‘I’ve never seen a Cannes like this’: verdict and awards predictions for 2022 | Cannes 2022

Tthe cannes film festival 2022 has ended in a fickle mood: the feeling that the average quality of the list of competitors has been redeemed in recent days by a late burst of excellence that met with a fierce reception. There was respect for the Ukrainian director Sergei Loznitsa for his documentary. A natural history of destruction and for Mariupol 2, by the late Mantas Kvedaravičius, the filmmaker killed by Russian forces while filming this minute-by-minute study of life in the besieged city. The latter was completed by Kvedaravičius’s co-director and partner, Hanna Bilobrova, in time to be shown here: Filmmaking from the Front.

But I’ve never seen a Cannes like this because of the radical disagreement between critics on almost every title: there has hardly been a film here that hasn’t experienced a variety of shots from all different temperatures. Each director is offered a praise and a meh and a quote-tweet for the same film, from critics who seem, based on all their published work, to have more or less similar tastes and assumptions. Claire Denis’s erotic drama coldly received stars at noon found himself the subject of a social media snowball, and then a frontal attack of defense from those who felt this ridicule was misplaced.

Well, I can only say that at the beginning of the festival I was concerned that the established names, the silverback gorillas of Cannes, who seem to have a guaranteed place in the competition no matter what, would get away with very average things. It’s traditional at Cannes to announce that the films in the Un Certain Regard sidebar are better than those in the main competition, but this year there really is something. The new realistic social drama of the Dardennes tori and lokita, about two teenage immigrants from Benin facing dire straits in Belgium, was worthy of strong moments, but really more of the same. James Gray’s autobiographical coming-of-age drama Armageddon time, set in 1980s New York, was theatrical and forced. by Ruben Ostlund The triangle of sadness it was a far-fetched, unsubtle, easy-target satire that seemed to have been grown in a laboratory for the Cannes film festival. Hirokazu Kore-eda’s Most Heartwarming Road Trip Runner hitting a succession of wrong notes.

But there have also been some wonderful movies. The closure of Lukas Dhont, about the intense relationship between two teenagers, had people sobbing at the movies, and while I admit I thought Dhont was going too straight for the tear duct jugular, and that tragedy was a shortcut to greatness, it’s a movie very powerful. -making. People call it Palme’s favourite. But for me, the best movies, and the ones I still think could top Close in post, are Park Chan-wook’s beautiful noir love story. decision to leave with Tang Wei as the mysterious caretaker who could be a murderer; the wonderful The Otto Montagne by Charlotte Vandermeersch and Felix van Groeningen, about a rocky friendship between two straight men who can’t talk about their feelings (an interesting point of comparison with Close); The splendid auction of Mario Martone Nostalgia, which was a pleasure; and the very geeky and dreamlike Albert Serra Pacification it was a pure Cannes indulgence, filmmaking that is utterly distinctive, its imperfect brilliance delivered on a take-it-or-leave-it basis. David Cronenberg’s Ballardian Posthuman Vision crimes of the future was looked down upon by some here, but I found its quackery to be part of its appeal: it’s offering a cinema of ideas.

So here are predictions for the Cannes awards, in which I suggest that the convention (which isn’t really a hard and fast rule) that generally prohibits awarding two awards to the same film will be ignored this year. This is followed by my own personal predictions for categories that don’t yet exist in the cannes film festivalbut should.

Park Chan-wook's decision to leave.
Park Chan-wook’s decision to leave. Photography: Moho Film

Cannes Awards Predictions

palm d’or decision to leave
Big prize Close
jury prize Pacification
best director Saeed Roustayi (Leila’s brothers)
best screenplay Charlotte Vandermeersch and Felix van Groeningen (Le Otto Montagne)
best Actor Pierfrancesco Favino (Nostalgia)
Best actress Tang Wei (Decision to leave)

“Cannes Braddies” for categories that don’t exist

Best Supporting Actor Ahmed Sylla (Mother and son)
Best Supporting Actress Kristen Stewart (Future Crimes)
best cinematography Arthur Tort (Appeasement)
Best Production Design Josefin Åsberg for Triangle of sadness

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