Amour, Parasite, The Square… A look back at the last ten palmes d’or dedicated to Cannes

OfUncle boonmee To Parasite Passing by The tree of Life and Dheepan, (re) discover the films that have marked the Croisette since 2010.

Ten years pass like a meteor. But in Cannes there are still some golden palms. From 2010 to 2019, ten films won the supreme award. There are masterpieces (The tree of Life, Love, Parasite), a jewel of irony (The Square) and some social and political frescoes that will mark, perhaps their time (The Life of Adele, Me, Daniele Blake, Dheepan…).

2010: Uncle boonmee by Thai director Apichatpong Weerasethakul

The first trophy of the decade 2010 goes to Uncle boonmee for a feature film on a spiritual odyssey in the land of reincarnation. Le Figaro judged in its time this work too slow and hermetic, regretting that Men and gods by Xavier Beauvois received only the Grand Prix of the Festival.

2011: The tree of Life by American director Terrence Malick

The years go by and do not look alike. This film conceived as a cosmic epic and an ode to the beauty of the world. Performed magnificently by Brad Pitt, Sean Penn and Jessica Chastain, it tells, with a guiding thread the difficult youth of a boy of the 50s, the life of a Texan family. Le Figaro and much of the criticism will cry out for the masterpiece.

2012: Love by Austrian director Michael Haneke

Love has no age. In a long filmed poem dedicated to the most powerful of feelings found at the end of two lives and supported by two exceptional actors, Emmanuelle Riva and Jean-Louis Trintignant, the Austrian filmmaker wins a second gold palm three years after that obtained for The White Ribbon. What more can be said ? That this miraculous work will glean almost all the titles to fame: a Golden Globe, two BAFTAs, five Césars, an Oscar …

2013: The Life of Adele by Franco-Tunisian director Abdellatif Kechiche
A year after Michael Haneke, love is once again the main subject of this Palme d’Or, but this time dressed in the sometimes sulphurous habits of the Cannes Film Festival. The story recounts the passionate relationship between two young women played by Léa Seydoux and Adèle Exarchopoulos. This beautiful object of scandal – well in tune with the times – will appeal to the majority of critics.

2014 : Winter sleep by Turkish director Nuri Bilge Ceylan
Inspired by a work by Tchekov, the film looks back at the feelings that make up the Russian soul: torments, remorse and doubts. The criticism will be divided: Les Inrocks, Telerama and Release will cry genius while Le Figaro and Cinema Notebooks The slowness of a scenario that is sometimes too conventional, that is to say too similar to the model defined by Michelangelo Antonioni, will be pointed out.

2015 : Dheepan by French director Jacques Audiard

You need to know the intended subtitle: The man who didn’t like war. He says a lot about Jacques Audiard’s talent for suggesting men’s feelings. Here, it is a look on France by a warrior of the Tamil Tigers. This fighter who aspires only to a peaceful life must, in order to survive, take back his soldiers’ soul to protect his family. A work, as often for Audiard, which turns out to be as fine as it is ambiguous.

2016: Me, Daniel Blake by English director Ken Loach
It is the painting of a social fresco or more exactly an open attack against the detractors of social assistance. Le Figaro will see “a beautiful portrait of a dignified man, crushed by a greedy and stupid society“. This work by Ken Loach will be covered with honor: the palme d’or, therefore, a César and a BAFTA.

2017: The Square by Swedish director Ruben Östlund
This film mocks with rare acuity the (sometimes too spoiled) world of contemporary art. But the satire here goes beyond the too narrow space of the galleries. She will scrutinize the errors of our societies, too ordered to live only at the rate of our desires and our personal satisfactions. The humor, ironic it is true, is very present there. A rarity for a gold palm.

2018: A family matter by Japanese director Hirokazu Kore-eda
The criticism is unanimous: this palme d’or is a little gem. Here again, love is at the center of the film. But here, it is a question of family love, where sharing remains the essential value. Le Figaro, impressed by the gesture and inspiration of the Japanese filmmaker, will not hesitate to write: “Kore-eda, at 56, signs with A family matter one of his most beautiful films, if not the most beautiful.

2019: Parasite by South Korean director Bong Joon-ho
The world looks like a house, one should write after seeing this masterpiece. The film could be a play. Closed doors can be opened thanks to limitless inventiveness. The genius of Bong Joon-ho lies precisely there.

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Amour, Parasite, The Square… A look back at the last ten palmes d’or dedicated to Cannes

Hank Gilbert