2003 Milk Plus Droogies

Best Picture
Kill Bill Vol. I

Best Director
Quentin Tarantino, Kill Bill Vol. I

Best Actor (tie)
Johnny Depp, Pirates of the Caribbean

Best Actor (tie)
Bill Murray, Lost in Translation

Best Actress
Uma Thurman, Kill Bill Vol. I

Best Supporting Actor
David Hyde Pierce, Down With Love

Best Supporting Actress
Miranda Richardson, Spider

Best Screenplay
Sofia Coppola, Lost in Translation

Best Foreign Film

Best Cinematography
Harris Savides, Gerry

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The Blog:
Thursday, May 30, 2002
Quick afterthoughts on Cannes and prizes: I suffered less during The Pianist than during Schindler´s List, mostly because it´so cold and disinteresterd. Given that Oscar winners usually are the films that really cause me pain, the yun-fat torture scale says "no Oscar for boredom", but it´s an embarssing winner anyway. (It´s like in those previous years when the Bille August film won.) But it´s not really worth wasting space. What I find really disheartining is that the two flat-out great movies in Cannes were either critically hated (Demonlover) or ignored (Unknown Pleasures), save by a handful. Probably the Polanski victory is also a sort of political decision: the jury wanted to honor the overrated (though not bad) Palestinian film, Divine Intervention (Jury Prize), but did feel the obvious choice - Amos Gitai´s Israeli entry - wasn´t prize-worthy, so they thought by honoring the Holocaust epic they´d make some sort of "fair" decision. (That´s jury logic, don´t ask me.) I have no quibbles with the Grand Jury prize for Kaurismäki - it´s a beautiful film and probably his most accessible so far (hell, there´s even a POV-camera movement and they talk a lot more), but the only prizes that amazed me were the actor pirzes: both Kati Outinen and Olivier Gourmet in the Dardennes film do some kind of "non-acting", miles away from Nicholson´s probably-to-be-Oscar-nom´d turn in About Schmidt (or Brody´s aching Pianist). They´re unforced assemblages of minimalist gestures (in the Dardennes film you even see the movie being created by those gestures), they don´t bring in any external concepts about the role, giving in to the flow of the characters arc, never letting a movement overwhelm the small-scale projections of personality: termite acting, if you will. I haven´t seen the Anderson, but from what I´ve heard, the same might apply to his film as to Im Kwon-Taek´s who shared Director´s prize: that it´s a work whose direction is ultimately far more interesting than it´s content. The "special prize created on occassion of the 55th fest" for Moore is what it sounds like - a joke. Most exciting prize-winner in Cannes: Blissfully Yours, being awarded the "Prix Un Certain Regard", something which wasn´t even mentioned in most of the coverage. Oh, and did I mention that Amy Taubin looks like a gnome? A nice gnome, nonetheless, but a very suspicious one: She managed to sneak out before she had explained to this shellshocked listener why she was just kicking Raging Bull from her all-time top 10 and replacing it with Spider. And it should be added that, at odds with the popular prejudice, Cannes is one mighty ugly, unglamourus town. Favorite off-screen moment: one of the guys of the ever-present Troma-entournage (I don´t remember if it was the human bag, the shark or just one of those covered in blood) enters the McDonalds and cries so loud that even I, passing by, heard it outside: "You can´t support this capitalist evil and Troma at the same time!"