Anna Buda.
A very enthusiastic Quentin Tarantino (jury president in 1994) appeared on stage to introduce the The Grand Prize which went to Holocaust drama “The Zone of Interest” by English director Jonathan Glazer. Cheers broke out, as it had been one of the critics’ favourites, but many festival-goers felt the film deserved the Palme itself.
Asia was well represented in the official selection this year, with two Vietnamese directors claiming prizes.
The Caméra d’Or for best first feature went to “Inside the Yellow Cocoon Shell” by Thien An Phan, presented in the Directors’ Fortnight section.
Tran Anh Hùng was also recognised for his film “La Passion de Dodin Bouffant (The Pot-au-Feu)”, an ode to the love of French cuisine. Very moved, he thanked his producer, lead actors Juliette Binoche and Benoït Magimel and his wife (who is also his cook). The film is due in cinemas on 8 November.
Best actress 2022 Zar Amir Ebrahimi was called on to present the award for best actor to the very humble Japanese actor Koji Yakusho for his role as serene Tokyo toilet cleaner in “Perfect Days” by Wim Wenders, due to be released 29 November.
Every film needs a plan
John C. Reilly, president of the Un Certain Regard jury then took to the stage to announce the Best Screenplay prize. He surprised the audience with his comical expressions and a pronounced silence. Then came the explanation.
“Okay so…this is what you would witness in a film without screenwriters. No plan, no words.
“Every film begins with an idea and the first thing you do is write it down, “he explains. It’s a map. The scenario, it’s the plan”. It was a homage to screenwriters, who have been in strike in the United States recently to improve their pay and working conditions.
In other categories, best scenario went to Yuji Sakamoto for “Monster” by Kore-eda Hirokazu while Aki Kaurismäki won jury prize for “Kuolleet Lehdet” (Fallen Leaves) released on 20 September.
In Un Certain Regard, the top prize went to “How to have sex” by Molly Manning Walker. See other winners here.
In any case, some might say just being selected for the Cannes Film Festival is a huge victory.
And as veteran filmmaker and special guest Robert Corman said, “Cannes is the most interesting festival in the world, and you’re lucky to be a part of it”.
Source: www.rfi.fr/
