Home Arts & Culture CANNES 2022. Correspondence from Eugenia Vodă. Palmaresul, à la carte

CANNES 2022. Correspondence from Eugenia Vodă. Palmaresul, à la carte


Awards Competitionsawarded by the jury led by Vincent Lindon:

Palme d’Or: “Triangle of Sadness”, by Ruben Östlund.

Grand Prix, ex aequo: “Close”, by Lukas Dhont; “Stars at noon” by Claire Denis.

Direction Award: Park Chan-wook for “Decision to Leave”.

Screenplay Award: Tarik Saleh for “Boy from Heaven.”

Jury Prize, ex aequo: “EO”, by Jerzy Skolimowski; “Le Otto Montagne”, by Charlotte Vandermeersch and Felix Van Groeningen

Prize of the 75th edition: “Tori et Lokita”, by Jean-Pierre and Luc Dardenne

Female Performance Award: Zar Amir Ebrahimi, from “Holy Spider”, by Ali Abbasi

Male Performance Award: Kore-eda Hirokazu’s Song Kang-ho from Broker.

Another jury, led by Egyptian director Yousry Nasrallah, presented the awards for short films:

Palme d’Or: “The Water Murmurs”, by Jianying Chen

Special mention: “Lori”, by Abinash Bikram Shah

In the section A Certain Lookthe awards of a jury led by the Italian actress Valeria Golino:

Un Certain Regard Award: “Les Pires”, by Lise Akoka and Romane Gueret

Jury Prize: “Joyland”, by Saim Sadiq

Direction Award: Alexandru Belc, for “Metronome”

Performance Award, ex aequo: Vicky Krieps in “Corsage” by Marie Kreutzer; Adam Bessa, in “Harka,” by Lotfy Nathan

Screenplay Award: “Mediterranean Fever”, by Maha Haj

Special Jury Prize: “Rodeo”, by Lola Quivoron

A jury led by Spanish actress Rossy de Palma awarded Golden Room Awards (in which debut films from all sections compete):

Camera d’Or: “War Pony” by Riley Keough and Gina Gammell

Special mention: “Plan 75”, by Hayakawa Chie

to Cinefondation, section of school films, the awards were:

First Prize: “The Conspiracy Barber”, by Valerio Ferrara (Italy)

Second Prize: “Somewhere”, by Li Jiahe (China)

Third Prize, ex aequo: “Glorious Revolution” by Masha Novikova (UK); Humans Are Cons When They Stack, by Laurene Fernandez (Franţa)

Finally, Higher Technical Commission Award (CST) was awarded to the soundtrack of the winning film, The Trunk of Sadness, by Ruben Ostlund; and the CST Award for Young Film Technician went to stage designer Marion Burger for A Little Brother by Leonor Serraille.

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This was the official FULL record of the edition; Of course, dozens of other “parallel” prizes are added to it, offered by whoever you want and whoever you don’t want, of greater or lesser importance – but no one is upset about a prize, no matter how small! But what goes down in history is the Palme d’Or of each edition. It doesn’t necessarily mean it was the “best movie” of any edition! But it remains the flagship film of that edition, as seen and assumed by a certain jury. I can’t forget, for example, an older “politicized” record, which gifted him Palme d’Or to an American anti-Bush documentary by Michael Moore (after which Bush won the election!) … Or, last summer , the jury of a confused Spike Lee awarded Palme d’Or to a “monstrosity” (literally), “Titan”, which, at the César Awards, of French cinema, would not even be among the nominations for “best movie”! (It was the first time in history that a French Palme d’Or was not included in the list of nominees for best film!) … That’s just to see, again, how relative they all are, and in art more than anywhere …

It is known from ancient times that behind the scenes of any record are wild passions, games of interest (of producers and distributors, but not only), plus an assumed ballet of cultural diplomacy – we will never see an exclusively European or exclusively Asian record , everyone must be represented, in one way or another, on the Cannes stage! For example, at the ceremony on Saturday night, on the stage of the Grand Theater Lumière, the award-winning Iranian actress (refugee from Paris in 2008) gave a part of her speech in Farsi … Above all, if it is Something commendable on the jury in 2022 is the fact that he chose for the supreme trophy “a film that shocked us all” (Lindon dixit) … Although, in a correspondence last week, entitled “Three for a bet” , I placed him in the triplet of films “without which it is difficult to imagine the future record”, I did not think that Lindon’s jury will have the courage to listen to his heart and award a film “to the public”, and still an author who once again took the Palme d’Or! But in 2017, when the comedy The Square triumphed, the chairman of the jury was Almodovar, so the miracle could come into play, while in 2022 … Consequently, from now on, Ruben Östlund joins the ultra-select club of filmmakers who have won two ori Palme d’or; so far there have been only eight in history: Coppola, Kusturica, Imamura, Bille August, the Dardenne brothers, Michael Haneke and Ken Loach.

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Of course, the record hides many inexplicable things, such as the total absence of the big favorite, the American “Armageddon Time”, instead the unexpected presence of the film placed in all the rankings somewhere in line, of the French Claire Denis … Of course the record does not prove accuracy when he abuses ex aequo to two important prizes (as a result of which 10 titles, out of the 21 of the competition, appear in the palmares, so almost half!). Of course, a cleaner record was possible … But, above all, this Palme d’or (re) compensates everything!

If I had to choose a motto for the ending edition, it would be from Vincent Lindon: … “I wonder if we’re not about to dance on the Titanic” …

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