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69th Cannes Film Festival Winner Predictions   Leave a comment

2016 Jury

Another year has gone by, as the world’s most prestigious festival comes to a close. The 69th Cannes Film Festival has been a whirlwind of some sort. This year featured a bad Woody Allen joke during the opening ceremony, a barefoot Julia Roberts in the red carpet, and probably the most low-key Un Certain Regard competition in a long time.

As for the Main Competition, the consensus is that it’s a bit frontloaded with the latter half of the festival ranging from underwhelming (Dardennes), to bad (Dolan), to really bad (Penn), and sadly, to the no1curr (Mendoza). That said, this is one of the hardest to predict since there isn’t any specific basis as to what the jury will go for (and the jury changes every year!), but here’s a stab at possible winner predictions.

Screenplay

PRIX DU SCÉNARIO

PREDICTION: Cristian Mungiu, “Bacalaureat (Graduation)
Mungiu has already won this award four years ago with Beyond the Hills, but I can see him being the first person to win this twice. A previous Palme d’Or winner for 4 Months, 3  Weeks, 2 Days, this slow burner story about a father and his daughter is the type of thought provoking film that usually wins this category. He can find himself against the other Romanian, Cristi Piui, for equally talky film Sieranevada

ALTERNATE: Asghar Farhadi, “Forushande (The Salesman)”
Prior to the beginning of the festival, this one is touted as one of the major frontrunners especially since it was a late minute addition. While it can still happen in this jury, the relatively silent reactions around it makes me think that it can settle for a Screenplay award instead.

Actor

PRIX D’INTERPRÉTATION MASCULINE

PREDICTION: Dave Johns, “I, Daniel Blake
Mostly known as an English stand up comic, “I Daniel Blake” is Dave Johns’ first foray into movie acting. And if it’s any indication, he should be doing more of it. His commanding turn as the title role in Ken Loach’ entry this year reportedly broke a lot of hearts and had everyone praising him. Seems fitting in this category.

ALTERNATE: Adam Driver, “Paterson
The Jim Jarmusch film in competition this year is said to be in his upper tier of works, and if the Jury loves it so much, an award to its lead actor can be one way of rewarding it. In the event it happens, it’s quite delicious since Driver has just won the Volpi Cup two years ago for Hungry Hearts, and for him to have 2/3 of the major trifecta for a relatively short career yet is astounding, to say the least.

Actress

PRIX D’INTERPRÉTATION FÉMININE

PREDICTION: Sonia Braga, “Aquarius
Locks rarely do happen at Cannes of all people (heck even unanimously raved Blue is the Warmest Color in 2013 wasn’t a sure thing as we entered the awarding ceremony), but if there’s one performance that was continuously raved from its premiere up to now was that of Sonia Braga’s in Aquarius. It also helps that the film has received great word too, so it can be hitting two birds with one stone in this one.

ALTERNATE: Kristen Stewart, “Personal Shopper
To be frank, this is probably the most competitive lead actress year in Cannes for quite some time. There’s Isabelle Huppert gunning a third win for “Elle” and Sandra Huller for “Toni Erdmann” but I think both are also gunning for higher prizes. There’s also Ruth Negga who was consistently praised for “Loving“, the two women who played the title roles of”Julieta” — Emma Suarez and Adriana Ugarte, Adèle Haenel of “The Unknown Girl“, Sasha Lane of “American Honey“, Juliette Binoche of “Ma Loute“, Jaclyn Jose of “Ma’Rosa“, Elle Fanning of “The Neon Demon“, but maybe Kristen Stewart’s lead role in Oliver Assayas’ “Personal Shopper” is one that can appeal to this particular jury.

Directing

PRIX DE LA MISE EN SCÉNE

PREDICTION: Andrea Arnold, “American Honey
I’m sure politics isn’t the be all-end all of everything, but in the history of Cannes, only one woman has won the Best Director trophy (that would be Soviet director Yuliya Solntseva 55 years ago way back in 1961). The buzz for American Honey has managed to stay throughout the rest of the competition, and while I don’t think it was unanimously raved, this type of divisive response is perfect for a Best Director trophy.

ALTERNATE: Paul Verhoeven, “Elle
Sure he is no highly heralded auteur, but Paul Verhoeven’s comeback is enough narrative for him to win this. This is the man who gave us Starship Troopers and Basic Instinct, so winning a Cannes Best Director for his first film in ten years is something I can see the jury acknowledging.

Jury Prize

PRIX DU JURY

PREDICTION: Park Chan-Wook, “Agassi (The Handmaiden)”
Winner of the same award back in 2009 for “Thirst“, Park Chan-Wook’s comeback film in competition can also be his third-award winning one following 2004 Grand Prix winner “Oldboy” and the aforementioned Thirst.Agassi” surely isn’t the unanimous raved entry for this year, but between its feminist tones and deliciously looking visuals, this can be enough of a formula to win a Jury Prize.

ALTERNATE: Bruno Dumont “Ma Loute (Slack Bay)”
It’s a bit weird to see no French entry be rewarded with a win especially since this is the Cannes after all, but if there’s one, this Bruno Dumont comedy is my best guess to have a chance.

Grand Prix

GRAND PRIX

PREDICTION: Paul Verhoeven, “Elle
Saving the latter half of the competition, Verhoeven’s comeback vehicle “Elle” was met with raves from critics and was considered as the perfect closer to the festival. Its humorous and atypical take on a serious subject matter, as well as the combination of star power and potential wide appeal is definitely right up Miller’s alley. One reason why I’m not predicting it  for the Palme d’Or though is that I think it’s a tad controversial and boundary pushing for the top prize.

ALTERNATE: Andrea Arnold, “American Honey
American press kept on harping that this is the next Palme d’Or, but I have my reservations with that. I think it’s too divisive and not even the type of divisive that will have enough champions in the group. It’s more fitting for a Jury Prize or a Directorial one for Andrea Arnold. But who knows? Maybe they know something I don’t.

Palme d'Or

PALME D’OR

PREDICTION: Maren Ade, “Toni Erdmann
It’s really the breakout of this festival. This strange comedy from female filmmaker Maren Ade really had all the critics raving about it. As for starters, it’s one of the consistent performer across all different critics poll series. Then, George Miller hinted about wanting to reward/prefer a comedy. Add the narrative of only one female director winning the Palme d’Or (that would be Jane Campion’s “The Piano” back in 1993 but it won in a tie). Unless the jury really wants to go on a different direction, I think we’re looking at our Palme winner already.

ALTERNATE: Ken Loach, “I, Daniel Blake
Well this is the other direction I’m referring to. If they’re not in the mood for some comedy, then this heartwarming drama which was reported as having the jury really ecstatic about it can be our Palme winner. Ken Loach won this exactly a decade ago unanimously with “The Wind That Shakes the Barley” (in a competition that included Bruno Dumont, Nicole Garcia, Andrea Arnold, and Pedro Almodovar too) so maybe history’s for rewriting this one.

As for that highly regarded film that ended up with no win, I’m leaning towards Jim Jarmusch’s “Paterson” and Cristi Piui’s “Sieranevada” as the likely victims for this year. I’m excited to see the Maren Ade, the Jim Jarmusch, the Paul Verhoeven, Asghar Farhadi, and I guess the Brillante Mendoza among the competition, but titles in other sidebars such as Pablo Larrain’s “Neruda” and “The Red Turtle.” Oh and for the sheer lulz of it, I hope we get to see Sean Penn’s “The Last Face” too!

Talk to me about it on Twitter: @nikowl

89th Oscars Predictions: May Edition   2 comments

It’s that time of the year! As Cannes is currently going, here’s my first stab at predictions for the 89th Academy Awards. Ten years ago, The Departed won in the tightest Best Picture race (prior to the one early this year), Forest Whitaker and Helen Mirren steamrolled through critics and televised awards, an Idol reject named Jennifer Hudson took Oscar glory, and an overdue Martin Scorsese finally can call himself an Oscar winner.

This year, we might have Marty coming back again, the birth of a nation, Ang Lee at another shot to a Best Picture win, as well as Meryl Streep getting nod #20, and Oscar nominee Isabelle Huppert? Here’s my take on the top six races.

Picture

Directing

Actor

Actress

Supporting Actor

Supporting Actress

Talk to me about it on Twitter: @nikowl

2012: The Year in Lead Actresses   7 comments

2012 lead actresses

Hey there everyone! And Happy New Year once again from Tit for Tat! 😀

There’s no better way to kick off 2013 with a blog post that covers a topic awards prognosticators love the most: BEST ACTRESS. The past few days, I have been covering acting performances in local cinema, and we’ve already tackled supporting actressessupporting actors and lead actors. To complete the list, here’s my coverage of lead actress.

LEADERS OF THE PACK

There’s no better person more fitting to begin this coverage with the one and only Superstar herself Nora Aunor. After years of absence in local filmmaking scene, she is back with Brillante Mendoza’s Thy Womb as midwife Shaleha who wants to grant her husband’s wish of having a child. Aside from La Aunor, Gina Alajar‘s role as the matriarch in Adolf Alix’s Mater Dolorosa gives her a huge possibility to have an awards comeback as well. A pair of Kapamilya actresses can find themselves contending at different award giving bodies: Angel Locsin will definitely be nominated either for her role as the sultry Princess in Unofficially Yours though my bet is she’ll get nods  for her role as a mother who will do anything for her son in the MMFF entry One More Try. Bea Alonzo‘s most mature performance to date as the title role in Olivia Lamasan’s The Mistress can reap some nods as well. As for the fifth spot, a consecutive visit at award giving bodies is plausible for veteran actress Shamaine Buencamino, this time, for her comedic turn in Loy Arcenas’s Requieme.

MIDDLE TIER

Aside from the five names above, other noteworthy lead actress performances the past year were from Jodi Sta. Maria as the newest member of Adoracion Convent in Aparisyon, Pokwang as another mother who sacrificied as an OFW in the US in A Mother’s Story, and French actress Isabelle Huppert having the most vital role in Brillante Mendoza’s Berlin entry Captive. Vilma Santos can get in based on name status alone for her movie last year, The Healing, while Lauren Young as the psycho best friend of Maxene Magalona in Catnip can break through the awards circuit too. Other performances that gained buzz this year were Cinemalaya Best Actress winner Ama Quiambao in Diablo, Erich Gonzales who is in search of her sister in Manila in Mariposa sa Hawla ng Gabi, Veronica Santiago who plays the charming  title role in Pascalina, LJ Reyes who resorted to being the town prostitute in Intoy Syokoy ng Kalye Marino, and Judy Ann Santos as the owner of the diary in Mga Mumunting Lihim.

THE REST OF THE RACE

As for the rest of the race, there’s also Anne Curtis, not as the other woman, in A Secret Affair, the pair of Fe GingGing Hyde and Glorypearl Dy trying to escape in Ang Paglalakbay ng Mga Bituin ng Gabing Madilim, Mylene Dizon as the other nun in Aparisyon, and Cinema One Originals Best Actress Mara Lopez in Palitan. There’s also the performances of Erich Gonzales as the unang aswang in Corazon: Ang Unang Aswang, Angelica Panganiban as the naive Majoy in Every Breath U Take,  and real life sisters Assunta and Alessandra de Rossi in Baybayin. Lastly, Angel Aquino can also see herself nominated either for her performance as the torn mother in Amorosa: The Revenge or as the reporter who everybody thought was dead in Biktima.

That’s it. Who are your bets this year? Are you excited for the coming award giving bodies? I sure am! 🙂

As always, you can follow me on Twitter: @nikowl

REVIEW: Captive   1 comment

Cannes Best Director Brillante Mendoza’s first shot at the Berlin Film Festival involves a familiar territory that he has long been covering. In “Captive”, we get a closer look and a blow by blow update of a national issue that once hogged all the spotlight here in the Philippines. The only difference is that it has Isabelle Huppert here.

Inspired by the events during the 2001 Dos Palmas kidnapping of tourists, we get to see the struggle they have to endure when they get dragged in the fight between Muslims and the government in order for them to give in to what the Muslims wanted. The hostages ranged from cliche casting to effective ones with Isabelle Huppert leading the pack as the French missionary assisting old woman Soledad.

Mendoza effectively makes the viewers feel as if they were there with them combining  vivid portrayal of what the hostages experienced during that year long captivity and commendable technical aspects particularly Odyssey Flores’ cinematography and Teresa Barrozo’s score. With that said, one can’t help but think that there are times when you see style over substance as the treatment left something more to be desired. I see symbolism everywhere (giving birth scene, animals in the forest, two Muslims playing spiders, the colorful eagle) and some parts were just overdone. One can also recognize the similar Mendoza trademark that he used in his previous films, so if you’re someone who’s familiar with his filmography, there’s sort of a “been there, done that” approach with his treatment. Supposed to be pivotal scenes were also scattered that it’s hard to digest every thing so when you see one, it does not leave that much mark to the readers.

Huppert’s role, like the rest of the cast, was very physical, and I applaud how she was so “game” with everything that was required of her to do. While there are times when her character was relegated to do the typical histrionic touch when attacking the Muslims, I find her at her best when she was interviewed for a semi-documentary where she just gave her all when asked about the hostage experience. The local cast were good as well but there’s no real highlight for the rest of them that makes one a standout.

All in all, while it’s hard to nitpick about Mendoza’s visual output, it sadly didn’t leave the same amount of impact that the director intended his viewers to feel once the credits rolled.

Grade: 3 / 5