Cannes 2015: Jacques Audiard’s Dheepan takes top award

25 May 2015 | Author: | No comments yet »

Cannes 2015: Jacques Audiard’s Dheepan takes top award.

The Cannes Film Festival is a grand hierarchy with strictly defined elevations of movies and media access, where films are met by high praise or lowly boos. Jacques Audiard, 63, took the Grand Prix (or runner-up award) five years ago for A Prophet, and competed at the festival three years ago with Rust & Bone.

His new film is a less-starry affair than those two; the tale of a former fighter in the Sri Lankan civil war trying to make a new life in France with a fake family. Woman’s footwear, of all things, was thrust to the forefront of Cannes after several women were turned away from a premiere because they weren’t wearing high heels but flats.

This year’s Grand Prix went to 38-year-old debut director László Nemes for Son of Saul, the Auschwitz-set story of a prisoner working as a Sonderkommando, guiding Jews into the gas chambers and then disposing of their bodies. Jury members, though, said “Dheepan” was chosen for its overall strength as a film, rather than any topicality. “We all thought it was a very beautiful movie,” said Ethan Coen, calling the decision “swift.” ”Everyone had some high level of excitement and enthusiasm for it.” Audiard, springing to the podium at the Palais des Festivals, accepted the award with warm gratitude, bowing to the jury. He was joined by the makeshift parents of his film: Kalieaswari Srinivasan and Antonythasan Jesuthasan, who himself was Tamil Tiger child soldier before finding political asylum in France. “To receive a prize from the Coen brothers is exceptional,” said Audiard, who added that only receiving one from the Luc and Jean-Pierre Dardenne, the Belgian filmmaking siblings, could equal it.

On the rough housing estate on the outskirts of Paris where they settle, Dheepan is forced use his battlefield experience to keep the three of them safe. But what will stick in the mind from the festival, which closed Sunday with Jacques Audiard’s refugee tale “Dheepan” winning the Palme d’Or, likely won’t be the many panels about women in film, but the plethora of powerful leading performances by women, including Cate Blanchett (the sumptuous period romance “Carol”), Emily Blunt (the bleak drug war thriller “Sicario”), Marion Cotillard (a bleakly stylish “Macbeth”), Margherita Buy (the moving tribute “My Mother”), Emmanuelle Bercot (the up-and-down romance “My King”) and Charlize Theron (the explosive “Mad Max: Fury Road”). The director thanked his producers and actors, including Colin Farrell and Rachel Weisz, who play single people who must find a mate within 45 days or be turned into a wild animal. Carol, Todd Haynes’s adaptation of the Patricia Highsmith lesbian romance The Price of Salt, which many had tipped for the Palme d’Or, had to console itself with one-half of a shared best actress award.

Some expected Nemes’ horrifying plunge into the life of an Auschwitz worker to take the top award, but it’s been 26 years since a debut film (Steven Soderbergh’s “Sex, Lies, and Videotape”) was given the Palme. The film follows a member of the Sonderkommando, the group of Jewish prisoners isolated from the camp and forced to assist the Nazis in their mass extermination. Rooney Mara took the gong for her role as an inexperienced shopgirl in 1950s New York who begins a relationship with Cate Blanchett’s unhappily married mother-of-one. When he thinks he recognises his son among the bodies in the gas chamber, Saul decides to give the boy a decent burial, in a final bid to retain his human dignity. Haynes, accepting the award in Mara’s absence, said both he and she were “completely blown away and surprised” by the honour. “I love you, I wish you were here,” he said.

Hou Hsiao-Hsien, the masterful 68-year-old Taiwanese filmmaker, won best director for his first feature in eight years: “The Assassin,” a lushly painterly martial arts drama. I am not a famous actress, I am not a young actress, and that’s what makes her so special: she doesn’t care about the norm, she doesn’t care about what’s done or what’s not, when she has an idea, she carries it through whatever. Veteran French star Vincent Lindon earned prolonged applause as he took the stage to pick up the best actor award for Stéphane Brizé’s The Measure of a Man, in which he plays a man crushed by his job as a supermarket security guard. It was given to both Rooney Mara, half of the romantic pair of Todd Haynes’ ’50s lesbian drama “Carol,” and Emmanuelle Bercot, the French star of the roller coaster marriage drama “My King.” (Bercot also directed the festival opener, “Standing Tall,” about a delinquent teenager.) Any split was presumed to go to Mara and her “Carol” co-star, Cate Blanchett.

Lindon beat the likes of Michael Caine ( Paolo Sorrentino’s Youth), and Tim Roth, who plays a traumatised palliative care nurse in bleak drama Chronic. Starring opposite Vincent Cassel, Bercot plays Tony, who, following a bad skiing accident, is forced to spend several weeks in a rehabilitation centre, where she takes time to think back on her passionate and tumultuous relationship with Georgio.

The visibly moved Lindon won over some big-name competition, including Michael Caine, the star of Paolo Sorrentino’s unrewarded “Youth,” a wry, melancholy portrait of old age. It’s the veteran actor’s first ever award in a career spanning three decades. “Without a director who really appreciates him and wants the best for him, an actor can’t achieve anything,” Lindon told euronews. “So I share this award with Stéphane Brizé. The Camera d’Or, Cannes award for best first feature film, went to “La Tierra Y la Sombra.” César Augusto Acevedo’s debut, which played in the Critics Week section, is about an old farmer returning home to tend to his gravely ill son. In his second film following the lean revenge film “Blue Ruin,” Saulnier steps confidently into a bigger production, co-starring Patrick Stewart, about a touring hardcore punk band that runs into trouble at a backwoods gig for Neo-Nazi skinheads.

The Coens themselves took the Palme in 1991 for “Barton Fink.” The last two Cannes winners have been three-hour art-house epics: the glacial Turkish drama “Winter Sleep,” chosen last year by Jane Campion’s jury, and “Blue is the Warmest Color,” as picked by Steven Spielberg’s jury. Denis Villeneuve’s “Sicario,” about an FBI agent (Blunt) roped into a covert task force sent into Mexico, will also excite many for its sure-handed muscularity. After his speech, Augusto continued the musical theme of this year’s ceremony by leading the audience in a rendition of Happy Birthday to Reilly, who turned 50.

Best director went to Taiwanese film-maker Hou Hsiao-hsien, whose martial arts epic The Assassin marks his return to cinema after an eight year absence. Some of the films that drew the biggest raves (“Mad Max: Fury Road,” Pixar’s “Inside Out”) played out of competition, while some in it (like Gus Van Sant’s “The Sea of Trees”) drew loud boos. A harrowing Holocaust drama set among the Jewish workers of a concentration camp is precisely the kind of film many feel obligated to see, rather than enthusiastic to watch.

Artistic director Thierry Frémaux’s programme was at pains to promote homegrown talent, with nine of the 19 competition films either French productions or co-productions and US and UK directors thin on the ground. But “Son of Soul,” the first feature by Hungarian director Laszlo Nemes, is something wholly unique: a visceral, bone-chilling, first-person plunge into darkness. “The Lobster” and “Tale of Tales” — two films bound by a wry surrealism and John C. But although there has been an absence of high-profile turkeys such as last year’s opener, Grace of Monaco, the number of flat-out classics was also been felt to be down. Last year’s festival saw the premieres of Leviathan, Winter Sleep, Mr Turner, Jimmy’s Hall, Foxcatcher, Wild Tales, Clouds of Sils Maria, Mommy and Two Days, One Night.

In Yorgos Lanthimos’s “The Lobster,” middle-aged, unmarried singles (Colin Farrell, Rachel Weisz, Reilly) gather at a remote Irish hotel where, if they don’t couple up, they’re turned into an animal.

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