Time to have a little guess again at which films could be nominated for Oscars in a couple of months time, just entirely based on hype and vague attempts to understand the predictable nature of the Academy. So, for debate and conjecture’s stake, enjoy these predictions for the Oscar nominations in 2010, post jump. Continue reading →
As we are prone to do, it feels like to kick-off the Oscar buzz season as awards from major film festivals begin to roll in and the ceremony approaches. I realise that this may feel like the kind of wishing-life-away feeling that it given as you walk into shops in mid-September and see Christmas stock out all over the place, but these will get more frequent as we get closer and can begin to actually predict what could win. This is more to provide an interesting gauge of how buzz works, how it changes and how wrong we could well end up being by the time the awards come around.
So, just for the big few categories, here’s what seems like it’s going to cause a stir this year: Continue reading →
Michael Haneke has won the Palme d’Or for his acclaimed The White Ribbon (review by Peter Bradshaw at The Guardian). The film, described by IFC’s The Daily as “a two-and-a-half hour parable of political and social ideas set entirely in a north German village in 1913 and 1914”, marks the first Palme d’Or win for Haneke following a number of other awards successes for the German provocateur at the festival. He has in the past won prizes for Hidden, The Piano Teacher and Code Unknown, but this is his first win of the top prize.
Alain Resnais, an outside member of the Nouvelle Vague and creator of the time-warping masterpieces Last Year in Marienbad and Hiroshima, Mon Amour, was given the Special Jury Prize in honour of his Wild Grass (review by Daniel Kasman at The Auteur’s Notebook). The Grand Prix was given to Jacques Audiard’s The Prophet (review by Anthony Kaufman at indieWIRE). The director prize went to Brillante Mendoza for his violent drama Kinatay, already torn a new one by Roger Ebert. The eminent Chicago Sun-Times voice essentially opens his review with an apology to Vincent Gallo over his past assertion that The Brown Bunny was the worst film in the history of the festival.
Ebert goes on to say:
“After extensive recutting, the Gallo film was redeemed. I don’t think editing is going to do the trick for “Kinatay.” If Mendoza wants to please any viewer except for the most tortured theorist (one of those careerists who thinks movies are about arcane academic debates and not people) he’s going to have to remake his entire second half.”
Onwards with Cannes however, The Prix de Scenario for Best Screenplay was given to Feng Mei for the Lou Ye-directed Spring Fever (review by Sukhdev Sandhu at The Telegraph). That has itself been surrounded by controversy over the decision by Ye to screen the film in Cannes without the approval of the Chinese government.
The Camera d’Or for Best First Feature was given to Australian Warwick Thornton for Samson and Delilah (interview here and review, by The Telegraph’s Sandu, which indicates the love to have come for this film), his indigenous realist drama.
Very nicely, the Prix du Jury was given to Andrea Arnold’s Fish Tank (review by The Guardian’s Bradshaw) and Park Chan-wook’s horror film Thirst (review by Twitch’s Todd Brown). Arnold, whose outstanding Red Road won the Jury Prize in 2006, had been tipped for a possible Palme d’Or this time round but will instead have to settle for outstanding reviews yet again.
The acting honours provide the most curious choices. Tarantino’s lukewarmly received Inglourious Basterds (review by Spout’s Karina Longworth) saw Christoph Waltz take home the Best Actor Prize while Charlotte Gainsbourg won Best Actress for her performance in Lars von Trier’s hugely controversial Antichrist.
Probably the most notably absentees from the possible prize winners are Jane Campion’s Bright Star, her story of the love affair between John Keats and Fanny Brawn, and Ken Loach’s fondly-tipped Looking for Eric. Bright Star was another beloved by critics in the UK while Looking for Eric didn’t quite live up to all expectations but was mostly liked too. Gaspar Noe’s Enter the Void, his follow-up to the equally loathed and admired Irreversible, seemed to spark little in the way of notice for those attending the festival, but did at least bring some searching analysis from those who did take notice.