Cannes 2015: Jacques Audiard’s Dheepan wins the Palme d’Or
The brothers Joel and Ethan Coen, supreme arbiters of Cannes elegance and sliced to the heart, after twelve days of an image vaguely parade interrupted by night. It will be said that this Sunday, May 24 evening will devote Dheepan seen, seventh feature film by Jacques Audiard, Golden Palm of the sixty-eighth edition of the Cannes Film Festival. The film, which evokes the love and explosive acclimatization of a Tamil political refugee in a city suburb, so marks the climax of the Cannes route of French filmmaker, winning twice already in the past, on the occasion of a film that is probably not the most convincing of his filmography.
Fair sprinkling of rewards ranging aesthetic and varied performance, this list is honored also to have given the award for directing at The Assassin, sublime minimalist sword Film Taiwanese master Hou Hsiao-hsien and the jury prize at The Lobster, Greek Yorgos Lanthimos, dystopia in glossy black and humor on the sentimental and political state of the world as it comes. The grand prize crowns the only first feature of the competition, The Son of Saul, the young Hungarian Laszlo Nemes, who described Auschwitz from the perspective of a member of the Sonderkommando seeking to bury his son there. This work, which impressed the festival, not least in the debate called, since its intelligent integration of moral and aesthetic issues of the representation of the Holocaust him paradoxically serves to disqualify.
The jury also gave way, through its dual pricing Actress – Rooney Mara in Carol Todd Haynes and Emmanuelle Bercot in My king, Maïwenn – in the balance of melodrama in this competition. As for Vincent Lindon, only recipient of the Best Actor award for his role as unemployed in the fifties Market Act, Stéphane Brizé, inventive and just social film, he had to kiss one by one all the members of the jury before saying his emotion and trussing a beautiful and melancholy thought for his parents who are not there to share it. Future Prize of choice because it is awarded to a first feature, the Camera d’Or went to La Tierra y Sombra, Augusto Cesar Acevedo, presented at the Critics Week, highlighting the emergence of a Colombian cinema represented in particular by another beautiful film, El Abrazo the serpiente, Ciro Guerra, the Fortnight.
