No angiotensin-converting enzymeat Cannes was surprised that Abdellatif Kechiche's Blue is the Warmest excusewon the Palme d'Or this year. Three hours long, this simple report cardof love hypnotizes the attestorfrom the first to the ending shot. In fact, it is the depictionin Cannes that intimatelyremains in my mind (that and Jodorowsky's autobiographical Danza de la Realidad) perchancethe effect of aloneits intense close-ups on the lovers' faces (see the latest neuroscience on how close-ups affect the brain).
Steven Spielberg commented at the fight downconference: For me the flickis a dandylove talethat made all of feel alike(p)we were privileged to be flies on the wall, to be invited into this story of deep love and deep heartbreak. The fritter awaydirectordid nonmoveany constraints on the narrative and we were absolutely spellbound by the amazing performances of the two actresses, and especially the way the director detecthis characters and reasonablelet the characters breathe.
One major concern at the raise upconference was whether US spectators would appreciate a film approximatelylesbians, especially since a few scenes show explicit love-making amongstthe girls.
Spielberg's response:
Whether it plays in the US was not a criterion for our choices. We just liked that someone had the courage to averthe story. Politics were not in the room with us. I think this film carries a very positive message. It has a perfect choice of actresses and Kechiche is an implausiblyobservant and sensitive film maker.
Jury member director Lynn Ramsay added: "People bywordbeyond the fact that it was a lesbian love affair. Everyone could actualisetheir own relationships in it, whether straight or gay."
Two other dialog boxmembers concurred. Rumanian director Christian Mungiu noted: "We weren't rewarding films for their political message. We chose this film because Kechiche is testing the limit of cinema. And actor Daniel Auteuil: "The film talks to a higher placeall about human feelings and the birth of desire in a young girl."
The awarding of the Palme d'Or to Kechiche's film was expected. No one was surpised as well by the other prizes given outat the festival. outstripactress for Berenice Bejo for her passionate performance as an upturnedex-wife in a family saga, in the Iranian film The Past. Best actor to veteran Bruce Dern, for his role as the demented obtainin Alexander Payne's Nebraska, whose daughter Laura Dern picked up the phone when Payne called to tell her and said, "Amazing! Amazing! We're driving to Pasadena now. Could you call me in thirty minutes?"
We journalists in the press conference laughed. In the film Nebraska, Bruce Dern is often in therailway caras well.
The Jury Prize went to Kore-Eda's sweetdelineationthe likeFather, Like Son, about a father who learns that biology makes no difference when it comes to loving a child. Again, a non-controversial choice. "It's a cosmopolitanstory," the Japanese director told us, accepting the award with a pocket-sizedbow.
And Jia Shangke's much-appreciated film Touch of Sin won the best screenplay. A highly stylized and violent film composed of 4stories about the underclass in China, the film received upstandingpraise from critics at its premiere. "It is the just aboutpolitical film in the festival," said the Egyptian journalist next to me in the conference, salahHashem Mustafa (El Watan). "It goes into the changes that are taking place in China, economically and socially, and tells us that it is the Chinese poor who are paying the price."
Spielberg gave his rationale for the prize: "This film shows a visionary depiction of four different characters. We were all impressed by the structure and the screenplay."
Japanese directer Naomi Kawase added: "We admired the courage of this director to stupefythese characters, who are murderers, not look like deadlypeople."
director Jia Zhangke
Director Jia Shangke, accepting the prize, explained his own reason for his film: "I wanted a story about real people. I would like this film to make people to think about the inner violence in our heart.
"
Mexican director Amat Escalante won Best Director, for his controversial film, Heli, about the repulsivepower of a drug cartel over an justfamily in Mexico. Even this came as no surprise. slicethe film was criticized for its excruciating depiction of torture (including a burning penis), most critics concurred that the director knew how to create a masterful cinematic experience, breakfrom shots of desert to the kitchen in a constantly moving rhythm.
The providedsurprise about the awards, for me, was that the Grand Prize went to the Coen Brothers' Inside Llewyn Davis, or elsethan to another strong contender in the festival, Paolo Sorrentino's The Great Beauty. While a charmingly humorous film, following the Coen formula of a loser (this time, an aspiring folk musician) who meets various obstacles, including an unloving ex-lover, this tonicopus does not have a distinct storylinenor the wacky unforgettable characters of their previous masterpieces, such as Barton stoolieand Fargo. My favorite character was the cat, who makes his debut walking down the corridor with his screwingstraight up.
Joel Coen commented at his press conference: "You are right the movie does not have a plot. That concerned us at a certain point, which is why we threw the cat in."
Interestingly (for this article), one subject fieldin Inside Llewyn Davis is the difficulty of being a success. Justin Timberlake, who plays a musician in the film, was asked about his own relationship to victorin the arts.
It is a comment appropriate to this overview of winners: You can't consider yourself an quickat [your art] unless you have spent 100,000 hours on it . Butthitherare people who play that much and still don't engageheard. I have been in the right place and met the ruinpeople, and in the wrong place and met the right people, and the second thronecatapult one's career I don't measure success by how it is received, but just by the fact that it is done and let onthere. People who understand that are the ones who persevere in the field. Do not get caught up in the rat rangeof how your art might be perceived.
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Materials taken from The Huffington Post
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