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What and Who Will Take Home Festival Prizes? –

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The seventy fifth Cannes Film Festival will come to an in depth on Saturday at 8:30 p.m. native time with a closing ceremony at which prizes will probably be dished out to a number of of the 21 movies that performed in competitors. Unlike some years, there are not any runaway favorites for any of 2022’s most coveted honors, that are being determined by a jury comprised of Asghar Farhadi, Rebecca Hall, Vincent Lindon (jury president), Ladj Ly, Jeff Nichols, Deepika Padukone, Noomi Rapace, Joachim Trier and Jasmine Trinca. So I believed I might provide a little bit of knowledgeable hypothesis about how these would possibly pan out.


It’s onerous to think about that Belgian filmmaker Lukas Dhont’s Close, a deeply affecting portrayal of a friendship between two younger boys who could also be homosexual, received’t stroll away with the fest’s first or second prize for finest movie. It was actually the very best movie I noticed at this 12 months’s fest, and A24 was sensible to snag its U.S. distribution rights hours earlier than it premiered. Dhont, who’s simply 30 and could be one of many youngest-ever winners of a prime Cannes award, unveiled his one prior function in Cannes 4 years in the past: Girl, the story of a trans teenager, was acknowledged with the Caméra d’Or for finest first function and the Queer Palm en path to being chosen because the Belgian entry for the very best worldwide function Oscar. I believe Close will find yourself representing the nation on the Oscars, too.

I’d additionally keep watch over the neo-noir Decision to Leave (which MUBI will distribute within the U.S.) from South Korean grasp Park Chan-wook, who received the Grand Prize in 2004 for Oldboy (after jury president Quentin Tarantino unsuccessfully fought for him to obtain the Palme), in addition to 4 titles from previous Palme winners.

The Belgian brothers Jean-Pierre Dardenne and Luc Dardenne, my favourite filmmakers, have twice taken residence Cannes’ highest honor — for 1999’s Rosetta and 2005’s L’Enfant — and are doubtless within the combine for Tori and Lokita, which may make them the primary filmmakers ever to tug off a Palme hat-trick. (Tori and Lokita continues to be in search of U.S. distribution, maybe as a result of it’s heartbreakingly bleak.) Their movie, like one other prime prospect, R.M.N. from Cristian Mungiu (IFC), the Romanian auteur who received 15 years in the past for 4 Months, 3 Weeks and a couple of Days, facilities on the plight of refugees who come to their residence nations in search of a greater life.

Meanwhile, Ruben Ostlund, the Swede who received for 2017’s The Square, is again in competition for an additional darkish comedy, Triangle of Sadness (acquired through the fest by Neon for U.S. distribution), which sends up the wealthy and people who cater to them or desperately need to be part of their ranks. It might finally show a bit too lengthy (at 149 minutes) and polarizing to land a prime prize.

And Japan’s Hirokazu Kore-eda, a winner for 2018’s Shoplifters, shouldn’t be discounted for Broker (additionally Neon), one other challenge about social outcasts who come collectively to kind an unconventional household, this time in South Korea. It acquired a fest-best 12-minute standing ovation (matched solely by the one accorded to Baz Luhrmann’s out-of-competition Elvis).

It appears unlikely {that a} movie from a North American and/or feminine filmmaker will make the lower. Canadian David Cronenberg’s return to body-horror Crimes of the Future (Neon) and American James Gray’s autobiographical Armageddon Time (Focus) each proved moderately divisive. And of the 5 female-directed titles in competitors, just one went over considerably properly, American Kelly Reichardt and Michelle Williams’ reunion Showing Up (A24) — though the legendary Frenchwoman Claire Denis, who had a movie in competitors for under the second time, actually has many admirers amongst her friends and can’t be completely dominated out for Stars at Noon (A24).

And how’s this for a wild-card risk: EO (nonetheless in search of U.S. distribution), the story of a donkey in a circus (impressed by Robert Bresson’s 1966 movie Au Hasard Balthazar), from veteran Polish filmmaker Jerzy Skolimowski.


It’s onerous to game out Cannes juries, as they unfold their prizes round as a lot as attainable. So if, say, Dhont and Park’s movies are awarded the very best movie prizes, then that takes their filmmakers out of the operating for finest director.

One can attempt to psychoanalyze this 12 months’s jurors to determine what/who they’d most definitely join with — as an illustration, one may argue that Farhadi has made movies that pose ethical questions like Tori and Lokita and others from the Dardennes (who had been awarded finest director in 2019 for Young Ahmed); Trier’s work tends to be a bit eccentric like Ostlund’s Triangle of Sadness; and Nichols has made movies about younger individuals coming of age, not not like Gray’s Armageddon Time. But there may be, after all, no assure that filmmakers will vote for movies which are like their very own.

Another consideration: are jurors swayed when filmmakers contextualize their movies in remarks contained in the Palais after their movie’s premiere? If so, R.M.N.’s Mungiu (who received this award for 2016’s Graduation) might have helped his trigger along with his emotional remarks.

If we had been speaking in regards to the Oscars, there could be a better chance of the very best director prize going to somebody as a form of recognition of profession achievement — maybe Crimes of the Future’s Cronenberg, who has had a half-dozen movies on the fest previous to Crimes, however solely received one thing as soon as (Crash took residence a jury prize in 1996) and would appear ripe for recognition; or 84-year-old Skolimowski, who has now had eight movies on the fest over 50 years with solely a particular jury prize in 1978 and a finest screenplay prize in 1982 to point out for it.

But Cannes juries have a tendency to not function that method, opting as a substitute to reward individuals within the prime of their profession for deeply private ardour initiatives, which is why I wouldn’t rule out Armageddon Time’s Gray, Triangle of Sadness’ Ostlund or Broker’s Kore-eda.


Cannes juries not occasionally current this award to costars, which is why one can’t rule out the boys from Close, Eden Dambrine and Gustav De Waele. But if they’re off the desk as a result of their movie has acquired a better honor, then maybe one other younger performer, Tori and Lokita’s Pablo Schils, has an opportunity.

However, baby actor winners are literally moderately uncommon, which is why there’s in all probability a greater likelihood of this award going to Mehdi Bajestani, who performs a serial killer in Iranian filmmaker Ali Abbasi’s Holy Spider (Utopia); Crimes of the Future’s Viggo Mortensen; Marin Grigore, the imperfect husband and father of R.M.N.; or a favourite of a number of festivalgoers I spoke with, Fares Fares for his common collaborator Tarik Saleh’s political thriller Boy from Heaven (nonetheless in search of U.S. distribution).


I wouldn’t rely out Crimes of the Future star and hometown favourite Lea Seydoux (additionally nice on this 12 months’s Directors’ Fortnight choice One Fine Morning), who’s one in every of solely two performers who’ve received the Palme however who has by no means received the fest’s finest actress prize, which has gone to loads of different Frenchwomen lately.

Romanian actress Judith State, who performs a lady coping with hassle at work and at residence in R.M.N., is actually a worthy choice, as properly.

But the good cash appears to be divided between Tori and Lokita’s first-time performer Mbundu Joely; Triangle of Sadness’ “I’m the captain now” scene-stealer Dolly De Leon; and Decision to Leave’s ageless femme fatale Tang Wei.


Contenders who’ve beforehand received this prize and will once more embody EO’s Skolimowski (1982’s Moonlighting), Tori and Lokita’s Dardennes (2008’s Lorna’s Silence) and R.M.N.’s Mungiu (2012’s Beyond the Hills). Armageddon Time’s Gray and Crimes of the Future’s Cronenberg may actually win for scripts, that are deeply private in several methods. But this feels just like the likeliest place for the jury to acknowledge the off-the-wall creativity of Ostlund’s Triangle of Sadness.


Palme d’Or: Close (Lukas Dhont)

Grand Prize: Tori and Lokita (Jean-Pierre Dardenne & Luc Dardenne)

Best Director: Hirokazu Kore-eda (Broker)

Best Actor: Fares Fares (Boy from Heaven)

Best Actress: Tang Wei (Decision to Leave)

Best Screenplay: Triangle of Sadness (Ruben Ostlund)

Jury Prize: EO (Jerzy Skolimowski)

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