After 12 days of screenings and starry celebrations of a festival’s 70th anniversary — that were rather pale by a Manchester bombing — it is now adult to a nine-member luminary jury led by Spanish executive Pedro Almodovar to confirm that film will triumph.
The jury began a deliberations on Sunday morning, festival executive Thierry Fremaux told AFP.
Rarely has a foe looked so open, with many critics angry there was no standout film to get behind among a 19 in a central competition.
That shifted Saturday when a final film, Lynne Ramsay’s “You Were Never Really Here”, had many reaching for superlatives.
Two critics told a Scottish executive during a post-screening news discussion that her film about a traumatised hitman who saves a immature lady from a harlotry ring was a “masterpiece”.
Its star Joaquin Phoenix was also being talked of as a contender for best actor.
If Ramsay were to win she would be usually a second lady executive ever to take home a Palme d’Or.
New Zealander Jane Campion won for “The Piano” in 1993. But as Hollywood star Salma Hayek forked out Tuesday in Cannes, Campion “only got half a Palme d’Or, not even a full one”, carrying to share it with Chinese executive Chen Kaige for “Farewell My Concubine”.
– A lady winner? –
With US star and Cannes jury member Jessica Chastain sporting a Dior “We Should All Be Feminists” T-shirt, and a miss of women directors winning discuss during a festival, a Ramsay win would send a clever signal.
The Glasgow-born director’s categorical foe comes from a stirring French play about AIDS activists “120 Beats Per Minute” by Robin Campillo, who co-wrote a book for a Palme d’Or-winning “The Class” in 2008.
“Loveless”, a harrowing story of a Russian integrate who wish absolved of their child from “Leviathan” executive Andrey Zvyagintsev, is also suspicion to be in a reckoning.
Nor was a Swedish joke “The Square”, that sends adult a art universe and domestic correctness, brief of admirers.
Overall, however, critics were undone by a categorical race, preferring instead to impassivity over films such as “Ava”, “The Rider” and “Marlina a Murderer in Four Acts” in a sidebar Directors’ Fortnight and Critics’ Week sections.
“I don’t consider it has been a selected Cannes, positively in terms of a categorical competition,” Xan Brooks of Britain’s The Observer told AFP.
– ‘Cautious and conservative’ –
“It has felt a small discreet and conservative. It’s roughly as if a increasing confidence on a doors of a Palais (where a films are shown) has barred some of a some-more raucous, rude, unruly contenders that competence have differently managed to find their approach through.”
Jonathan Romney, of Screen International and a Independent on Sunday, was equally downbeat. “There were a lot of names to get vehement about this year though unfortunately we have been left disappointed.
“Good directors have not come adult with their best,” he added.
But for Philippe Rouyer, of a French repository Positif, there were copiousness of gems outward a categorical competition, such as immature Russian Kantemir Balagov’s entrance “Tesnota” (Closeness), that also held Romney’s eye.
The Guardian’s Peter Bradshaw was most some-more sanguine, job “120 Beats Per Minute” “terrific” and “Loveless” “brilliant and compelling”.
“Some avowed themselves marginally let down, though we have been hugely eager about utterly a few films,” he added.
What was unanimous, however, was a commend for 79-year-old maestro Agnes Varda, who got a festival’s really best reviews for her out-of-competition documentary with a travel artist JR, “Faces Places”.