Who will win the Palme at Cannes? [2019 edition]

Torn between rooting for Hausner and Porumboiu. If they want to give it as a career award I hope it goes to Desplechin.

I'm always shit at guessing these but I don't see it going to one of the Americans (or Canadian) this year

I think most people are shit at guessing these, which is why it's fun.

In that vein, I'm guessing Ken Loach has it.

god help me for rooting against the Trot but if he wins again I'm gonna stop paying attention altogether

It's always impossible to guess what will win, though in this case we know that since Iñarittu is head of the jury, it will undoubtedly be shit.

that's not guaranteed, again let's recall Burton/Boonmee

this is exceptionally cynical but I could see him trying to win cred by picking the Diop

xp I'm convinced it was the fish coitus that sealed the deal on that one.

Burton >>>>>>> Iñarittu. But who knows, perhaps there won't be any bad movies he can give it to?

Lol

No idea, but I’m happy to learn that there is a new Sachs on the way.

I still don't actually believe the Jim Jarmusch zombie movie is for real. Too on the nose tbh.

A HIDDEN LIFE

This is a shit title.

I liked Filho’s Aquarius, and Bacurau by Filho and Dornelles sounds really interesting

I wish Eggers’ The Lighthouse had made it into competition. I think it’s in Directors’ Fortnight

Filho's Neighboring Sounds might be even better!

Also in Directors' Fortnight that I kinda wish was in the competition, Bertrand Bonello's Zombi Child. At Jarmusch's expense, even!

Adding to films that should have been in main competition: From UCR: Albert Serra's 'Freedom', Oliver Laxe's 'A Sun That Never Sets' and Bruno Dumont's 'Jeanne'. From Quinzaine there's Lav Diaz' 'The Halt' of course, but also Shahrbanoo Sadat's 'The Orphanage' and J-P Valkeapää's 'Dogs Don't Wear Pants'. And I would of course have 'A White, White Day', Hlynur Palmason's follow-up to the Danish language 'Winter Brothers' promoted as well. Also, apparently there's a new Patricio Guzman doc out of competition, would love for that to get some more attention if it's as good as his last few films.

Can someone @Festival_Cannes explain how on the festival's Instagram they announce a new Pedro Costa film in Un Certain Regard (VITALINA VARELA), but it's missing from today's official announcement and the website? (Spotted by @c0mmunicants.) #Cannes2019 pic.twitter.com/YlDQp17uUF

— Notebook (@NotebookMUBI) May 2, 2019

PORTRAIT OF A LADY ON FIRE (Céline Sciamma; France)

Promising looking title

https://pmcvariety.files.wordpress.com/2019/02/celine-sciamma.jpg

unfortunately the plot synopsis sounds awful

How many people vote in these polls early vs waiting to hear how the films have gone down? I guess I should poll this.

I usually vote early to ensure maximum embarrassment

I vote Ken Loach every time.

I voted for the Tarantino for some reason. I have no idea how to predict this. Thought maybe the Malick, apparently a return to form, could win, but I bet it'll be one of these directors I've never heard of.

https://en.wikipedia.org/wiki/Palme_d%27Or#Multiple_Nominations

The following directors have had three or more films in competition and thus, are considered to have been nominated for the Palme d'Or:

13 Nominations
Ken Loach

9 Nominations
Carlos Saura
Lars von Trier

8 Nominations
Joel Coen
Jean-Pierre & Luc Dardenne
Jean-Luc Godard

7 Nominations
Robert Altman
Marco Bellocchio
Luis Bunuel
Pietro Germi
Michael Haneke
Jim Jarmusch
Nanni Moretti

6 Nominations
Pedro Almodovar
Nuri Bilge Ceylan
Vittorio De Sica
Arnaud Desplechin
Miklos Jancso
Alain Resnais
Paolo Sorrentino
Andrzej Wajda

5 Nominations
Theodoros Angelopoulos
Michelangelo Antonioni
Clint Eastwood
Shohei Imamura
Chen Kaige
Abbas Kiarostami
Emir Kusturica
Mike Leigh
Alf Sjoberg

4 Nominations
Lindsay Anderson
Jacques Audiard
Ingmar Bergman
Luis Garcia Berlanga
Matteo Garrone
James Gray
Aki Kaurismaki
Joseph Losey
David Lynch
Delbert Mann
Nagisa Oshima
Francesco Rosi
Satyajit Ray
Dino Risi
Volker Schlondorff
Martin Scorsese
Steven Soderbergh
Gus Van Sant

3 Nominations
Jane Campion
Henri-Georges Clouzot
Ethan Coen
Francis Ford Coppola
Costa-Gavras
Xavier Dolan
Alfred Hitchcock
Kon Ichikawa
Teinosuke Kinugasa
Masaki Kobayashi
David Lean
Terrence Malick
Nikita Mikhalkov
Cristian Mungiu
Ermanno Olmi
Elio Petri
Roman Polanski
Martin Ritt
Elia Suleiman
Quentin Tarantino
Paolo Taviani
Vittorio Taviani
William Wyler

"Nominations" is a weird way to tag it, but yeah. The Loach affinity is radiant.

Which, I admit I haven't seen either of his Palme winners, but I did watch The Angels' Share and Looking for Eric and they were both awful.

Yeah, the inability to put minor Loach in UCR is boring. Also, 13 noms and non of them are Kes. That's just pathetic.

I,Daniel Blake is my favourite since Sweet Sixteen. His collaboration with Laverty is not particularly fruitful imo.

The wind that shakes the barley winning the palme is a bit of a travesty

Yeah, Colossal Youth got robbed!

Every last movie that was also up for a Palme that year probably got robbed

Ok, looked again, and that year was shit for competition. But Pedro Costa was robbed.

I usually vote early to ensure maximum embarrassment

I only ever vote anonymously, ensuring maximum anonymity.

odds for Palme winner listed:

https://www.jigsawlounge.co.uk/film/reviews/cannes2019/

so i will be in cannes the day the qt movie premieres~

https://www.hollywoodreporter.com/features/cannes-has-a-sex-trafficking-problem-metoo-era-1208261

I liked this preview of some of the films at the festival, by Eric Kohn, Kate Erbland, Christian Blauvelt, David Ehrlich, Zack Sharf, Tambay Obenson (films in alphabetical order):

https://www.indiewire.com/2019/05/cannes-2019-film-festival-quentin-tarantino-terrence-malick-1202131965/

I always abstain cuz I give even less of a shit than I do bout the oscars

right now I have no idea what won last year. was it Frederik's Elephant?

Shoplifters

it was a great film!

I don't think I'm as immersed in the film world as you. to me this is a way of discovering new stuff

can't argue with Ken Loach being 5 nominations better than JLG or 6 better than Bunuel

I've never seen a Carlos Saura film before, or a Marco Bellocchio or Pietro Germi film for that matter

or one by Miklos Jancso, Alf Sjoberg, Joseph Losey, Delbert Mann, Nagisa Oshima, Francesco Rosi, Dino Risi or others

I’m going to take any Malick pre-screening hype as PR these days...

this 'nominations' stuff is unheard of (cuz it's nonsense)

You should watch a few Jancsos, Dan :) The early ones are really good.

if only I could

All of Jancso's major films available from Second Run DVD:

http://www.secondrundvd.com/browse.html

I guess I will have to buy them to see them, I'm not opposed to that for films I really care about watching, but why can't there be a streaming or rental service available for all of these films

There is a wonderful appreciation of of his classic Red Psalm by Raymond Durgnat. It was on the web somewhere but I cannot find it right now

The wind that shakes the barley winning the palme is a bit of a travesty

― findom haddie (jim in vancouver), Thursday, 2 May 2019 21:25 (one week ago) Permalink

No its not. Its one of the best movies he's ever made.

There's one Jancso on youtube:
https://www.youtube.com/watch?v=nL55D5l7M5g

Not the best one, but along with The Red and the White it might be the most purely Jancsonian?

why does everyone hate ken loach?

At least half of the 13 films he has had in Cannes should have been nowhere near main competition. The Angels Share? Jimmy's Hall? Looking for Eric? He's always invited back, no matter how mediocre or insignificant his latest is. And meanwhile Fremaux is constantly fretting that they can't possibly have more women in main competition, because it needs to be ONLY the best, no matter what. And then in 2016, when a woman was the bookmakers favorite to become only the third woman to win the main award, and the first one to do it solo, instead they gave a second one to the old white man who has been there 12 times, and Mr Loach had the audacity to go onto the stage and say that this award showed another world is possible. It's the combination of always claiming to be on the side of the oppressed, while literally being the most privileged person in the history of the festival, and not wanting to deal with that hypocrisy.

But Kes is definitely good.

I don't hate Ken Loach although he is very much a social realist film maker and that is what Cannes deals in a lot of the time.

The work on female representation and participation is very much about changing the way the film industry works. Loach is an old socialist and probably a bit tone deaf in on a lot of that other politics, a speech on the lack of representation might help and create some heat on it but it's also no good to rag on somebody whose whole life is making films around the oppressed and getting working class voices and struggles on screen. There is no pretence there, the guy has had his struggles but he never traded his basic principles

The Price of Coal is classic. But I find most Loach movies worthy but completely incurious exercises in idealising the lower classes and there is no shade they all mostly as uninteresting as Millet's depictions of noble peasants toiling in the fields.

the characters in it I mean

Yeah I don't fuck with a lot of what he does, and I get that the bar he is clearing is a low one.

I don't hate Loach either but just as a part of history the fact that I, Daniel Blake won while Toni Erdmann went away empty-handed was bad

haven't seen Kes yet, it's on my list! I'm not any kind of expert on the Irish War for Independence, but The Wind That Shakes the Barley was my favorite of the 6 or 7 Loach films I have seen. I agree it didn't deserve to win over Colossal Youth, though

thanks for the link to Red Psalm, Frederik, I'm going to watch it on my tv screen

Colossal Youth was never going to win at Cannes lol

There is a wonderful appreciation of of his classic Red Psalm by Raymond Durgnat. It was on the web somewhere but I cannot find it right now

Here we go:
http://www.rouge.com.au/8/red_psalm.html

I'm sure I've seen predominately the wrong Ken Loach films (i.e. not Kes, yet).

Well, yeah, that's the other annoying thing. That his constant presence in Cannes since 1990 has meant his latest crap kinda overshadows the earlier, more interesting films. Kes, Poor Cow, Looks and Smiles, The Price of Coal. They're good? But it's The Angels Share which is shown on Danish television repeatedly.

Thanks Ward.

Land and Freedom and Kes are my favourite Loach films. A lot of his films suffer from telling people who are already sympathetic to his/our cause things they already know but when they work they do it well and I'm happy for him to keep making them. The best Dardennes' films wouldn't exist without Loach but Two Days, One Night, for example, is better written and acted than most of his late films.

I've only seen Kes and I, Daniel Blake but I liked the latter much more

The wind that shakes the barley winning the palme is a bit of a travesty

― findom haddie (jim in vancouver), Thursday, 2 May 2019 21:25 (one week ago) Permalink

No its not. Its one of the best movies he's ever made.

― . (Michael B), Saturday, May 11, 2019 1:07 AM (two days ago) Bookmark

it's very unsubtle. the action scenes are terribly shot, they look almost unbelievably-shoddy. but as a student of irish nationalist movements and the RA and all that the main issue for me is the strange politics of the piece. if you come in blind to the movie with no context you would assume that the anti-treaty side in the irish civil war were all james connolly loving socialists and that the main division between the two sides were social issues.

i, daniel blake is very good imo.

I still will never forget a friend of mine weighing in on The Wind That Shakes the Barley with the following synopsis:

To everyone who liked THE WIND THAT SHAKES THE BARLEY:

OK so I've watched an hour of this thing now, and Jesus Christ is it one goddam monotonous scene after another. Is there any reason to watch the next hour?

Summary of the screenplay:

FADE IN

[Evil, rampaging English soldiers rush in with guns]

Soldier: You fucking Irish bastards!
Soldier: Get over here!
Soldier: Fucking Fenian fuckers!
Soldier: Irish scum!

[They hit innocent Irish lads in the face with guns, kill some]

FADE OUT

FADE IN

[Evil, rampaging English soldiers rush in with guns]

Soldier: What's your name you fucking Irish scum?!
Soldier: What's your name?
Irish lad: [sings a rousing traditional Gaelic song in defiance, gets shot]
Soldier: Fucking Irish fuckers!

FADE OUT

FADE IN

[Irish rebels fight back, silently kill some English soldiers, finish scene by singing rousing traditional Gaelic song in defiance, heads hung low]

FADE OUT

FADE IN

[English soldiers rush in with guns]

Soldier: Get the fuck down you fucking Irish fuckers!
Soldier: What's your name?!
Soldier: Fenian fucker!
Soldier: You bastards!

[Old Irish woman cries]

Soldier: Fucking move, you bitch! [Hits in face with gun]

[Irishmen are beaten up, English soldiers laugh menacingly]

FADE OUT

FADE IN

Repeat scene from RED DAWN when good guy turns traitor, has to get shot by another good guy, sadness. These are the true casualties of war, etc.

FADE OUT

ZOMG RINSE REPEAT, MORE MORE MORE OF THE SAME

Are you kidding Best Picture at Cannes? I liked it better when Charlie Sheen and Patrick Swayze were in it.

i've forgotten his weigh-in already

#Photocall of the Jury 📸#Cannes2019 pic.twitter.com/PoFRwY1HES

— Festival de Cannes (@Festival_Cannes) May 14, 2019

LOL, I missed that the Kechiche is four hours long.

Oh boy!

#Cannes2019 jury president Alejandro Gonzalez Inarritu: "I will not call it judgement. I don’t like to judge films. I like to be impregnated by them."

— Ramin Setoodeh (@RaminSetoodeh) May 14, 2019

kelly reichardt so tiny!

the Jarmusch seems incredibly lame

https://variety.com/2019/film/reviews/the-dead-dont-die-review-adam-driver-bill-murray-1203213609/

Reviews seem pretty lame across the board. I'm glad; the movie looked stupid.

kinda like 90% of zombie films

You're awfully generous this morning.

I like a number of them! The 10%.

ugh the Malick is 3 hours

An hour shorter than the Kechiche, tho.

oh god and it's a sequel to a movie that was already 3 hours. did anyone see it?

Nope, I'm waiting for the whole thing. There's going to be a third part, right? Otherwise, why call part two for 'Intermezzo'?

In a few weeks, the local cinemateque will show all three parts of Kobayashi's The Human Condition in one day, and I'll definitely go. And I imagine watching all of Mektoub My Love in one go will be just as good.

As much as I admired The Secret of the Grain, I want him to stop making movies now.

same

I was a little proud of coining the term Palme d'Homme, should he win again.

I really liked "Mektoub..." Part 1. Am looking forward to this second part.

Just listened to a little of the Film Comment podcast on Day 1 and sounds like Amy Taubin's a pretty big fan of the Jarmusch.

interesting what she said about it’s bleakness throwing cold water over the rest of the festival, also her comments about how beautiful it is on a big screen, that it looks radioactive

its

Yeah, seems kind of an early call on what the rest of the festival will bring, but maybe she's seen the rest of the slate.

So the Malick he claims is a self-conscious return to working with a tighter script? I kind of find it hard to believe he ever worked with a tight script. I guess he just means less improvised?

I don’t know about “tight” (would argue his 70s pics qualify as that), but yeah, he’s apparently using an actual script again which was more/less absent from the last three.

it's easy to forget how relatively straightforward The Tree of Life is

I want it to be The New World 2!

the Filho is apparently quite batty.

https://www.avclub.com/john-carpenter-looms-over-a-day-of-madness-and-violence-1834808856

His dedication to finding new ways of depicting arguments about real estate is kinda admirable.

Bacurau sounds like something I’d really like. Not sure what to make of Les Misérables, I’m skeptical about the concept of a traditional-but-updated Street Crime Unit Paris police drama, but I suppose it could be great. One of the most interesting-sounding films to me so far in the festival is Beanpole by Kantemir Balagov in UCR

can't wait to hear what The Lighthouse is like

Atlantics also sounds really good from early takes

wasn't expecting Atlantics (Atlantique) to be a ghost story

Peter Bradshaw thinks Sorry We Missed You is better than I, Daniel Blake, but says “and here is where my qualm arises. Many people will see this film as a portrayal of real issues facing people – not silly old Brexit, which only worries people in the London bubble. Does the director himself feel like this? I don’t know. But I can only say that the European Union is the modern-day nursery of employment rights, and outside it is where working people will find more cynicism, more cruelty, more exploitation, more economic isolation and more poverty.”

the #FBPEU is strong with this one

Also really curious about what Port Authority will be like

Disappointed by Jessica Hausner’s Science-Gone-Too-Far plant-anxiety drama LITTLE JOE - visually blooming but dramatically a wilting marigold. #Cannes2019

— Jonathan Romney (@JonathanRomney) May 17, 2019

:-(

seems like an unusual number of genre- and genre-leaning films in competition this year

http://i64.tinypic.com/2i0rjq0.png

Ramin Setoodeh's picture of Julianne Moore and Richard Madden watching Mariah Carey perform at Cannes

reading the reviews I don't think I care about what the critics say about Little Joe

the Almodovar sounds promising.

I haven't loved his films since Volver, but this one does seem like it could be pretty great

I really want to see the Dan Krauss/PaulHaggis documentary “5B” in special screenings at Cannes about the AIDS ward at SFGH in the early 80s

Review made to infuriate our Dane:

https://www.theguardian.com/film/2019/may/16/sorry-we-missed-you-review-ken-loach

Broken Embraces is secretly one of the very best Almodovar, and he works very well in melancholy mode, so I'm intrigued.

the early reviews of The Lighthouse are very positive:

https://www.theguardian.com/film/2019/may/19/the-lighthouse-review-robert-pattinson-shines-in-sublime-maritime-nightmare

https://theplaylist.net/lighthouse-cannes-review-20190519/?utm_source=dlvr.it&utm_medium=twitter

also

https://www.indiewire.com/2019/05/the-lighthouse-review-robert-pattinson-cannes-2019-1202142861/

the Malick and Sciamma films are looking promising as well

reading all of the ecstatic reviews for The Lighthouse makes me wonder how the Cannes organizers make their selections, and why something like this would be left out of the competition

Wow, super excited to see that.

the filming location is apparently not Maine but Cape Forchu, an island off of Yarmouth Nova Scotia

I like late Malick a lot but the reception to this one has been lukewarm. Pleased the Sciamma has gone down well.

Another out of competition film that seems to have been v.popular is And Then We Danced.

https://d1nslcd7m2225b.cloudfront.net/Pictures/780xany/0/8/0/1303080_jurygridday6ppp_279596.jpg

was really interested to read that the score for Atlantique was composed by Fatima al Qadiri! also the "music direction" in Port Authority was by Matthew Herbert.

from everything I've read about Portrait of a Lady on Fire it sounds fantastic

going to wait til the end, but right now I think I'm going to vote for that in this poll

One thing I noticed following it all on podcasts and Twitter (my Cannes list is here in case you want it) is that it hasn't reflected the critics' scoreboard where Pain and Glory is way out in front. That's got more of a 7/10 kind of thumbs up and it's Bacurau and Portrait of a Lady on Fire that have really got people going. Maybe a younger generation.

Or maybe it's just the UK bias of my Twitter list and podcast listening.

Great...

I think the Palme dog race is over. #cannes2019

— erickohn (@erickohn) May 21, 2019

(Hint: Once Upon a Time in Hollywood just let out in the last year or so.)

it just *seemed* like a year amirite

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/portrait-lady-fire-celine-sciamma-adele-haenel-period-romance-female-liberated-portrait

xp well I'll be, a true legit Freudian slip

https://cdn1.thr.com/sites/default/files/2019/05/the_lighthouse_still_1.jpg

https://cdn1.thr.com/sites/default/files/2019/05/the_lighthouse_still_1.jpg

the word seems to be very good for bong's parasite

that image has got to be one of the best movie stills in recent memory

was disappointed by Snowpiercer (and didn't see Okja) but Parasite sounds like something I will like

Automatic thread bump. This poll is closing tomorrow.

https://d1nslcd7m2225b.cloudfront.net/Pictures/780xany/4/7/9/1303479_jurygridcopy_53988.jpg

lol Dolan

Alternative critic panel tables:

https://www.ekkofilm.dk/stjernebarometer/cannes-filmfestival-2019/

https://www.ioncinema.com/news/film-festivals/2019-cannes-critics-panel-day-quentin-tarantino-once-upon-a-time-in-hollywood

https://icsfilm.org/features/cannes-2019-ics-critics-industry-panel/

Parasite now leads them all. I still voted for Portrait of a Lady on Fire though.

lol Dolan

:( Sachs

Lol, Ekko. I'm blocked from their twitter and facebook :)

Oh, Frederickpaws.

All signs point to everyone predicting Portrait of a Lady on Fire, wanting it to go to Parasite, thinking it's actually Pedro Almodovar's time, and Inarritu and company awarding Tarantino.

Sorry, Frederikpaws. xp

I really want to see the new Herzog now

https://mubi.com/notebook/posts/cannes-correspondences-7-the-wonder-of-werner-herzog-and-terrence-malick

I'm fully expecting Inarritu to go for the Kechiche

I mean. That sounds like the perfect worst-case scenario that doesn’t involve a threepeat for Loach, but a four hour sequel on the last day of the festival sounds like a real uphill battle

poll of polls, of films in and out of competition (rating/#voters/std dev):

http://cannes-ratings.herokuapp.com/2019

I foolishly threw my early vote to Diop but now I'm thinking it'll be Sciamma.

xp Rocketman in the top 10?!

My 2006 self would be shocked that I'd ever in my life say this, but I'm bummed the Dardennes appear to be in a real slump.

That Rocketman placement surprises me! It isn't surprising that of the competition films that have been reviewed so far Malick and Dolan are the most divisive (highest std deviation)

Fun to click back on previous years to see how critical consensus shook out differently vs. the initial rush of the competition. For example:

1.	"Le Havre" (Aki Kaurismaki) FIPRESCI Price	[7.95/33 1.3]
2.	"Le gamin au vélo" (Jean-Pierre & Luc Dardenne) Grand prix	[7.61/52 0.9]
3.	"The Tree of Life" (Terrence Malick)s Palm d'Or	[7.14/52 1.8]
4.	"Once Upon a Time in Anatolya" (Nuri Bilge Ceylan) Grand prix	[7.06/25 1.4]
5.	"The Artist" (Michel Hazanavicius)	[6.56/42 1.8]
6.	"La Piel Que Habito (The Skin I Live In)" (Pedro Almodóvar)	[6.39/44 1.8]
7.	"Drive" (Nicolas Winding Refn) Best Director	[6.25/34 2.1]
8.	"Habemus Papam" (Nanni Moretti)	[6.18/51 1.7]
9.	"Melancholia" (Lars von Trier)	[6.15/49 2.1]
10.	"We Need to Talk About Kevin" (Lynne Ramsay)	[6.13/50 1.9]

According to this site, Parasite is the second-best reviewed film in competition from the entire last decade, and Pain & Glory the fourth-best:

1.	"La vie d'Adèle - Chapitre 1 & 2 (Blue is the Warmest Colour)" (Abdellatif Kechiche) Palme d'Or + FIPRESCI Prize Competition	[8.71/84 1.2]
2.	"Parasite (Gisaengchung)" (Bong Joon-ho)	[8.56/210 1.2]
3.	"The Traitor (Il traditore)" (Marco Bellocchio)	[8.50/1 0.0]
4.	"Pain & Glory (Dolor y gloria)" (Pedro Almodovar)	[8.43/234 1.2]
5.	"Uncle Boonmee Who Can Recall His Past Lives" (Apichatpong Weerasethakul) Palme D'Or	[8.42/31 2.1]
6.	"Toni Erdmann" (Maren Ade) FIPRESCI Price	[8.24/130 1.5]
7.	"Burning (Beoning)" (Lee Chang-dong) FIPRESCI Prize, ICS Award	[8.14/270 1.2]
8.	"Elle" (Paul Verhoeven)	[7.95/95 1.4]
9.	"Carol" (Todd Haynes)	[7.94/91 1.6]
10.	"Amour (Love)" (Michael Haneke) Palme d'Or	[7.92/82 1.4]
11.	"Des hommes et des dieux (Of Gods And Men)" (Xavier Beauvois)	[7.88/25 1.6]
12.	"The Assassin (Nie Yinniang/聶隱娘)" (Hou Hsiao Hsien) Best Director	[7.87/89 1.9]
13.	"Le Havre" (Aki Kaurismaki) FIPRESCI Price	[7.76/37 1.4]
14.	"Inside Llewyn Davis" (Ethan Coen, Joel Coen) Grand prix	[7.74/87 1.5]
15.	"Shoplifters (Manbiki kazoku)" (Hirekazu Kore-eda) Palme d'Or	[7.72/183 1.3]
16.	"Portrait of a Lady on Fire (Portrait de la jeune fille en feu)" (Céline Sciamma)	[7.72/186 1.8]
17.	"Shi (Poetry)" (Lee Chang-dong)	[7.65/27 1.4]
18.	"Winter Sleep (Kis Uykusu)" (Nuri Bilge Ceylan) FIPRESCI Prize Competition + Palme d'Or	[7.63/83 1.6]
19.	"Happy as Lazzaro (Lazzaro felice)" (Alice Rohrwacher) Best Screenplay ex-aequo	[7.59/160 1.5]
20.	"Deux jours, une nuit (Two Days, One Night)" (Jean-Pierre and Luc Dardenne)	[7.59/89 1.4]
21.	"Once Upon a Time in Hollywood" (Quentin Tarantino)	[7.56/145 1.5]
22.	"Holy Motors" (Leos Carax)	[7.54/74 2.1]
23.	"Le gamin au vélo" (Jean-Pierre & Luc Dardenne) Grand prix	[7.54/57 1.1]
24.	"The Wild Pear Tree (Ahlat Agaci)" (Ceylan)	[7.51/100 1.5]
25.	"Adieu au langage (Goodbye to Language)" (Jean-Luc Godard) Jury Prize	[7.47/74 2.3]
26.	"Cold War (Zimna wojna)" (Pawel Pawlikowski) Best Director	[7.46/223 1.5]
27.	"Sieranevada" (Cristi Puiu)	[7.35/117 1.7]
28.	"Paterson" (Jim Jarmusch)	[7.31/126 2.0]
29.	"The Tree of Life" (Terrence Malick)s Palm d'Or	[7.26/58 1.9]
30.	"Aquarius" (Kleber Mendonça Filho)	[7.20/108 1.5]
31.	"Only Lovers Left Alive" (Jim Jarmusch)	[7.17/47 1.4]
32.	"BlacKkKlansman" (Spike Lee) Grand Prix	[7.17/217 1.6]
33.	"Dogman" (Matteo Garrone) Best Actor	[7.14/283 1.5]
34.	"Ash Is Purest White (Jiang hu er nv)" (Jia Zhangke)	[7.11/167 1.3]
35.	"Moonrise Kingdom" (Wes Anderson)	[7.09/111 1.5]
36.	"Good Time" (Benny and Josh Safdie)	[7.07/151 1.5]
37.	"Once Upon a Time in Anatolya" (Nuri Bilge Ceylan) Grand prix	[7.03/26 1.4]
38.	"120 Battements par Minute" (Robin Campillo) Grand Prix du Jury, FIPRESCI Prize Competition, Queer Palm	[7.02/141 1.5]
39.	"Clouds of Sils Maria" (Olivier Assayas)	[7.02/66 1.5]
40.	"Bacalaureat (Graduation)" (Cristian Mungiu) Best Director Ex-Aequo	[7.01/119 1.4]
41.	"Tian Zhu Ding (A Touch of Sin)" (Jia Zhangke) Best screenplay	[6.98/84 1.7]
42.	"Mountains May Depart (Shan he gu ren/山河故人)" (Jia Zhang-Ke)	[6.97/86 1.7]
43.	"Mommy" (Xavier Dolan) Jury Prize	[6.94/70 2.0]
44.	"A Hidden Life (Une vie cachée)" (Terrence Malick)	[6.93/188 2.0]
45.	"The Day After" (Hong Sangsoo)	[6.90/122 1.7]
46.	"Son of Saul (Saul Fia)" (László Nemes) Grand Prix + FIPRESCI	[6.87/90 1.9]
47.	"Bacurau (Nighthawk)" (Kleber Mendonça Filho, Juliano Dornelles, BR)	[6.86/246 1.6]
48.	"Timbuktu" (Abderrahmane Sissako) Ecumenical Jury Award	[6.83/91 1.3]
49.	"Sorry we missed you" (Ken Loach)	[6.80/200 1.8]
50.	"Three Faces (Se Rokh)" (Jafar Panahi) Best Screenplay ex-aequo	[6.80/149 1.3]
51.	"Beyond The Hills" (Cristian Mungiu) Best screenplay + actresses	[6.79/65 1.7]
52.	"Vous n'avez encore rien vu (You Ain't Seen Nothin' Yet)" (Alain Resnais)	[6.74/59 1.7]
53.	"Mia Madre" (Nani Moretti)	[6.73/76 1.6]
54.	"Image and Speech (Le livre d’image)" (Jean-Luc Godard) Special Palme d'Or	[6.72/156 2.5]
55.	"The Summer (Leto)" (Kirill Serebrennikov)	[6.71/162 1.4]
56.	"Les Misérables" (Ladj Ly)	[6.66/217 1.7]
57.	"La Piel Que Habito (The Skin I Live In)" (Pedro Almodóvar)	[6.64/49 1.9]
58.	"The Meyerowitz Stories" (Noah Baumbach)	[6.64/137 1.6]
59.	"Leviathan" (Andrey Zvyagintsev) Best screenplay	[6.59/57 2.0]
60.	"You Were Never Really Here" (Lynne Ramsay) Best Screenplay + Actor	[6.57/123 2.3]
61.	"Maps to the Stars" (David Cronenberg) Best actress	[6.55/85 1.8]
62.	"Rester Vertical (Stay Vertical)" (Alain Guiraudie)	[6.51/130 1.7]
63.	"Da-reun na-ra-e-suh (In Another Country)" (Hong Sangsoo)	[6.50/69 2.2]
64.	"The Whistlers (La Gomera)" (Corneliu Porumboiu)	[6.50/155 1.6]
65.	"Sorry Angel (Plaire, aimer et courir vite)" (Christophe Honoré)	[6.49/205 1.5]
66.	"Mud" (Jeff Nichols)	[6.49/34 1.2]
67.	"Okja" (Bong Joon-Ho)	[6.48/171 1.7]
68.	"Mr Turner" (Mike Leigh) Best actor	[6.46/86 1.9]
69.	"Like Someone In Love" (Abbas Kiarostami)	[6.45/73 2.2]
70.	"The Artist" (Michel Hazanavicius)	[6.45/47 1.9]
71.	"Julieta" (Pedro Almodovar)	[6.45/128 1.8]
72.	"Loveless (Nelyubov)" (Andrei Zvyagintsev) Jury Prize	[6.42/154 2.1]
73.	"Under the Silver Lake" (David Robert Mitchell)	[6.41/216 1.9]
74.	"The Wild Goose Lake (Nan Fang Che Zhan De Ju Hui)" (Diao Yinan, China)	[6.41/142 1.4]
75.	"Le passé (The Past)" (Asghar Farhadi) Ecumenical Jury Award, Best actress	[6.39/88 2.1]
76.	"The Beguiled" (Sofia Coppola) Best Director	[6.38/164 1.7]
77.	"Im Nebel (In the Fog)" (Sergei Loznitsa) Fipresci Price	[6.36/51 1.6]
78.	"Cosmopolis" (David Cronenberg)	[6.35/61 2.2]
79.	"Behind the Candelabra (Ma vie avec Liberace)" (Steven Soderbergh)	[6.33/81 1.3]
80.	"Foxcatcher" (Bennett Miller) Best director	[6.32/80 1.7]
81.	"Atlantics (Atlantique)" (Mati Diop)	[6.31/216 1.6]
82.	"The Immigrant" (James Gray)	[6.31/62 1.9]
83.	"Nebraska" (Alexander Payne) Best actor	[6.29/77 1.7]
84.	"Wonderstruck" (Todd Haynes)	[6.29/168 1.7]
85.	"The Square" (Ruben Östlund) Palme d'Or	[6.29/155 2.0]
86.	"Soshite Chichi ni Naru (Like Father, Like Son)" (Kore-Eda Hirokazu) Jury Prize	[6.29/86 1.5]
87.	"Asako I & II (Netemo sametemo)" (Ryûsuke Hamaguchi)	[6.28/143 1.8]
88.	"The Lobster" (Yorgos Lanthimos) Jury Prize	[6.28/91 1.8]
89.	"Ma loute (Slack Bay)" (Bruno Dumont)	[6.28/136 1.8]
90.	"Drive" (Nicolas Winding Refn) Best Director	[6.26/39 2.1]
91.	"Tournée (On Tour)"( Mathieu Amalric)	[6.21/28 1.5]
92.	"Melancholia" (Lars von Trier)	[6.20/55 2.2]
93.	"We Need to Talk About Kevin" (Lynne Ramsay)	[6.17/55 1.9]
94.	"Loving" (Jeff Nichols)	[6.15/123 1.8]
95.	"Schastye Moe (My Joy)" (Sergei Loznitsa)	[6.15/26 1.9]
96.	"Dheepan" (Jacques Audiard) Palme d'Or	[6.13/74 1.7]
97.	"De rouille et d'os (Rust and Bone)" (Jacques Audiard)	[6.12/77 2.0]
98.	"Happy End" (Michael Haneke)	[6.10/159 1.9]
99.	"Habemus Papam" (Nanni Moretti)	[6.09/56 1.6]
100.	"Un homme qui crie (A Screaming Man)" (Mahamat-Saleh Haroun)	[6.09/27 1.3]
101.	"I, Daniel Blake" (Ken Loach) Palme d'Or	[6.07/108 1.8]
102.	"Le Meraviglie (The Wonders)" (Alice Rohrwacher) Grand prix	[6.07/69 2.0]
103.	"Another Year" (Mike Leigh)	[6.02/23 2.4]
104.	"The Salesman (Foroushande)" (Ashgar Farhadi) Best Screenplay + Actor	[6.02/89 1.6]
105.	"Personal Shopper" (Olivier Assayas) Best Director Ex-Aequo	[6.00/133 2.2]
106.	"Saint Laurent" (Bertrand Bonello)	[6.00/80 1.9]
107.	"Sibyl" (Justine Triet, F)	[6.00/3 2.2]
108.	"The Tree" (Julie Bertuccelli)	[6.00/1 0.0]
-------------------------
109.	"The Killing of a Sacred Deer" (Yorgos Lanthimos) Best Screenplay	[5.99/165 2.3]
110.	"La Grande Bellezza (The Great Beauty)" (Paolo Sorrentino)	[5.97/65 2.4]
111.	"The Homesman" (Tommy Lee Jones)	[5.97/76 1.6]
112.	"The Dead Don’t Die" (Jim Jarmusch) Opener	[5.94/583 1.3]
113.	"Copie conforme (Certified Copy)" (Abbas Kiarostami)	[5.94/26 1.7]
114.	"Killing Them Softly" (Andrew Dominik)	[5.93/70 1.7]
115.	"The Measure of a Man (La loi du Marché)" (Stéphane Brizé)	[5.93/58 1.6]
116.	"Matthias and Maxime" (Xavier Dolan)	[5.90/68 2.1]
117.	"The Handmaid (아가씨, Agassi, Mademoiselle)" (Park Chan-wook)	[5.88/117 2.0]
118.	"American Honey" (Andrea Arnold) Jury Prize	[5.86/120 2.3]
119.	"La Vénus à la fourrure (Venus in Fur)" (Roman Polanski)	[5.85/44 1.6]
120.	"Little Joe" (Jessica Hausner)	[5.85/178 1.6]
121.	"Our Little Sister (Umimachi Diary/海街ｄｉａｒｙ)" (Kore-Eda Hirokazu)	[5.78/69 1.8]
122.	"At War (En guerre/Un autre monde)" (Stéphane Brizé)	[5.78/113 1.8]
123.	"Michael Kohlhaas" (Arnaud Des Pallières)	[5.73/55 1.6]
124.	"La filles inconnu (The Unknown Girl)" (Jean-Pierre and Luc Dardenne)	[5.69/122 1.5]
125.	"Sicario" (Denis Villeneuve)	[5.68/76 1.9]
126.	"Still the Water (Futatsume no mado)" (Kawase Naomi)	[5.66/75 2.1]
127.	"Jeune & Jolie (Young & Beautiful)" (François Ozon)	[5.64/81 1.6]
128.	"Frankie" (Ira Sachs)	[5.63/142 1.7]
129.	"Knife + Heart (Un couteau dans le cœur)" (Yann Gonzalez)	[5.62/163 2.1]
130.	"Hors la loi (Outside of the Law)" (Rachid Bouchareb)	[5.58/18 1.4]
131.	"Ichimei (Hara-kiri)" (Takashi Miike)	[5.58/38 1.6]
132.	"Youth (La giovinezza)" (Paolo Sorrentino)	[5.55/76 2.4]
133.	"The Angels' Share" (Ken Loach) Jury Price	[5.54/54 1.7]
134.	"Capernaum (Capharnaüm)" (Nadine Labaki) Jury Prize	[5.50/136 2.6]
135.	"Wild Tales (Relatos Salvajes)" (Damian Szifron)	[5.50/69 1.8]
136.	"The Little One (Ayka du kazakh)" (Sergei Dvortsevoy) Best Actress	[5.49/101 1.7]
137.	"L'Amant Double" (Francois Ozon)	[5.48/136 2.0]
138.	"Louder Than Bombs" (Joachim Trier)	[5.47/81 1.5]
139.	"Jimmy P. (Psychotherapy of a Plains Indian)" (Arnaud Desplechin)	[5.46/88 1.9]
140.	"Macbeth" (Justin Kurzel)	[5.45/46 1.8]
141.	"Young Ahmed (Le jeune Ahmed)" (Jean-Pierre and Luc Dardenne)	[5.43/168 1.8]
142.	"Hearat Shulayim (Footnote)" (Joseph Cedar) Best Screenplay	[5.40/54 1.9]
143.	"Reality" (Matteo Garrone) Grand Prix	[5.39/66 1.4]
144.	"La princesse de Montpensier" (Bertrand Tavernier)	[5.38/21 2.2]
145.	"Route Irish" (Ken Loach)	[5.33/15 1.8]
146.	"Valley of Love" (Guillaume Nicloux)	[5.31/60 1.9]
147.	"The Neon Demon" (Nicholas Anders Refn)	[5.30/113 2.5]
148.	"Everybody Knows (Todos lo saben)" (Asghar Farhadi)	[5.29/250 1.6]
149.	"Michael" (Markus Schleinzer)	[5.27/45 2.0]
150.	"Jagten (The Hunt)" (Thomas Vinterberg) Ecumenical Jury Award + Actor	[5.20/61 2.2]
151.	"A Gentle Creature (Krotkaya)" (Sergei Loznitsa)	[5.19/119 2.1]
152.	"Borgman" (Alex Van Warmerdam)	[5.15/62 2.0]
153.	"Paradies : Liebe (Paradise : Love)" (Ulrich Seidl)	[5.14/73 2.0]
154.	"Hikari" (Radiance)" (Naomi Kawase) Ecumenical Jury Prize	[5.13/112 2.0]
155.	"This Must Be the Place" (Paolo Sorrentino) Ecumenical Jury prize	[5.13/34 2.6]
156.	"Chronic" (Michel Franco) Best Screenplay	[5.12/54 2.0]
157.	"Ma' Rosa" (Brillante Mendoza) Best Actress	[5.11/92 1.8]
158.	"The Tale of Tales (Il Racconto dei Racconti)" (Matteo Garrone)	[5.10/90 2.0]
159.	"Un château en Italie (A Castle in Italy)" (Valeria Bruni Tedeschi)	[5.07/59 2.1]
160.	"Jimmy’s Hall" (Ken Loach)	[5.04/48 1.6]
161.	"Outrage" (Takeshi Kitano)	[5.04/28 2.2]
162.	"The Housemaid" (Im Sang-soo)	[5.04/27 1.4]
163.	"Heli" (Amat Escalante) Best director	[5.04/86 1.9]
164.	"Lawless" (John Hillcoat)	[4.98/71 1.6]
165.	"Fair Game" (Doug Liman)	[4.96/23 1.5]
166.	"Hanezu No Tsuki" (Naomi Kawase)	[4.90/31 2.0]
167.	"Grigris" (Mahamat-Saleh Haroun)	[4.89/70 1.7]
168.	"Post Tenebras Lux" (Carlos Reygadas) Best director	[4.87/62 2.3]
169.	"Pater" (Alain Cavalier)	[4.84/25 2.0]
170.	"Only God Forgives" (Nicolas Winding Refn)	[4.82/89 2.3]
171.	"On the Road" (Walter Salles)	[4.77/66 1.7]
172.	"Le Redoutable" (Michel Hazanavicius)	[4.67/136 2.0]
173.	"Judgement Day (Yomeddine)" (Abu Bakr Shawky)	[4.64/128 1.9]
174.	"Polisse" (Maiwenn Le Besco) Special Jury Price	[4.63/45 2.1]
175.	"Juste la fin de monde (It’s Only the End of the World)" (Xavier Dolan) Grand Prix + Prix jury oecumenique	[4.62/113 2.2]
176.	"Sleeping Beauty" (Julia Leigh)	[4.58/61 1.8]
177.	"Oh Mercy" (Arnaud Desplechin)	[4.55/37 1.7]
178.	"Wara No Tate (Shield of Straw)" (Takashi Miike)	[4.55/64 2.0]
179.	"Szelíd Teremtés - A Frankenstein Terv (Tender Son - The Frankenstein Project)" (Kornél Mundruczó)	[4.50/9 2.1]
180.	"Aus dem Nichts (In the Fade)" (Fatih Akin) Best Actress	[4.45/109 2.2]
181.	"Rizhao Chongqing (Chongqing Blues)" (Wang Xiaoshuai)	[4.32/28 1.7]
182.	"Mal de pierres (From the Land of the Moon)" (Nicole Garcia)	[4.29/83 1.9]
183.	"The Captive" (Atom Egoyan)	[4.28/69 2.1]
184.	"Jupiter's Moon" (Kornel Mondruczo)	[4.28/125 1.9]
185.	"Mon Roi" (Maïwenn)	[4.14/60 2.2]
186.	"Girls of the Sun (Les filles du soleil)" (Eva Husson)	[4.09/127 2.1]
187.	"Mektoub, My Love: Intermezzo" (Abdellatif Kechiche)	[4.00/1 0.0]
188.	"L'Apollonide" (Bertrand Bonello)	[3.93/31 2.6]
189.	"Baad El Mawkeaa (After the Battle)" (Yousry Nasrallah)	[3.86/63 1.3]
190.	"Rodin" (Francois Doillon)	[3.73/98 1.7]
191.	"Do-nui mat (Taste of Money)" (Im Sangsoo)	[3.69/29 1.7]
192.	"La nostra vita (Our Life)" (Daniele Luchetti)	[3.59/22 1.9]
193.	"The Paperboy" (Lee Daniels)	[3.41/51 1.8]
194.	"Biutiful" (Alejandro González-Iñarritu)	[3.40/20 2.4]
195.	"Utomlyonnye Solntsem 2: Predstoyanie (The Exodus - Burnt by the sun 2)" (Nikita Mikhalkov)	[3.39/9 1.5]
196.	"Marguerite et Julien" (Valérie Donzelli)	[3.30/70 1.6]
197.	"The Source" (Radu Mihaileanu)	[3.12/13 2.0]
198.	"The Search" (Michel Hazanavicius)	[2.90/57 1.8]
199.	"The Sea of Trees" (Gus Van Sant)	[2.68/81 1.6]
200.	"The Last Face" (Sean Penn)	[1.69/74 1.4]

Also, what in the actual fuck.

113.	"Copie conforme (Certified Copy)" (Abbas Kiarostami)	[5.94/26 1.7]

otoh a great placement for

194. "Biutiful" (Alejandro González-Iñarritu) [3.40/20 2.4]

Pain and Glory could end up #3, since Il Traditore is showing today and only has one vote so far

(one review)

apparently I Lost My Body Jérémy Clapin is the first animated film to win the Critics' Week grand prize

*by Jérémy Clapin

Pretty shocked to see Marguerite & Julien so low. The Cannes critics needs to make way for a younger generation.

Jarmusch I bet

the reactions to Mektoub My Love: Intermezzo are...interesting

Automatic thread bump. This poll's results are now in.

The Variety review is hilarious. I feel for everyone who sat through that.

None of these in the running?

https://www.theguardian.com/film/gallery/2019/may/23/the-worst-movie-posters-at-cannes-2019

I kinda feel like the chance of Inarritu awarding anything to a woman is nil. But hey, Bong would be the first Korean winner. So, progress...

Powerful man is aggressive when challenged; woman has to defuse the simmering rage of powerful man; other men stand silently by https://t.co/kliq7IBTuF

— Katherine Angel (@KayEngels) May 24, 2019

Hope they Lars Avon Trier him

A’von

other men stand silently by

The question wasn't directed to them, it was to QT and Margot.

it's a pretty innocuous response

and it's not like Tarantino has shied away from giving women substantial roles, so the lack of dialogue is obviously a deliberate choice

The thread was deleted (apparently a lot of dudes were piling on) but iirc it was an aggressive, short, putdown. Just weird.

If he expanded a bit, talked about the aesthetic choices etc. that thread would not have been written.

Variety, on Intermezzo:

Up onto the central platform we go, where rotating permutations of the female friend group get in booty-shaking formation for Marco Graziaplena and Jérémie Attar’s closely appreciative camera; down we swing into the tipsy, sticky-floored melee, where the others idly gossip and passive-aggressively flirt; back up to the platform for a new round of vigorous group pole-dancing, and so on and so forth, ad nauseum. It’s a blaring endurance test, and designed as such: Eventually, the taunting irony sets in of Kechiche starting this ordeal with the tetchy disco swirl of Donna Summer and Barbra Streisand’s “Enough is Enough.”

AA Dowd's review includes the new-to-me tidbit that Kekiche sold his Palme to bankroll the first Mektoub after his financiers bailed during post-production

I wonder if he tried to get Adele and Lea to sell their Palmes, too

Drudge on Intermezzo:

French Director Trolls Cannes With 3-1/2 Hour Pornographic 'Provocation'...

Critics lambast 'leery, retrograde'...

I thought the story was that they found out he was planning to make what he had said would be one film into two films, at seven hours length all in all. The fun part is that there's still supposed to be a third one...

weird to me that blue is the warmest colour was a hit when it was also v much leery and retrograde

critical hit i should say

2013 was also the year of "Blurred Lines." that movie couldn't have been successful even a year later, it got in right under the wire.

but I do maintain that Blue is the Warmest Color is the first successful cinematic pornography, the movie that Burt Reynolds dreams of making in Boogie Nights.

Also, according to that link above, the single best-reviewed competition film in the last decade at the time, and basically reviled today.

With 80 ratings in now, Intermezzo is both the lowest-rated competition title with the highest standard deviation:

1.	"Parasite (Gisaengchung)" (Bong Joon-ho)	[8.59/252 1.2]
2.	"Pain & Glory (Dolor y gloria)" (Pedro Almodovar)	[8.43/241 1.2]
3.	"Portrait of a Lady on Fire (Portrait de la jeune fille en feu)" (Céline Sciamma)	[8.01/234 1.7]
4.	"It Must Be Heaven" (Elia Suleiman, Palestine)	[8.00/2 1.0]
5.	"Once Upon a Time in Hollywood" (Quentin Tarantino)	[7.52/182 1.6]
6.	"The Traitor (Il traditore)" (Marco Bellocchio)	[7.42/63 1.4]
7.	"A Hidden Life (Une vie cachée)" (Terrence Malick)	[6.98/240 2.0]
8.	"Sorry we missed you" (Ken Loach)	[6.94/240 1.8]
9.	"Bacurau (Nighthawk)" (Kleber Mendonça Filho, Juliano Dornelles, BR)	[6.93/269 1.6]
10.	"Les Misérables" (Ladj Ly)	[6.70/232 1.7]
11.	"The Whistlers (La Gomera)" (Corneliu Porumboiu)	[6.46/165 1.6]
12.	"Atlantics (Atlantique)" (Mati Diop)	[6.39/232 1.6]
13.	"The Wild Goose Lake (Nan Fang Che Zhan De Ju Hui)" (Diao Yinan, China)	[6.39/161 1.4]
14.	"Matthias and Maxime" (Xavier Dolan)	[6.19/250 2.0]
-------------------------
15.	"The Dead Don’t Die" (Jim Jarmusch) Opener	[5.98/585 1.3]
16.	"Little Joe" (Jessica Hausner)	[5.85/193 1.6]
17.	"Sibyl" (Justine Triet, F)	[5.71/7 2.1]
18.	"Young Ahmed (Le jeune Ahmed)" (Jean-Pierre and Luc Dardenne)	[5.64/210 1.7]
19.	"Frankie" (Ira Sachs)	[5.40/173 1.7]
20.	"Oh Mercy" (Arnaud Desplechin)	[4.81/121 1.7]
21.	"Mektoub, My Love: Intermezzo" (Abdellatif Kechiche)	[4.77/80 2.8]

OK now I really want to read a rave for the Kekiche

The fun part is that there's still supposed to be a third one...

The third part will just be him jerking it to the Cannes premiere of Pt II

It's not even really the press conferences, but back to back headlines about Choice Soundbites from Mssrs. Dolan/Kechiche, aieeee.

— Vadim Rizov (@vrizov) May 24, 2019

Just digging through our history of predicting these ...

2018
We Predicted:

Blackkklansman, dir: Spike Lee / Lazzaro Felice, dir: Alice Rohrwacher	5

Shoplifters, dir: Kore-Eda Hirokazu	2

2017
We Predicted:

“The Killing of a Sacred Deer” directed by Yorgos Lanthimos	6

The Square

2016
We Predicted:

Toni Erdmann (Maren Ade)	6

I, Daniel Blake (Ken Loach)	3

2015
We Predicted:

Mountains May Depart (Jia Zhangke)	4

Dheepan (Jacques Audiard)	3

2014
We Predicted:

Winter Sleep (Nuri Bilge Ceylan)	2

Winter Sleep (Nuri Bilge Ceylan)	2

2013
We Predicted:

The Immigrant, dir: James Gray	4

La Vie D'Adele, dir: Abdellatif Kechiche	1

2012
We Predicted:

"Like Someone in Love," Abbas Kiarostami	4

"Amour," Michael Haneke	1

2011
We Predicted:

Nicolas Winding Refn - Drive / Paolo Sorrentino - This Must be the Place / Terrence Malick - The Tree of Life	1

Terrence Malick - The Tree of Life	1

2010
We Predicted:

Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)	6

Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)	6

2009
We Predicted:

"Antichrist," Denmark-Sweden-France-Italy, Lars von Trier	6

"The White Ribbon," Germany-Austria-France, Michael Haneke	2

2008
We Predicted:

SYNECDOCHE, NEW YORK	directed by Charlie KAUFMAN	3

ENTRE LES MURS	(THE CLASS)	directed by Laurent CANTET	0

2007
We Predicted:

My Blueberry Nights, Hong Kong-France-China, Wong Kar Wai / The Man From London, Germany-France-U.K.-Hungary, Bela Tarr	3

4 Months, 3 Weeks and 2 Days, Romania, Cristian Mungiu	0

Sorry that looks ugly as hell. But so were most of our predictions.

I feel good about the board's prediction this year.

Un Certain Regard winners...

« UN CERTAIN REGARD » PRIZE
A VIDA INVISÍVEL DE EURÍDICE GUSMÃO
(LA VIE INVISIBLE D’EURÍDICE GUSMÃO/THE INVISIBLE LIFE OF EURÍDICE GUSMÃO)
BY KARIM AÏNOUZ

JURY PRIZE
O QUE ARDE
(VIENDRA LE FEU/FIRE WILL COME)
BY OLIVER LAXE

PRIZE FOR BEST PERFORMANCE
CHIARA MASTROIANNI
FOR CHAMBRE 212 (ON A MAGICAL NIGHT) BY CHRISTOPHE HONORÉ

PRIZE FOR BEST DIRECTOR
KANTEMIR BALAGOV
FOR BEANPOLE (UNE GRANDE FILLE)

SPECIAL JURY PRIZE
LIBERTÉ
BY ALBERT SERRA

JURY’S « COUP DE CŒUR » (Ex-aequo)
LA FEMME DE MON FRÈRE (A BROTHER’S LOVE)
BY MONIA CHOKRI
THE CLIMB
BY MICHAEL ANGELO COVINO

JURY SPECIAL MENTION
JEANNE (JOAN OF ARC)
BY BRUNO DUMONT

That looks really good, though I'm not the world's biggest fan of Aïnouz. But Serra and Laxe ftw!

https://film.avclub.com/guessing-the-winners-and-picking-our-own-at-the-end-o-1835011696/amp

would love to see the Sciamma win.

Indiewire is predicting Pain and Glory:

https://www.indiewire.com/2019/05/cannes-2019-palme-dor-contenders-winners-prediction-1202141512/

all of the diverging reviews of Mektoub make me curious about it. I really liked Blue Is the Warmest Color

Diverging? Most everyone seems clear it's a piece of shit.

Again, if anyone spots a rave, please share it here.

I haven’t seen any raves, but the ratings on the Todas las Criticas grid (Apitchatpoll) place it in the middle of the competition pack, and the discussion of it on the awards watch forum is somewhat interesting (if you can stand the horrible interface)

I like this paragraph from Cineuropa (badly translated), which comes after a description of the plot: “The tireless partying and fun, reproduced without filter and with overflowing duration by the filmmaker up until a particularly crude climactic scene (but one dominated by a woman), are dotted with micro-events, brief looks or exchanges at the bar, in a continuous flood of sound, an exponential consumption of alcohol, and a loosening of cultural mores which “doesn’t do things by halves”. In this boiling aquarium, Abdellatif Kechiche details all the “good and bad sides” of a stupendous and highly energetic moment with fabulous virtuosity in his mise en scène. But his commitment to a radically elongated runtime — oscillating from hypnosis to overload — and to the deliberate, repetitive onslaught of sexualised dances he orchestrates, will require great tolerance and a firmly open mind for the viewer to truly appreciate the real value of the film as a whole.”

the ratings on the Todas las Criticas grid (Apitchatpoll) place it in the middle of the competition pack

Cool. It has 0% on Rotten Tomatoes.

yeah it's probably really bad, but even the bad reviews make it sound at least somewhat interesting (to me)

It's produced some of the only inspired pans I've read in a while, at least.

Those critics survived a longer ordeal than the Titanic victims, so.

Sounds like it takes even longer for the characters to get off in this one, too.

Portrait of a Lady on Fire won the Queer Palme

Xavier may never recover.

What time is the closing ceremony?

Since 1955, the Cannes Film Festival has awarded the Palme d’Or to some of the greatest filmmakers of all time, from Frances Ford Coppola to Jane Campion.

FIPRESCI winners

Competition: It Must Be Heaven (Elia Suleiman)
Un Certain Regard: Beanpole (Kantemir Balagov)
Directors Fortnight/Critics Week: The Lighthouse (Robert Eggers)

https://www.hollywoodreporter.com/ne...-prize-1213726

Indiewire just reordered their Palme predictions, putting Sciamma first. Sight and Sound critics's predictions are split between Sciamma and Bong

i was in cannes on wednesday, interesting scene for a normal person.. saw someone get a miracle free ticket to parasite, nice moment

this looks like a working livestream if anyone is interested:

https://www.dailymotion.com/video/x5gv6be

Thanks. Céline Sciamma hasn't won the Palme then - just got the screenplay prize.

yeah that's disappointing

Dardennes get director prize, Bacurau and Les Miserables share jury prize.

Tarantino or Bong for the Palme?

BONG

Yesssss

Diop got the Grand Prix so my vote wasn't totally off!

Oh the whole, at least based on the critics, this seems like a really good set of winners overall?

it does seem like it

I liked the first "Mektoub..." quite a lot. Felt it worked fine as a self contained film. Think I'll be p(ass)ing on this one, though.

lol

It’s really been an amazing couple of decades for South Korean films

Peppermint Candy (Lee, 1999), Chunhyang, (Im, 2000), Oasis (Lee, 2002), Painted Fire (Im, 2002), Oldboy (Park, 2003), The Bow (Kim, 2005), Tale of Cinema (Hong, 2005), Crying Fist (Ryoo, 2005), The Host (Bong, 2006), Woman on the Beach (Hong, 2006), Secret Sunshine (Lee, 2007), Breath (Kim, 2007), Night and Day (Hong, 2008), Mother (Bong, 2009), Thirst (Park, 2009), Poetry (Lee, 2010), Hahaha (Hong, 2010), The Day He Arrives (Hong, 2011), Arirang (Kim, 2011), Snowpiercer (Bong, 2013), Right Now, Wrong Then (Hong, 2015) The Handmaiden (Park, 2016), On the Beach at Night Alone (Hong, 2017), Okja (Bong, 2017), The Day After (Hong, 2017), Claire’s Camera (Hong, 2018), Burning (Lee, 2018), Parasite (Bong, 2019)

haven't seen all of them, my favorites are Burning, Poetry, Secret Sunshine, Right Now Wrong Then, On the Beach at Night Alone, Claire's Camera. Oldboy and The Handmaiden had some amazing scenes

really glad to read that Netflix acquired Diop's Atlantique

Haven’t seen the first part of Mektoub yet, it hasn’t ever been available in the US as far as I know

Nope, but I hear Brazzers is picking up the North American distro on Intermezzo

lol

Is it possible that as the intermezzo in a trilogy of films from a director who is interested in exploring depictions of sexual expression the second part is meant to represent a kind of musical sustain

hypnosis and overload

I do wish that a director like this would turn his gaze on male sexuality

I liked what Eric Kohn had to say as a wrap-up: "the narrative of this year’s Cannes goes back to the beginning. Jim Jarmusch’s “The Dead Don’t Die” opened the festival to lukewarm reviews, but the master of deadpan’s dark zombie comedy is nothing if not a pointed critique of an exploitative system. The undead in Jarmusch’s kooky ensemble are drawn to products that they obsessed over in their lives — wifi, Xanax, coffee, you name it — and it doesn’t take much to see just how much contempt Jarmusch has for the way we’ve all become materialistic slaves.

It’s a blunt metaphor, explained in bitter terms in Tom Waits’ apocalyptic voiceover, but in retrospect it set the stage for the festival’s many depictions of global outrage against capitalist persecution. Wealth attracts and it takes away; in the process, it catalyzes dramatic narratives that must be told. Even bad movies can be portals to the fears, anxieties, and frustrations of the times in which they’re made; the 2019 Cannes Film Festival brought us some great ones."

On Korean film: It seems the story is pretty straight forward: The military only lost power in the early nineties, and censorship was only abolished in 1994, and there'd just been a lot of talent that was unleashed all of a sudden. Lee Chang-dong was a writer who only turned to film in his fourties, once it became a more free medium.

That said, this youtube-channel is pretty great for watching the treasures of early Korean cinema. I'd recommend The Aimless Bullet, The Empty Dream, Mandala and Sopyonje.
http://www.youtube.com/user/KoreanFilm

I'm surprised I see no year-end chatter about Little Joe generally and Emily Beecham in particular.

Have it premiered anywhere? I really hope to see it later this month.

I've only seen five of these so far, sigh. Dead Don't Die just came on VOD here.

Atlantique/Atlantics is on Netflix.

The only chatter I've heard about the Hausner is about ti being not v good

I don't know! https://www.criterion.com/current/posts/6374-jessica-hausner-s-little-joe

Ben Whishaw makes everything that he is in bad, imo.

I like him fine. He helps this film's drollness.

he swivels his eyes from side to side like an eagle-eyes action man which is apparently how he has decided to do emotion/anxiety but he does it all the time.

Watched "Atlantique" last night on Netflix; my pops has a ridiculous-sized HD TV so I've been taking advantage and binging on good stuff. For a first timer Diop hit this one waaay out the ballpark. A great film.

Yeah, it's my favourite from competition so far.

The Traitor is unexpectedly rigorous and tough.

Anyone watch Young Ahmed? It's on Amazon Prime (for a fee).