Even though I would have liked Cannes to finally honor the immense Pedro Almodóvar, the choice of the jury presided over by Alejandro Iñárritu for PARASITE by the South Korean Bong is perfectly logical. In fact, it was my second choice. It reflects, after last year’s Japanese Palme (on a curiously similar subject: the chronicle of a marginal family), the vitality of Asian cinema.
On the other hand, the choice of the Grand Prix (the second prize actually) for ATLANTIQUE by the French-Senegalese Mati Diop is less fortunate. This modest and charming yet disorganized film does not have the scope of Desplechin’s film, ROUBAIX, UNE LUMIÈRE, which was completely absent from the awards.
The prize for Best Director (the third prize) for the Dardenne brothers: why not? But they have been awarded so many times at Cannes, and LE JEUNE AHMED is not among their best films.
The Best Actor award for Antonio Banderas (PAIN AND GLORY) was a given. This is not the case for the Best Actress award for the bland Emily Beecham in LITTLE JOE. One of the two major couples in the competition should have been rewarded: Sara Forestier-Lea Seydoux for ROUBAIX, UNE LUMIÈRE or Noémie Merlant-Adèle Haenel for PORTRAIT OF A LADY ON FIRE (which thankfully received the award for Best Screenplay).
No complaints for the Jury Prizes awarded jointly to two good films: LES MISÉRABLES and BACURAU. So, if we summarize, the jury’s overall performance is generally positive, but not beyond the mention of fairly good.
