he winners of the main competition of the 76th Cannes Film Festival have been announced. Traditionally, someone gave the jury's decision a standing ovation, and as usual, there were many dissatisfied people, but the festival and its winners have already become part of history. Although unfinished, the films will gradually be released, discussed, and find their admirers, fans, and imitators worldwide. Let's talk about each of them in more detail because they will determine the film industry's future regardless of one's current attitude towards them.
The Golden Palm’s top prize was the film “Anatomie d’une chute” by French director Justine Triet. Triet, whose film “Sibyl” was in the Cannes competition a few years ago, became the third woman, after Jane Campion and Jodie Foster, to receive the festival’s top award. By the way, Jodie Foster was part of the jury.
“Anatomie d’une chute” also received the FIPRESCI Award (International Federation of Film Critics). Additionally, a Border Collie named Snoop received the top canine award, Palme Dog, given to dogs that appeared in festival films. The competition was fierce this year.
The German writer (Sandra Hüller) lives in the French Alps. Her husband is found dead. The only witness is their blind son, who gradually doubts his mother’s innocence. It is essentially a courtroom drama that explores not so much the search for a killer (if it was indeed a murder and not a suicide) but rather relationships, complexes, envy, and betrayal.
Sandra Hüller skillfully plays her role; moreover, in another competing film, “Zone of Interest,” her character is more interesting, and her performance is more expressive.
“The Zone of Interest” by Jonathan Glazer received the Grand Prix. It seems that so much has been written and filmed about the Holocaust that it is difficult to tell something new.
Glazer doesn’t even try. He confronts the audience with those who prefer not to notice the smoke from the chimneys of Auschwitz.
Rudolf Hess is the commandant of the infamous death camp. Alongside its walls, he has arranged a villa with a garden and a swimming pool for his wife and children. The children are young, but his wife Hedwig does not hesitate to use the items her husband brings from work and fertilizes the soil in the garden with ashes. While Hess was arrested and executed, Hedwig died in 1989 in Washington. She was 81 years old (the director leaves this part of the story out of the film).
The director portrays her as completely ordinary, not overly intelligent, and far from fatal. But it is precisely she who represents the everyday evil that allows wars to continue. Glazer films the movie in a detached manner. We observe the family’s life as if it were a reality show. And only as background noise do we hear the chimneys humming.
The film is based on the novel of the same name by Martin Amis (who passed away on the day of the premiere). However, the director has deviated significantly from the literary source, simplifying the plot, subtexts, and techniques to the maximum. Everything is self-explanatory and very domestic. And, therefore, very terrifying.
The Best Director prize was awarded to the French director of Vietnamese origin, Tran Anh Hung, for “La Passion de Dodin Bouffant.” It is the story of a chef, Dodin (Benoît Magimel), and his cook, Eugenie (Juliette Binoche), whose passion for cooking intertwines with their love. The film’s events occur in the late 19th century, so, unsurprisingly, the director borrows artistic techniques from the impressionists. The film is visually stunning, with kitchen scenes shot in a way that turns food preparation into a magical ceremony. However, revolutionary directorial decisions should not be sought at this visionary feast.
The Best Screenplay prize went to Japan, received by screenwriter Yuji Sakamoto for Hirokazu Kore-eda’s “Monster.”
It is one of the best films in the competition, both in terms of its screenplay. The story of a teacher’s abusive behavior towards a student, set between a fire and a flood, is shown from three different perspectives. Alongside the characters, we see how the same events can be interpreted differently and how our search for a monster, which may not even exist, changes.
It is a very subtle, simultaneously dynamic, precise, and universal film, one of the best films by the recipient of the “Palme d’Or.”
The Best Actress prize went to Merve Dizdar for her leading role in Nuri Bilge Ceylan’s ” About Dry Grasses.” It is another story in which a teacher is accused of cruel behavior towards a student. The protagonist lives and works at a school in Eastern Anatolia and dreams of moving to Istanbul. During this challenging period, he meets Nuray, a young teacher portrayed by Merve Dizdar.
Nuri Bilge Ceylan offers a leisurely three-hour narrative immersion. The film perfectly aligns with the director’s style and is among the best in his work and the Cannes competition.
In “Perfect Days,” Wim Wenders also attempts to be melancholy and contemplative. He once again films in Tokyo, but this film turns out to be quite formal and overly calculated. However, this didn’t prevent Koji Yakusho from receiving the Best Actor prize.
Finally, one of the best films (if not the best) – the film by Finnish director Aki Kaurismäki, “Les Feuilles Mortes” was limited to a jury prize. His film in competition is a tribute to the admirable eponymous song of Jacques Prévert and Joseph Kosma (sung in Finnish) but also to Charlie Chaplin, whose tutelary shadow floats everywhere, hats off to filmmakers Yasujiro Ozu and Robert Bresson. Kaurismäki, who is not a skull anymore, looks at love and solidarity. In his eyes only hopes for redemption in a lost world.
Additionally, in several scenes, we see a calendar for 2024 hanging on the wall. The future is possible, as Kaurismäki is saying.
The year 2024 will come. May will arrive. And the 77th Cannes Film Festival will take place.
