Here is the winner from the Cote d'Azur. Which film was awarded the Golden Palm in Cannes?

Here is the winner from the Cote d'Azur. Which film was awarded the Golden Palm in Cannes?

Behind us is the 72nd edition of one of the most important film festivals, which was full of many famous premieres. Who was awarded the Canne jury this time?

What made this edition stand out from the previous ones was the selection of jury members. Four men and the same number of women were in this company. This time, sexual parity has been maintained, which can be seen as the result of many years of efforts of cinema representatives to stop being pushed into the background.

Who was responsible for choosing the film awarded with the Golden Palm? They were Elle Fanning and Maimouna N’Diaye, directors and screenwriters - Kelly Reichardt and Alice Rohrwacher, creator of the comics Enki Bilal and directors and screenwriters Robin Campillo and Jorgos Lantimos. The chairman of the jury this year was Mexican director and screenwriter Alejandro González Iñárritu. Paweł Pawlikowski, the director of "Ida" and "Cold War", was also among this honorable group.

The festival was opened by Jim Jarmusch's comedy, "The Dead Don’t Die". In addition, on the Cote d'Azur, among others, new achievements of Ken Loach, Joon-ho Bong, Abdellatif Kechiche, Xavier Dolan, brothers Dardenne and Terrence Malick were presented.

Certainly a sensation was the show of the 9th film in the achievements of Quentin Tarantino, in which next to Leonardo DiCaprio, Brad Pitt or Margot Robbie starred Rafał Zawierucha as Roman Polański. "Once upon a time ... in Hollywood" received a number of positive reviews and met with a very warm reception from the audience. The picture got a 6-minute standing ovation after the screening.

Interest in the new work of the Spanish director Pedro Almodóvar, "Pain and Glow," aroused interest from the very beginning. The creator told the film to wait a good three years, since the premiere of "Juliet". In turn, "Pain and Glow" is a production quite different from that one, because it is autobiographical. Antonio Banderas plays the main role. It is something like a settlement not only with his own work, but also with the life of the director.

In the last two years, Netflix has been systematically strengthening the library of its original productions. The company managed to get on board numerous cinema celebrities and successfully fight for the biggest prizes. But for every "Irishman" from Martin Scorsese there must be a few low-budget films. Such as "Rattlesnake".

Initial attempts to build Netflix's film empire were, to put it simply, very bumpy. I still perfectly remember the arguments appearing at every step that the company wants to catch up with the largest Hollywood studios, and hardly creates noteworthy full-length productions. Instead, it deals with buying weak movies that Warner Bros. do Paramount not want to send to the cinema distribution. There was also criticism that Netflix operated too low budgets, which was to result in movies made in the old standard "straight to DVD".

A lot has changed since then. Netflix broke his Oscar record thanks to Alfonso Cuaron's "Roma", and since then the famous names cooperating with the platform have only increased. Nor can it be said that the company saves too much since it spends hundreds of millions of dollars on Martin Scorsese. It must be honest, however, that there can be a maximum of two similar productions a year. In addition, Netflix is ​​able to produce several to a dozen films with a smaller budget, but with the participation of a loud star or director. This is not enough for twelve daily premieres. And then "Grzechotnik" comes to the rescue.

The production story focuses almost exclusively on the character of Katrina Ridgeway. A woman travels by car with her little daughter through the wilderness of Texas. The trip is quite calm until an obstacle abandoned on the road pierces one of the tires. When Katrina is busy changing to a spare, Clara plays nearby. Unfortunately, a terrible accident happens to her - a rattlesnake hidden in the brush bites her leg. The girl's condition is getting worse quickly, but her mother finds help in a nearby house. The mysterious woman agrees to help Katrina in exchange for an unidentified payment. It soon turns out that Clara will die if Ridgeway does not sacrifice another man's soul in return.

The race against time begins, or rather a slow, free of suspense and terribly boring walk to the finals. Unfortunately, "Grzechotnik" does not meet the basic distinguishing feature of all thrillers. There is no emotion and no sense of danger. Katrina is in no danger at all, well, director Zak Hilditch does not even try to fool the viewer for a moment that something could happen. From time to time, it is true that she uses horror tricks when she tries to frighten the heroine with visions of the earlier victims of this bizarre ritual. However, they are given to viewers with the grace of an elephant in a china warehouse and in such a lazy, devoid of an idea that it is shocking.

It's really hard to understand what the idea for "Rattlesnake" was. The whole story does not stand out and does not try to interest the viewer in any way. During the screening, we don't learn anything about Katrina's opponents or about the world around her. The woman is thrown into a situation like a rag doll in a box. He has no penny, though Carmen Ejogo, who plays her, tries to get something out of the terrible scenario. It is worth praising her for it, even if it is a typical fight with windmills.

We are dealing here with a very modest story, and yet we are not richer after it. We don't even know anything new about the main character. Theoretically, the subject of the film is the question of whether killing someone to save an innocent existence is morally justified. And will it be as easy as it may seem to us. The problem is that the main character does not really make any ethically ambiguous decision on her own. It is the circumstances that determine whether or not to do something.

Everyone who has seen the last two films of Zak Hilditch after the screening of his new production will feel a huge disappointment and surprise. The Australian director has previously provided evidence that he understands genre cinema well and has ideas for its development. So why is "Rattlesnake" so terribly bland and boring? This is apparently one of those unsolved mysteries of this world.

Events in Cannes