The program for the main competition series at the Cannes Film Festival has been so homogeneous this year that it is difficult to guess the winner of the Golden Palm.
Will has already become clear from numerous articles in Helsingin Sanomat: this year’s Cannes Film Festival has been uniquely wonderful for Finland. They tell about it Golden palm candidate Cabin No. 6, Selected for Critics’ Week Guled & Nasra, Finnish documentary Invisible Demons and many other Finnish factors who made it to the festival.
But is it Cabin No. 6 realistic chances of winning?
What has the main race software been like otherwise?
To the first question, I would say in my own view:. Cabin No. 6 does not pale at all alongside other candidate films, on the contrary. It’s truly one of the best films I’ve seen at the festival. International media reviews have been excellent almost throughout.
To another the question again can be answered that Cabin No. 6 is also in heavy company.
There are now more Golden Palm candidates than ever before, a total of 24. I didn’t have time to see nearly all of them, but based on what I’ve seen, the overall level is high. And surprisingly uniform.
Just because a movie gets into the Cannes Main Series doesn’t mean the movie is good. The Golden Palm candidates have had complete disasters in recent years.
For example, in 2019, buoys and crush estimates were received Abdellatif Kechichen four-hour nightclub photography Mektoub, My Love: Intermezzo, 2016 received a full (and earned) show Sean Pennin guided The Last Face, a corn love story of two western doctors working in Africa.
This in the main racing series movies I saw myself didn’t hit a single full pancake. Most have been at least good or above average.
The Israeli, for example, were excellent Nadav Lapidin violently homely, personal and explosive Ha’berech (Ahed’s Knee), Iranian Asghar Farhadin a great story about the sad “hero” of everyday life Ghahreman (A Hero) and Thai Apichatpong Weerasekulin Memoria, a meditative work typical of its director.
Three films rose between them and Cabin No. 6 in addition to surpassing others.
One of them was French Julia Ducournaun Titan. Ducournau’s debut long Raw (2016) was the best film of its release year, an original and toning horror drama about a vegetarian drifting into a cannibal. Combining Cyberpunk sci-fi, horror and black comedy and crushing gender stereotypes Titan again, there is an eyeless attack on all the senses of the viewer.
Titanen the main character is Alexia (Agathe Rousselle), which was fitted with a titanium plate as a child after the accident and has become an erotic dancer and serial killer as an adult. The plot is hard to describe, but Alexia, for example, has sex with a car, pretends to be a boy and ends up as an elderly firefighter pumping steroids (Vincent Lindon) ‘For adoption’.
Titan doesn’t stay as a whole completely piled up, but the amazing experience it is, like an adrenaline rush right in the brain. Like a cyberpunk classic Tetsuo: The Iron Man (1989) for a new generation.
Wes Andersonin The French Dispatch was probably the most anticipated Cannes premiere for the audience. I’m not an unreserved fan of Anderson, but this one did win.
The episode film is framed by The French Dispatch, a fictional American magazine based in the fictional French town of Ennui-sur-Blasé; all the episodes are like magazine articles. An article from the Department of Culture tells the story of a prisoner who enjoys painting, becoming a sensation in art circles, a story from the Department of Politics depicts a dispute between student activist groups, and an article by a food journalist about a complex kidnapping pattern resolved by a master chef police.
Among other things, Anderson, a fan of New Yorker magazine, is a love letter to journalism, or at least to the way journalism is portrayed in old movies and comics. As well as France of mind, life and comics, with all its lovingly presented French clichés, beret gendarmes and striped shirts. After all, The French Dispatch is not located in any real world, but in the world of Wes Anderson.
Aesthetically, everything looks stunning. Every image in the film is like a flood of details Ink-style ligne Claire euro comic box, each of which could be framed on a wall. Of course, the cast is also great: Frances McDormand, Tilda Swinton, Bill Murray, Benicio Del Toro, Léa Seydoux, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright…
The characters in the film remain one-dimensional caricatures, and Anderson, despite the theme of journalism, has nothing political or anything to say. Still The French Dispatch charms and entertains.
If should choose the best racing film in all its aspects, it could be Hamaguchi Ryusuken Drive My Car. Norwegian Wood -author Haruki Murakamin the short story has given rise to a three-hour, slow-paced drama whose duration is not even noticed; so effortlessly it holds its grip all the time.
The central figure is theater actor and director Yûsuke (Hidetoshi Nishijima), whose author’s wife suddenly dies of an illness early in the story. Later, Yûsuke is invited to direct at the Hiroshima Art Festival Anton Chekhov Vanja-enosta a new play adaptation, which he decides to make multinational as well as multilingual. The theater hires a young and speechless Misak (Tôko Miura) Yûsuke as a car driver. During car trips and rehearsals, the tunnel locks of Yûsuke and others slowly open.
The film is beautifully screened and beautifully and thoughtfully constructed on top of the last one. Towards its final climax, it grows so elegantly that Ryusuke’s guidance can be called masterful. Kind of Drive in My Car is much the same as Cabin No. 6 as well. It is a journey during which connections, understanding and acceptance between people are slowly found.
Golden palm tree -winners have traditionally been pre-bet using the British Screen “jury grid”. The table summarizes the magazine’s own critics’ ratings of all the competition films. Screen jury has received the best overall rating Drive My Car and Memoria comes narrowly second. Cabin No. 6 is split in fifth place Ghahreman with.
Many of the films in the racing series have strongly divided the opinions of critics, such as third on the Screen list. Leos Caraxin musical Annette as well as the tail end of the list Titan (Sean Penn Parka again received the worst overall grade Flag Day -new). Thus, even on the basis of the jury grid, it is not worth drawing too many conclusions.
And the prizes will be chosen in any case by the Cannes Jury chaired by Spike Lee.
Went how it went, it already knows that the evening’s gala will be very exciting from a Finnish point of view – and it happened Cabin No. 6However, becoming a mere candidate and entering such a film crew was already a top achievement.
The Golden Palms and other main prizes of the Cannes Film Festival will be presented at a gala starting at 20.25 Finnish time. HS is watching the gala and reporting on the awards.