Ruben Östlund received his second Palme d’Or for “Triangle of Disappointment,” a biting satire of the wealthy and (Insta-)well-known, bringing the 2022 Cannes Movie Competition to a detailed.
Östlund’s follow-up to his 2017 Palme-winning “The Sq.” takes a ship full of shallow folks — fashions, millionaires and their varied trophy companions — and abandons them in deep water, forcing the survivors to reconstruct a desert-island society the place cash holds no energy. In such a system, for higher or worse, magnificence turns into probably the most priceless asset.
The jury unfold the wealth, presenting three extra awards than is often anticipated of them — two ties and a particular seventy fifth anniversary trophy — for a complete of 10 prizes, which implies that almost half of the films within the 21-film competitors went dwelling with some variety of honor.
Tying for second place, Claire Denis’ “Stars at Midday” and Lukas Dhont’s “Shut” shared the Grand Prix. In Denis’ divisive — however undeniably seductive — tropical drama, Margaret Qualley performs an American journalist whose task in Nicaragua has run its course, forcing her to make use of her wits and her wiles to discover a method out of the nation, with the assistance of a seductive stranger (Joe Alwyn). Much less controversial (however nonetheless not with out its critics), Belgian coming-of-age/coming-to-terms drama “Shut” which moved many to tears in its portrayal of a tragic rift between two 13-year-old associates.
Persevering with a scorching streak for Korean cinema world wide, Park Chan-Wook received greatest director honors for his Hitchcockian thriller “Determination to Depart,” wherein a detective falls for the widow of a attainable homicide sufferer. After convincing himself that the suspect is harmless, the cop should reassess his selections a couple of years later when her second husband additionally dies in a method that may’t presumably be an accident.
Each 5 years, Cannes organizers encourage their juries to provide a particular anniversary prize. To have fun the seventy fifth version, the jury toasted two-time Palme d’Or winners Jean-Pierre and Luc Dardenne for their movie “Tori & Lokita,” about two Ghanian immigrants hustling to make ends meet in Belgium.
In one other tie, the jury prize went to each “The Eight Mountains” and “EO.” Co-directed by Belgian couple Félix Van Groeningen and Charlotte Vandermeersch (who made out on stage, mid-speech), “The Eight Mountains” sensitively tracks the friendship between two Italian boys — one from town, the opposite a shepherd boy from the Alps — throughout a long time. Mixed with Dhont and the Dardennes, this marks an enormous evening for Belgium, as all 5 administrators from the small nation went dwelling with awards.
Sharing the jury prize, Polish director Jerzy Skolimowski’s “EO” is a free, at-times-psychedelic remake of “Au Hasard Balthazar,” monitoring the trans-European journey of a donkey by a collection of difficult and infrequently merciless interactions with varied people, each taking him father from the circus performer he loves. “I want to thank to my donkeys, all six of them,” Skolimowski mentioned.
Swedish-born Tarik Saleh received the screenplay award for “Boy From Heaven,” which imagines a conspiracy by the Egyptian authorities to meddle within the appointment of a brand new grand imam. Banned from Egypt, Saleh was obliged to shoot the movie in Turkey, however instructed the gang he needs he might return. “I need to dedicate this prize to the younger filmmakers in Egypt, to lift your voices and inform your tales,” he mentioned.
Finest actress honors went to Zar Amir-Ebrahimi, who performs an Iranian reporter who dangers her personal life to catch a serial killer in “Holy Spider.” The tense true-crime thriller exposes the crimes of a person who focused prostitutes, turning extra chilling nonetheless when he’s arrested and audiences understand {that a} section of society helps his actions towards intercourse employees.
“I’ve come an extended method to be on this stage. It was humiliation [and] darkness, however there was cinema,” mentioned Amir-Ebrahimi, who counseled director Ali Abbasi for confronting all these issues that may’t be completed in Iranian cinema. ”It virtually saved my life, and I do know it can save lives once more.”
The male efficiency prize went to Korean actor (and “Parasite” star) Music Kang-ho for his function in “Dealer.” Music performs a person who sells deserted infants on the black market in Japanese director Kore-eda Hirokazu’s first Korean-made function. Not like “Holy Spider,” this movie really needs audiences to forgive its criminals, however contemplating the crime, it takes a performer as likable as Music to tug that off.
Representing the Digicam d’Or jury, Spanish actor Rossy de Palma introduced the award for greatest first movie to “Warfare Pony,” by Gina Gammell and Riley Keough. “Warfare Pony” tells the story of two younger males from the Oglala Lakota tribe and was written and made in shut collaboration with the Native American group it depicts. The Digicam d’Or jury was additionally impressed with one other debut, awarding a particular point out to Japanese director Hayakawa Chie’s “Plan 75,” which imagines a future wherein aged residents can elect to be euthanized.
Jury president Vincent Lindon, who received Cannes greatest actor honors in 2015, assured the gang the the Palme d’Or winner was chosen with a powerful majority, joking that the pageant organizers ought to change the principles: As a substitute of altering the members of the jury every year, he kidded, the pageant ought to ask them again yearly. “We’d like 4 extra years,” he mentioned.
Lindon co-presented the awards with fellow jurors Iranian director Asghar Farhadi, English actor-director Rebecca Corridor, French director Ladj Ly, American director Jeff Nichols, Indian actor-producer Deepika Padukone, Swedish star Noomi Rapace, Norwegian director Joachim Trier and Italian actor-director Jasmine Trinca.
Full record of prizes under.
COMPETITION
Palme d’Or: “Triangle of Disappointment,” Ruben Östlund
Grand Prix — TIE: “Stars at Midday,” Claire Denis AND “Shut,” Lukas Dhont
Director: Park Chan-wook, “Determination to Depart”
seventy fifth Anniversary Particular Award: Jean-Pierre and Luc Dardenne, “Tori & Lokita”
Actor: Music Kang-ho, “Dealer”
Actress: Zar Amir-Ebrahimi, “Holy Spider”
Jury Prize — TIE: “The Eight Mountains,” Félix Van Groeningen and Charlotte Vandermeersch AND “EO,” Jerzy Skolimowski
Screenplay: Tarik Saleh, “Boy From Heaven”
OTHER PRIZES
Digicam d’Or: “Warfare Horse,” Gina Gammell and Riley Keough
Digicam d’Or Particular Point out: “Plan 75,” Hayakawa Chie
Quick Movies Palme d’Or:“The Water Murmurs,” Jianying Chen
Quick Movies Particular Point out:“Lori,” Abinash Bikram Shah
Golden Eye Documentary Prize: “All That Breathes,” Shaunak Sen
Queer Palm: “Joyland”
UN CERTAIN REGARD
Un Sure Regard Award: “The Worst Ones,” Lise Akoka, Romane Gueret
Jury Prize: “Joyland,” Saim Sadiq
Finest Director Prize: Alexandru Belc, “Metronom”
Finest Efficiency Prize — TIE: Vicky Krieps, “Corsage” and Adam Bessa, “Harka”
Finest Screenplay Prize: Maha Haj, “Mediterranean Fever”
Coup de Coeur Award: “Rodeo,” Lola Quivoron
DIRECTORS’ FORTNIGHT
Europa Cinemas Label: “One Tremendous Morning,” Mia Hansen-Løve
Society of Dramatic Authors and Composers Prize: “The Mountain,” Thomas Salvador
CRITICS’ WEEK
Nespresso Grand Prize: “La Jauria,” Andres Ramirez Pulido
French Contact Prize: “Aftersun,” Charlotte Wells
GAN Basis Award for Distribution: City Distribution, “The Woodcutter Story”
Louis Roederer Basis Rising Star Award: Zelda Samson, “Love In keeping with Dalva”
CINÉFONDATION
First Prize: A Conspiracy Man,” Valerio Ferrara
Second Prize: “Someplace,” Li Jiahe
Third Prize — TIE: “Superb Revolution,” Masha Novikova AND “People Are Dumber When Crammed Up Collectively,” Laurène Fernandez