Cannes 2024

[dws1982]

Well, from the sound of the reviews. Jeremy Strong might have contended for a supporting nomination had the movie broken through. But I think the chances that people -- so many of whom wish Trump would just get out of our friggin' faces -- would turn out in any significant numbers for this movie, are beyond remote.

I feel like a streamer would've been the best hope for this movie, because like you say, people are not going to show up for this in a time where they won't even show up for the summer tentpoles. People might be more likely to watch this (or watch part of it) on a streamer where they don't have to leave the house and pay out of pocket. The big streamers have all turned it down, though. I don't think this would even be a hit on the arthouse circuit, which is where it will probably end up.

[Mister Tee]

Well, from the sound of the reviews. Jeremy Strong might have contended for a supporting nomination had the movie broken through. But I think the chances that people -- so many of whom wish Trump would just get out of our friggin' faces -- would turn out in any significant numbers for this movie, are beyond remote.

[Big Magilla]

Probably a bit of both. Will probably end up streaming or released straight to video.

Its Oscar chances are nil anyway.

[danfrank]

I’m trying to imagine who the target audience is for The Apprentice. Trump has slammed it so the cultists will stay away. It’s supposed to be pretty tame so I don’t imagine that anti-Trumpers would find any interest in it. I’m wondering if it’s really just Trump’s potential ire that the distributors are concerned about, or whether they’re afraid this will be a financial dud.

[dws1982]

As of right now, Megalopolis and The Apprentice are still looking for U.S. distribution.

Megalopolis of course has the issue of being wildly uncommercial and Coppola's desire to show it on IMAX screens.

The Apprentice has lots of issues. Supposedly the first half is a bit sympathetic towards Trump, which has given some distributors caution, and the second half has the distributor afraid of legal headaches from Trump. Most of the big distributors have already decided against it. It's got lots of foreign distribution deals, so the $20 million budget on it is not that big of a deterrent for a smaller distributor to now step in. But distributors are reportedly reluctant to make themselves a target of Trump, especially if he wins.

[danfrank]

I’m a bit late on this, as I was having trouble accessing this site for a few days, but just want to give a big hooray for Sean Baker’s win. I’m a fan. He tells particularly American stories that are hardly ever told, and does it in a way that nobody else does: with humor, and with a great compassion for and acceptance of those on the lower rungs of the social hierarchy.

I don’t know if he’ll ever find Oscar acceptance, and I’m not sure if Baker cares if he does. In his Cannes acceptance speech he said that winning at Cannes was his ultimate dream. I get the sense that he care more about art than mainstream acceptance. Can’t wait to see Anora.

[dws1982]

The Camera d'or went to Ingmar Bergman's and Liv Ullmann's grandson, Halfdan Ullmann Tøndel.

[HarryGoldfarb]

They don't provide the names of the actresses who won in the lead category. Did all three win....or were there any more from the supporting cast too?

Karla Sofía Gascón, Selena Gomez, Adriana Paz, and Zoe Saldaña.

[Mister Tee]

Cannes predictions:

Palme d'Or: Anora, Sean Baker
Grand Prix: The Seed of the Sacred Fig, Mohammad Rasoulof
Jury Prize: All We Imagine as Light, Payal Kapadia
Best Director: Francis Ford Coppola, Megalopolis
Best Actor: Sebastian Stan, The Apprentice
Best Actress: Karla Sofía Gascón, Emilia Perez
Best Screenplay: Coralie Fargeat, The Substance

Just noticed, this was staggeringly close to what actually came about. Kudos.

[Okri]

Love for Emilia Perez, however, was undeniable. When was the last time anything won more than a single award? I knew such a thing was still technically allowed, but it seemed so frowned upon I never expected to see it again

You Were Never Really Here won for screenplay and actor in 2017; The Salesman also did that double in 2016

[Reza]

They don't provide the names of the actresses who won in the lead category. Did all three win....or were there any more from the supporting cast too?

[Mister Tee]

I watched the presentations on YouTube, though in French, so I had to wait for the chiron to tell me who each winner was. And, even when someone accepted in English, the commentator spoke over them, translating. So all I can comment on are the choices.

As Sabin noted the other day, the latter half of the festival atypically redeemed the disappointment of the first few days. And the jury seems to have made reasonable/unshocking choices from (mostly) that latter group.

Once The Seed of the Sacred Fig was pensioned off with the "special" prize to Rasoulof, it was chiefly a matter of whether Anora or All We Imagine As Light would end up on top -- an American indie hero, or female director; Gerwig's ethos triumphs either way. (I say that mostly facetiously; the folks at Awards Watch were ready to blame/trash her for either choice.)

So, NEON came in with two tickets, and, though missing on one that seemed favored, recovered with the second. There seems wide expectation Anora will be a big commercial/industry prize breakthrough for Baker -- and many reviews do seem to indicate more crowd-pleasing elements -- but, having been told much the same about Red Rocket and The Florida Project, I'll wait to be convinced on that.

Jesse Plemons was the big surprise, as his film wasn't listed among those invited back today. Best actor felt like a thinner field than usual -- certainly compared to best actress.

I have a vague feeling the ensemble aspect of the best actress choice might have been to ward off ugly attacks had they only honored the trans woman. But maybe they really just genuinely wanted to spread the wealth.

Love for Emilia Perez, however, was undeniable. When was the last time anything won more than a single award? I knew such a thing was still technically allowed, but it seemed so frowned upon I never expected to see it again.

Sight unseen of course, but screenplay seemed a rather odd place to award The Substance.

So, Coppola's place on this list was, as dws notes, related to his presenting Lucas with the special award. Not being any particular fan of even the first Star Wars -- let alone the numbing set of sequels/prequels -- I mostly sat through the presentation stupefied, that such a dreary set of credits was getting him lauded at a festival otherwise aspiring to high art. For a while, it looked as though the clip-reel was going to ignore American Graffiti -- his only legit great credit, by me. It finally appeared, but got much less attention than endless shots of guys with laser guns.

In the end, a way better Cannes than it appeared a week ago.

[dws1982]

So why did Coppola hang around?

George Lucas' honorary Palme.

[Sabin]

So why did Coppola hang around?

[Mister Tee]

(So, Anora must win the Palme?)Answer: Yes
Grand Prix to All We Imagine As Light.
Jury prize to Emilia Perez.
Best director is Gomes for Grand Tour.
"Special award" to The Seed of the Sacred Fig.
Best actress goes to the ensemble of actresses in Emilia Perez.
Best actor Jesse Plemons in Kinds of Kindness.
The Substance wins screenplay.