Cannes Awards Predictions: Can the Dardennes Win the Palme d’Or a Third Time?

“Tori and Lokita,” the refugee drama from two-time Palme D’Or winning directors Jean-Pierre and Luc Dardenne.The film stars Pablo Schils and Joely Mbundu as a young boy and adolescent girl who have traveled alone from Africa to Belgium and face a serious test of their friendship as they grapple with the difficult conditions of their exile. The film received a special award at Cannes in honor of the festival’s 75th anniversary.

Elsa Keslassy International CorrespondentSideshow and Janus Films have acquired North American rights for “Tori and Lokita,” the latest film by two-time Palme d’Or winners Jean-Pierre and Luc Dardenne, which world premiered in competition at Cannes. The movie was one of the best reviewed films of the competition and earned the Dardenne brothers the festival’s special 75th Anniversary Prize.A story of human perseverance, the film is set in contemporary Belgium and follows a young boy Tori (Pablo Schils) and an adolescent girl Lokita (Joely Mbundu) who have traveled alone from Africa and pit their invincible friendship against the difficult conditions of their exile.“Tori and Lokita” stars Pablo Schils, Joely Mbundu, Alban Ukaj, Tijman Govaerts, Charlotte De Bruyne, Nadège Ouedraogo, and Marc Zinga.

Sideshow and Janus Films have acquired North American rights for Jean-Pierre and Luc Dardenne’s Tori and Lokita which premiered in competition at the Cannes Film Festival and was lauded with the Festival’s Special 75th Anniversary Prize. A theatrical release from Sideshow and Janus is being planned.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was a familiar winner striking gold again. For the second time in five years, director Ruben Östlund won the coveted Palme d’Or for his English-language debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square” and beat out eighteen other films to win this year’s top prize.

Though shot and set prior to the Russian invasion, by dint of being a Ukrainian picture detailing the aftermath of a woman soldier’s assault in the Donbas, “Butterfly Vision” lays claim to uniquely wretched timeliness at this year’s Cannes. What is an impressive if formally flawed first film from Maksym Nakonechnyi earns some emotional weight vis-a-vis present events: the Ukrainian flags of blue and white, flown with unsparing pride across Nakonechnyi’s images, bear the immediate frisson of beleaguered resistance, and that women Stateside presently face unprecedented threats to their bodily autonomy only compounds the miserable resonance.

NEON earned bragging rights tonight with the third consecutive Palme d’Or Cannes winner in a row, that being Ruben Östlund’s satirical comedy Triangle of Sadness, which was a huge crowd pleaser during the fest.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was familair winner striking gold again. For his second time in five year, director Ruben Östlund won the coveted Palme d’Or for his English-laungage debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square,” and beat out eighteen other films to win this years top prize.

Grand Prix: (TIE) “Close,” Lukas Dhont; and “Stars at Noon,” Claire DenisJury Prize: (TIE) “The Eight Mountains,” Felix van Groeningen and Charlotte Vandermeersch; and “Eo,” Jerzy SkolimowskiBest Director: Park Chan-Wook, “Decision to Leave”Best Screenplay: “Boy From Heaven,” Tarik SalehBest Actor: Song Kang Ho, “Broker”Best Actress: Zar Amir Ebrahami, “Holy Spider”75th anniversary special award: Jean-Pierre and Luc Dardenne, “Tori and Lokita”Camera d’Or (best first film): “War Pony,” Riley Keough and Gina GammellCamera d’Or, special mention: “Plan 75,” Hayakawa ChiePalme d’Or, Short Film: “The Water Murmurs,” Jianying ChenShort film special mention: “Lori,” Abinash Bikram Shah

Peter Debruge Chief Film CriticCANNES — The awards show for the 75th anniversary Cannes Film Festival is underway, bringing 12 days of competition between 21 international features to a close. “Benedetta” star Virginie Efira is hosting, while several directors can be spotted in the audience waiting to receive their awards, including Claire Denis (“Stars at Noon”), Park Chan-wook (“Decision to Leave”) and Belgian brothers Jean-Pierre and Luc Dardenne (“Tori & Lokita”).Guillaume Canet presented best actress honors to Zar Amir-Ebrahimi, who plays the reporter who risks her own life to catch a serial killer in “Holy Spider.” The tense true-crime thriller exposes the crimes and aftermath of a man who targeted prostitutes, and that portion of society which accepted his religious justifications he claimed for cleaning the streets.

The 75th Cannes Film Festival is coming to a close. The two-week festival saw some of the biggest stars and most anticipated films of the year come together to celebrate cinema.

Naman Ramachandran Indian filmmaker Shaunak Sen’s “All That Breathes” has won the Cannes Film Festival’s top documentary award, the Golden Eye.The film won the documentary grand jury prize at the Sundance Film Festival earlier this year and was acquired by HBO Documentary Films during Cannes, where it played as a special screening.Set in Indian capital Delhi, where, in an unbreathable atmosphere, the threat of inter-religious massacres floats in the air, the film follows two brothers, Nadeem and Saud, who along with their assistant, dedicate their lives to save the migratory black kites that are destroyed by human madness.The Golden Eye jury, composed of Agnieszka Holland, Iryna Tsilyk, Pierre Deladonchamps, Alex Vicente and Hicham Falah, said: “The Golden Eye goes to a film that, in a world of destruction, reminds us that every life matters, and every small action matters. You can grab your camera, you can save a bird, you can hunt for some moments of stealing beauty, it matters.

s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.

Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.

This year’s dark horse in competition at Cannes is easily “Leila’s Brothers,” Iranian writer-director Saeed Roustaee’s third feature and worthy follow-up to his intense 2019 cop thriller “Just 6.5.” With hints of “The Godfather” and Arthur Miller evident throughout, the drama is a sprawling tale exploring dysfunctional family dynamics, economic hardships, and generational wealth. READ MORE: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch “Leila’s Brothers” follows the lives of a Tehran family as they struggle to stay afloat amidst financial hardships and complicated familial relationships.

It’s a Cannes Film Festival legend. Supposedly, at the 1999 festival, when David Cronenberg headed the competition jury, he swayed his jury cohorts to award the Palme d’Or to the Dardennes’ “Rosetta” over Pedro Almodóvar‘s festival favorite, “All About My Mother.” Now, at this year’s festival, “Crimes Of The Future” star Viggo Mortensen put the myth to bed, stating that it’s a “bullshit” rumor and that the jury’s choice for “Rosetta” was unanimous.

In the late 19th century, two French psychiatrists coined the term “folie à deux,” literally translated as madness for two, to describe what is now widely referred to as shared psychotic disorder, or when two — or more — people transmit delusional beliefs and occasional hallucinations to one another. The condition is most common in people closely related, who live in intimate proximity, and has been lengthily dissected by academics.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

“Tori and Lokita” opens on a tight close-up on the teenage Lokita (Joely Mbundu) as she struggles with the questions delivered by an immigration officer. She has fabricated a story about how she found her brother, Tori (Pablo Schils) in an orphanage, but no one believes her.