CANNES 2022 ANNOUNCES THE WINNERS

By José Alberto Hermosillo

Palme d’Or:

“Triangle of Sadness,”

Ruben Östlund

 

Grand Prix — TIE:

“Stars at Noon,” Claire Denis 

&

“Close,” Lukas Dhont

Director:

Park Chan-wook, “Decision to Leave”

 

75th Anniversary Special Award:

Jean-Pierre and Luc Dardenne, “Tori & Lokita”

Actor:

Song Kang-ho, “Broker”

Actress:

Zar Amir-Ebrahimi, “Holy Spider”

 

Jury Prize — TIE:

“The Eight Mountains,” Félix Van Groeningen and Charlotte Vandermeersch

&

“EO,” Jerzy Skolimowski

Screenplay:

Tarik Saleh, “Boy from Heaven”

Camera d’Or:

“War Pony,” Gina Gammell and Riley Keough

Camera d’Or Special Mention:

“Plan 75,” Hayakawa Chie

 

Short Films Palme d’Or:

“The Water Murmurs,” Jianying Chen

Short Films Special Mention:

“Lori,” Abinash Bikram Shah

Golden Eye Documentary Prize:

“All That Breathes,” Shaunak Sen

Queer Palm:

“Joyland”

 

UN CERTAIN REGARD

 

Un Certain Regard Award:

“The Worst Ones,” Lise Akoka, Romane Gueret

 

Jury Prize:

“Joyland,” Saim Sadiq

Best Director Prize:

Alexandru Belc, “Metronom”

Best Performance Prize — TIE:

Vicky Krieps, “Corsage”

&

Adam Bessa, “Harka”

Best Screenplay Prize:

Maha Haj, “Mediterranean Fever”

 

Coup de Coeur Award:

“Rodeo,” Lola Quivoron

 

DIRECTORS’ FORTNIGHT

 

Europa Cinemas Label:

“One Fine Morning,” Mia Hansen-Løve

 

Society of Dramatic Authors and Composers Prize:

“The Mountain,” Thomas Salvador

 

CRITICS’ WEEK

Nespresso Grand Prize:

“La Jauria,” Andres Ramirez Pulido

 

French Touch Prize:

“Aftersun,” Charlotte Wells

 

GAN Foundation Award for Distribution:

Urban Distribution, “The Woodcutter Story”

 

Louis Roederer Foundation Rising Star Award:

Zelda Samson, “Love According to Dalva”

 

CINÉFONDATION

First Prize: A Conspiracy Man,” Valerio Ferrara

Second Prize: “Somewhere,” Li Jiahe

Third Prize — TIE:

“Glorious Revolution,” Masha Novikova

&

“Humans Are Dumber When Crammed Up Together,” Laurène Fernandez

 

Related Articles: 

Mrs. Harris Goes to Paris, The British Cleaning Lady to the Dior House

Clara Sola: Defines Feminism and Magical Realism in Costa Rica

Cannes 2021 Unveils The Official Selection

The Academy Museum of Motion Pictures Opens at Last

Lunana: A Yak in the Classroom, Bhutan's Hidden Treasure

“Cezanne and I” An Extraordinary Journey of Art and Friendship

Annette: Swings Between “La La Land” and “Moulin Rouge!” Beautifully

Olga: The Ukrainian Who Represented Switzerland in Gymnastics

Undine: Dangerous Liaisons in Berlin
Two of Us: Juliette & Juliette of Montpellier 

Summer of Soul: The Music Fest that Gave Freedom to Thousands

Parasite: Accomplishes the South Korean Dream 

“Synonyms” A Good Jew in Paris
“Roma” Anarchy and Repression in an Epic B&W Mexican Drama
“Birdman or (The Unexpected Virtue of Ignorance)”

The Best Latina-Theme Movies in America

THE WORLD'S BEST FILM FESTIVAL POSTERS 2021

IF YOU ARE READING FROM A MOBILE DEVICE, CLICK: view web version FOR OTHER COOL FEATURES SUCH AS TRANSLATE POWERED BY GOOGLE, AN INTERACTIVE FILM FESTIVAL CALENDAR, AND MORE AWESOME ARTICLES.

Festival in LA © 2022

The Square: An “Exit Through the Gift Shop”

By José Alberto Hermosillo

“The Square” is brilliant, intellectually, and emotionally entertaining.

This sophisticated and well-told story centers on the Stockholm museum’s director and curator, Christian (Claes Bang), who falls elegantly into a personal and professional catastrophe through a new and provocative exhibit.

 

 

Pretending to be a role model, a good father, and a fantastic lover, he thinks he can take any woman to bed. In this case, an American reporter (Elisabeth Moss) covers the story of the museum’s new opening. After a few drinks, the reporter and the director have one of the funniest after-sex scenes ever.

 

 

“The Square” is a beautiful satire placing humans in implausible situations blown out of proportion. As Christian says, “We, as a museum, mustn’t be afraid to push boundaries.”

 

Actor Claes Bang as Christian. COPYRIGHT 2017

 

The humor has irony within. The mockery of sophisticated people that look like standup comedians is absolute. The sarcasm pushes everyone into corners of the arena.

 

Ruben Östlund, The Square. Photo Jose Hermosillo COPYRIGHT  

 

Swedish director Ruben Östlund is a perfectionist who doesn’t mind doing more than twenty-five takes until he gets what he wants from the actors. He says in five takes,s you can’t get a precise reaction from the performers.

In a conversation with Mr. Östlund, he freely expressed his thoughts on violence in a film, “We love violence in cinema because it doesn’t represent a threat or physical damage to us. Same with dark comedy, it has horror and amusement as well.”

In the director’s previous work, “Force Majure,” the conflict between husband and wife is because of the husband’s passivity and inability to take action to protect his family from an avalanche, which makes him the most hated character in the story, from the wife and everybody else. In contrast with “The Square,” the male character is as susceptible and vulnerable as his female counterpart, regardless of his inability to make the right decisions.

In the director’sdirector’s body of work, the influence of Lina Wertmuller’s misogynist film “Swap Away” (1974) with its battle of the sexes is notorious. And another subtle reference is the surrealistic Oscar winner “The Discreet Charm of the Bourgeoisie” by Luis Buñuel.

The film, far from condescending, is a rigorous critique of today’s society.

 

The audience who assisted to the world premiere at the famous French Riviera Film Festival saw themselves reflected on the big screen because the actors in the movie were also wearing tuxedos and nightgowns. The spectators identify with the actors because they look alike.

The story goes furthermore when the performers representing the rich people in the scene contemplate a man acting like an orangutan. He aggressively started capturing the patrons’ fear with his hunting instinct, pushing boundaries to the limit.

 

 

While invoking to discover what is inside “The Square,” the director added to the conversation, “Human beings are elementary and easy to change their behavior.”

Anarchy is represented through animal behavior, contrasting with the people’s rights intentions and the true meaning of art.

Ruben Östlund, film critic Jose Hermosillo COPYRIGHT 

 

Pretentiously conceived to win the Palm d’Or in Cannes, the film aspires to perfection with its terrific cast and original story. Still, its narrative pushes its theme so hard that it misses its substance internally – Then the movie becomes conceited and hard to believe.

The 2017 Palm d’Or winner is elegant and fun to watch, but you can’t only depend a little on what is real and what is not. If you dare to enter to see and experience “The Square” at a museum or opt out to “Exit Through the Gift Shop.”

“The Square” trailer 

Film Critic Jose Alberto Hermosillo, Copyright

Related Articles:

THE ACADEMY MUSEUM OF MOTION PICTURES OPENS AT LAST

“A Fantastic Woman” Love, Grief, and Compassion in Santiago

“In the Fade” “Revanche” in Hamburg

9 FOREIGN LANGUAGE FILMS ADVANCE IN THE OSCAR® RACE 2018 

SEVEN GREAT FOREIGN FILMS SHOWCASED AT AFI FEST 2017

“Endless Poetry” The Atypical Universe of Alejandro Jodorowsky

“Polina” From the Classic Russian Ballet to the World of Contemporary Dance

“Cezanne and I” An Extraordinary Journey of Art and Friendship

“Elle” The New “Basic Instinct” with a “French Twist”

“My Life as a Zucchini” The Beautiful Animated Life of a Little Swiss Boy

“Neruda” Runaway Poet

Copyright © 2018 Festival in LA

70th Festival de Cannes Award Winners

By Jose Alberto Hermosillo

Palm d'Or Winner The Square by Ruben Östlund, Photo Jose Hermosillo © Festival in LA 2017

The 70^th Festival de Cannes Award Winners had many surprises, here is the complete list:   

COMPETITION

Palme d’Or:

“The Square” (Ruben Östlund)

70th Anniversary Award: Nicole Kidman

Grand Prix: “BPM (Beats Per Minute)” (Robin Campillo)

Director: Sofia Coppola, “The Beguiled”

Actor: Joaquin Phoenix, “You Were Never Really Here”

Actress: Diane Kruger, “In the Fade”

Jury Prize: “Loveless” (Andrey Zvyagintsev)

Screenplay — TIE: 

“The Killing of a Sacred Deer” (Yorgos Lanthimos, Efthimis Filippou) and

“You Were Never Really Here” (Lynne Ramsay).

© Bronx (Paris).Photo: Claudia Cardinale © Archivio Cameraphoto Epoche/Getty Images

Camera d’Or: 

“Jeune femme” (Montparnasse-Bienvenüe) (Léonor Serraille)

Short Films Palme d’Or: “Xiao Cheng Er Yue” (Qiu Yang)

Short Films Special Mention: “Katto” (Teppo Airaksinen)

Golden Eye Documentary Prize: “Faces Places” (Visages Villages) (Agnès Varda, JR)

Ecumenical Jury Prize: “Radiance” (Naomi Kawase)

UN CERTAIN REGARD

Un Certain Regard Award: 

“A Man of Integrity,” Mohammad Rasoulof

Best Director: Taylor Sheridan, “Wind River”

Jury Prize: Michel Franco, “April’s Daughter”

Best Performance: Jasmine Trinca, “Fortunata”

Award for Poetry of Cinema: Mathieu Amalric, “Barbara”

DIRECTORS’ FORTNIGHT

Art Cinema Award: “The Rider” (Chloe Zhao)

Society of Dramatic Authors and Composers Prize — TIE: 

“Lover for a Day” (Philippe Garrel) and

“Let the Sunshine In” (Claire Denis)

Europa Cinemas Label: “A Ciambra” (Jonas Carpignano)

CRITICS’ WEEK

Grand Prize: “Makala” (Emmanuel Gras)

Visionary Prize: “Gabriel and the Mountain” (Felipe Barbosa)

Society of Dramatic Authors and Composers Prize: “Ava” (Léa Mysius)

FIPRESCI

Competition: “BPM (Beats Per Minute)”

Un Certain Regard: “Closeness” (Kantemir Balagov)

Directors’ Fortnight: “The Nothing Factory” (Pedro Pinho).

CINEFONDATION

FIRST PRIZE

PAUL EST LÀ (Paul Is Here) directed by Valentina MAUREL
INSAS, Belgium

SECOND PRIZE

HEYVAN (AniMal) directed by Bahram & Bahman ARK

Iranian National School of Cinema, Iran

THIRD PRIZE

DEUX ÉGARÉS SONT MORTS (Two Youths Died) directed by Tommaso USBERTI
La Fémis, France

The CST Jury decided to award the VULCAIN PRIZE FOR ARTIST-TECHNICIAN to: 

Josefin ASBERG for her remarkable artistic contribution to match the inventiveness of the film 

THE SQUARE.

Palme d’Or: “The Square” (Ruben Östlund)

Best Screenplay — TIE: 

“The Killing of a Sacred Deer” (Yorgos Lanthimos).

Jury Prize:“April’s Daughters” (Michel Franco).

BEST OF - EV - Cannes 2017 

 

Festival de Cannes (Officiel)

Follow us on Facebook

Related Articles: 
“A Fantastic Woman” Love, Grief, and Compassion in Santiago  
“In the Fade” “Revanche” in Hamburg 
“The Square” An “Exit Through the Gift Shop”

The 70^th Festival de Cannes Award Winners

15 Must-See French Films at COLCOA 2017

25 Great Foreign Films that Did Not Get Distribution in US Theaters 

“Cezanne and I” An Extraordinary Journey of Art and Friendship

“Elle” The New “Basic Instinct” with a “French Twist”

“My Life as a Zucchini” The Beautiful Animated Life of a Little Swiss Boy

“Colossal” Not Your Typical “Godzilla” Movie

10 The Best Latino Performances of 2016 And Their Absence From The Nominations

Sonia Braga Receives a Lifetime Achievement Award in Hollywood

15 Must-See French Films at COLCOA 2016

20 BEST GAEL GARCIA BERNAL MOVIES

Copyright © 2017 Festival in LA