Le Monde | • Updated | By
The brothers Joel and Ethan Coen, supreme arbiters of Cannes elegance and sliced to the heart, after twelve days of a picture show vaguely interrupted by night. It will be said that this Sunday, May 24 evening has seen devote Dheepan , seventh feature film by Jacques Audiard, Golden Palm of the sixty-eighth edition of the Cannes Film Festival. The film, which evokes the love and explosive acclimatization of a Tamil political refugee in a city suburb, so marks the climax of the Cannes route of French filmmaker, winning twice already in the past, on the occasion of a film that is probably not the most convincing of his filmography
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Sprinkling fair rewards ranging aesthetic and varied performance, this list is honored also to have given the Award for directing at The Assassin , sublime minimalist sword Film Taiwanese master Hou Hsiao-hsien and the jury to The Lobster Award , the Greek Yorgos Lanthimos, dystopia in glossy black and humor about the sentimental and political state of the world as it comes. The Grand Prix crown the only first feature film in the competition, The Son of Saul , the young Hungarian Laszlo Nemes, who described Auschwitz a member of the Sonderkommando perspective seeking to bury its son. This work, which impressed the festival, not least in the debate called, since its intelligent integration of moral and aesthetic issues of the representation of the Holocaust him paradoxically serves to disqualify them.
The jury also gave way, through its double Best actress – Rooney Mara in Carol , Todd Haynes and Emmanuelle Bercot in My King , Maïwenn – in the balance of melodrama in this competition. As for Vincent Lindon, only recipient of the Award for Best Actor for his role fifties unemployed in The Market Act , Stéphane Brizé, inventive social film and just, it took him a kiss all members of a jury before saying his emotion and trussing a beautiful and melancholy thought for her parents who are not there to share it. Future Prize of choice because it is awarded to a first feature, the Camera d’Or went to La Tierra y Sombra , Augusto Cesar Acevedo, presented at the Week criticism, highlighting the emergence of a Colombian cinema represented in particular by another beautiful film, El Abrazo the serpiente , Ciro Guerra, the Fortnight.
Weakness of the French delegation
It should be noted that the “golden palm” of the international press ( Carol , Todd Haynes) and French ( Mia madre , Nanni Moretti) were more or less ignored by the jury, in any case instead that some assigned to them. This gap closes in the sense logically an official competition that proved rather challenging, both from the point of view of his addiction to funeral register (deaths, bereavements and recurrent diseases to all floors) that his artistic achievement. Undoubtedly, honesty obliges to qualify immediately about it. Cannes is a festival in which it is impossible to leave empty-handed, and wonderful movie memorabilia accompany again this year, festivalgoers. The problem is that you get used to excellence as a due, and that the ratio of some editions, less profligate than others, can make the bed a bitter disappointment.
This is the case of this vintage 2015, and more specifically the queen section that is the international competition. The Fortnight, main parallel section of the Festival, will, in turn, sparked the plebiscite moviegoers, as testified this tweet double trigger issued by the end of the course American critic Scott Foundas, editor of the main American corporative journal Variety “Those who claim that this Cannes edition was low were clearly not set foot in the Directors’ Fortnight. “
How did it happen? Various factors come into play. First and foremost, the weakness of the French delegation, all the more remarkable that she was bloated this year, with five films in competition, plus two tracks that arrogated to themselves the symbolic places of the opening and closing of the Festival . Yet the majority of these films, notwithstanding the prices rounded up by four tricolor training, were not really up to the Cannes barrel. A choice even less understandable that the Official Selection, responding to a supposed glut of property, had paid the luxury to close its doors to the magnificent film by Arnaud Desplechin, Three memories of my youth .
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It is likely that this incongruity is explained by the will of the General Delegate, Thierry Frémaux, to shake the hierarchy and habits of the competition in order to bring in new blood. A courageous will, but styling choice but irrefutable, at least argued. The expulsion of Desplechin film (one could cite others) as those of the arrival of Denis Villeneuve, Michel Franco Donzelli or do not clearly fall into this category.
One last point will have contributed to weaken this competition: the return in a poor form sometimes cruelly stigmatized, some authors, such Gus Van Sant or Matteo Garrone. This table could be accompanied by an equally mixed record of official parallel section Un certain regard: the best films have been made known signatures y (Kawase, Porumboiu Weerasethakul, Kurosawa), in the absence of revelations are the very purpose of this section.
So much so that a balance untoward effect grabs the attention of the festival at the end of the festivities, the lightness of artistic tray weighting ipso facto that of “hubris” Cannes, this disproportion offensive to the Greeks, ancient or modern. Presence increasingly compelling luxury and money, sponsors of interference become partners in the program, sex scandal announced at great expense, general exhibition of enjoyment. A delicate balance has been launched this year, which occurs as a symbol, after the departure of the man who brought the Festival to its level of excellence, Gilles Jacob. He will return to the new tandem leader – the president, Pierre Lescure, and General Delegate, Thierry Frémaux. – To show us in 2016 if the cursor stood the warm up lap or concerted inflection
Dheepan , the French Jacques Audiard.
The Son of Saul , the Hungarian Laszlo Nemes.
Best Director Award
The Assassin , the Taiwanese Hou Hsiao-hsien.
The Lobster , the Greek Yorgos Lanthimos.
The Mexican Michel Franco for Chronic .
Actress Award tied
The French Emmanuelle Bercot in my King, Maïwenn, and the American Rooney Mara in Carol , Todd Haynes.
Best Actor Award
Vincent Lindon in The Market Act , the French Stéphane Brizé.
Golden Camera from the first film
La Tierra y Sombra , the Colombian César Augusto Acevedo.
Palme d’Or Short Film
Waves’98 , the Lebanese Ely Dagher.
Gold Award of Honor
The French Agnes Varda.
The full list of awards at the 68 th Cannes Film Festival is available on the official website.