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JabbaTheSlut wrote:First rumours leaking out: Ramsay's "You were never really here" is a serious Palme d'Or -contender.

That's not saying much, given the competition. But the film will likely be disappointing for Ramsay fans like me. It's mostly a pretty generic thriller, punctuated by moments (several, to be sure) that feel like someone's copying Ramsay's style. Thomas Townend (a DP whose name I'm not familiar with) is no Alwin Kuchler. Not close.

Townend is Ramsay's longtime second unit DP.

Ramsay, a photographer first, studied cinematography in film school. She knows how to fill a frame herself. Film getting a strong positive reaction.

Townend also shot Attack the Block, which made a fairly vile part of South London look far better than it rightly should have done.

True. He'a very good cinematographer.

What is to me a clearly inconsistent film is getting, no surprise to me, mixed reviews so far. On the Todas site, 16 critics have reported: 4 A's, 3.5 B's, 3.5 C's, 2 D's, and 3 F's - a C+ average, which puts it 8th in the ranking of the 20 competition films. Some folks seem to have been beguiled by its several poetic moments -- one black-and-white sequence is particularly memorable. Other critics were obviously even more disappointed than I.

The Screen, Film Francais, and Rurban sites haven't been updated since the press screening last night, at which the film got a smattering of both applause and boos. I'll revise my previous post with the final scores when they come in. Off to see the Polanski and Campion and, after 33 films, call it a fest.

As an aside, as much as I have a weird excitement for this festival, I cannot imagine actually attending it. Queues, crowds, security, tiredness, FOMO...all of that does not seem worth it when you have Sergei Loznitsa finding financing, taking time to make the film, bringing it to the south of France where some exhausted soul who is clearly not at her best offers hyperbole in one direction or the other. Perhaps I just prefer more measured takes, or I guess the reality of having so many individuals who deeply care about the new Lozzy film rubs off on you.

I do generally prefer Screen's aggregate, as they usually choose at least a handful of critics I tend to agree with and they tend to see all films in competition, so you're not stuck comparing a film with 22 scores to one with 35.

Hey! Here's the top three from each year since I'm here.

2010
1. Another Year
2. Of Gods and Men
3. Poetry

2011
1. Once Upon a Time in Anatolia
2. Le Havre
3. The Kid with a Bike

2012
1. Amour
2. Beyond the Hills
3. Rust & Bone

2013
1. Blue is the Warmest Color
2. Inside Llewyn Davis
3. Nebraska

2014
1. Mr. Turner
2. Leviathan
3. Winter Sleep

2015
1. Carol
2. The Assassin
3. Son of Saul

2016
1. Toni Erdmann
2. Paterson
3. Elle

Fifteen of the twenty-one films went on to win prizes. The six who did not either debuted at the 2016 edition or were Another Year, Le Havre, or Rust & Bone.

How sad I am after reading the Ozon's flop! With the most beautiful woman in the world and that hot blond Belgian actor, the movie was the most promising... I read she fucks him, anally. It looks like "Sisters" by De Palma, a critic says.

All the (few) Cannes chronicles I found (in Spanish) complain how bad this year the selection has been. In this fast and cheap world we enjoy, news about the red carpet are in all the media, but serial and deep reviews, nothing.

My UNeducated guesses for the prizes:
Palme d'Or - YOU WERE NEVER REALLY HERE
Grand Prix - 120 BPM
Prix du Jury - RADIANCE
Best Director - Bong Joon-ho (Okja)
Best Actress - Kidman (The Beguiled)
Best Actor - Colin Farrell (The Killing of a Sacred Deer)
Best Screenplay - Zvyagintsev (Loveless)

Radiance is a wild guess, but could be that there is political message this year and all the female director's films will be awarded. I see Coppola and Ramsay getting an award with a great certainty.

Omensetter wrote:I do generally prefer Screen's aggregate, as they usually choose at least a handful of critics I tend to agree with ...

Aggregates are aggregates and, unless one is "the average film critic", they are unlikely to speak to one's specific taste. But yes, it's interesting to compare one's taste to those of individual panelists. This year, Der Zeit's Katja Nicodemus, from the Screen panel, has ratings I can sympathize with. The only film she gave three (out of four possible) stars to was the Haneke. Her lowest marks were reserved for the Loznitsa and Akin [a big ugly X], along with the Bong, Hazanavicius, and Doillon (the last two being this year's punching bags) [one star]. I'd quibble with her two stars for the Hong, but I am surprised she missed the boat (from my POV) on the Lanthimos [one star].

I'm done with the competition films. My favorites were: Lanthimos, Haneke, Ostlund, all of whom have articulate visions and visual 'voice'. Well-made but forgettable were the Zvyagintsev and Campillo. Ramsay had higher highs but also lower lows. The rest were, for me, average or worse.

Here are Todas, Screen, Le Film Francais, and Rurban final tallies.

Todas las Criticas [scores out of 10]

Hong [7.6], Safdies [7.2]
Baumbach [6.8], Haynes [6.6], Campillo [6.5], Coppola [6.3], Bong [6.2]
Zvyagintsev [5.3], Ostlund [5.3], Haneke [5.0]
Ramsay [4.9], Ozon [4.9], Kawase [4.9], Lanthimos [4.7], Doillon [4.2]
Loznitsa [3.9], Hazanavicius [3.5]
Akin [2.9], Mundruczo [2.4]

Screen [out of 4]

Zvyagintsev [3.2], Ramsay [3.1]
Ostlund [2.7], Haynes [2.7], Safdies [2.6], Campillo [2.5], Hong [2.5], Baumbach [2.4], Coppola [2.3], Bong [2.3], Loznitsa [2.3], Haneke [2.2], Ozon [2.2]
Lanthimos [1.9], Kawase [1.7], Mundruczo [1.6] Akin [1.6], Hazanavicius [1.5]
Doillon [0.8]

Rurban [scores out of 10]

Campillo [7.1], Safdies [7.0]
Hong [6.7], Baumbach [6.7], Ramsay [6.5], Bong [6.4], Coppola [6.4], Zvyagintsev [6.3], Ostlund [6.3], Haynes [6.3], Haneke [6.0]
Lanthimos [5.9], Ozon [5.5], Loznitsa [5.2], Kawase [5.1]
Hazanavicius [4.8], Akin [4.4], Mundruczo [4.2], Doillon [3.7]

Le film français [out of 4]

Campillo [2.9], Zvyagintsev [2.2], Hazanavicius [2.2], Ostlund [2.1], Haynes [2.0], Bong [2.0],
Ramsay [1.9], Doillon [1.9], Hong [1.9], Coppola [1.9], Safdies [1.8], Baumbach [1.7], Ozon [1.7], Lanthimos [1.6], Kawase [1.6], Loznitsa [1.4], Haneke [1.3], Akin [1.2], Mundruczo [1.0]

UPDATE: One more poll. ICS. It includes scores by Dennis Lim, whose thoughts aligned with mine pretty well last year, but who's seemed to have lost his way in the interim! He gave the Ramsay 1.5 out of 5 stars; his highest scores (4 out of 5) went to Ostlund, Hong, Safdies, and Haynes; he gave only 1 star to the Lanthimos. In the poll, You Were Never Really Here sits at 11th in the 19-film competition ranking, with the Campillo (a safe, but pretty generic choice) and the Safdies (wtf) out ahead of the pack.

Omensetter wrote:As an aside, as much as I have a weird excitement for this festival, I cannot imagine actually attending it. Queues, crowds, security, tiredness, FOMO...all of that does not seem worth it

I can't imagine watching so many varied new films in so short a time period.
I would get worn down and be unable to process or analyze what I saw.
I think we have a good division of labor with yoshimori there and doing the work, and me sitting here and absorbing his insights. This thread has been a good read.

I'd say it's pretty clearly not what it's hyped to be. I've been here ten-ish times and don't think I've seen more than two or three films that I wouldn't've seen somehow or another in the next six months. The projection here is amazing, but I think I can count on two hands the films I thought were amazing. I, now, try to limit myself to three movies a day, but yes, it's tiring -- and don't forget the jet lag involved for most attendees -- and somewhat silly to stand in line for (sometimes) an hour for a 90-120 minute event. Each year, I vow, will be my last, but as a friend said, "You've got something better to do?" At least I can stop by Paris or Rome or London or Berlin for a week on the way back to recoup at museums and concerts and restaurants.

Previous post updated, with Ramsay falling a bit in the Todas poll, but actually rising in the Rurban. Only her FF score is left to add.

The Chloe Zhao, btw, has won the Art Film prize at the Fortnight. UCR Prize will be announced in a few hours.

FIPRESCI:

Comp. --- Robin Campillo, 120 BPM
UCR --- Kantemir Balagov, Closeness
Quinzaine --- Pedro Pinho, The Nothing Factory

The latter is particularly exciting as it seemed to be building a quiet buzz of late. It will likely end up on one of those "Best Undistributed Films" lists as it's three hours and Marxist. I'll still seek it out!

Surprised that Another Year topped Screen's aggregate in 2010. I'm very much a fan of Mike Leigh's work, but when I saw that film at its U.S. premiere at the NYFF, it felt a bit disappointing despite a solid ensemble, and much of the audience seemed to share the same reaction, if not worse.

yoshimori wrote:I'd say it's pretty clearly not what it's hyped to be. I've been here ten-ish times and don't think I've seen more than two or three films that I wouldn't've seen somehow or another in the next six months. The projection here is amazing, but I think I can count on two hands the films I thought were amazing. I, now, try to limit myself to three movies a day, but yes, it's tiring -- and don't forget the jet lag involved for most attendees -- and somewhat silly to stand in line for (sometimes) an hour for a 90-120 minute event.

Thank you for being on the ground nonetheless! Two films a day is exhausting for me in a room completely of my controlling. I realize a lot of these attendees have assignments, but I'm always wondering if they'd rather see one ambitious film, talk about it in the nice weather, and maybe end the day on a more fun film (as fun as Cannes gets).

hearthesilence wrote:Surprised that Another Year topped Screen's aggregate in 2010. I'm very much a fan of Mike Leigh's work, but when I saw that film at its U.S. premiere at the NYFF, it felt a bit disappointing despite a solid ensemble, and much of the audience seemed to share the same reaction, if not worse.

I was surprised Leigh topped it in 2014 when I recalled its competition. Going through those old grids really just reminded me that these films' lives extend far beyond two-ish weeks in May. I loved Another Year, but the main films I remember from the 2010 festival were the Weerasethakul, the Loznitsa, and the Kiarostami, all of which were firmly in the middle of the pack with their score. Of Gods and Men seems like the sort to play at a festival and then vanish like a fart in the Sahara, to quote an old apocryphal Finnish proverb. Poetry still holds up though!

I cannot really see them going with Ramsay for the Palme. It screened unfinished, even though it's seemingly finished enough for (mostly positive) appraisals. It's not exactly Apocalypse Now in scope, either. Although, I'm sure the 1979 jury could further justify their decision by pointing out that it was a joint winner with a finished film.

Predictions
Palme: Andrey Zvyagintsev, Loveless
Grand Prix: Robin Campillo, 120 Beats Per Minute
Jury: Todd Haynes, Wonderstruck
Director: Lynne Ramsay, You Were Never Really Here
Screenplay: Sergei Loznitsa, A Gentle Creature
Actress: Nicole Kidman, The Beguiled
Actor: Robert Pattinson, Good Time
(if still a thing)70th Anniversary Prize: Michael Haneke, Happy End

Kruger's getting Best Actress, I suspect. And word is Almodovar loved Wonderstruck

UCR:
Best Film: A Man of Integrity by Mohammad Rasoulof
Best Acting: Jasmine Trinca for Fortunata
Best Director: Taylor Sheridan for Wind River
Jury Prize: April's Daughter by Michel Franco
Poetry of Cinema Award: Babara by Mathieu Amalric

Omensetter wrote:I'm always wondering if they'd rather see one ambitious film, talk about it in the nice weather ...

That sounds delightful!

I think given recent years it's a fool's errand to predict jury awards in Cannes. Cue WTF reactions from the global press when the awards are given out tomorrow..

Interested in the Coppola (even though I've disliked her previous films that I've seen), the Safdies, the Baker, the Ramsay, the Campillo, Miike's 100th and the Ostlund. Haneke was never a favourite of mine and the reviews this time seem to have been lukewarm compared to his last films.

Last year was really the only year in recent memory where things were completely aslant and everyone would have forgotten about it if they gave the Palme to Toni Erdmann. 2015 still saw awards going to Son of Saul, The Assassin, and Carol, although someone on the jury wasn't full-Carol and I want answers. But, yeah, it's just a bit of fun, which I type as I recall myself watching the Canal+ stream by myself and booing Hou Hsiao-hsien on my laptop since he winning Best Director means he could not win the Palme. Or last year's tense moment when Dolan and Loach were the only two without prizes...

Omensetter wrote:Last year was really the only year in recent memory where things were completely aslant and everyone would have forgotten about it if they gave the Palme to Toni Erdmann. 2015 still saw awards going to Son of Saul, The Assassin, and Carol, although someone on the jury wasn't full-Carol and I want answers. But, yeah, it's just a bit of fun, which I type as I recall myself watching the Canal+ stream by myself and booing Hou Hsiao-hsien on my laptop since he winning Best Director means he could not win the Palme. Or last year's tense moment when Dolan and Loach were the only two without prizes...

You may find your answer to Carol here

Aunt Peg wrote:

Omensetter wrote:Last year was really the only year in recent memory where things were completely aslant and everyone would have forgotten about it if they gave the Palme to Toni Erdmann. 2015 still saw awards going to Son of Saul, The Assassin, and Carol, although someone on the jury wasn't full-Carol and I want answers. But, yeah, it's just a bit of fun, which I type as I recall myself watching the Canal+ stream by myself and booing Hou Hsiao-hsien on my laptop since he winning Best Director means he could not win the Palme. Or last year's tense moment when Dolan and Loach were the only two without prizes...

You may find your answer to Carol here

Kudos to Coen for that last dig at that talentless shit Dolan.

Aunt Peg wrote:here

Yeah, I linked to that article in the Dheepan thread and provided a brief excerpt from my Carol fan-fiction earlier in the thread.

On the topic of Cannes jury strife, of which is no doubt inevitably occurring right now---well, this year's make-up does not seem the coalition sort, but perhaps we all are of the coalition sort; I'm currently imagining Will Smith unsuccessfully trying to garner Okja representation alongside Gabriel Yared, I just found out about the 1997 Adjani-Moretti battle, which fits all descriptions of Moretti on juries I've read (although Moretti backed the best film). As jury head of the 2012 offering, the rumors were that he did not much care for Seidl and Haneke. It would seem the sheer love of Amour from the jury forced him into a corner where he managed to deal out a second Grand Prix to Matteo Garrone.

His statement at the time:
"Without going into details, no prize was agreed on unanimously, a middle ground that would have pleased no one. I want to again mention Emmanuelle Riva and Jean-Louis Trintignant's fundamental contribution to Love's Palme d'Or, because some members of the jury would have liked to give them the acting and screenplay awards too. But the rules do not allow it. I noted in general that several directors seemed more in love with their own style than with their characters. Leos Carax, Ulrich Seidl, and Carlos Reygadas' films were the ones that most divided the jury."
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In dog news, some bourgie Manhattan dog from Baumbach's film won the Dog Award, beating out other dogs. Presumably the subway-riding Mundruczó dogs of Moscow likely present in the Russian films had to settle on the Jury Prize.