Culture 'Anatomy of a Fall', by Justine Triet, wins the Palme d'Or at Cannes

Never before in the last two decades (perhaps three) have there been so many candidates for a fair Palme d'Or in the competitive section of Cannes

Culture 'Anatomy of a Fall', by Justine Triet, wins the Palme d'Or at Cannes

Never before in the last two decades (perhaps three) have there been so many candidates for a fair Palme d'Or in the competitive section of Cannes. Never before in the reasonable time that memory reaches, the officer selection shone so bright and at such a height. Never before has it seemed so easy (or difficult, depending on) to discuss one award over another, due to the quality of all of them. And perhaps for this reason, and to make as few mistakes as possible or do it without being noticed, the jury chaired by the Swede Ruben Östlund opted for the solution that presents the fewest edges and that dares with the most eternal and present of issues. Anatomy of a Fall, by the French Justine Triet, won the top prize and did so with an example of rigorous, calculated and perfectly tense Cartesian cinema (the method matters). In this way, she became the third woman in the 76 editions that Cannes already has (the phrase hurts: three out of 76) to get the Palme d'Or. After Jane Campion and Julia Ducournau, she. Just of pure justice.

The director of sharp and painful human X-rays like El reflejo de Sibyl proposes in the film of the moment a highly studied piece of cinema attentive to the procedure. Everything runs without pause, without breath and with every detail of the narrative perfectly placed in its place. The corpse of a man appears. He has fallen from the top. Suicide or murder? What follows is a stark autopsy of a couple, of us. But not only that, what is being discussed is the changing role of men and women, of power relations, of care in the family, of responsibility, of the sense of sacrifice, of love, of the capacity of institutions to keep up with society, women and us... Triet thus completes an elaborate and even explosive piece of goldsmithing guided by the perfect work of actress Sandra Hüller.

Thus, the director completes an elaborate and even explosive piece of goldsmithing guided by the perfect work of actress Sandra Hüller

As careful when describing what happens inside the home as it is precise in the story of the trial, the film moves with the same solvency through melodrama as through criminal thriller. The emotion counts as much as the suspense, the terror is placed at the same height as the tears. The portrait that he offers of the man and his agonizing relationship with his inability to admit failure, his ability to see himself as a victim or his lack of generosity when it comes to accepting the talent of his partner are subjects exposed with a Clarity that frightens, with a luminosity that blinds, transparent from pure darkness. Let's face it, a lot of things are going down. From the top.

Triet took the podium and, true to her French status, lashed out at the neoliberal policies of her government, demanded more protection for the common (the cultural exception) and took home the Palme d'Or. In a more than fair way.

For the rest, the jury limited itself to filling in the boxes with due speed and disposition. Few times before the premiere of a film coincides with the death of the author on which it is based. The area of ​​interest is the book by Martin Amis that Jonathan Glazer adapts to his particular way. The film with its English title, The zone of interest, was screened the same day the writer died. Serious coincidence that could not go unnoticed and for her it was the Grand Jury Prize.

Triet attacked the neoliberal policies of his government and demanded more protection for the common (the cultural exception).

The novel is an uncomfortable and corrosive text that gives voice, light and even humanity (sad, but humanity) to the executioners of the Holocaust. So much so that the chronicles state that the author's regular publishers refused to print it. And the tape, correspondingly, moves across the screen scratching the retinas shamelessly, without consideration, without exhibitionism. Without giving up anything, even comedy much more than black, the story of a Nazi family that lives in its strange and well-to-do Nazi tranquility is told. The director renounces the love story posed by the book to focus on the acid and metallic sensation at the same time of the most elemental emptiness. The screen fills with sounds close to mercury, with images close to lightning, with the placidity not so much banal as deeply ridiculous of evil on the brink of hell, of Auschwitz.

Perhaps, and for the sake of discussing the indisputable, that Tran Anh Hùng was chosen as best director for Dodin Bouffant's La passion might seem exaggerated. But the truth is that the Vietnamese-French director manages in his film about nineteenth-century gastronomy (as it sounds) that the viewer leaves the cinema hungry for a wolf. How well it cooks what rolls or vice versa.

In the interpretation section, that the best actress (and twice) has been left out sounds strange, tremendously strange. But we must not forget that Sandra Hüller is the protagonist of both the Palme d'Or and the Grand Jury Prize. And, really, much of the credit for those mentions is his. Thus, the Turkish actress Merve Dizdar got hers for her work in Les herbes sèches, by Nuri Bilge Ceylan, and the Japanese actor Koji Yakusho got the same for his waste of contention in Perfect days, by Wim Wenders . Good for both of you.

Lastly, Aki Kaurismaki's masterpiece Les feuilles mortes, his best repeat film in a long time, took the Jury Prize, and Kore-eda's delicate insistence on his world in Monster, with the script. Nothing to object. It is not understood, however, that the most original of the competition films has been left out. Too bad that Alice Rohrwacher's The Chimera has not achieved what it deserved. Never before has Cannes offered so much. For this reason, Justine Triet's film can be considered the best film of the best edition in a long time. Good among the best.

Palma de Oro. 'Anatomy of a fall', by Justine Triet.

Grand Jury Prize. 'The zone of interest', by Jonathan Glazer.

Director. Tran Anh Hùng for 'La passion de Dodin Bouffant' or 'The Pot au feu'.

Jury Award. 'Les feuilles mortes', by Aki Kaurismaki.

guion Yuji Sakamoto por 'Monster', de Hirokazu Kore-eda.

Actriz. She merve Dizdar por 'Les herbes sèches', by Nuri Bilge Ceylan.

Actor. Koji Yakusho by 'Perfect days', de Wim Wenders.

According to the criteria of The Trust Project