When Thierry Frémaux faced up to a Cannes without Hollywood movies — he was holding out for Steven Spielberg’s “Disclosure Day,” which Universal opted to withhold — he knew that while the usual festival d’auteurs would yield many quality films, they might not play big across the Atlantic.
When studio movies come to the Croisette, they’re accompanied by stars on the red carpet and parties and marketing junkets. Not so this year. The two American movies in the Competition, James Gray’s well-reviewed“Paper Tiger”(Neon), and Ira Sachs’ “The Man I Love,”delivered Adam Driver and Miles Teller and Rami Malek, respectively, to the red carpet, but came up empty-handed at the closing awards ceremony. All the prizes went to non-English-language films.
Per usual, the Screen International Critics’ Grid had less influence on the prize-winners than thejury, which is always dominated by actors. With the exception of Andrey Zvyagintsev‘s Grand Prix winner “Minotaur” (Mubi),a reworking of Claude Chabrol’s “The Unfaithful Wife,” all the prizes went to movies that evoke deep emotion. Top-ranked on the Screen grid, Polish filmmaker Pawel Pawlikowski‘s German-language post-World War II road movie “Fatherland”(Mubi)
Source: indiewire.com