The results of the Cannes awards are finally in.
As the year of the "immortal fight".
This result made Sir feel like going back in time.
Hiroshi Kusho won Best Actor:
Who suddenly dreamed back to the era of "Paradise Lost" and "Eel"? In particular, in the movie, Hiroshi Yakushi wears a workwear.
△ "Paradise Lost" stills
Chen Yingyong won Best Director:
Who remembered the era of "The Taste of Green Papaya" and "Tricycle Driver" in a second? How long has it been since you paid attention to this name?
△ Screenshot of "Tricycle Driver" under "The Taste of Green Papaya"
Plus Wim Wenders.
Plus Nuri Big Ceylon.
Plus Aki Kaurismäki.
This award reminds people of how colorful and inclusive our films were.
And what about Chinese films?
As a Chinese-language film that has not appeared on the field for several consecutive years.
This year, an important step has been taken.
It's just a pity.
We don't know if the next step will come as hoped.
01
A lot of (Chinese) people
Although only one "Youth" was shortlisted in the main competition unit.
But this Cannes Film Festival, Chinese faces, is really lively.
As far as somatosensory is concerned.
Many of the people Sir knows have traveled to Cannes, and they are in the circle of friends every day, intermittently turning into "travel bloggers".
In terms of numbers.
According to the statistics of "Intercept Network", 250 Chinese filmmakers are expected to come to Cannes this year, nearly five times compared with 55 last year.
Seem.
Everyone is trying to find a way to go out and show their faces.
So it is visible to the naked eye.
On the red carpet.
From time to time, some Chinese faces will flash.
Even, faces that have not appeared for a long time.
For example, the international fan's "Shandong big girl" Zhang Yuqi and Fan Bingbing.
They are old acquaintances who have been in Cannes for many years.
What about the new generation?
Jiang Mengjie, who has not been seen for a long time, and Guan Xiaotong.
The former's shape has also attracted a lot of heated discussion.
The one who makes Sir "cry and laugh" the most here is Gong Li.
This time, Gong Li attended Cannes as a representative of the brand, but the unknown "netizens" actually thought that she was "rubbing the red carpet"?
Gong Li needs to "rub"?
Not to mention that "Farewell My Concubine" that year really won the Palme d'Or.
△ At that time, only wearing a white shirt and a pair of black trousers, he already showed Gong Li's good figure and temperament
It was later.
Not only was he the first Chinese judge at the Cannes Film Festival, but he also won the Special Award at the Festival in 2004.
Not to mention the biographies of the presidents of the Berlin and Venice juries.
In the past 30 years, Gong Li has walked the red carpet a total of 19 times as an actor or award presenter for participating movies.
When she frequently appeared at the Cannes Film Festival as a "Chinese face", in fact, it was also a witness to the prosperity of Chinese cinema in the 90s.
It can only be said.
It is still too hasty to evaluate "whether you should come to Cannes" based on "whether you should bring a work or not".
And besides the red carpet?
Sir actually sees another kind of "calmness".
For example, if you are going to Cannes, you are likely to see Tang Wei running wildly on the streets.
She was in a hurry to attend the opening ceremony.
For example, if you wander around, you are likely to see Zhu Yilong strolling alone.
He was shortlisted for "A kind of attention unit" with "Mistakes by the River."
Yes.
There are still many Chinese-language works shortlisted for the Cannes Film Festival this year.
Wang Bing's "Youth", Wei Shujun's "Mistakes by the River", Chen Zheyi's "Burning Winter", Geng Zihan's "Little White Boat"; and two short films: Shu Hui's "A Walking Night" and Pan Yue's "Summer Copy".
Although the pellets are not collected.
But at least, from the word of mouth that has flowed, we can see that Chinese films are no longer so "nervous".
For example, "Mistake by the River":
In an interview after the screening, Wei Shujun mentioned that Zhu Yilong arrived at the shooting site forty days in advance, and in order to adapt to the role as soon as possible, Zhu Yilong began to practice shooting and wear clothes from the 90s. In the stills, "Zhu Yilong" is really not visible, with messy hair and tired eyes.
And when Zhu Yilong talked to the director, he said, "I'm just walking, I don't feel like I'm acting." ”
This feeling, it seems to be right.
- For example, "Burning Winter".
Starring Zhou Dongyu and Liu Haoran.
Remember what the hot search for this movie was?
That's right.
Liu Haoran and Zhou Dongyu have three "do love" scenes in the movie, which have become the focus of many people's heated discussions.
The psychological burden of some young, popular actors.
Here it seems to be a little less again.
Sometimes we tend to be confined to a narrow, solidified mindset.
Step out at this time.
To feel.
To experience.
Perhaps, it will bring a different perspective.
02
The immortals fight, and the newcomers come out
But is it just to feel "different"?
Probably more.
It is to feel the most avant-garde and authored directors in this world, what their creative state looks like.
Take the "A kind of attention" unit, which did not win an award for Chinese-language films.
Just look at the names of these winners.
For example, "How to Have Sex", such as "Body Bag", the subject matter alone is the first to win.
More differently.
The main competition units are:
Wim Wenders' "Perfect Day", Nuri Bigg Ceylon's "Dead Grass", Chen Yingyong with "Dodan Buffane's Desire", Kore-eda's "Monster", Aki Kaurismäki's "Dead Leaves", Ken Lodge's "Old Oak", Wes Anderson's "Asteroid City", Nanny Moretti's "Future Sun", Todd Hinenes' "May December"...
Other units are:
Kim Ji-yun's "Spider Web", Kitano Takeshi's "Shou", Pedro Almodóvar's "Strange Lifestyle" and so on.
Every one that comes out is an annual expectation for movie fans.
Among them.
- There is 87-year-old Ken Lodge.
Since 1979, he has become a regular visitor at the Cannes Film Festival, from "Deadly Files" to "Stone Rain", to the Febisi Award "Land and Freedom" at the Cannes Film Festival, and then to the 59th main competition unit Palme d'Or "The Wind Blows the Wheat Wave", with a frequency of about 2 years to produce a work, it has been repeatedly selected for the Cannes Film Festival.
This time, "Old Oak" tells the story of a mining disaster.
But at the same time.
It is also a story of how hurt people comfort each other and restore hope.
- There is 78-year-old Wim Wenders.
Wim Wenders' "Paris, Texas", "Under the Firmament of Berlin" and "The End of the World" are enough to become a must-see work for film fans or beginners in film studies, not to mention master-level documentaries such as "Salt of the Earth", "Pina" and "Le Zhi Shi Fushenglu".
Today, he is still ageless, and with "Perfect Day", Hiroshi Kusho won the best actor.
——It is Hirokazu Kore-eda who either takes the award himself or helps others to get the award.
2018's "Thief Family" won the Palme d'Or, last year's "The Broker" gave Song Kang-ho the Best Actor award, and this year's "Monster" won Yuji Sakamoto the Best Screenplay Award.
And the film also took the queer Palme d'Or at the same time.
Well......
Queer Palme d'Or, how can this not be considered a spoiler?
- And there is also a name we haven't heard in a long time, Aki Kaurismäki.
As a Finnish director, he often takes themes such as working people and factories as the core of his films, and it has been 6 years since his last work, and 3 years since the last time his name was discussed, and it was still when Gojo was very popular.
Now, Aki is here with his new work "Dead Leaves".
Still a comedic appearance, a lonely undertone.
Still Kaurismäki.
In the end, the film won the jury award, with 8.3 points on Douban and the first place with a high score of 3.2 (4 points in total).
In addition to being moved, he was speechless and choked.
Of course.
Domestic fans are most concerned about Wang Bing.
- "Youth", the only finalist in the main competition unit.
This five-year-long, three-and-a-half-hour documentary is actually only the first in a trilogy, focusing on a group of young people working in Shanghai, and in the documentary, the roar of textile machines runs through their youth.
At the press conference of "Youth", a reporter asked Wang Bing, "How do you view fate?" ”
Wang Bing said: "There is a difference between Chinese and the 'destiny' that Westerners talk about. Westerners may say that people are also animals, and the laws of nature cannot be violated. Of course, the fate Chinese talk about also means this, but I understand better that China's so-called fate is a kind of submission of people to power, more powerful forces. ”
Facing this group of young people swallowed by the "city" in the camera, facing the "unknown" and "drifting" of fate, it is not a kind of submission.
According to the score of the "Screen" field magazine on the second day, "Youth" temporarily took the first place on the day with 2.7 points (out of 4 points) (later surpassed by "Anatomy of Falling Death" and "Dead Leaves").
It's a pity that I still didn't win the award.
But for Sir.
The biggest expectation has to be him:
Martin Scorsese, 81.
That's right.
Leonardo DiCaprio, Robert De Niro, Brand Fisher, three Oscar winners co-starred in "Flower Moon Killer".
Based on David Grein's best-selling novel of the same name by Lost in Z City.
It tells the story of an FBI detective played by DiCaprio, who enters an Indian town to investigate a series of deaths.
Detective stories?
No.
Scorsese made an epic adaptation of it.
Turn it into a story that resonates more with modern people.
Today, the film's freshness on Rotten Tomatoes is 96%.
As a less Scorsese movie, it can be said to be a perfect result. (Seeking introduction)
But.
It is such a fairy scene, and the final award was won by two "new director" works.
- Palme d'Or, "Anatomy of Death from a Fall".
In the history of Cannes cinema, the third female director to win the Palme d'Or, Justin Trier.
The husband fell to his death, and the wife became the biggest suspect.
In the process of trying his wife, the scars of the married life of the two of them were undoubtedly revealed in front of everyone. The director uses such a method to examine the marriage of the two, which is also a unique and sharp expression technique.
The film gets 100% freshness on Rotten Tomatoes.
In foreign media reviews, the film is "a beautiful fall." ”
- Grand Jury Prize, "Areas of Interest".
As a "high-quality horror film" for the film released by A24 company, the style is naturally very distinct.
The film creates a very ironic scene, on the one hand, Auschwitz concentration camp, on the other hand, the officer and his wife build houses and gardens next to the concentration camp to create a good life.
In contrast to another kind of calm and serenity, the officer's wife enjoys this peace even more than death in another area, and this "blind spot" of human nature is the horror core of this movie.
The film also gets 100% freshness on Rotten Tomatoes.
Time reviews the film:
It's a breathtaking, memorable movie about the Holocaust.
Pete Hammond, a film critic for Deadline, said:
"I've never seen a film that doesn't have any visual effects of violence and pain, and that is still painful and terrifying, even deeper."
but I can safely say I have never seen one, sans any visuals of violence and suffering, that still manages to be just as harrowing and frightening, maybe even more.
And it, in the scores of Chinese film critics, is also the highest score.
New to the fore?
Old man suppressed?
Rather, Cannes' original intention was to encourage the broadening of the boundaries of film art.
Just like the "Titanium" the year before last.
Perhaps it still has many premature problems.
But with his sharp style and expression, he still won the Palme d'Or.
After all.
With "possibilities", there will be "futures".
03
Free wind
So, why are we so focused on Cannes?
Sir remembered a sentence from Jia Zhangke a few months ago.
It was when he attended a forum and said that one day he was cutting a film, and suddenly someone was talking to him about Antonioni and Bazin, and he was suddenly very moved.
"I've not talked to me about these two names in Beijing for five or six years," he said, "and what I hear every day is that the box office is high, the box office is low..."
Finally he said:
I really want to talk about art
I think that's what resonates with that.
Probably also the thoughts of many filmmakers and fans:
There are too few opportunities for us to really talk about movies.
There are objective reasons for this.
After all, there are very few Chinese-language films worth measuring by the standards of movies.
The creative content is too homogeneous, and the story content is easily disturbed.
There are only a handful of fresh and thoughtful works that can reflect the level of Chinese filmmaking.
Just say this year.
How many Chinese films are comparable in quality to that "Long Season" series?
But there are also subjective reasons.
In the case of Sir, I often think, today we will talk about Antonioni, about Bazin, how many people are willing to listen?
People will say.
Old antique.
Then close the page and continue laughing in the short video.
So Cannes.
It has almost become one of the few outlets for us to talk about these masters "justifiably".
But it's not just that.
Remember when we said earlier that there were five times as many Chinese filmmakers going to Cannes this year than last year?
From the point of view of "practicality" alone.
That's right, whether selling films or buying films, the results achieved are not ideal (after all, there are no films to sell, and there are also concerns about imported films).
But at least.
It shows that we are "willing" to go out.
For example, in the field issue of "Screen" this year, stills from Hu Ge's latest movie "Reindeer" appeared.
For example, "The Umbilical Cord" was selected into the "2023 Cannes International Film Festival • China Youth Film Promotion Program" and was invited to hold a screening at the Palais de la Cinénade de Cannes, France.
And so on and so forth.
That's right, for Chinese-speaking filmmakers, Cannes seems to be a "thought".
We have never been absent on the international film stage, enjoyed the honor and popularity under the flash, and proudly believed in the deterrent power of Chinese films.
Just thirty years to the east of the river, thirty years to the west of the river.
Now, at a time when the entire world stage is tilted towards Asia (four of the seven awards in the main competition this year), we are trapped for a variety of reasons, and we have never won anything.
Everything came to another reincarnation.
Industry developed, the box office increased.
But what about the artistry of the film?
It seems that it is time to start all over again.
So.
In such an era, Chinese films go out again and stand in such an environment to compete, which has a different meaning.
It at least proves.
We have not given up on this stage.
We still have the "idea" of film art in our hearts.
We still "really want to talk about art".
This is a new challenge.
This is just the beginning.
Remember this year's Cannes main poster?
The film "Frenzy" from Alain Cavalière, which means: elusive, bold and uninhibited.
On the surface.
These words point to rebellion, to anger, to defiance of rules.
It is an "outlier" that deviates from the mainstream.
But look closely.
Perhaps, it is with a heart that longs for freedom and wildness.
That's why she smiled so brightly.
Attached: List of winners of the 76th Cannes Film Festival
Palme d'Or: Anatomy of Death by Falling – Justine Trier
Grand Jury Prize: "Areas of Interest" – Jonathan Glazer
Best Director Award: Chen Yingyong – "The Desire of Dodan Buffane"
Best Actress Award: Milvi Dizdal – "Dead Grass"
Best Actor Award: Hiroshi Kusho – "Perfect Day"
Best Screenplay Award: Yuji Sakamoto – The Monster
Jury Prize: "Dead Leaves" – Aki Kaurismäki
Short film Palme d'Or: "27" – Flora Anna Buda
One Kind of Attention Award: "How to Make Love" – Molly Manning Volcker
Golden Camera Award: "Golden Cocoon" – Fan Tianan
The picture of this article comes from the Internet
Editorial Assistant: Oda doesn't let cut