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I forgot to mention Marcello Fonte (the titular dogman) won for Dogman.

Labaki wins Jury. Palme between Spike and Kore-eda.

Spike won the Grand Prix.

Kore-eda, the Palme. Fair enough!

I'm not saying they should put JLG on the jury next year, but they should give him veto power.

Seems like Cannes 2018 wrongfooted all the naysayers and produced a very solid competition this year. I'm most looking forward to Happy as Lazarro, BlacKkKlansman, Shoplifters, Burning, Los Silencios, Long Day's Journey Into Night, Diamantino, Birds of Passages and 3 Faces.

Best Screenplay (TIE) Alice Rohrwacher for Happy as Lazzaro and Jafar Panahi and Nader Saeivar for Three Faces

Best Actress Samal Yeslyamova for Ayka

Best Actor Marcello Fonte for Dogman

Best Director Pawel Pawlikowski for Cold War

Jury Prize Capernaum, directed by Nadine Labaki

Grand Prix BlacKkKlansman, directed by Spike Lee

Special Palme d'Or Jean-Luc Godard for The Image Book

Palme d’Or Shoplifters, directed by Hirokazu Kore-eda

I don't know - maybe a fair number of the regular naysayers, like me, just got fed up and, like me, finally stayed home this year. In any case, none of the trailers/clips of the top prizewinners looks remotely thrilling, iyam. Even the top-reviewed (and prizeless) film, Lee Chang-dong's, looks relatively artless, if potentially gripping. You're right, though, that the average review scores were a couple tics up this year.

Shoplifters trailer
BlacKkKlansman trailer
Capernaum clip
Cold War clip

Nay, nay, nay, nay!

Netflix picked up Girl and Lazzaro felice, which is commendable especially if you take into account that it took over a year for The Wonders to debut stateside and that it, uh, just opened in Russia. (Honestly, I wouldn't be surprised if they inked the deal thinking Rohrwacher would win the Palme, given the timing of their announcement.)

Cohen picks up Girls of the Sun and Ash is Purest White.

Hopefully IFC gets in on this. Would love for Ceylan and Burning to be on Criterion.

I would slightly disagree yoshimori - this seems like a fantastic year at Cannes with a least a dozen films that I'm excited to get a chance to see!

I must say that I haven't been so excited about the main competition line-up in years. Many contenders look promising, especially the Italian and Asian ones. It was thrilling to witness so many positive reactions this year, almost daily.

trying to wrap my head around Burning and The Wild Pear Tree garnering the high level of nearly unanimous, exuberant praise that they are getting, and neither getting any sort of award.

Persona wrote: Sun May 20, 2018 1:12 am trying to wrap my head around Burning and The Wild Pear Tree garnering the high level of nearly unanimous, exuberant praise that they are getting, and neither getting any sort of award.

Maybe just too many worthwhile films (pace yoshimori).

Wondering if this will be like when Godard was given an Honorary Oscar and they could find him for several weeks or something. I can't imagine he gives a shit.

Michael Kerpan wrote: Sun May 20, 2018 2:36 am

Persona wrote: Sun May 20, 2018 1:12 am trying to wrap my head around Burning and The Wild Pear Tree garnering the high level of nearly unanimous, exuberant praise that they are getting, and neither getting any sort of award.

Maybe just too many worthwhile films ...

Or maybe the jurors just didn't think those films were all that good ... or ... or ...

It's a bit too soon to have a strong sense of what the jury really thought, I'd think. And we may never know. In any case, a quick look at the polls and grids shows that the praise for Burning and WPT wasn't actually "nearly unanimous" - a fair number of French critics disliked both - and always "exuberant", so no surprise, really, that the some of the choices made by Ms Blanchett et al did not reflect the critical average. The jury's 3rd place film, for instance, was the 18th ranked out of 21 films in the "cannes-ratings" site's poll of (critics') polls.

Persona wrote: Sun May 20, 2018 1:12 am trying to wrap my head around Burning and The Wild Pear Tree garnering the high level of nearly unanimous, exuberant praise that they are getting, and neither getting any sort of award.

It's nothing new. Last year, Good Time, The Day After and The Meyerowitz Stories were amongst the best rated In Competition movies and got no award.
2016 : Elle, Paterson, Sierranevada, Aquarius
2015 : Mountains May Depart
And I suppose you can find many others that were very well received but ended up with no award.

Michael Kerpan wrote: Sun May 20, 2018 2:36 amMaybe just too many worthwhile films (pace yoshimori).

Many journalists I've been discussing Cannes with told me rather the opposite.

Really, the only misstep the jury could have made would be to have given something to Girls of the Sun. It seems to have existed in Competition just to be screened the day-of the women's march and subsequently eclipsed. The Labaki earned its fair share of vitriol and looks like something I'd hate, but it's easy to see a lot of people loving it (it was Gary Oldman's favorite as he was coming into the awards ceremony, so it may be for the guilty liberal set, not, uh, suggesting Oldman is such).

In the end, though: Hirokazu Kore-eda---a filmmaker I'd massively taken for granted, probably because he releases a film a year (he has one with Deneuve/Binoche on track for next year's Cannes), but one I'm ultimately happy with winning. I obviously don't know him as a person, but he displayed the sort of humility humanity should aspire to---again, fantastic for him for winning the famous award at an ultimately non-meritocratic festival.

(Alongside others, hopefully the two favorites not feted---Burning and The Wild Pear Tree---will find a home. The former looks like a solid IFC film, the latter potentially for the Cinema Guild/Grasshopper. I'd love for Netflix to pick up a lot of these films, but they ask for worldwide rights.

Beforehand, the festival was a complete question mark too. It had a good look on-paper with big names, but then so did the 2017 edition. Now those films that were previously on paper (rejected or not ready) look to land at Venice or Locarno: Dolan, Korine, Denis, Audiard, Assayas, DePalma, Sorrentino, Cuarón, Hansen-Løve, Leigh, Malick, Nemes, Costa, Reygadas...

The French critics are a strange bunch. If ScreenDaily's grid was anything to go by last time I checked they seemed most favourable to their own country's films than anyone else's.

I don't know you, Yoshimori, so please don't take this personal, but at times your reviews of films makes it seem like you are almost impossibly hard to please. I mean, I don't give everything I see a pass easily either, but man, reading your stuff feels like, do you actually enjoy anything?

Finch wrote: Sun May 20, 2018 9:20 pm I don't know you, Yoshimori, so please don't take this personal, but ... do you actually enjoy anything?

I enjoy the conducting of Bruno Maderna and Frans Bruggen. Sometimes. ... ... I like to play badminton. ... Uh, let me think ... ... There's a really good pizza joint in the Azabu-juban district of Tokyo.

yoshimori wrote: Mon May 21, 2018 1:53 amI enjoy the conducting of Bruno Maderna and Frans Bruggen. Sometimes. ... ... I like to play badminton. ... Uh, let me think ... ... There's a really good pizza joint in the Azabu-juban district of Tokyo.

So ... not really all that much.

When you have those three things, what more in life do you need?

colinr0380 wrote:When you have those three things, what more in life do you need?

If I were a mod, I’d be sorely tempted to move this comment to the SEX, LIES AND VIDEOTAPE thread.

Omensetter wrote: Sun May 20, 2018 12:59 pm
(Alongside others, hopefully the two favorites not feted---Burning and The Wild Pear Tree---will find a home. The former looks like a solid IFC film, the latter potentially for the Cinema Guild/Grasshopper. I'd love for Netflix to pick up a lot of these films, but they ask for worldwide rights.

Would you really like Netflix to acquire lots of titles? That would mean limited US cinema release if you are lucky and no Blu Ray/DVD release until Netflix rights expired.

Omensetter wrote: Sat May 19, 2018 7:15 pm Netflix picked up Girl and Lazzaro felice, which is commendable especially if you take into account that it took over a year for The Wonders to debut stateside and that it, uh, just opened in Russia. (Honestly, I wouldn't be surprised if they inked the deal thinking Rohrwacher would win the Palme, given the timing of their announcement.)

Netflix thankfully only acquired the North and South American rights to the Rohrwacher film. Thankfully, I'll get to see it on the big screen where she intended it to be seen and buy a Blu Ray or DVD (depending what is actually released) to place next to Rahrwacher's earlier works. Something I wouldn't be able to do had Netflix been able to purchase the world wide rights.

Excuse the gratuitous self-promotion - Thunderbird Releasing have snagged UK rights to Shoplifters and Burning, as well as Christopher Honorore's Sorry Angel.

Very glad to hear that!!