'The Square' Deservedly Wins Palme D'Or

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I'm all for this win. "The Square" had the best moments of any of the 19 competition titles I saw the last two weeks at Cannes. Yes, it's around 20 minutes too long, but that's fine. The ambition is there and this win will likely have more attention payed to its positives. More to come from Cannes tomorrow.

Last week I wrote:

"The brilliant moments in "The Square" should come as no surprise to well-seasoned cinephiles, Ostlund was marked as a talent to watch after "Force Majeure," his 2014 festival hit, put him on the mark with critics worldwide. In that film he used a more subtle tone for his own cringe worthy cinema to focus on the collapse of male manhood in Swedish society. Nevertheless, that film shares many similarities to "The Square" in terms of the tone and unabashedly sardonic wit that Ostlund displays towards his characters and story."



2017 CANNES FILM FESTIVAL AWARDS
Palme d’Or: “The Square” 

My take: Well-deserved.
Grand Prix: “120 Beats Per Minute” 

My take: Passionate, but by the books filmmaking that, nevertheless, has a beating heart, which isn't something I could say for many of the compeition titles.
Jury Prize: “Loveless” 

My take: Should have been in contention for the Palme D'or, at least Grand Prix, but, as I was stating last week, it's too puzzling for the Will Smiths of this world.
Best Actress: Diane Kruger, “In the Fade” 

My take: In my review I said that if it weren't for Krueger the film would be one of the worst compeition titles. With Krueger it's just mediocre, but it proves just how underused and talented an actress she is.
Best Actor: Joaquin Phoenix, “You Were Never Really Here” 

My take: The actor of my generation, there has been no other that has come close to the staggering greatness of Brando, De Niro and Nicholson than Phoenix.
Best Director: Sofia Coppola, “The Beguiled”

My take: a protest vote. Pure and simple. Underserved.
Best Screenplay: “The Killing of a Sacred Deer” and “You Were Never Really Here” 

My take: Odd choices, especially since these are movies that rely on visuals more than words.
Camera d’Or: “Jeunne Femme/Montparnasse Bienvenue,” directed by Leonor Serraille

My take: didn not see it

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