CANNES PRIZES ANNOUNCED
I, Daniel Blake from Screen Daily
Palme d'Or: I, Daniel Blake
Grand Prix: It's Only the End of the World
Jury: American Honey
Director: Tie- Mungiu/Graduation and Assayas/Personal Shopper
Screenplay: The Salesman
Actress: Jaclyn Jose/Ma' Rosa
Actor: Shahab Hosseini/The Salesman
THE CRITICS AND CANNES
The critics loved Maren Ade's Toni Erdmann and hated Sean Penn's The Last Face. Everything else fell somewhere between those two. Here's the critical consensus.
Beginning with the massive critical collation from Reini Urban who collects the Cannes critical response from a vast number of sources (including two listed below). Some sources include: Screen Daily, Ioncinema, Metacritic and Indiewire.
The top five from Urban:
1) Toni Erdmann (8.24)
2) Elle (7.94)
3) Sieranevada (7.35-tie)
43 Paterson (7.35-tie)
5) Aquarius (7.18)
The three biggest bombs: The Last Face, From The Land of the Moon, and It's Only the End of the World.
Urban also has collected critical responses for films playing in other sections for the festival. The top films from Un Certain Regard were: Hell or High Water, The Red Turtle and After the Storm.
Urban's compilation is here:
Meanwhile, Todas Las Criticas compiles over 40 critical responses to Cannes. Their top five films were:
1) Elle (8.87)
2) Sieranevada (8.46)
3) Toni Erdmann (8.21)
4) Paterson (7.98)
5) Aquarius (7.64)
Bombs: The Last Face, and It's Only the End of the World and From the Land of the Moon.
The complete Todas Las Criticas chart is here:
UCR high score: The Long Night of Francisco Sanctis, Hell or High Water and The Red Turtle.
From Screen Daily which was focused on the Palme competition films:
1) Toni Erdmann (3.7)
2) Paterson (3.5)
3) Graduation (3.0-tie)
3) Sieranevada (3.0-tie)
3) Elle (3.0-tie)
Bombs: The Last Face, It's Only the End of the World and The Neon Demon
The complete Screen Daily chart is here:
And from Ioncinema-which also focuses exclusively on the films in competition for the Palme d'Or:
1) Toni Erdmann (4.0)
2) Aquarius (3.6-tie)
2) Elle (3.6 -tie)
4) Paterson (3.5)
5) Graduation (3.4-tie)
5) Slack Bay (3.4-tie)
Bombs: The Last Face, Ma Rosa and From the Land of the Moon.
In Thursday's post I'll spend some time analyzing this year's disconnect between the critics and the jury. I'll also look back at the past several Cannes to see how anomalous this year was or if it was an anomaly at all.
CANNES AND TFF #43
As we assess what has happened in France over the last couple of weeks in the context of what it means (if anything) for the lineup of films the make The SHOW on Sept. 2-5 remember that over the last 10 years that an average of 7-8 (7.5 to be exact) films double between Cannes and Telluride. Of that number and average of 4.1 come from the main competition slate and 1.2 from Un Certain Regard. The remaining 2.2 come from other sections of the festival.
Films that seem to have become very likely Telluride plays: Toni Erdmann and The Red Turtle. Their critical reception plus acquisition by both films for U.S. distribution by Sony Pictures Classics make them likely additions to The SHOW.
Films that seemed like they had some Telluride chops that took a turn for the worst include Sean Penn's critically pilloried The Last Face, Xavier Dolan's poorly received It's Only the End of the World and Nicole Garcia's From the Land of the Moon.
Films that seemed hot prospects for Telluride that now seem a little less hot are Olivier Assayas' Personal Shopper, Asgahr Farhadi's The Salesman and The Dardennes Brothers The Unknown Girl, though the awarding of prizes to both Salesman and Personal Shopper may keep them warm enough to make the lineup.
Other T-ride possibles that seem to have neither increased nor decreased their status are Cristian Mungiu's Graduation (formerly Family Photos) and Jeff Nichol's Loving.
In addition to The Red Turtle from the UCR segment, David Mackenzie's Hell or High Water (once called Comancheria) seems to have scored a significant reception and certainly stays in the T-ride convo.
More about all of this in Thursday's post.
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