Xavier Dolan has a chance for the Palme d’Or?
Xavier Dolan has returned to crowned his first two presences in competition. The 2014 Jury Prize for “Mommy” (which deserved better) and the 2016 Grand Prize for “Just the End of the World”. After the equivalent of bronze and silver, the Palme d’Or represents the logical step. Does he have a chance?
I can easily see it on social networks and in the reactions of our readers: the interest in the country is increased tenfold when a Quebecker is in the running for the competition. See you at Un certain regard, like Monia Chokri this year for The wife of my brother , or in a parallel section.
In an interview on the radio this week, I was always asked the question. Let’s go all out: the exceptional director will have to wait to complete his treble.
I’ll be happy first if I’m wrong. Except that the competition seems to me just too strong this year for Matthias & Maxime , work less resounding, dense and original than Mommy or Tom on the farm (2013).
Admittedly, each jury has its dynamics, of an unfathomable nature. But this 72nd edition is made up of exceptional filmmakers, starting with its president Alejandro González Iñárritu (staged prize here for Bitches loves ).
Four more of its members won a prize on the Croisette: Alice Rohrwacher (Grand Prize for Wonders and Scenario for Happy as Lazarro ); Robin Campillo (Grand prize for 120 beats per minute ); Yorgos Lanthimos (Jury for Lobster and Scenario for Killing Holy Deer ) and Pawel Pawlikowski ( Cold War Direction ). They also have in common to make feature films with social significance.
In this context, I see them more crowning a feature film that combines the two. A hidden life of Terrence Malick, who took away the Palme d’Or in 2011 with The Tree of Life , whose superb staging magnifies his talk about fascism to a questioning of faith. Or the brilliant Parasite of Bong Joon-ho, which illustrates with its customary virtuosity the widening gap between the rich and the poor. Or the powerful Les Misérables de Ladj Ly, on the same subject.
We should not downgrade Sorry We Missed You Ken Loach, on the wild capitalism. A humanistic and touching point of view, but a more arid staging. All these films would obviously be good candidates for the Grand Prix and a Jury Prize if any.
Although in the latter case, its members may be tempted to reward a feature film that addresses issues of sexual identity: the light Portrait of the young woman fe u Celine Sciamma or introspective pain and glory of Pedro Almodóvar .
And Tarantino in there? Once upon a time in Hollywood, he was a perfect candidate for the Director’s Award for his breathtaking achievement, but also for his many film pastiches.
It will be understood that after a lower edition last year, the caliber of this year is very high. The tenors of the 7th art were not there just because of their reputation. And without unanimity, no film has polarized criticism as often.
The red carpet was also able to accommodate its share of stars, with the glamor that comes with the opening with the Jarmusch and Rocketman , which allowed Elton John to climb the steps. Obviously, it was only a small beer compared to the delirium caused by the presence of Brad Pitt and Leonardo DiCaprio, Tarantino’s main roles.
I would see them leave with a price for joint interpretation – they are excellent. Other star, another serious candidate: Antonio Banderas, convincing alter ego of Almodóvar. We should not forget August Diehl, formidable in A hidden life , nor Roschdy Zem, seizing in Roubaix .
On the female side, there are fewer key roles – a lack in competing films. Logically, the strong composition of Adèle Heanel and, to a lesser extent, that of her vis-à-vis Noémie Merlant, in Portrait of the girl on fire , seems to me unavoidable. Just like Virginie Efira, absolutely admirable in Sybil. Isabelle Huppert? She has already won twice here and her performance in Frankie , although very good, is not unforgettable.
We will see Saturday night (from 14h in Quebec). I’ll keep you informed.