Against expectations, Sean Baker took home the prestigious Golden Palm for his frenetic film Anora rather than Mohammad Rasoulof for his poignant expo
Against expectations, Sean Baker took home the prestigious Golden Palm for his frenetic film Anora rather than Mohammad Rasoulof for his poignant exposé of moral corruption within the Iranian regime. Most pundits predicted Rasoulof, who had fled Iran in fear of imprisonment, would receive the top honour for his urgent Seed of the Sacred Fig. However, Baker’s eclectic tale proved an irresistible choice for the jury led by Greta Gerwig.
The outcomes of the awards doled out at the 77th Cannes Film Festival continually underline the unpredictability of a jury’s proclivities. Consensus anticipated Rasoulof’s timely film, positioned as the climactic closing statement of the irregular main selection, would sway voting in its favour. By arriving in France just before the finale, Rasoulof shared with the global community his harrowing story of being forced to escape his homeland after crafting a seditious cinematic remonstration. Seed of the Sacred Fig stands alone this year as a rare union of cinema and politics, a film brazenly critiquing the Iranian establishment and empowering the nation’s youthful dissidents. One might assume such a relevant message would be rewarded above all others.
While Anora drew significant praise from many reviewers, few foresaw Sean Baker claiming the top Golden Palm. It was a choice that certainly wasn’t without merit, but considering the context of a festival hesitant of overt politics, most assumed the prestigious prize would serve as a platform for global issues. Baker’s film was not that, but it remains his most accomplished work to date, making its victory interesting and well deserved.
Anora provides an energetic portrayal of a New York exotic dancer navigating her professional environment in pursuit of fulfilling her Disney fantasy. Baker has emerged as one of cinema’s most perceptive chroniclers depicting how heavily the American Dream still weighs upon individuals. In his films, all are seeking economic independence, including sex worker Ani, whose fortunes appear to turn when she dances for the son of a Russian tycoon at the club. This generous companionship provides a stroke of luck, and marriage offers Ani access to absurd wealth. Or so she hopes.
Baker’s knack for capturing raw humanism translates economic realities with Cassavetes-esque flair. Where films like Tangerine and The Florida Project impressed, Anora signifies further maturity as an acute chronicler of modern America. No director so deftly merges humor, pathos and suspense in works as entertaining as intense. Cannes audiences may find its populism palatable, but its populist power proves perfectly pleasurable. A film so engaging emanates whenever, its ability to enrapturous anyone emerging as Anora’s most deserving quality in this queer Cannes year.
Awards
Main Competition
Golden Palm (Palme d’Or):
Grand Prix: All We Imagine as Light by Payal Kapadia
Jury Prize: Emilia Pérez by Jacques Audiard
Best Director: Miguel Gomes for Grand tour
Best Screenplay: Coralie Fargeat for The Substance
Best Actress(es): all actresses in Emilia Pérez
Best Actor: Jesse Plemons for Kinds of Kindness
Special Prize: Mohammad Rasoulof for The Seed of the Sacred Fig
Un Certain Regard
Best Film: Black Dog by Guan Hu
Jury Prize: The Story of Souleymane by Boris Lojkine
Best Director (tie): Roberto Minervini for The Damned and Rungano Nyoni for On Becoming a Guinea Fowl
Acting Prize (tie): The Shameless by Anasuya Sengupta and The Story of Souleymane by Abou Sangare
Youth Prize: Holy Cow! by Louise Courvoisier
Honorable Mention: Norah by Tawfik Alzaidi
Quinzaine des Cinéastes
Best European Film: The Other Way Around by Jonás Trueba
SACD Prize: This Life of Mine by Sophie Fillières
Audience Award: Universal Language by Matthew Rankin
Semaine de la Critique
Grand Prize: The Mountain King by French novelist Federico Luis captured imaginations with its complex characters and unpredictable plot twists.
French Touch Prize: Palace of the Blue Sun by young director Constance Tsang showcased her talent for visual storytelling and exploring universal themes.
Rising Star Prize: Newcomer Ricardo Teodoro stunned audiences with his poignant directorial debut Baby.
Distribution Prize: Upstart distributor Jour2Fête took home honors for helping obscure gem Julie Doesn’t Talk find its audience.
Camera d’Or: In his bold first feature Armand, Halfdan Ullmann Tøndel crafted an immersive tale that announced his arrival on the filmmaking scene.
L’œil d’or: Veteran documentarian Raoul Peck shone a necessary light on apartheid-eraphotographer Ernest Cole in Lost and Found, while first-timer Ayman El Amir beautifully explored dreams and desire in the lyrical Brink of Dreams, resulting in a rare tie.
Fipresci Prizes: Iconoclast Mohammad Rasoulof took top honors for Main Competition entry The Sacred Fig Tree’s Seed, which bitingly commented on social issues. Boris Lojkine impressed critics with the intimate character study The Story of Souleymane in the Un Certain Regard section. Experimental French film Desert of Namibia from Yoko Yamanaka won for Semaine de la Critique/Quinzaine des Réalisateurs.
Queer Palm: Emanuel Parvu’s emotionally complex romantic drama Three Kilometers to the End of the World resonated most with its LGBTQ+ themes.
Cinefondation: Young Indian director Chidananda S Naik won support for his thoughtful debut Sunflowers Knew First.
Palme Dog: Viewers agreed that scene-stealing canine Kodi deserved recognition for integral role in The Dog Trial.
Nabil Alani – Cannes Film Festival 2024 – Cannes77
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