Cannes Film Festival awards revealed "Black" upset won the Palme d'Or

<b>The mediocre performance of "I Am Blake" won the Palme d'Or</b>

At the just-concluded Cannes Film Festival, the entire jury decided the ownership of each award in an "unpopular" way. In the end, Ken Lodge won the Palme d'Or for "I Am Black," Ken Lodge's second Palme d'Or after 2006's The Wind Blows the Wheat Wave. With this film, Ken Lodge was introduced to the famous Double Palme d'Or Club. The controversial Javier Dolan continued his good fortune at Cannes, and "Just the End of the World" won the Grand Jury Prize after the Palme d'Or.

The Best Director Award was a double yolk, shared by Kristien Mongi of "The Graduation Exam" and Olivier Assayas of "Private Buyer". It has to be said that the aesthetic gap between film critics and jury members has once again emerged, and "Tony Erdman", the highest score ever recorded in the field, 3.7, returned empty-handed. However, this unpredictability is the biggest charm of Cannes and film festivals.

The level of entries in this year's film festival is uneven. There is "Tony Erdman", which has the highest score of 3.7 in the history of the next issue, and "The Last Look", which has the lowest score in the history of the next issue. Xavier Dolan's new film "Just the End of the World," which is hailed as a genius teenager, also received polarizing reviews; Jarmusch's new work experimented with a little freshness, abandoning the style he had become famous for, and Asayas dazedly brought the unoriginal "Private Buyer". The once highly anticipated version of "Twelve Years of Slavery," "Love," is also extremely mediocre and best suited to gaining a little political clout during the North American awards season. The famous Andrea Arnold's half-baked american culture has brought a lowly complete "American Sweetheart", which shows a lot of American street culture in a mess, and there is no deep impression after watching it. Of course, the final result of Cannes highlights the gap between the views, interests and values of film critics and filmmakers. "I Am Black", which did not win a good prize in terms of reviews, and Dolan's "Just the End of the World" won the Palme d'Or and the Jury Prize, and "American Sweetheart" won the Jury Prize. The best director went to the directors of the two films, "Graduation Examination" and "Private Purchaser". The best actor and actress went to Shahab Husseini of "Salesman" and Jacqueline Joss of "Mother Rosa." In addition to Best Actor, "The Salesman" also won Best Screenplay for Asha Farhati.

Although European and North American cinema has won at this edition of the Cannes Film Festival, it is an indisputable fact that these two continents are lacking in leading figures, decline and lackluster. Relying only on the rescue of a few directors such as Haneke, Ceylon, Kosciusz, Sorrentino, and even Godard, the entire European film industry cannot be called prosperous. However, Japanese directors are addicted to their own small circles and small cultures, Korean directors do not have an aesthetic style for the time being, and Chinese directors qi brush brush to turn to business. South America and Africa have yet to embark on a journey of art cinema. In this film circle with few outstanding figures and rare outstanding works, the so-called "little year" of Cannes this year will continue. This kind of "small year" is manifested in the low standard of the participating films, boring and general reputation. The kind of film that gets praise and eventually wins the jackpot doesn't exist. More is a shallow film like "Pain of stone", which more obviously shows the shortcomings of many literary and art film directors who "do not understand routines". The films of the Dane brothers have lost their moving charm. When the director of a literary and art film wants to engage in business, he always seems to have a little itchy boot. The reason is that the director of literary and art films does not want to follow the "routine" to deal with their own works. The most critical aesthetic element of commercial films is "routine". So, the tug-of-war between whether or not to routine is shown in their films. In the end, this kind of half-routine and half-routine film makes people feel like a fish in the throat.

We still have to pay attention to Chinese films and the performance of Chinese filmmakers at this year's Cannes. First of all, Chinese films were not shortlisted for the main competition unit; secondly, in other non-competition units and screening units, the figure of Chinese films is also difficult to find. In other words, for the "release of films" link of the film festival itself, Chinese films were completely destroyed. Secondly, on the red carpet of this year's Cannes Film Festival, Chinese stars, like previous years, compete for glory, and even if they become beam-jumping clowns, they must win a page. It's a very funny phenomenon. When the Chinese film market jumped to the second place in the world, we did not have a film quality and talent team that was commensurate with it. During the Cannes Film Festival, Mr. Fang, the producer of "A Hundred Birds and a Phoenix", fell to his knees and made headlines. This one move will vividly show all kinds of chaos, all kinds of helplessness and all kinds of unspeakable words in the Chinese film market today.

Whether it is a blanket star or no work, this does not stop the determination of Chinese stars to go out. Whether it is to endorse the red carpet or spend money to buy the red carpet or rashomon who missed the red carpet in a traffic jam, these are just the "personal affairs" of the stars and the crew. If you want to go online to the "national level", it is too much fanfare. All in all, the crux of all this is that a rapidly expanding market needs to be satisfied by rapid expansion ambitions. And when the mentality of Chinese filmmakers who are admiring the outside world has not improved and the standard of domestic films is not satisfactory, going out to gild is the most important means of reflecting ambition. It doesn't cost much to get on the Cannes show for only a few hundred thousand yuan; walking a red carpet that no one watches, renting a platform that no one patronizes, and playing a dog meat sign that "Cannes exhibits" doesn't cost much — after returning from gold plating, you can claim to be a "Cannes film" in a dignified manner. The word-of-mouth effect can be imagined - so that this investment in the early stage can be recovered satisfactorily. However, self-amusement, self-deception and self-consolation always have a limit, a few years later, when the box office output of Chinese films surpassed that of the United States and became the world's first, if we did not have a perfect industry and a reasonable market mechanism to match it, the stars still flocked to the red carpet in Cannes, then Mr. Fang's "kneeling" seems to have really become a manifestation of serious filmmakers' helplessness and grief towards this extreme market.

What the significance of the film festival is, it is difficult to say, but the most important thing is to dig out new people and find new ways of expressing themselves. Therefore, at a time when Dolan was stuck in his own way and was about to disappear from the crowd, putting his unoriginal film on top of the most important awards once again, it is difficult to say that Cannes is determined to forge ahead. But if you turn back the clock 7 years, the newly adult Dolan shines in Cannes. Admittedly, standing on Dolan's example, Cannes in 2009 was definitely determined to forge ahead. How the director will develop in the future is not something that a film festival can focus on. Therefore, Cannes' set of talent training mechanisms is worth paying attention to and learning. Because the future leader of the international film industry may be in the non-competition unit. The World Film Factory, led by Jia Zhangke, is to help young directors complete their debuts. In one of the following segments, Johu Kusmann's "Orly's Happiest Day" won best picture, the Finnish director's feature film debut, and before that, his short film The Selling Merchant had already won the best award in the short film section in Cannes. His next films are likely to be invited to the main competition unit. After going through such a process, a young director can also be regarded as completing his own "triple jump" - just like Dolan in the past. There is no doubt that this is Cannes' cultivation of directors, who are cannes's concubines. More crucially, this is Cannes' contribution to the international film scene.

Compared to the cold and niche berlin and Venice, which oscillates between art and commerce, Cannes is warm and welcoming, as seductive as a rich girl. Recommending masterpieces is certainly the expectation of Cannes, but Cannes is not only a show for big names, it is also a huge stage for new directors - especially for those with unique personal characteristics. Because business has abandoned these directors, and without the excavation of film festivals, they can easily be beaten into the cold. In 1984, Cannes received the 28-year-old Lars von Trier and his debut film, Criminals. Over the next 30 years, von Trier's films won more than a dozen awards at Cannes, including two jury members and a Palme d'Or, and were perfectly deported permanently by Cannes. At the 62nd Edition of the Festival de Cannes, the festival's president, Gil Jacobs, fabled that the next five years would be the era of writers' films and independent films. He didn't agree with the negative view that writers' films were dead, nor did he think that Hollywood films could stand alone at the time of film festivals. Cinema will come to a new stage of development, and more independent filmmakers will find their place. Five years later, the Cannes Film Festival proved Gil Jacob's tone with its own temperament and rhythm. Cannes, with the patience and persistence of the French, gorgeous and unique, once again sent a different kind of film to the public in an unexpected "unpopular" way.

Full list of winners

Best Picture Award: "I Am Black" (Director: Ken Rocky)

Grand Jury Prize: Just the End of the World (Director: Javier Dolan)

Best Director Award: Cristien Mongi, "Graduation Examination", Olivier Assayas, "Private Buyer"

Best Actor: Shahab Husseini, "The Salesman"

Best Actress: Jacqueline Joss, "Mama Rosa"

Best Screenplay Award: Asha Farhati, "The Salesman"

Jury Prize: American Sweetheart (Director: Andrea Arnold)