Matt Damon for Invictus
Woody Harrelson for The Messenger
Christopher Plummer for The Insider
Stanley Tucci for The Lovely Bones
Christoph Waltz for Inglourious Basterds
A few months ago, this would have been a serious race between two of the contenders. Really, up until anyone with a Twitter or blog saw The Lovely Bones, Stanley Tucci was the major frontrunner to take the prize. After seeing that performance, I would argue strongly for his inclusion, but for his role in Julie & Julia instead. Due to the poor reviews for Peter Jackson’s horrendous film, Tucci will have to give up his leading place in the category to Mr Waltz.
I did predict a few little while ago, but much has changed in the interim and I feel it necessary to update my prediction season for the nominees, something I will do again in early February just before the nominations are announced.
The primary change is the fall of Nine, previously considered a shoe-in for most categories, which looks likely to win absolutely nothing outside of a possible couple of technicals. Add to that the rising popularity of Inglourious Basterds and the seemingly-unstoppable attention being given to The Hurt Locker, plus the apparently disastrous The Lovely Bones, and some things have to change.
Below then are my predictions for the top few categories, with some explanation as to why and, bold as it may be, my predictions for the likely winners in each category.
So, in the wake of Transformers revenging the fallen all over our minds, we were in need of cooling down from the sheer anger and exhaustion felt in the studio. Though Sunshine Cleaning should have been a great example of an indie to bring us back onto home turf, it ended up an underwhelming experience. The eminently crushworthy pairing of Amy Adams and Emily Blunt, along with the solid Alan Arkin and roles for Steve Zahn and Clifton Collins Jr, just couldn’t quite drive us into anything beyond a tepid lack of satisfaction. Ideas involved were strong, but the execution was half-hearted, even if all of the above tried really hard to elevate the material. 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.