This ultimate ascent of the stairs is rather lackluster. If it weren’t for Cécile (de France)’s smile and the “Malibu orange” dress of the Latino bombshell from Desperate Housewives, one might almost regret the effort, albeit moderate, required to climb the twenty-four legendary steps of the Cannes staircase.
Fortunately, the jury lineup orchestrated by Wong Kar Wai is of a completely different caliber. Probably the most intelligent lineup in the past twenty years, given the rather average selection that was offered in 2006.
The Palme d’Or for Ken Loach was surprising. Upon reflection, it is almost as logical as the one promised to Almodovar. Here are two great filmmakers, loyal to Cannes, who had never before won the Palme d’Or. Moreover, the awarded film (The Wind That Shakes the Barley) is one of the best from the British director, even though its theme – the Irish War of Independence – is very specific. However, the reflection it triggers about this type of conflict is universal. Tonight, Loach was happy, he said so on stage. In fact, it is the Cannes Film Festival that should be honored to have included Loach in its lineup.
The Grand Prix is generally the cinephiles’ Palme d’Or, as opposed to the Palme d’Or, usually promised to a more accessible film. Awarding Dumont once again, a few years after L’Humanité, for his magnificent Flanders, is only fair. It also demonstrates that French cinema isn’t just about Danièle Thomson and Nicole Garcia.
The Best Director award for Babel is logical in that the director skillfully managed to deliver three films for the price of one.
As for the Jury Prize for Red Road, the first work by director Andrea Arnold, it rightly completes the well-deserved triumph of British cinema.
If the consolation prize for the screenplay for Almodovar is on the edge of being tactless (why not the award for technical industries…), collectively rewarding the six actresses of Volver is a brilliant idea for a film that speaks so eloquently of the mysteries of the Feminine Eternal.
Another superb idea: to honor the generosity of Indigènes by awarding its performers. Beyond the actors’ work, it is clear that there was a desire to pay tribute to citizen artists who did not hesitate to commit, including financially, to bring this project to fruition. Indeed, the Africans had come from far…
In summary, an Honorary Palme d’Or for Wong Kar Wai.
However, let’s not forget the closing film:
Transylvania, by Tony Gatlif (France)
The zigzagging and “Gypsy-like” wandering of a young Italian outsider in rural Romania. Some lovely scenes, but ultimately, quite an artificial film. Even with Gypsy music, Tony Gatlif is not Emir Kusturica, but that, we already knew…
Anyway, since the iconic Thelma and Louise, few closing films have made the cut.
