At the end of the overlong Palm ceremony and also a strange oblong geratenen festivals it was probably time for the preacher. So warns Ken Loach, the surprise winner of the evening, not only unctuously that Cannes “stay strong” may, after all, it is “important for the future of cinema”, but he is also a massive political. Our world has reached a “dangerous point” at which the right-wing forces threatened to benefit from general “despair”. And from history is yet familiar, “what leads”.
The fact that the large, now nearly 80-year-old left champion of cinema largely is right – who could deny. In thought and action he is as upright as the carpenter Daniel Blake, the hero of his eponymous film, which threatens to fall in the face of long sick leave and almost impossible return to a stable job from the social network – and still holds the head up and even has the power to help others. But here an unctuous Finale: As Blake, worn down by unsuccessful Citizen, dying away, he leaves at his funeral a manifesto for human dignity, the read out a friend in tears. And credits.
The jury is not set to film art. This is risky.
So much pathos was never in Ken Loach, so it really needs to go very bad in the world. Actually he wanted to quit last film, he said these days in an interview, but the dire conditions require him to carry on. Such linear belief in the cinema appears as a weapon for the better, but also alienated, art compatible as a symptom of a not (film-) sense of mission. That Loach now won his second Palme d’Or for “The Wind That Shakes the Barley” In 2006, unfortunately, is not contradict.
the selection panel under the “Mad Max” director George Miller – and with the directors Laszlo Nemes and Arnaud Desplechin, the actors Mads Mikkelsen, Donald Sutherland, Kirsten Dunst and Valeria Golino, the singer Vanessa Paradis and the Iranian producer Katayoon Shahabi – has consistently adhered to the substantive shock of topics, not set to great cinematography. Can you make, but you end up then soon the disposition cinema. If that is those creative film world, for Cannes, according to the Loach appeal “stay strong” need? . What a fatal misunderstanding
This remains unassailable most important film festival in the world has acquired its profile by consistently putting on aesthetically irritating, provocative films – and so feeds the global cinema programs over the year with überlebensnotwendigem oxygen beyond pure entertainment. Also Cannes holds up a concept of film that the “seventh art” still deserves. Now it is, after the bizarre vote this 69th vintage, still more concerned to preserve this critical feature.
Away from the palm for Loach, the jury has indeed held partly at respectable films as those of Asghar Farhadi or Cristian Mungiu well, but overlooked the outstanding titles among the 21 competitors cool. It may also from a German perspective suspiciously seem to punish the judges for non-respect of Maren Ade’s “Toni Erdmann” return mail itself with less respect – but absolutely no price for a film that has captivated the international critics as well as the public and since the first days of the festival unanimously regarded as a favorite? The Berlin producers may comfort themselves that “Toni Erdmann” since its first showing a top success on the film market was, however bitter this disparity remains.
Had Maren Ade’s film does not yet deserve a prize?
and what about Jim Jarmusch wonderfully tender and lucid masterpiece “Paterson”, which tells the gentle life of a sealing bus driver in New jersey? Was that pure theme of the film might not be significant enough for a cinematic supporting the state ceremony, regardless of his compositional and theatrical finesse? And was the highly original fictional and Peter Simonischek and Sandra Hüller as funny as touchingly played rapprochement a father and his adult daughter not worth a tiny price, especially since all globalization-related alienation borders?
a Festival of Cannes is so shrill rarely ended, dissonant the closing gala. Too much pathos, too many tears, and in between a musical performance with Big Band and singing, in – seemed made no sound correctly – absolutely unironic. Even ‘ne art.
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