| A Cannes marked by the covid ends with the chaotic Palme d’Or for “Titane”

Moved from Could to July to attempt to discover within the warmth of the French summer season a time of much less contagion and after the cancellation of the 2020 version, the competition returned loaded with movies and with many misgivings concerning the coronavirus pandemic.

An version with between 30 and 40 p.c much less accredited than standard, a ghostly Movie Market and an oversaturated programming.

The official competitors had twenty-four characteristic movies, when it’s regular to not exceed twenty. Some thirty movies had been out of competitors, twenty in Una Cierta Mirada, 13 within the Critics ‘Week and twenty-four within the Administrators’ Fortnight, not counting the brief movies. All that, in twelve days.


In purely cinematographic phrases, the good winner was Ducournau with that Palme d’Or with which he succeeds Jane Campion, high winner for “The Piano”, ex aequo in 1993 with the Chinese language Chen Kaige for “Farewell My Concubine”.

There have been names within the competitors like Asghar Farhadi (“A hero”), Jacques Audiard (“Les Olympiades”), Wes Anderson (“The French Dispatch”), Nanni Moretti (“Tre piani”), François Ozon (“Tout s’est bien passé ”) or Leos Carax (“ Annette ”).

The typical degree was excessive, however there was no phenomenon akin to that of “Parasite” within the earlier version, that of 2019.

The movies thought-about minor, comparable to “Haut et fort”, by the French-Moroccan Nabil Ayouch, or “Lingui”, by the Chadian Mahamat-Saleh Haroun, discovered a distinct segment within the criticism of the consultants, however not within the checklist of honors.

And, after all, there have been controversies. The principle one which of “Titane”, a provocative, violent, sexual, but in addition deep and tender movie, whose victory was introduced by mistake in the beginning of the closing gala by the American Spike Lee, president of the jury.


The sections with out the choice of the Palme d’Or introduced collectively a big a part of the heterogeneity of the competition.

From three of the documentaries that had essentially the most affect, “The Velvet Underground”, “VAL” and “JFK Revisited: Through The Looking Glass”, to the final work of the at all times provocative Gaspar Noé, “Vortex”, who lowered his standard revolutions together with his movie extra practical and private.

Cannes additionally shocked with two new non-competitive sections, Cannes Première, devoted to the work of established members of the trade, comparable to Mamoru Hosoda (“Belle”), and one other centered on the combat in opposition to local weather change.

The majority of Latin American or Spanish-language cinema was concentrated within the official part Una Cierta Mirada and the impartial Critics ‘Week and Administrators’ Fortnight. Mexico really emerged triumphant from the primary one, with prizes for “Noche de Fuego” and “La civil”.


However past the premieres and awards, the true protagonist of this Cannes has been the covid, which has compelled to vary its total operation, with an “exceptionally passable” consequence, within the phrases of the final delegate, Thierry Frémaux.

One thing that doesn’t totally reply to actuality. There have been lengthy and steady traces of unvaccinated – or non-European licensed – accredited who needed to take the check to entry the Palace of Festivals.

Inside, the far more lax management, and the arguments for non-existent or badly positioned masks have been the every day tonic.

Among the many most well-known results of the pandemic, the absence of the French Léa Seydoux, who was to be one of many principal protagonists of the competition with 4 movies in whole, three of them in competitors, however who needed to keep in Paris after giving constructive, regardless of being vaccinated.

There are not any exact information, however Frémaux estimates that between 50,000 and 80,000 exams have been carried out today, with solely about 70 or 80 positives.


It has been a yr in need of stars. The covid on the one hand and the chosen movies, on the opposite, haven’t allowed the continual glamorous crimson carpets of different editions.

Adam Driver and Marion Cotillard opened the reveals to current “Annette,” which earned Carax the award for finest director. Sean Penn and his daughter Dylan starred in one other of essentially the most colourful crimson carpets, for the screening of “Flag Day.”

Sophie Marceau and Isabelle Huppert embodied French class and Lee shocked each day with extravagant and colourful outfits that culminated in putting trainers (one thing forbidden to entry the Gran Teatro Lumière for individuals who are usually not a star).

Catherine Deneuve, Jodie Foster and Matt Damon had been different nice protagonists who got here to current movies or obtain the Palme d’Or of Honor, within the case of the American actress.

And Sharon Stone, Helen Mirren, Diane Kruger, Bella Hadid or Ester Exposito introduced magnificence and elegance, though there have been no cinematographic causes for his or her presence.

However undoubtedly essentially the most festive crimson carpet was that of “The French Dispatch”, which introduced collectively Tilda Swinton, Timothée Chalamet, Benicio del Toro, Adrien Brody, Owen Wilson or Invoice Murray.

His passage by way of the crimson carpet and his posing earlier than the photographers was the one alternative to see the entire crew collectively, since there was no press convention. The primary time that this occurs, in accordance with essentially the most veteran journalists, however a proven fact that the pageant has not wished to verify.

Above all, it was an version that celebrated the return of the movie group after the 2020 hiatus, with fewer folks within the rooms of the Palace and an uncommon mixture within the streets: that of the hundreds of accredited with the same old vacationers of the Coast Blue.

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