Cannes Award Winners: How They Will Impact Oscar Race

In the end, many Cannes winners don’t register abroad, unless they break through at the box office, as “Parasite” did.

Over Cannes, “Parasite” marks the most remarkable example of a Palme d’Or winner who has gone on to win big not only at the global box office but also in subsequent awards, including four Oscar: Best Picture, Director, Original Screenplay and International Film. (Only 1955’s “Marty” also won the Palme d’Or for Best Picture.) Cannes was a powerful marketing platform, but winning the top prize didn’t make for movies like “” Dheepan” (2015) by Jacques Audiard. or “The Wind That Shakes the Barley” (2006) and Ken Loach’s “I, Daniel Blake” (2016) are both Oscar nominees. That year, France did not submit “Dheepan”, instead, Paul Verhoeven submitted Paul Verhoeven’s Cannes favorite, “Elle”; French star Isabelle Huppert continues to receive an Oscar nomination for Best Actress.

The truth is, beyond the Best International Film category, it takes some box office success to propel a Cannes winner into an Oscar contender. “The Pianist,” “Pulp Fiction,” “The Mission,” “MASH” and “Apocalypse Now” are among the Palme d’Or winners and Oscar winners. And Holly Hunter won Best Actress at Cannes and an Academy Award for Jane Campion’s Palme d’Or “The Piano”.

This year, at the most chaotic Cannes awards ceremony ever, the names Verhoeven (“Benedetta”) and Audiard (“Paris, 13”) walked away empty-handed, along with the nominees. Americans Wes Anderson (“The French Dispatch” by Searchlight), Sean Penn (“Flag Day” by MGM) and Sean Baker (“Red Rocket” by A24), while jury president Spike Lee made a mistake when stepping through the ceremony, give from the outset, the winner of the top prize (Julia Ducournau’s excellent gender-bending family drama “Titane“).

“We call this a must-do,” said Lee, after calling Cannes his “second home” since 1986. Bilingual jury member Tahar Rahim then sat next to Lee and translated. for you. “In the 63 years of my life, I know that you get a second chance,” Lee said later during the ceremony before nearly jumping the gun again. “This is my second chance. I’m sorry for messing up, so much suspense tonight.”

“Titane” marks only the second time a female director (after Campion) has won the Palme d’Or at Cannes, the film has managed to become more inclusive following criticism in recent years. There has been debate over whether this daring film is about a strange dancer and serial killer (discovered Agathe Rousselle) who adopts the identity of a police officer’s missing son. steroid addicts chief (Vincent Lindon, 2015 Cannes Best Actor winner for “Measure of a Man”) will have to settle for a lower award. Ducournau thanks Lee for giving her a “perfect evening,” she said, “because it was so imperfect,” and judges for “inclusiveness and flexibility.”

It was one of many provocative moments in “Titane,” Lee said during the judges’ press conference.

“I don’t think what I do defines me as a woman,” Ducournau said at the press conference. “I think of Jane Campion, because she is the first woman to receive this award. As the second woman, I got the impression that I belonged to a growing movement. There will be a third, fourth and fifth woman.” She became emotional as she answered the final question about feeling free as a filmmaker. “It is never easy to be free. You have to fight all the time. You have to fight for freedom. Freedom can only come from within; It’s a fight every day. “

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Whether Therapeutics sent “Titane” outrageously for the Oscars will cause some debate. (The winner of the Erotic Palme Prize “Blue Is the Warmest Colour” was not the official country choice in 2013.) Other contenders include the melodrama “Paris, District 13” (IFC Films) , Audiard’s black-and-white adaptation of the graphic novels “Killing and Dying” by Adrian Tomine and the well-reviewed “Everything Went Fine” (Cohen Media) by François Ozon. Japan can submit Ryûsuke Hamaguchi’s three-hour “Drive My Car,” a story about a stage actor/director (Hidetoshi Nishijima) rehearsing for the production of “Uncle Vanya,” which won the Drama Award. The best version thanks to the adaptation of the short story Haruki Murakami, and still lacks a distributor in the US.

Video Call “Annette”

Cannes Film Festival

Likely heated discussions about “Titane” and the festival of opening movie, the winner of the Best Director award for the musical “Annette” by Leos Carax, will attract more moviegoers, along with their Cannes awards. (Adam Driver’s brave singing performance will be a must-see for the actors.) And Caleb Landry Jones’ win for Best Actor at Cannes could spark a further interest in the distributor. Australian director Justin Kurzel’s massacre film of the same period “Nitram,” which seeks to land in North America, released after its premiere on Friday at Cannes.

Neon had a good night, as distributor “Parasite” won the Palme d’Or two years in a row, invested in “Titane” and “Memoria” ahead of the festival, and won the movie “World’s Ugliest Man” ” by Joachim Trier” Before Renate Reinsve star won Best Actress. “There’s a lot of me in Julia,” says Reinsve, who nearly gave up acting before Trier offered her the role of a young woman struggling with career choices and romantic relationships. . This could be a hit in the historical genre, and possibly a Norwegian Oscar submission.

“A hero”

The jury debate was “intense,” filmmaker and actress Mati Diop (“Atlantics”) said on the red carpet, possibly taking up two votes, for the Grand Prix – the work ” A Hero” by Asghar Farhadi and Sony Pictures. The classic “Room No. 6” – and the Jury Prize – “Ahed’s Knee” by Israeli filmmaker Nadav Lapid and Apichatpong Weerasethakul’s first English-language film, “Memoria” (Neon). The Palme d’Or winner’s latest film “Uncle Boonmee Who Can Recall His Past Lives” in 2010 stars Tilda Swinton, for whom the filmmaker is extremely grateful. As it turns out, Farhadi was right to decline to join the 2021 Cannes jury (after being invited to the non-2020 Film Festival), because he wanted to bring his film to the Competition.

Winning at Cannes enhances a film’s reputation in the host country, often leading to an Oscar nomination. So we can expect Iran to send “A Hero” (Amazon Studios) for Best International Film, as Farhardi has won the Oscars twice before, for “Asymptotic A Sep” and “The Salesman” “. And Finland should send the train movie “Cave 6” that Sony Pictures Classics will release, as is customary. Israel will wait for an Ophir winner before submitting.

Mamoru Hosoda

Anne Thompson

Another Israeli filmmaker, Ari Folman, is likely to return to the Oscar race, following his foreign-language Oscar nomination “Waltz with Bashir” for his disastrous fable “Where Is Anne Frank?” an animated feature that Folman hopes will reach children around the world. The film is still looking for a North American distributor. Another possible animation candidate is the work “Belle” (GKids) created by Mamoru Hosoda, inspired by the French fairy tale “Beauty and the Beast”, about rural children who have to alter egos in the digital universe, based on their strengths and weaknesses. This could mark his second animated film nomination after “Mirai.”

Among other popular films is “Bergman Island,” summertime Mia Hansen-Løve married writer idyll, starring Tim Roth and magnetic Vicky Krieps in a story, and Mia Wasikowska and Anders Danielsen Lie (“World’s Ugliest Man”) in another story, that could be a lifelong hit for IFC Films. Other Cannes titles that don’t affect the festival’s awards can play well in cinemas, including Oscar winner Tom McCarthy’s Franco-American hybrid story “Still Water” (July 30 spotlight), starring Oscar-winning Matt Damon as a fish living out of water in Marseille; “The French Dispatch” by Anderson, with an all-star cast; Porn star Baker in the Texas fable “Red Rocket” (A24); By IFC long-winded lesbian girl story “Benedetta”; and Eva Husson’s period British love story “Mothering Sunday” (Sony Pictures Classics), starring rising stars Odessa Young and Josh O’Connor.

Matt Damon, Abigail Breslin, Directors Tom McCarthy, and Camille Cottin Begin “Stillwater" The red carpet during the 74th Annual Cannes Film Festival in Cannes, France on July 8, 2021.

Matt Damon, Abigail Breslin, directors Tom McCarthy and Camille Cottin on the “Stillwater” red carpet during the 74th Cannes Film Festival on July 8, 2021.

Michael Buckner for PMC

Less likely to prove commercial box office entry than Sean Penn’s MGM hit “Flag Day,” a ’70s real-life fraud drama in which he starred with his son My daughter is Dylan Penn, one of several Cannes films about sad men who can’t help but shoot themselves in the foot (“Red Rocket,” “Stillwater,” “A Hero”).

Cannes shows more documentaries than usual. Generating a positive response on the Croisette was “Val,” a commendable portrait of actor Val Kilmer, who is battling throat cancer and too ill to attend Cannes, from Ting Poo and Leo. Scott (A24/Amazon), and creator of “The Velvet Underground,” from Todd Haynes (Apple), will return on the fall festival circuit, along with two films looking for buyers: “The Story of Film: A New Generation” by Mark Cousins ​​and “JFK Revisited” by Oliver Stone: Through the Looking Glass,” bring together all the released records of the JFK assassination into one coherent conspiracy theory.

The truth is, post-pandemic, the specialty market has never been more difficult to analyze than it has ever been, as filmmakers, exhibitors, distributors and media alike strive to understand the theatrical landscape. Film is in development. The first step was for Cannes to build a robust virtual marketplace, then an actual live festival – which is far from predetermined. The industry is slowly making a comeback. And minor annoyances like Covid tests aside, about 19,000 attendees reveled in the magic of returning to the big-screen experience. Farhadi said: “I am very happy to be back in the packed auditorium.

Amen for that.

See the full list of Cannes winners here.

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Here’s How the Cannes Film Festival Awards Could Impact the Oscar Race

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