Antonio Banderas and the poor win in Cannes |

Antonio Banderas and the poor win in Cannes |

The jury of the 72nd Cannes Film Festival honored the most political works, but also recognized the favorite actor of Pedro Almodóvar. The winners and the favorites of the 24th Cannes correspondent.

In my first report, I wrote that the theme of this year's festival was social injustice and the rebellion of the oppressed against the beneficiaries of the system, and with the most important awards, the jury confirmed that these politically very curated films were the highlights of the program. Jury President Alejandro González Inárritu, director of the film, said before the handover of the Golden Palm that a democratic, unanimous decision had been made when Bong Joon-ho's "Parasites" was awarded the grand prize. In the black-humorous film, members of a miserable family take their plight at the expense of an upper-middle-class family. In the fall, you will be able to watch the great movie in Hungary as well.

The jury's grand prize went to Atlantique, an exploited Senegalese construction worker who desperately goes aboard to immigrate to Spain illegally. The jury award was shared between Les Misérables and Bacurau. The former shows the tension between the inhabitants of a poor neighborhood in Paris and the police, and the latter is a morbid humorous Western film about how a Brazilian village confronts the mayor and his people who are troubling the town.

Although Jean-Pierre Dardenne and Luc Dardenne have twice won the Golden Palm in Cannes, and the eighth-time director has won many other awards over the years, the jury has still awarded them the Best Direction Award for the radicalization of a Le Musée teenager, Le jeune Ahmed for their film, which I think clashed and superficial.

The embarrassment of Emily Beecham, the lead actress of Little Joe's Flower Horror, has been a general misunderstanding, but the best actor award has been handed over to Antonio Banderas halfway through the festival, who plays the subtitle of My Pedro Almodóvar. In fact, in a nostalgic film with little novelty, Banderas's acting is the best thing.

The 72nd Cannes Film Festival did not bring such a breakthrough discovery as last year's Girl and its director, Lukas Dhont, and did not present any film that journalists would have been debating for days or that everyone would recommend as a masterpiece.

The Greatest Expectation Quentint Tarantino Was Once ... Before Hollywood, but despite its positives, the movie was rather disappointing. All in all, critics' favorite was the costume lesbian film, Portrait de la jeune fille en feu, which received the Best Screenplay Award from the jury, as well as The Lighthouse's Mysterious Horror at Director's Weekly with Robert Pattinson and Willem Dafoe with. Unfortunately, I did not get to the latter, even though I stood in the rain for an hour and a half. The black-and-white film was directed by Robert Eggers (The Witch), who won the FIPRESCI Award for Best Critic's and Director's Two Films.

Lacking a lot of catharsis, the biggest portrayal was the almost four-hour Mektoub, My Love: Intermezzo, directed by Abdellatif Kechiche, director of Adele's Life, which caused less disgust by the fact that she was exposed to feminine buttocks for most of her long playing time, and having a minimal real-time oral sex scene. By the way, this is the middle of a three-part movie trilogy of a total of 12 hours - Kechiche approaches Gaspar Noe in a troll, but unfortunately his thoughts are much less exciting. Noah's Lux Aetherna (which I wrote about here), with his epilepsy-inducing stroboscopic effect, which is confusing with biblical references, will at least be remembered even next time.

In addition to the aforementioned social-critical films, the competition program has turned my favorite into Xavier Dolan Matthias and Maxime. Still a thirty-year-old Canadian director, he shot twenty at the age of twenty with the first film, I Killed My Mother, in Cannes Week Two, and his biggest throw to date was Mom in 2014, the first time he went on to compete. Matthias and Maxime are not very innovative and not as heartbreaking as Mommy, but they portray a flurry of fragile male friendship very credibly.

Maxime is played by Dolan, who has starred in several of her own films, is a member of a quebec group of friends who is heading to Australia to get rid of her troubled mother and try her luck. And Gabriel D'Almeida Freitas, who is now making his debut in the movie, is played by Matthias of the same company, who, unlike Maxime, has already put his life together: he has a fiancé and a cool lawyer - but at the cost of carefully suppressing his frightening feelings. Still, they splash out on the surface as Matthias and Maxime swoop on each other for an amateur movie. Very lifelike and touching, as Matthias fights his friend's, not only friendless feelings, but in a few days, his own self-made camouflage collapses.

Dolan's captivating directorial style, with a lot of handheld camerawork, warm colors and percussive music, is almost the same, but a bit more subdued, and if not the strongest piece in the oeuvre so far, I was relieved and not alone. .

In addition to the official program, I found two of my other favorites this year, in the Accompanying Director's Weekly program. The Finnish rookie Jukka-Pekka Valkeapää in Cannes, and while the Titanic Film Festival featured her two previous films, Visitor and the Departed, I have just met her for the first time. Dogs Don't Wear Pants was a must-watch for its title - though the director mentioned at the audience after the screening that they were afraid people would think it was a movie weave. Far from it: Dogs Don't Wear Pants starts with a shocking death, and after proper preparation turns into a sadomazo love movie. In addition to his individual black humor, his visual sophistication, and his lovable protagonists, his psychological soundness is also impressive; psychologically credible, as the male protagonist (Pekka Strang) finds a remedy for his trauma in a specific act of sadoma.

My third favorite is Quentin Dupiex's latest brainstorming, known as Mr. Oizo, Le Daim (Deerskin). I've been following Dupiex's work since the Crazy Week in Cannes premiered in 2010 on a rubber tire about a killer tire - anyone who liked it will surely have it. Known as the silent filmmaker, Jean Dujardin does not appear as a French gentleman, but as a purposeless, gray-bearded loser, then acquires an ugly but more expensive suede jacket, becoming more Terrence Malick-like, and freeing chaos in a small French town.

Following the title role of Portrait de la jeune fille en feu, Adèle Haenel plays the role of the local bartender, who is letting her be sucked in by the protagonist's increasingly fantasy fantasy. I don't want to spoil it, enough to tell you that, just like in Rubber, a personalized character plays the main role here, and that I could laugh as much as I did in this movie.

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