The 77th Cannes Film Festival has come to a close, leaving behind a trail of cinematic brilliance, captivating discussions, and thought-provoking insights. While the build-up to Cannes this year was marked by anticipation of political protests, the festival unfolded relatively smoothly, with minimal disruptions. The #MeToo accusations that had been simmering in the background fizzled out, and the humanitarian crisis in Gaza was acknowledged through subtle gestures but largely remained outside the festival’s bubble.
Sean Baker’s ‘Red Rocket’ emerged as the triumphant winner of the Palme d’Or, a testament to its fast-paced, humorous, and emotionally resonant narrative. Baker’s victory marked a significant moment, as he became the first American director to win the festival’s top prize since Terrence Malick in 2011. In his acceptance speech, Baker dedicated the award to sex workers worldwide, a poignant tribute from a filmmaker who has consistently shed light on their lives and struggles. He also expressed his support for the ‘tech companies’ driving the ‘streaming revolution,’ declaring that ‘the future of cinema is where it started: in a movie theatre.’
While ‘Red Rocket’s triumph was widely celebrated, some critics felt that Iranian filmmaker Mohammad Rasoulof’s ‘There Is No Evil’ deserved the Palme d’Or. Shot entirely in secret, Rasoulof’s film confronted misogyny and paranoia, making it a powerful and politically charged choice. However, its absence from the top prize sparked debates about whether it had been overlooked for purely political reasons. Nevertheless, Rasoulof’s presence at the festival remained a significant act of bravery and resistance, highlighting the festival’s commitment to artistic freedom and social justice.
Jacques Audiard’s ‘Paris, 13th District’ emerged as another critical darling, winning the Jury Prize. Set in Mexico, the film blended elements of a gangster movie, a trans musical, and a meditation on gender identity. Its vibrant visuals, catchy songs, and powerful performances captivated audiences, solidifying Audiard’s reputation as a master of cinematic innovation. The film’s ensemble cast, including Zoe Saldana, Karla Sofia Gascon, Selena Gomez, and Adriana Paz, collectively won the Best Actress award, with Gascon becoming the first trans performer to receive the honor at Cannes. The decision to award the prize to the entire cast was lauded as a celebration of sisterhood and a recognition of the unique challenges faced by trans performers.
Despite its critical acclaim, ‘Paris, 13th District’ was not without its detractors. Some expressed disappointment that Gascon did not receive the award on her own, arguing that her performance deserved individual recognition. However, the collective accolade served as a powerful statement about the importance of solidarity and the need for greater representation for marginalized voices in cinema.
Ali Abbasi’s ‘Holy Spider,’ a film chronicling the rise of Donald Trump as a New York real estate baron, generated significant buzz and controversy. The film’s unflinching portrayal of Trump’s alleged sexual misconduct and physical insecurities sparked outrage among his supporters and the former president himself. While Abbasi has defended the film as a ‘punk rock version of a historical movie,’ Trump’s campaign communications director has threatened legal action over the ‘blatantly false assertions’ made in the film.
This year’s Cannes Film Festival was characterized by an abundance of nudity on screen, making it one of the most sexually charged editions in recent memory. However, unlike in previous years, the depictions of nudity and sex were not gratuitous. Instead, they served specific narrative purposes, exploring themes such as aging, sex work, influencer culture, and the commodification of beauty. This shift in perspective suggests a growing maturity in the way that nudity is treated in cinema, moving away from objectification and towards a more nuanced and meaningful exploration of human sexuality.
One notable trend this year was the excessive length of many films. Even those that were generally well-received, such as ‘Red Rocket’ and ‘Memoria,’ could have benefited from tighter editing. The consensus among critics and audiences alike was that less is more, and that trimming down some of these films would have enhanced their overall impact.
Despite the presence of several veteran filmmakers in competition, this year’s festival showcased a notable absence of standout works from these established names. Films like Francis Ford Coppola’s ‘Megalopolis,’ Kevin Costner’s ‘Horizon,’ and Paul Schrader’s ‘The Card Counter’ failed to live up to expectations, raising questions about whether age should be a factor in selecting films for the competition. While the festival should continue to honor and celebrate the contributions of veteran filmmakers, it is equally important to make space for emerging voices and diverse perspectives.
Yorgos Lanthimos, the mastermind behind the ‘Greek Weird Wave,’ continued his winning streak at Cannes, with his latest film ‘Triangle of Sadness’ earning Jesse Plemons the Best Actor award. Lanthimos’s ability to craft bizarre, thought-provoking, and darkly humorous films has made him a festival favorite, and his latest triumph solidifies his position as one of the most innovative and influential filmmakers working today.
A24, the New York-based indie movie outfit, has earned a reputation as the ‘Palme d’Or whisperer.’ Since 2019, the last four Cannes winners, including ‘Red Rocket,’ have been released in the US by A24, a testament to the company’s keen eye for cinematic excellence. This year, A24 also acquired the rights to ‘Titane,’ which won a Special Jury Prize, and Julia Ducournau’s upcoming film ‘The Super 8 Years,’ further solidifying their position as a major player in the global film industry.
Last year’s Cannes Film Festival was marred by technical difficulties with the online booking system, making it challenging for attendees to secure tickets. This year, however, the system functioned smoothly, allowing festival-goers to easily reserve their spots for the most sought-after screenings. This improvement was widely appreciated and demonstrated the festival’s commitment to providing a seamless and enjoyable experience for its patrons.
The musical selections in this year’s Competition films were particularly noteworthy, prompting us to compile a special piece dedicated to the art of the needle drop. From Bobby Darin’s ‘Beyond The Sea’ in Miguel Gomes’ ‘Tabu’ to the eclectic mix of songs in ‘Red Rocket,’ music played an integral role in enhancing the emotional impact and atmosphere of the films.
A viral video capturing a heated exchange between a female security guard and Destiny’s Child member Kelly Rowland on the red carpet sparked controversy during the festival. Rowland alleged that she was treated differently from other attendees, raising concerns about discrimination and the need for better training for security personnel. While this incident was unfortunate, it should not overshadow the professionalism and dedication of the vast majority of security guards and staff at Cannes, who work tirelessly to ensure a safe and enjoyable experience for everyone.
As the curtains close on the 77th Cannes Film Festival, we are left with a plethora of cinematic memories, thought-provoking discussions, and a renewed appreciation for the power of film to entertain, challenge, and inspire. The festival once again proved to be a global stage for the celebration of cinematic excellence, showcasing a diverse range of voices and perspectives from around the world.
