by Elisa Giudici
ALL WE IMAGINE AS LIGHT © Cannes Film Festival
Cannes is coming to an end. In fact the closing awards ceremony begins less than four hours after this article's pubication. While we wait to finish reviewing all the films in competition and find out who will win the much-coveted Palme d'Or, it's time for A Jury of One...
How was this Festival?
Once again, I managed to see the entire competition lineup. My impression is that this year's offerings were significantly lower in quality compared to previous years. The standout films of 2024 have surely bypassed Cannes. They'll likely being debuting elsewhere -- perhaps Venice or Toronto?
It felt like the right films from the big names were missing. Veteran filmmakers like Paul Schrader, Francis Ford Coppola, and David Cronenberg delivered some of the biggest disappointments of the competition. Established directors like Paolo Sorrentino and Jia Zhangke brought minor and less successful works, while Yorgos Lanthimos was more focused on having fun than making a statement.
Demi Moor in THE SUBSTANCE © Cannes Film Festival
The only veteran who didn't miss the mark—and in fact, surprised—was French master Jacques Audiard with Emilia Perez. Along with the unexpected body horror from Coralie Fargeat (Substance), this confirms the impressive vitality of French cinema. France continues to be a major player in the artform birthed there. At least a couple of other films from parallel sections should be added to this list, including the beautiful Miséricorde by Alain Guiraudie.
Regarding themes, what was announced as an apolitical edition turned out to be highly engaged. The Iranian film on the protests following the killing of Mahsa Amini, Abbasi's The Apprentice and Maddin and company's Rumors, which anticipate the crucial electoral rounds in the USA and Europe, and the roots of the current complex Russian situation explored in Limonov and Sean Baker's Anora were all notable.
Films directed by women and those telling women's stories delivered the best moments of the competition. Some queer films, like Motel Destino and Emilia Pérez, also made a significant impact. Despite facing increasing opposition, sex was not absent at Cannes. It was portrayed as an eternal exchange of power, a social elevator, and an iconoclastic force that pushes us to look within. Films like Limonov, Anora, and Motel Destino reaffirm that sexual relationships are as intrinsic to cinema as life, death, violence, and love.
Which were the most impressive films at Cannes?
My favorite film of the edition is Miséricorde by Alain Guiraudie. It has a touch of Dostoevsky and a hint of Tom at the Farm. Guiraudie's return delves into desire, transfiguring it into the spiritual and human need to forgive and show mercy, before surprisingly transforming into a brilliant black comedy.
On the auteur front, I was also captivated by the Portuguese Grand Tour by Miguel Gomes. With shades of Uncle Boonmee and Pacifiction, it presents a love story with some of the worst timing ever seen in cinema history. It reminds us that, past and future, Asia is a maze of cities, people, and strangeness that transcends Western understanding.
File under: so damn hot. Karim Aïnouz is truly unpredictable. His neo-noir Motel Destino is not perfect, but who would have expected the hottest film of the edition from him? Bright colors and neon lights à la Refn narrate in neo-noir fashion how love and death are always intertwined.
I also want to highlight Anora by Sean Baker, which is already among the best films of the year and unfortunately risks going unnoticed. It continues the discourse started by Red Rocket on the jamming of the American social elevator, blending distant genres (noir and rom-com) in a mix that, thanks to an absolutely stellar cast, culminates in a chilling finale. The closing scene is among the most well crafted and genuinely touching of the year.
Who will win Cannes?
THE SEED OF THE SACRED FIG © Cannes Film Festival
This year, according to the press, there is a clear pool of titles from which the Palme d'Or winner will likely emerge. So, what will Greta Gerwig’s jury decide in just a few hours? The easiest choice would be to award the Iranian film The Seed of the Sacred Fig by Mohammad Rasoulof. It’s a highly successful film with a female and feminist theme, political yet personal, shot while defying a regime and then fleeing the country to escape imprisonment.
However, I believe it will win the Grand Prix, if only to avoid accusations of a too-political choice. The Palme d'Or victory could, deservedly, go to a female director. If the jurors are courageous, it might go to The Substance, but I think Andrea Arnold might be underestimated. Her coming-of-age film Bird has the potential to appeal to the director of Lady Bird, the director of Capernaum, and the actresses on the jury.
Also, keep an eye on the Indian film directed by a woman: quiet but powerful, All We Imagine as Light by Payal Kapadia could bring a historic first Palme for India.
Finally, the only limit for Emilia Pérez is the sky, thanks to the stellar performance of Karla Sofía Gascón. If she does not win Best Actress, perhaps surpassed by Demi Moore, then Audiard could hope for a second Palme.
So, to sum up my soon to be moot PREDICTIONS
ANORA © Cannes Film Festival
Palme d’Or - All We Imagine as Light or The Substance
Grand Prix - The Seed of the Sacred Fig
Director - Miguel Gomes, Grand Tour
Screenplay - Sean Baker, Anora
Actor - Someone from Hollywood: Richard Gere, Sebastian Stan, Jeremy Strong, Barry Keoghan: you name it
Actress - Karla Sofía Gascón, Emilia Perez