I'm surprised that he was even permitted to do that. I know the Academy doesn't allow Oscar statuettes to be auctioned off like that (unless I'm mistaken).
Also, given the subtitle, are we supposed to expect another installment here? Is Kechiche gonna move on to something else or is he gonna spend the next 5-6 years trying to find funding for a 4-hour Canto Due that no one's asking for?
wait what? how is that even possible to prohibit that?
I have no idea how they enforce it, but it's a thing. Apparently you can only sell the statue back to the Academy and no one else, but I'm not sure how they'd even keep track of that.
I'm sorry okay! I've been lusting after white *beep* for so long, I lost perspective
So from what I read here and there: * Almodovar might (because we know from past Festivals how different are the tastes of critics from the ones of directors and actors) take something big, either the Palm, Grand Prix or Banderas. Also Favino is talked about for the Actor prize. Haenel has the advantage of having Campillo in the jury, for whom she acted in 120 battements par minute, and she is also French. The film of Sciamma seems of such low quality tho, with cheap costumes, no soundtrack. From time to time it looks like a Hungarian porn movie. Also the film about the black people in the Paris suburbs will get something. Let's not forget these artists love minorities and stuff.
palme d'or: parasite, bong joon-ho grand prix: atlantique, mati diop best director: quentin tarantino, once upon a time in hollywood prix du jury: bacurau, kleber mendonça filho best actress: adele haenel, portrait of a lady on fire best actor: antonio banderas, dolor y gloria best screenplay: portrait of a lady on fire caméra d'or: les miserables, ladj ly
I really think portrait of a lady on fire would win something big, but if it wins the palme or the grand prix, adele haenel can't win best actress. and if she doesn't win, who does? and it feels weird not to predict malick for something in a iñarritu-led jury, but I can't fit him in anything.
Last minute predictions, mostly meritless due to knowing who was called back:
Palme d'Or: Portrait of a Lady on Fire (Céline Sciamma) Grand Prix: Parasite (Bong Joon-ho) Jury Prize: Bacurau (Kleber Mendonça Filho & Juliano Dornelles) Best Director: Mati Diop, Atlantique Best Actor: Antonio Banderas, Pain and Glory Best Actress: Emily Beecham, Little Joe Best Screenplay: (TIE) It Must Be Heaven (Elia Suleiman) and Young Ahmed (Jean-Pierre & Luc Dardenne) Caméra d'Or: Les Misérables (Ladj Ly)
And a special prize for César Diaz's Our Mothers.
Not too far from what I was expecting, though I imagined they'd go for Malick, Loach and Tarantino over Bacurau, Little Joe and Young Ahmed.
This btw is an example of a pet peeve I've mentioned a lot - English language films are always set in the safety and comfort of the past (or are on the 4th remake of something from the past) - the South Korean leading works in particular are always sort of touching on the "right now" and even when they are not set in the right now, evoke it with a light touch instead of US films which are insanely heavy-handed. It makes for edgier, more challenging films if you start with projects in the current setting - lots of room to say newer things.
Burning (2018), whether you liked it or not seemed achingly up to the moment in the culture it was addressing and Parasite suggests a rather precise skewering of the right now as well (haven't seen it).
It's a big problem in the way the US sees things and what we expect from movies that this year (again) - we will have Sharon Tate's 50 year murder, Hoffa's 45 year murder, Mr. Rogers and Harriet Tubman.......