Cannes Festivals by Year:
Prizes, Juries, Favorites
Other Fests: Venice / Chicago
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Jurors: Emir Kusturica (president), Fatih Akin, Javier Bardem, Nandita Das, Salma Hayek, Benoît Jacquot, Toni Morrison, Agnès Varda, John Woo
| Palme d'Or: | L'Enfant, Belgium, dirs. Jean-Pierre and Luc Dardenne |
| Grand Jury Prize: | Broken Flowers, USA, dir. Jim Jarmusch |
| Jury Prize: | Shanghai Dreams, China, dir. Wang Xiaoshuai |
| Best Director: | Caché, Michael Haneke |
| Best Actress: | Free Zone, Hana Laszlo |
| Best Actor: | The Three Burials of Melquiades Estrada, Tommy Lee Jones |
| Best Screenplay: | The Three Burials of Melquiades Estrada, Guillermo Arriaga |
| Technical Grand Prize: | Last Days, Leslie Shatz, sound design
Sin City, Robert Rodriguez, "visual shaping" |
FIPRESCI/International
Critics Prize: | Caché, France, dir. Michael Haneke |
| Prize of the Ecumenical Jury: | Caché, France, dir. Michael Haneke |
| Camera d'Or (first feature): | The Forsaken Land, Sri Lanka, dir. Vimukthi Jayasundara
Me and You and Everyone We Know, USA, dir. Miranda July |
 Competition Films I Have Seen:
Ranked in order of preference
My Palme d'Or
The Three Burials of Melquiades Estrada (USA, dir. Tommy Lee Jones) -
Jones brings wide tonal spectrum to Arriaga's structural loops, making for a rich, thought-provoking match, equally sober, funny, and crazed
Caché (France, dir. Michael Haneke) -
As historical ghost story, it's a little broad, but as metacinema, marital CAT scan, craft showcase, and full-piston dread-machine, it's ace
Last Days (USA, dir. Gus Van Sant) -
Least revered of Van Sant's crystalline death studies is my favorite; soulful but not precious, potent sequence-shots, genius sound mix
L'Enfant (Belgium, dirs. Jean-Pierre and Luc Dardenne) -
Less heavy-handed than The Son, attains a kind of elegance that Rosetta wasn't aiming for, but not fully up to the Bressons it calls to mind
Three Times (Taiwan, dir. Hou Hsiao-hsien) -
Intoxicating when he mimics Wong in first part, less so when riffing on own recent films in second and third, but all look and sound dreamy
A History of Violence (USA, dir. David Cronenberg) -
Bello and Mortensen nail their performances, Suschitzky thrives on graphic-novel traces, but movie falls short of fleshing out its concepts
Battle in Heaven (Mexico, dir. Carlos Reygadas) -
Reygadas a dab hand at giving simple framings iconic force, but sometimes his search for muscular allegory turns tasteless and obvious
Free Zone (Israel, dir. Amos Gitaï) -
Overwrought beginning bodes badly, but film develops a strange power; entrancing superimpositions make up for a choked, jerky narrative
Lemming (France, dir. Dominik Moll) -
Seems to exist so journalists can ask, "Why was that the opening night film?" Serviceable, macabre thriller for a while till it turns silly
Don't Come Knocking (USA, dir. Wim Wenders) -
While watching, I preferred Wenders's shaggy approach to basic material Jarmusch handles so archly, but it's got even less staying power
Broken Flowers (USA, dir. Jim Jarmusch) -
What hath Sofia wrought? Murray gets doted on for doing not much, while actresses yearn to make it work. Swinton's fuck-you said it for me. (full review)
Sin City (USA, dirs. Robert Rodriguez and Frank Miller) -
Rourke has niftiest character design, briefly gives film a soul. After him, it's 90 minutes of bload-soaked hookers, or feels that way
Manderlay (Denmark, dir. Lars von Trier) -
Recycles bits of Dogville that already ran their course, trades down in casting, tells specifically U.S. story but shows no feeling for it
 Sidebar Selections I Have Seen:
Ranked in order of preference
The Death of Mr. Lazarescu (Un Certain Regard: Romania, dir. Cristi Puiu) -
Junebug (Critics' Week: USA, dir. Phil Morrison) -
Wolf Creek (Directors' Fortnight: Australia, dir. Greg McLean) -
Me and You and Everyone We Know (Critics' Week: USA, dir. Miranda July) -
Two Drifters (Odete) (Directors' Fortnight: Portugal, dir. João Pedro Rodrigues) -
Star Wars, Episode III: Revenge of the Sith (Out of Competition: USA, dir. George Lucas) -
Factotum (Directors' Fortnight: USA, dir. Bent Hamer) -
Keane (Directors' Fortnight: USA, dir. Lodge Kerrigan) -
Down in the Valley (Un Certain Regard: USA, dir. David Jacobson) -
Time to Leave (Un Certain Regard: France, dir. François Ozon) -
Match Point (Out of Competition: USA, dir. Woody Allen) -
Competition Films I'm Curious to See:
Ranked in order of interest; more on this year's lineup here (opens in a new window)
A Tale of Cinema, South Korea, dir. Hong Sang-soo
Bashing, Japan, dir. Masahiro Kobayashi
Shanghai Dreams, China, dir. Wang Xiaoshuai
| Also in Competition: |
Election, Hong Kong, dir. Johnnie To
Kilometre Zéro, France/Iraq, dir. Hiner Saleem
Once You're Born, You Can No Longer Hide, Italy, dir. Marco Tullio Giordana
To Paint or Make Love, France, dirs. Arnaud & Jean-Marie Larrieu
Where the Truth Lies, Canada, dir. Atom Egoyan
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Sidebar Films I'm Curious to See:
Listed alphabetically; more on this year's lineup here (opens in a new window)
| Un Certain Regard: |
The Bow, South Korea, dir. Kim Ki-duk
The Forsaken Land, Sri Lanka, dir. Vimukthi Jayasundara
Johanna, Hungary, dir. Kornél Mundruczó
The King, USA, dir. James Marsh
Lower City, Brazil, dir. Sérgio Machado
My God, My God, Why Hast Thou Forsaken Me?, Japan, dir. Shinji Aoyama
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| Directors' Fortnight: |
The Buried Forest, Japan, dir. Kôhei Oguri
La Moustache, France, dir. Emmanuel Carrère
The President's Last Bang, South Korea, dir. Im Sang-soo
Sisters in Law, UK, dirs. Kim Longinotto & Florence Ayisi
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| Out of Competition: |
Avenge But One of My Two Eyes, Israel/France, dir. Avi Mograbi
Chromophobia, UK, dir. Martha Fiennes
Crossing the Bridge, Germany, dir. Fatih Akin
Kiss Kiss Bang Bang, USA, dir. Shane Black
The Power of Nightmares, UK, dir. Adam Curtis
Princess Raccoon, Japan, dir. Seijun Suzuki
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