The Grand Prix went to Jacques Audiard's A Prophet; Best Actress to Charlotte Gainsbourg for her performance in Lars von Trier's Antichrist, and Best Actor to Christoph Waltz in Quentin Tarantino's Inglourious Basterds. For the other winners, please check out the festival's website: (http://www.festival-cannes.com/en.html).
I think it would be excruciatingly fascinating to be a fly on the wall in the room where the Official Jury arrived at these decisions - to see the criteria that they'd adopted or didn't adopt. I know there has been debate on whether these ecclesiastical awards are necessary or not? If they meant anything? And if they, at all, contribute to the building of the cinematic canon? I think these awards and the festival fuel public interest in cinema, and in particular, contemporary world cinema; the fact that the event is such an international affair and spectacle. The festival, in its selections, attempts to push the boundaries and possibilities of the medium - or well, that is what I'd expect Isabelle Huppert to do. So overall, you could say that I do feel that they are contributing to and helping mold a cinematic canon.*
*With these last few posts, I have been attempting to really define, clarify and justify my personal understanding of the 'cinematic canon'; this topic is one of great interest to me and this course with Dr Melissa Hardie has challenged some of my preconceived notions about it, however, it still seems that even though I may have new ideas and approaches to it, I still am reverting back to my old viewpoints (possibly even with greater intensity).
I think it would be excruciatingly fascinating to be a fly on the wall in the room where the Official Jury arrived at these decisions - to see the criteria that they'd adopted or didn't adopt. I know there has been debate on whether these ecclesiastical awards are necessary or not? If they meant anything? And if they, at all, contribute to the building of the cinematic canon? I think these awards and the festival fuel public interest in cinema, and in particular, contemporary world cinema; the fact that the event is such an international affair and spectacle. The festival, in its selections, attempts to push the boundaries and possibilities of the medium - or well, that is what I'd expect Isabelle Huppert to do. So overall, you could say that I do feel that they are contributing to and helping mold a cinematic canon.*
*With these last few posts, I have been attempting to really define, clarify and justify my personal understanding of the 'cinematic canon'; this topic is one of great interest to me and this course with Dr Melissa Hardie has challenged some of my preconceived notions about it, however, it still seems that even though I may have new ideas and approaches to it, I still am reverting back to my old viewpoints (possibly even with greater intensity).
Interesting perspective on Cannes, thanks for the post.
ReplyDelete