Cannes Diary Finale: Jury of One (Elisa's Choices)

Elisa Giudici

With Cannes a week behind us, a look at my own personal favourites, and who would have won each prize if I were the sole juror.

Despite my overall disappointment with the 78th edition, there were strong films. Óliver Laxe's Sirât was a breathtaking piece of cinema, a true original that dared to be different. Its unpredictable narrative and masterful execution made it a highlight. Otherwise, my personal affection lies with Pillion, a film that managed to be both provocative and deeply insightful about the nature of love and vulnerability, wrapped in a rom-com-gone-rogue package...

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Cannes Diary 07: Palme d'Or Winner "It was just an accident"

by Elisa Giudici

Jafar Panahi's "It was just an accident"

In awarding the Palme d'Or to Jafar Panahi, Jury President Juliette Binoche was keen to emphasize that the prize was not awarded due to the notorious political and judicial circumstances surrounding the Iranian filmmaker, but rather for the profound humanity that permeates his cinema. The reference, quite evidently, was to those who venomously suggest that the oppressive conditions Panahi and his colleagues have battled for decades somehow aid their entry into the festival's honor roll. Yet, the issue is far more complex, much like the narrative of It Was Just an Accident itself...

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Happy Cannesiversary to "Dancer in the Dark"!!

by Nick Taylor

Happy (belated) Mother’s Day, everybody!! I did not plan on watching Lars von Trier’s Palme-winning musical tragedy at the break of dawn on May 11th, but sometimes fate gives you a funny little coincidence to make a work of art even more resonant than it would already be. Dancer in the Dark ranked high on the list of films I should absolutely have seen by now, based on literally every aspect of my tastes and personality, and the 25th anniversary of its Cannes premiere made for the perfect excuse to finally check this out . . . .

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Cannes Diary 03: Our first Palme d'Or contender "Sound of Falling"

by Elisa Guidici

Mascha Schilinski's Sound of Falling is only the first film in competition but it's already a strong contender for the Palme d'Or, at least according to initial press reactions. These reactions, however, were divided on which directorial comparison best captured the German film's unsettling power and evocative atmosphere. Some critics have invoked Haneke – indeed, it’s hard not to recall The White Ribbon when faced with a narrative that unearths the unknowable, often dark, elements lurking even within children. Others point to Bergman, an almost inevitable comparison given the screenplay's skill in excavating the lives of four generations of women in a German farmhouse. It delves beneath their facade to touch upon a harsh, undiluted humanity where good and evil, innocence and cruelty, inextricably merge and overlap.

My own mind, however, drifted to Sofia Coppola's The Virgin Suicides, though Angelika, Erika, Alma, and Lenka represent a far rougher and utterly unsentimental iteration of young womanhood...

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Happy Cannesiversary to "Dheepan"

by Nick Taylor

Hello, TFE readers! If you're like me, you'll be sitting out Cannes this year, using the time to read press coverage or finally see that one thing you've been meaning to watch while others swan across the croisette, conduct interviews, and shill merch for Troma Studios. I'll be spending the 78th Cannes Film Festival and the site's 10|25|50|75|100 series to visit ceremonies of years past, making new friends and revisiting familiar faces. To kick things off, we'll be spending the next few days with some Palme d'Or winners!

Some of you might remember I did not particularly like Emilia Pérez, last year’s genre-explosive musical about a cartel leader striving to reconnect with their family after getting gender-affirming care, as facilitated by her lawyer/hostage/business partner. I will not linger on that mess too much, but there’s a nub to the discourse about Jacques Audiard’s failure to meaningfully engage with any aspect of Mexican culture I did have a problem with. Namely, the idea that him being a cis white French man means he’s inherently incapable of having anything to say about someone who falls outside any of those identity markers. Yes, we can and should discuss if the French as a nation are capable of empathy, but I don’t believe artists cannot and should not make art about people outside their demographics and lived experience . . . .

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