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DAILY | Cannes 2012 | Palme d’Or for Haneke’s AMOUR

Nanni Moretti and the Jury for the 65th Cannes Film Festival have presented the Palme d’Or to Michael Haneke’s AMOUR. More awards: Un Certain Regard, Directors’ Fortnight and Critics’ Week. To see all our coverage of the coverage, head straight to the Cannes 2012 Index.

The Jury of the 65th Cannes Film Festival, presided over by Nanni Moretti and including Hiam Abbass, Andrew Arnold, Emmanuelle Devos, Jean-Paul Gaultier, Diane Kruger, Ewan McGregor, Alexander Payne, and Raoul Peck has presented this year’s Palme d’Or to Michael Haneke’s Amour.

Amour

Jean-Louis Trintignant in Haneke's 'Amour'

Haneke, of course, won the Palme d’Or in 2009 for The White Ribbon.

Grand Prix: Matteo Garrone’s Reality.

Prix de la Mise en Scene (best director): Carlos Reygadas for Post Tenebras Lux.

Prix du Scenario (best screenplay): Cristian Mungiu for Beyond the Hills.

Prix du Jury (jury prize): Ken Loach’s The Angels’ Share. Loach used the platform to call for solidarity with those who oppose austerity and privatization.

Prix d’interpretation feminine (best actress): Cristina Flutur and Cosmina Stratan for their performances in Mungiu’s Beyond the Hills.

Prix d’interpretation masculine (best actor): Mads Mikkelsen for his performance in Thomas Vinterberg’s The Hunt.

Carlos Diegues and his Jury (Michel Andrieu, Remy Chevrin, Francis Gavelle, Hervé Icovic, and Gloria Satta) have presented the Caméra d’Or for best first feature to Benh Zeitlin’s Beasts of the Southern Wild. 25 films were eligible.

Palme d’or du Court Métrage (best short film): Turkish director L. Rezan Yesilbas’s Silence. Bilge Ebiri‘s tweeted: “They didn’t translate the last thing he said, but he dedicated it to all the silent women of his nation.” A few days ago, the Cinéfondation and Short Film Jury, headed by Jean-Pierre Dardenne and including Arsinée Khanjian, Karim Aïnouz, Emmanuel Carrère and Yu Lik-Wai, picked out three winners from a selection of 15 student films, originally chosen out of nearly 1700 entries coming from 320 film schools around the world. First prize goes to Taisia Igumentseva’s The Road To. (That’s it; the title stops there.) Second: Matthew James Reilly’s Abigail. Third: Miguel Angel Moulet’s The Hosts.

Other, previously announced awards…

UN CERTAIN REGARD

Prix Un Certain Regard: Michel Franco’s After Lucia.

Special Jury Prize: Benoît Delépine and Gustave Kervern’s Le Grand Soir.

Best Actress (twice; no Best Actor this year): Suzanne Clément (Laurence Anyways) and Emilie Dequenne (Our Children).

Special Mention: Aida Begić’s Children of Sarajevo.

DIRECTORS’ FORTNIGHT

Art Cinema Award: Pablo Larraín’s No.

Europa Cinemas Label for Best European Film: Merzak Allouache’s The Repentant.

Society of Dramatic Authors and Composers’ SACD Prize: Noemie Lvovsky’s Camille Rewinds.

CRITICS’ WEEK

Nespresso Grand Prize: Antonio Méndez Esparza’s’s Aquí y Allá.

The France 4 Visionary Award: Ilian Metev’s Sofia’s Last Ambulance.

The Prix SACD: Meni Yaesh’s God’s Neighbors.

ACID/CCAS Distribution Support: Alejandro Fadel’s The Savages.

In the short films categories, the Canal+ Award goes to Shin Suwon’s Circle Line, the Nikon Discovery Award to Damien Manivel’s A Sunday Morning and a Special Mention to Juliana Rojas’s Doppelgänger.

ALSO…

Nisimazine

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FIPRESCI Awards: Sergei Loznitsa’s In the Fog (Competition), Benh Zeitlin’s Beasts of the Southern Wild (Un Certain Regard), and Rachad Djaidani’s Hold Back (Directors’ Fortnight).

And the Cannes Ecumenical Jury singles out Thomas Vinterberg’s The Hunt, with a special mention going to Beasts of the Southern Wild.

Updates, 5/29: Nanni Moretti: “Without going into details, no prize was agreed on unanimously, a middle ground that would have pleased no one. I want to again mention Emmanuelle Riva and Jean-Louis Trintignant’s fundamental contribution to Love‘s Palme d’Or, because some members of the jury would have liked to give them the acting and screenplay awards too. But the rules do not allow it. I noted in general that several directors seemed more in love with their own style than with their characters. Leos Carax, Ulrich Seidl, and Carlos Reygadas’ films were the ones that most divided the jury.” And Cineuropa‘s Fabien Lemercier collects more quotes from the post-ceremony press conference. The Festival itself has more.

MUBI’s Daniel Kasman ranks the films he saw in Cannes. 44 critics cast 1200 votes on 90 films for Micropsia and Diego Lerer tallies the results; he also lists his own top 25 and bottom 5 films at the festival. More wrap-ups: Peter Bradshaw (Guardian), Dave Calhoun (Time Out London), Celluloid Liberation Front (Notebook), Manohla Dargis (New York Times), Larry Gross (Film Comment), Dennis Lim (Artforum), Karina Longworth (Voice), Patrick Z. McGavin, Michal Oleszczyk (Hammer to Nail) and Jonathan Romney (London Review of Books).

For Criticwire, Kaleem Aftab, Ryland Aldrich, Raffi Asdourian, Anna Bielak, Alex Billington, Mike D’Angelo, David Fear, Jon Frosch, Clémentine Gallot, Michael Ghennam, Patrick Heidmann, Eugene Hernandez, Aaron Hillis, Peter Howell, Ben Kenigsberg, Robert Koehler, Eric Kohn, Manolis Kranakis, Guy Lodge, Poly Lykourgou, Michał Oleszczyk, David Poland, Anna Tatarska, Amy Taubin, Anne Thompson, Sarah Watt, and Neil Young list their top films and performances (and disappointments).

Update, 6/1: IndieWIRE‘s Eric Kohn talks with Chicago Tribune film critic Michael Phillip and Variety contributor Robert Koehler about the highs and lows this year’s edition.

Updates, 6/5: Blake Williams posts his “Cannes 2012 Hierarchy, with comments.” And Nisimazine presents an e-book covering first features and short films.

Cannes 2012 Index: a guide to the coverage of the coverage. For news and tips throughout the day every day, follow @KeyframeDaily on Twitter and/or the RSS feed. Get Keyframe Daily in your inbox by signing in at fandor.com/daily.

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One Comment »

  • Ryan says:

    Jeepers. Sorry to sound like I don’t appreciate that it seems like good movies are being made, and I can’t wait to see Amour, but the fact that big daddy Haneke has won twice in 3 years is just a way of re-opening that gender wound at Cannes. Sounds like there are a ton of great female performances this year. But where the HELL are the woman directors??!

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