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

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.