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Cannes Film Festival 2022

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    kbc
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    #1204964567

    Is there 1 film that has got an overwhelmingly positive response? Even Brokers seem to have divided people.

    Aftersun – not in Palme competition but should be.

    Still, as my signature indicates, I’m holding out hope for a similar high score for Showing Up.

    FYC
    Best Picture: "Showing Up" (A24); “Bones & All” (MGM/UA)
    Best Director: Kelly Reichardt; Luca Guadagnino
    Best Actress: Michelle Williams; Taylor Russell
    Best Actor: Timothee Chalamet
    Best Supporting Actress: Hong Chau, Heather Lawless, Amanda Plummer; Chloe Sevigny
    Best Supporting Actor: Judd Hirsch, Andre Benjamin, John Magaro; Mark Rylance, Andre Holland, Michael Stuhlbarg
    Best Original Screenplay: Kelly Reichardt, Jonathan Raymond
    Best Adapted Screenplay: David Kajganich

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    estrelas
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    #1204964613

    Probably just Decision To Leave, R.M.N. and EO but even both had some mixed responses I think.

    Decision to Leave has definitely mixed response from the International journalists. It was panned by the french and germans, I think. It’s at the bottom of the ICS poll, despite leading the Screen Jury ratings.

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    CarlosEdu
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    #1204964623

    Decision to Leave has definitely mixed response from the International journalists. It was panned by the french and germans, I think. It’s at the bottom of the ICS poll, despite leading the Screen Jury ratings.

    Yes, it feels weird cuz the movie has 3.2 in jury grid at Screen International.

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    laslo
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    #1204964665

    Decision to Leave has definitely mixed response from the International journalists. It was panned by the french and germans, I think. It’s at the bottom of the ICS poll, despite leading the Screen Jury ratings.

    None of my friends who’ve seen it were very positive about it, most of them being huge admirers of Chan-wook’s previous work. Kinda worried because I want Decision to Leave to win Palme d’Or even without seeing it. Chan-wook has come close to it so many times before and fully deserves a bigger acknowledgement for his incredible career.

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    Bartleby
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    #1204964687

    oh the responses to Close! I want it!!!

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    AMG
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    #1204964704

    Close First Reactions

    Robbie Collin: Well – I loved everything about Lukas Dhont’s miraculous Close, which I think might well win the Palme d’Or. Tried to explain the premise to someone earlier and couldn’t even get through that without sobbing. It’s an extremely special film.

    David Ehrlich: deeply mixed on Lukas Dhont’s latest coming-of-age drama, which renders its young leads with great sensitivity only to come down on them with all the care of a sledgehammer.

    Patrick Wellinski: Coup de Coeur. A sad, whispering film: closeness, friendship, the speechlessness, the search for guilt, the reproaches – all just in the game of looks. Crazy youth actors – as in Téchiné. Will be a small blockbuster.

    Leslie Felperin: A tender heartbreaker with a stunning lead turn. Given the capricious unpredictability of juries, it may come away with nothing in Cannes but it will definitely be a serious contender at festivals and awards ceremonies going forward

    Pascal Gavillet: A monumental slap! From a particular friendship between two young boys, the film falls into the most universal tragedy. Dhont manages the economy of his narrative masterfully. We come away upset. Deserves the Palme d’Or.

    Wendy Ide: Lukas Dhont’s sophomore picture is an intimate, quietly devastating study of childhood friendship between two boys. A picture which is intimate in scope but which packs a considerable emotional wallop.

    Wolf Rafael: Close by Lukas Dhont is my obvious Palme. A fusional friendship between two teenagers shattered by a tragedy. It’s devastatingly emotional, the staging is prodigious, the young Eden Dambrine nails you to the ground. it is for this kind of film that we come to Cannes

    Jason Gorber: Lukas Dhont crafts a moving, heartfelt, emotionally rich coming of age tale, with astonishing performances by newcomers Gustav De Waele and Eden Dambrine. Beautifully shot and captured, one of the great films of Cannes 2022

    Tim Grierson: Because boys aren’t taught how to talk about their feelings, they’re ill-equipped to grapple with their pain or those close to them. Lukas Dhont’s unconventional coming-of-age drama is about emotional development more than anything else. Reserved but affecting.

    Francesc Vilallonga: The best film of the festival. An extraordinary prodigy of sensitivity. How difficult what the Belgian director does and what a marvel of actors. Skin-deep emotions. Lukas Dhont was the main cover of the official section. Palme??

    Rafa Sales Ross: It’s strike two for Lukas Dhont with CLOSE, a collage of beaten melodrama tropes that works neither as an observation on the painstaking intensity of youth nor a rumination on the harmful ripples of structural constraints.

    Check out more of my thoughts on Twitter (@AMG_Review) and Instagram (amg_reviews)

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    babypook
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    #1204964800

    BROKER

    Cannes Review: Hirokazu Kore-Eda’s ‘Broker’

    The Sunne in Splendour.
    I prefer my roses white

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    roger88
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    #1204964805

    Eo is the one which can call really positive. But in a year with no clear favourite, go with the most tender or the one with the overwhelming impact. So, unless Showing Up or Mother and Son surprises, Lukas Dhont’s Close is my pick of the Palme d’Or right now.

    Among other films which can win awards (at this moment):

    -Eo (So Grand Prix if not Palme d’Or).
    -Leila’s Brothers
    -Holy Spider
    -R.M.N.
    -Nostalgia (Only for favino’s Best Actor award)
    -Les Amandiers (This one can surprise. I see more positive reactions per audience. Also Garrel or Tereszkiewicz can spoil in acting)
    -Pacification
    -Tori and Lokita

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    crabbie
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    #1204964846

    With no clear favorite, I can see a “controversial” or “issues film” win the Palme in spite of the current issue films underperforming.

    Michelle (Yeoh, Williams) Oscar campaign manager.

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    estrelas
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    #1204964860

    With no clear favorite, I can see a “controversial” or “issues film” win the Palme in spite of the current issue films underperforming.

    I agree. I could see something like Holy Spider surprising and winning the Palme. I don’t think anyone was betting on Titane winning the Palme last year and it won. It was also quite low on the critics polls. And with Vincent Lindon being the President of the jury, I could really see this going in multiple directions.

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    Stefania
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    #1204965099

    My predictions will be totally wrong, but:

    Palme d’Or: “Close” – Lukas Dhont
    Grand Prix: “RMN” – Cristian Mungiu and “Eo” – Jerzy Skolimowski (tie)
    Jury Prize: “Holy Spider” – Ali Abbasi
    Best Director: “Decision to Leave” – Park Chan-Wook
    Best Screenplay: “Tori and Lokita” – Luc and Jean-Pierre Dardenne
    Best Actor: Pierfrancesco Favino (“Nostalgia”)
    Best Actress: Lee Ji-Eun (“Broker”)

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    CarlosEdu
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    #1204965118

    Do you think Best Director will to Park Chan-wook or Cronenberg? This could be the place to recognize at least one of them, especially COTF but I’m in doubt about this.

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    Go Yeoh!
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    #1204965125

    Cronenberg is not winning anything. What’s with the confidence? Even people who like his work and aren’t weirded out by his offering, had a lukewarm response to the film.

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    crabbie
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    #1204965135

    I mean Annette had a weaker reception, yet still won director.

    Michelle (Yeoh, Williams) Oscar campaign manager.

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    kbc
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    #1204965137

    Anxiously awaiting those Reichardt/Williams reviews to *show up*

    FYC
    Best Picture: "Showing Up" (A24); “Bones & All” (MGM/UA)
    Best Director: Kelly Reichardt; Luca Guadagnino
    Best Actress: Michelle Williams; Taylor Russell
    Best Actor: Timothee Chalamet
    Best Supporting Actress: Hong Chau, Heather Lawless, Amanda Plummer; Chloe Sevigny
    Best Supporting Actor: Judd Hirsch, Andre Benjamin, John Magaro; Mark Rylance, Andre Holland, Michael Stuhlbarg
    Best Original Screenplay: Kelly Reichardt, Jonathan Raymond
    Best Adapted Screenplay: David Kajganich

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