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Entries in Film Awards (2)

Monday
May292017

STAR POWER AND SWEDISH SATIRE EARN CANNES 2017 TOP HONOURS

The Square, a Swedish social satire that utilises elements of performance art and conceptual design, has taken Palme d’or honours at the 70th Cannes Film Festival. The closing night gala was held at the Grand Theatre Lumiere and launched in glamourous style by Mistress of Ceremonies, Monica Bellucci, whose movie star moxie ushered in an evening in which old-school star power was feted in the key categories.

The decision to bestow the festival’s top honour upon director Ruben Ostlund’s follow-up to his Un Certain Regard winner, Force Majeure was met with bemused looks by some attending the ceremony. Critical toing-and-froing and passionate audience debate had greeted the bracingly original work, a response that has been the death knell for past Cannes competitors given the importance placed upon jury consensus in the final voting. In a moment the likes of which the Cannes closing night had never seen, Ostlund led the black tie crowd in a collective primal scream, echoing the descent into madness central to his film. (Pictured, top; Ruben Ostlund, director of The Square, with fellow winners and jury members

Acting honours were given to high-profile names Diane Kruger, for Fatih Akins’ In The Fade, and Joaquin Phoenix, for Lynne Ramsay’s You Were Never Really Here. Kruger, who runs the gamut of emotions as the grieving, angry survivor of an act of terrorism, acknowledged the victims of such acts, saying, “Please know that you are not forgotten.” Phoenix was his typically enigmatic self, appearing stunned by the award and accepting the trophy wearing sneakers. (Pictured, above; a scene from The Square)

The Best Director award went to front-runner Sofia Coppola for The Beguiled, capping off a dream international launch for the director’s Civil War drama. The film’s lead Nicole Kidman, who had four separate projects on The Croisette, was officially crowned ‘belle of the ball’ with a special honour called the ‘70th Anniversary Award’ bestowed upon her.

The Grand Prix award went to Robin Campillo’s AIDS-era drama 120 BPM, set against the French LGBT struggle of the mid-90s. In an act that toyed with the one film/one trophy tradition of the Festival, screenplay honours were split between The Killing of a Sacred Deer, written by Yorgos Lanthimos and Efthimis Filippou, and Lynne Ramsay for You Were Never Really Here (for which Phoenix would be honoured, later in the night).

The full list of winners from the 70th Festival de Cannes are: 

FEATURE FILMS – COMPETITION
PALME D'OR - THE SQUARE directed by Ruben ÖSTLUND
The Palme d'or was awarded by Juliette Binoche and Pedro Almodóvar.

70th ANNIVERSARY AWARD - Nicole KIDMAN
The 70th Anniversary Award was awarded by Will Smith. 

GRAND PRIX - 120 BATTEMENTS PAR MINUTE (BPM – Beats Per Minute) directed by Robin CAMPILLO
The Grand Prix was awarded by Costa-Gavras and Agnès Jaoui.

BEST DIRECTOR PRIZE - Sofia COPPOLA for THE BEGUILED
The Best Director Prize was awarded by Fan BingBing and Gabriel Yared.

BEST PERFORMANCE BY AN ACTOR - Joaquin PHOENIX in YOU WERE NEVER REALLY HERE directed by Lynne RAMSAY
The Best Performance by an Actor Prize was awarded by Jessica Chastain.

BEST PERFORMANCE BY AN ACTRESS - Diane KRUGER in AUS DEM NICHTS (In The Fade) directed by Fatih AKIN
The Best Performance by an Actress Prize was awarded by Irène Jacob and Paolo Sorrentino

JURY PRIZE - NELYUBOV (Loveless) directed by Andrey ZVYAGINTSEV
The Jury Prize was awarded by Maren Ade and Guillaume Gallienne.

BEST SCREENPLAY EX-ÆQUO – (TIE) Yorgos LANTHIMOS and Efthimis FILIPPOU for THE KILLING OF A SACRED DEER; Lynne RAMSAY for YOU WERE NEVER REALLY HERE
The Best Screenplay Prize was awarded by Marisa Paredes and Park Chan-wook.

SHORT FILMS – COMPETITION
PALME D'OR - XIAO CHENG ER YUE (A Gentle Night) directed by QIU Yang

SPECIAL DISTINCTION BY THE JURY - KATTO (The Ceiling) directed by Teppo AIRAKSINEN
The Palme d'or and the Jury Special Mention for Shorts Films were awarded by Uma Thurman and Cristian Mungiu.

UN CERTAIN REGARD
UN CERTAIN REGARD PRIZE - LERD (A Man of Integrity) directed by Mohammad RASOULOF

PRIZE FOR BEST ACTRESS - JASMINE TRINCA for FORTUNATA directed by Sergio CASTELLITTO

PRIZE FOR THE BEST POETIC NARRATIVE - BARBARA directed by Mathieu AMALRIC

PRIZE FOR BEST DIRECTION - Taylor SHERIDAN for WIND RIVER

JURY PRIZE - LAS HIJAS DE ABRIL (April's Daughter) directed by Michel FRANCO

CAMÉRA D’OR
JEUNE FEMME (Montparnasse Bienvenüe) directed by Léonor SERRAILLE presented as part of UN CERTAIN REGARD

The Caméra d'or Prize was awarded by Sandrine Kiberlain, President of the Caméra d'or Jury.

CINEFONDATION
FIRST PRIZE - PAUL EST LÀ (Paul Is Here) directed by Valentina MAUREL
INSAS, Belgium

SECOND PRIZE - HEYVAN (AniMal) directed by Bahram & Bahman ARK
Iranian National School of Cinema, Iran

THIRD PRIZE - DEUX ÉGARÉS SONT MORTS (Two Youths Died) directed by Tommaso USBERTI, La Fémis, France

The CST Jury decided to award the VULCAIN PRIZE FOR ARTIST-TECHNICIAN to: Josefin ASBERG for her remarkable artistic contribution to match the inventiveness of the film THE SQUARE.

Thursday
Jan292015

WILL THE BABADOOK HAUNT ALL COMERS AT THE AUSSIE OSCARS?

Only a few short hours before the red carpet turns a muddy purple under the heels of Sydney’s sodden socialites (it has really rained this week), SCREEN-SPACE takes a last minute stab at who will take home an AACTA Award at tonight’s Oz industry gala event, to be hosted by AACTA ambassador Cate Blanchett (pictured, below; at the 2014 event) and actress Deborah Mailman… 

BEST SUPPORTING ACTRESS
Nowhere is the paucity of well written female characters in modern cinema more evident than in this years’ Supporting Actress category. This in no way reflects on the nominees, who all gave fine performances, but closer inspection indicates that the material was pretty thin. Jacqueline McKenzie emoted her heart out in what amounted to about 40 seconds of screen time in The Water Diviner. Ditto the wonderful Susan Prior in The Rover; why she is not an awards-laden international star is incomprehensible given her talent and resume. It looks like two solid if slight comedy turns from Josh Lawson’s The Little Death will fight over this one. In a coin toss, Kate Mulvany over Erin James.
Who should win
– Angourie Rice who, as the innocent swept up in society’s destruction, was the heart and soul of Zak Hilditch’s otherwise grim These Final Hours. 

BEST SUPPORTING ACTOR
No such luck for The Little Death here – ensemble players TJ Power and Patrick Brammall will cancel themselves out. Kudos to Robert Pattinson for his bizarre, brazen psycho in David Michod’s The Rover, but it was a performance that earned just as many brickbats as bouquets. Veteran Turkish character actor Yilmaz Erdogan (pictured, right) thouroughly deserves the trophy for his stoic, honourable defeated warrior opposite Russell Crowe in The Water Diviner. One side note – why isn’t The Mule’s Hugo Weaving in this race?
Who should win
– Noah Wiseman, whose troubled, enigmatic, horrified character Samuel will rank alongside the kid stars of The Shining and Poltergeist as one of the horror genre’s MVPs.

BEST ACTRESS
What’s with all these acting noms for the raunchy sitcom vibe of The Little Death? Kate Box is making up numbers here. But a winner is much harder to pick from the remaining three nominees. If the night becomes a ‘Babadook Sweep’, Essie Davis will win and deservedly so. But Predestination has three tech awards already, so there’s a lot of love for Predestination, thanks in no small part the wonderful Sarah Snook. And there was a lot of early Oscar buzz for Mia Wasikowska’s transformative journey in John Curran’s Tracks…
Who should win
– A tie is not out of the question; Davis and Wasikowska might split it. We’ll lean towards Davis (pictured, left). 

BEST ACTOR
The great skill of Russell Crowe’s performance in The Water Diviner is that he was able to rein in his movie-star grandness and play an everyman so convincingly. Did he make it look too easy, though? Damon Herriman is an industry favourite, but The Little Death won’t contest in this category (he should’ve been awarded for 100 Bloody Acres). The Rover’s Guy Pearce did his best Clint Eastwood and was very good at it. But with a Cannes gong and an APSA honour already to his name for Charlie’s Country, this is David Gulpilil’s night.
Who should win
– David Gulpilil. 

BEST DIRECTOR
Rolf de Heer’s sublimely understated direction of his lead actor and friend in Charlie’s Country is superb, but the Best Original Screenplay award may be where his contribution is honoured. David Michod (The Rover) and brothers Michael and Ian Spierig (Predestination) have long, worthwhile careers ahead of them, but will take a back seat Jennifer Kent tonight. Horror is not always favoured by the high-minded who hand out industry kudos, but The Babadook is a superbly crafted, emotionally resonant work from an exciting new auteur.
Who should win
– Kent (pictured, right), but Zak Hilditch for the end-of-days thriller These Final Hours can feel unloved given the category had time travel, dystopian future and fairy tale horror contenders front and centre.

BEST PICTURE
The lack of Best Director consideration will nix the night for The Water Diviner and The Railway Man; so too Tracks, though John Curran’s brilliant work was wrongfully snubbed. Charlie’s Country is a serious ‘actors’ piece, and will earn its trophy in that category. A week ago, The Babadook was a lock, it must be said, but Predestination’s slew of craft trophies may have tipped the scales back in in its favour.
Who should win – The Babadook.

The 4th annual AACTA Awards will be held at The Star Event Centre in Sydney’s Darling Harbour precinct tonight.