74th Cannes Film Festival
France, July 6 - July 17 2021Festival homepage
Ron Fogel (Israel), Carlo Gentile (Italy), Hugo Emmerzael (The Netherlands), Esteve Soler Miralles (Spain), Hamed Soleimanzadeh (Iran), Barbara Lorey de Lacharriere (France), Rolf Rüdiger Hamacher (Germany), Valérie Ganne (France), Pamela Jahn (UK)
- The Monster’s Assault on the Canon by Esteve Soler Miralles
- A New Wave of Women Directors by Valérie Ganne
- The Playground: Welcome to Hell… by Ron Fogel
- Feathers: A Singular Cinematic Grotesque by Hamed Soleimanzadeh
- Growing up Being Strong by Pamela Jahn
- It Started with a (Musical) Misunderstanding by Rolf Rüdiger Hamacher
The critics forming our jury had the pleasure to be at the scene of the action.
In the Official Selection – Competition at the 74th Cannes Film Festival, the jury of the International Federation of Film Critics has awarded «Doraibu mai kâ» / «Drive my car», and annonced its motivation: «This film is extremely subtle, and yet it is a tremendous work of cinema about the lasting power of art, in which intimate gestures compose an epic story of life and love lost. It’s made with care and precision by one of the most promising directors working right now».
In the Official Selection – Un Certain Regard at the 74th Cannes Film Festival, the FIPRESCI prize went to «Un Monde» / «Playground». According to the film critics, «This film explores the fine line between love and violence in the relationship amongst children, captured by the eye of the camera in a raw, realistic and ncompromising way. Building up and shifting tension subtly and seamlessly from beginning to end, Laura Wandel’s exciting debut feature is both deeply compassionate and unsettling in equal measures».
Third FIRPESCI prize at the 74th Cannes Film Festival was meant to a first feature in the parallel sections (this time, Critic’s Week). The International Federation of Film Critics has chosen «Feathers». The jurors stated that the film was awarded «For its singular mix of comedy and tragedy, grotesque atmosphere and surreal representation of poverty».