Cannes Gives Bong Joon-ho Palm of Gold and Launches Two New Filmmakers

Cannes Gives Bong Joon-ho Palm of Gold and Launches Two New Filmmakers

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A genre movie to show the struggle between rich and poor won the Cannes top prize. But the most vibrant statement from the 72nd edition of a festival often accused of being occupied by the "usual" is to reveal two names, Mati Diop and Ladj Ly.

The Golden Palm went to South Korea with Parasite from Bong Joon-ho. What happens when the rich and poor collide? A "Russian doll" of genres, from thriller to horror, with comics like ghosts and the social commentary film that doesn't hide either. It is a portrait of contemporary society, the impossibility of cohabitation between rich and poor, with the playful sense of a blockbuster. And the usual cruelty of & nbsp; Bong & nbsp; Joon-Ho.

A curious relationship can be established with the former Cannes Golden Palm, Shoplifters: A Family of Little Thieves, by the Japanese Hirokazu Kore-eda, with their “invisible” characters, hidden world, with no right to participate in society unless be parasitizing her. It is a contact zone; but then there is no sweetness in the South Korean movie.

Regular presence in Cannes, from The Host - The Creature, 2006 in the Director's Fortnight, and then with Okja, in the 2017 competition, Bong Joon-ho raises the first Golden Palm for South Korea.

It had been "announced." Since it was shown to the press in the first week of the festival, it was considered that it could be the taste of a personality like the president of the jury, the Mexican Alejandro González Iñárritu - someone who in his films seeks to combine the show with the "theme". This is an addiction, to make it depend on what you think you know about the president of the jury. This, incidentally, was a decision "unanimously". But most important is the fact that the jury revealed, from a selection of 21 films with “iconic” names (the Darnenne, Loach, Tarantino, Malick…), as Iñárritu stressed at Saturday's ceremony, the ones that appeared there for the first time. Those who arrived from an unusual route. The 72nd edition of a festival that in recent years has often been accused of being always occupied by the "usual" makes its most vibrant statement by revealing two new filmmakers, Mati Diop and Ladj Ly.

The first, one of four filmmakers in competition and also a premiere, as has been mentioned several times, for a “mixed filmmaker” in Cannes, received the all-important Atlantique Jury Grand Prix. The second, Les Misérables Jury Prize, said this is proof that it is possible: not to go to a film school and receive such a prize at the most important festival in the world. They both thanked artistic director Thierry Frémaux, who also wins. The jury allows you to respond to the competition that the Venice Festival has been keen to make. Want the Oscars movies? So Cannes gets the current themes, the show, the names of tomorrow and their epanouissement.

Ladj Ly is 38 years old, living and documenting, in short films and internet documentaries, life in his Paris suburb of Montferneil, which in 2005 was one of the stages of the revolt of a population of African and North African descent. in poverty. It was in this neighborhood that Victor Hugo wrote Les Misérables. The movie means that a hundred years later nothing has changed. Ladj Ly repeated this when he received the award for a film that he reinvents in the “cinema de banlieu” as a matter of urgency and denunciation although he does nothing new with it: he dedicated it to “all the wretches of France” (a mirror of the dedication of the Brazilians Kleber Mendonça Filho and Juliano Dornelles on receiving the same award, ex aequo, for Bacurau: it is dedicated to all workers in Brazil, science, education, culture).

Mati Diop is 36 years old. The lyrical and fearless Atlantique is perhaps the most beautiful film in the whole history. Daughter of a Frenchwoman and a Senegalese, occasionally an actress, has long wanted cinema to redeem her African descent. And here it recovers stories of clandestine emigration, those leaving Dakar looking for living conditions (and dying at the crossing) and those who stay. It is also a story of "wretches". It's a genre movie: zombies, probably. That surrenders to darkness and the sea. It is an outbreak, a delicate filmmaker flourishes.

With such a “narrative” coming to the fore - “genre films” talking about the world - there would still be room for Le Jeune Ahmed, by Jean-Pierre and Luc Dardenne, the eighth participation in Cannes of the Belgian brothers who now join a Achievement Award to two Palms of Gold (and one screenwriting prize, one Grand Prix and even one acting award). The "genre" here is the "genus Dardenne". The return to return to an initial energy that had been trivialized when they tried to apply the documentary vocation of their cinema to stars like Marion Cotillard or Cecile de France. The result was artificial. This is not the case with Le Jeune Ahmed, where they catch in motion a character of today's religious extremism and identity populism. But it is a much milder object than the unforgettable Rosetta (the Belgian's first Golden Palm in 1999).

There was room for them, we said, but this narrative was about to exclude the confessionalism of Pedro Almodóvar, a filmmaker who in 1999, when All About My Mother was favored for Palma, got a push from Rosetta and other proletarians who that year they invaded Croisette and received “only” the achievement award. It has not yet been with Dolor y Gloria that Pedro has reached the glory of Palma, but the glory has come to Antonio Banderas, 40 years after it all began between them (eight films together). With Antonio playing Pedro, in scenarios (the home of a director's character, Salvador) that reproduce Pedro's scenario, the shrewd and reserved Almodóvar is hiding in the enchantment of fiction. He dares this introspective encounter with his ghosts and chooses “his” actor, who, reaching the age of 60 and after a heart attack two years ago, is also in a moment of personal rediscovery, reevaluating what is left after him. have been playing latin lover in Hollywood. One of the most moving moments of Cannes' night: Banderas receiving the prize as a vote for another 40 years, saying that he still has plenty left.

It is the most important film festival in the world. The 72nd edition reaffirmed it. Elia Suleyman, the Palestinian who has received a Special Mention for It Must Be Heaven, the silent and melancholy journey of a filmmaker who regains security control in Paris and New York, and the same tension of Palestinian cohabitation he had wanted to escape, believes it is "The best place for a movie." Even he, a wandering foreigner on equal land whose cinema resists normalization, said at the entrance of the Palais Lumiere: "It's better to be inside than to be outside."

Chaired by Alejandro González Iñárritu, the jury of this 72nd edition consisted of the author of BD Enki Bilal, the directors Robin Campillo, Maimouna N'Diaye, Yorgos Lanthimos, Paweł Pawlikowski, and Kelly Reichardt and Alice Rohrwacher, and actress Fanning

The Golden Chamber, an award for a first work (a different jury, chaired by Rithy Pahn), which has been screened in any section of the festival, was awarded to César Díaz's Nuestras Madres, a film presented in the section of the Critical Week. Diaz is thus considered the promise of a filmmaker of tomorrow.

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of the two, one is either terror or glory. The terror: if neither tarantino, malick, the dardenne, jarmush, kechiche, porumboiu, loach can snatch the palm, where is the cinema going ?! The glory: goes to bjho, able to overcome even such competition. So either the cinema is on canvas, or it has never flown so high. Or nim ... Or the verification for the umpteenth time that cinema is always something else. Still, curious, I do not recall great underscores of the critic sent special to this South Korean ...