Emma Kiely and Selina Sondermann Prices, Predictions & Highlights – The Upcoming
Cannes 2021: Awards, predictions and highlights of Emma Kiely and Selina Sondermann
July 17, 2021
As Cannes 2021 draws to a close, two years after the last edition, our screenwriters Emma Kiely and Selina Sondermann share with us their predictions and highlights of the festival.
There really has been a weird mix of films in the Official Selection this year. From the patriotism of Sean Penn to dreams of Russian fever. I obviously haven’t seen them all, but I think French director François Ozon Everything went well is the most deserving. It might not be as avant-garde or arthouse as the usual winners, but the impeccable acting of Sophie Marceau and André Dussolier, the moving character relationships and the hilarious writing, it’s a real movie. five stars which, unlike most Cannes submissions, can be enjoyed by anyone. What will probably bring the statuette home is Titanium or Benedetta.
So that either Drive my car or The worst person in the world would be the obvious choice due to the masterful combination of storytelling and artistry in both works, I will bet and put my money back on Titanium. Along with progressive filmmakers Spike Lee and Jessica Hausner, there are at least two members of the jury who I imagine value originality above all else. It wasn’t my favorite, but the not quite horror film about a woman and her special relationship with cars is certainly the most memorable of the official competition.
American director Sean Baker is known for bringing color, hope and humanity to the abandoned and forgotten regions of the United States. He did it beautifully in The Florida project and he did it again this year with Red rocket. This film by no means has the sophistication of the usual Cannes winners, but Baker’s balance of wide and close-up shots, his use of location as a central character and, overall, giving a Texas industrial town the Looks so mind-blowing, he deserves this award – and I think he’s really going to win it. Otherwise, Iranian director Asghar Farhadi could take it for A hero.
The most recognized director is obviously Wes Anderson. If the jury focuses on the design and overall staging, the prize should easily go to them. Every stroke of The French dispatch bears the director’s distinctive signature. If, however, they decide to award someone who can bring out the best in their actors – spark authentic performances – the winner should be the exact opposite: stylistic chameleon Joachim Trier for The Worst Person In The World.
Without a doubt, the winner of this award goes directly to André Dussolier for Everything went well. his portrayal of a sick man whose only source of hope in life is his death, is done with such sensitivity and humanity, even when he is slumped in bed and looks so sad and desperate, this breaks the hearts of the public. It’s a performance that will stay with me, bending the rules of what should make humans happy and what should put them off and giving one of the most honest portrayals of his struggle against his morality.
The best male performance I saw at this festival was Benoît Magimel in Peaceful. While Magimel has been part of acclaimed productions in the past – Haneke’s The piano teacher immediately comes to mind – I feel like he’s had a prettier image of a boy so far. In Peaceful his character changes from a confident drama teacher – young at heart, shaking his students and flirting with nurses – to a broken man battling cancer and losing the fight.
Since the film is out of competition, Best Actor will be awarded to a low-key performance in a work that I haven’t seen and can’t speak to: A hero or Petrov’s flu, perhaps?
There are three serious contenders for the best actress. The first is the favorite of the Marion Cotillard festival for Annette, which pumped the disjointed and bizarre movie with some sort of audience connection. Her subtle kindness and protecting her daughter was the one thing viewers would really relate to; and without his performance, the film would have lost itself in its own chaos. Then comes Sophie Marceay for Everything went well, for her portrait of a grieving daughter who must organize assistance in the death of her father. The movie follows her closely, so there is a lot of room for mistakes, but none are made, and her solo scenes are just as powerful as those against other characters. Finally Noémie Merlant for Pairs, 13e District as a woman who struggles to find a place in her world and becomes obsessed with a cam girl.
Showing three films out of 24, Léa Seydoux obviously has the numerical advantage. It is quite plausible that she will take it home to My wife’s story or France. After hearing a lot of praise for Compartment n ° 6, my intuition tells me that either of the female protagonists in the Finnish drama also has a good chance.
My favorite throughout the festival comes from the section of the Directors’ Fortnight, that of Joanna Hogg. The Remembrance Part II. It was the movie I was most excited for after loving the first part and I was so intrigued by an independent production having a sequel. Honor Swinton Byrne’s lead performance as Julie builds her career and Hogg’s mix of conventional and experimental staging choices only draws audiences in more, feeling like they’re in a realistic dream. Although set in the ’80s, anyone who has ever felt grief or lost themselves in who they want to be can relate to Julie and her story, marking another masterpiece for Hogg’s. . There are also a lot of good looking young men and I can’t deny that that’s always a plus.
While the majority of the Competition films I saw were of above average quality, my personal favorites all came from the Un Certain Regard or Out of Competition section. By reducing it to one per category, I will name Great freedom and Declaration of emergency. The latter is a gripping Korean thriller about a bioterrorist attack on a plane, which kept me on the edge of my seat the entire time. Great freedom is sombrer, a prison drama set in Germany in the 1940s and 1960s, when homosexuality was legally prosecuted. It is a bitter but necessary reminder that there are still countries today where falling in love is a criminal act.
Highlight of the festival
My first Cannes and, as some of the oldest at the Festival had told me millions of times “and not like the others”. I was so impressed with how the Covid testing and ticketing went. Being able to arrive 15 minutes before a movie and have no problems was a dream. Staying awake at night with fellow writer Selina and discussing movies and some of the bigger issues will be conversations I’ll never forget. Eating my body weight in hazelnut ice cream because I didn’t have time for a sit-down meal was also something I loved but will likely walk away with the Festival. It’s hard to sum up an experience like this if I only had one word: “surreal”.
I will admit that it was difficult to navigate the Covid restrictions as well as people not following the Covid restrictions. While at the Berlinale you are surrounded by pragmatic Germans bringing their lunch boxes to screenings, food and drink are expressly prohibited in Cannes. The restaurants outside the Palace may be technologically advanced enough to give you a QR code to display their menu, but they aren’t thoughtful enough to provide free Wi-Fi.
Unfortunately, as I did not have the opportunity to see Timothée Chalamet in person this time, my highlight of the party was his double checking the tickets at the Debussy room.
Emma Kiely and Selina Sondermann