A golden palm for freedom | EUROtoday

It is a bitter irony that the strict mullahs of all individuals can congratulate on the golden palm. The principal prize of Cannes Film Festival went to the Iranian director Jafar Panahi for his movie “A Simple Accident” (“A simple accident”) on Saturday night. As he simply informed the “time”, in his first interview with a German-language medium for 15 years, he didn’t serve his final jail sentence in solitary confinement, however in a type of administrators’ shared condo together with his colleague Mohammad Rasoulof (“The seeds of the holy fig tree”): “We talked a lot,” stated Panahi, “but above all we listened to our parties that are much more than us had endured. ” The script for “A Simple Accident” was created from their tales.

From jail on to Cannes after which the golden palm: that could not have been going higher for the PR division of the revolutionary guard.

The movie, which was seen in the midst of the second week in direction of the top of the movie pageant, is about a couple of easy residents who often do not even know one another. Coincidence cube them collectively and confronts them with an ethical dilemma: what would you do in case your most horrible torture torture, who has executed horrific issues for trivializing equivalent to collaborating in a demo or the waiver of a scarf, inflicted ache and relations threatened with demise if this torture servant could be unconscious within the loading room of a small pastry?

An reply has already been preceded by this query, and it was clear and unequivocal: the primary to find him, a employee, hits him the door of the rag, sags the unconscious and drives out into the desert to bury him alive. He makes a horrible mistake, the sure man is hooking from his freshly excavated pit, already sand between his enamel. He was not the one to think about him, and in addition a household man.

The employee who is bound to have the correct one in entrance of him smokes a cigarette to suppose. The leg prosthesis, the noise she makes – he’ll always remember it in life. “No,” crashes who, quasi sentenced to demise, croaks that the damage was new, the wound remains to be contemporary. In truth, there are wounds. So the mechanic strikes off, discovering different witnesses to substantiate identification no doubt that the once more handed out in a field behind the automotive.

This is the check association of “a simple accident”. The title alludes to the accident that the household of the supposed torturer has at first. One evening on the best way residence, the daddy runs over a stray canine. The automotive doesn’t begin on this, it’s tough to say in a type of workshop, which it’s, on the primary flooring there’s a pigeon scare. There the employee acknowledges his former adversary.

During the consideration in Cannes Panahi in a black go well with with sun shades stepped onto the stage as if he needed to indicate Jean-Luc Godard his reverence-Richard Linklater’s bitter candy tribute to the Nouvelle Vague had sadly left empty. Panahi thanked his “committed team”, with out which the movie couldn’t have been created. Of course, all of them say that right here, however not everyone seems to be underneath secret service and have a turning ban. After his imprisonment, Panahi received his passport again – however why the revolutionary guards made him to Cannes, the place his movie was created in secret due to the dedicated staff, stays a secret of the consultants who’re extra aware of the absurd laws of the non secular police.

In his speech, Panahi known as the Iranians to unity at residence and overseas: the pressing downside is “the freedom of our country”. He longs for the second when no person prescribes what garments it’s a must to put on, what you say, what can do. Big applause, not for ten or fifteen minutes, like after the premieres right here within the Grand Théâtre Lumière, however all of the extra intimate.

Because the funds of the filmmaker had been so restricted, you can’t count on any particular visible delicacies in “A Simple Accident”. In the foreground is the plot, refined and in between of absurd comedy, as is the case with artistic endeavors that emerged underneath authoritarian regimens, for a very long time, see the Eastern Bloc within the corresponding period. It was Panahi’s first look in Cannes for over 20 years. In the meantime, he had needed to endure the whole lot, a number of occasions in jail, journey {and professional} ban, home arrest. In 2015, associates smuggled his “Taxi Tehran”, who was additionally secretly created, to the Berlinale, the place he received the golden bear within the absence of the director, who was not allowed to go away Iran. The new movie additionally distinguishes a political urgency like no different competitor. This may be interpreted as a sign of the jury, chaired by actress Juliette Binoche.

The costs for the perfect director and the perfect actor match into the image, however beat the bridge to movie artwork within the narrower sense, with emphasis on the second syllable. They went to “O Secreto Agente” (“The Secret Agency”) by the Brazilian director Kleber Mendonça Filho and his main actor Wagner Moura, referred to as drug baron Pablo Escobar within the Netflix collection “Narcos”, who didn’t personally attend the award ceremony.

The title of the title proves to be a cartoon character that runs briefly on TV in a fleeting scene. She seems to be at Wagner Moura’s son, within the brief time he can spend collectively together with his father. The scientist that Moura performs has created himself on the finish of the Nineteen Seventies with a strong of the navy dictatorship and is now afraid of his life. On the run from mental murderers, he leads to Recife, the place after the mom’s demise, his son additionally lives together with his grandparents. His hopes of a brand new life shortly smash themselves.

In a panoramic panavision, Mendonça Filho summons an period, much like final yr Walter Salles in “Forever here” (Oscar for the perfect worldwide movie), however this time the main focus is on. The portrait of a whole nation is created – together with a tribute to the cinema, i.e. its cathedral: the cinema. Mendonça Filho stated the world’s largest cathedral cinema cinema, however after all Cannes was.

The Norwegian director Joachim Trier accepted the nice worth of the jury, so moved that he initially introduced out hardly a phrase. He recalled his grandfather, who had already offered a movie within the competitors in 1960. His movie “Sentimental Value” with Stellan Skarsgård and Renate Reinsve tells the story of a alienated household who finds one another once more after the mom’s demise.

Further costs went to Nadia Melliti as the perfect actress for the queer Banlieue story “La Petite Dernière” and to the Darde brothers for “Jeunes Mères” (finest script), a social drama by 5 moms who’re nonetheless in teenage.

The German director Mascha Schilinski, who had beforehand been trusted to the primary prize, had come again to Cannes to simply accept the prize of the jury. She shares him with the Frenchman Oliver Laxe (“Sirat”). At the start of the movie pageant we spoke intimately with Schilinski about their movie. German cash, personal and public, can be in different profitable movies: Trier’s movie was co-produced by Complicer movie, and the Brazilian can be a German co-production. Both are additionally funded by the Berlin-Brandenburg media board.

Most just lately, the particular prize of the jury went to the “Resurrection” of the Chinese BI GAN, a visible monster from a movie that does a minimum of a dream interpretation of the Chinese twentieth century.

With the awards, the entire palette was coated – from most refined aesthetics to the undisguised battle for freedom – with a stable center class. What are European filmmakers who should not combating towards oppression?

The reply is apparent: Tell tales, ingenious within the means, like Mascha Schilinski of their temporal palimpsest, by which the trauma of generations devour themselves in the identical place, a 4 -sided courtyard within the Altmark. Or, as Godard as soon as decried it, from the protected cowl of his sun shades: get a lady and a revolver. There is nothing extra for the cinema. The 2025 classic, the 78th of the Cannes Film Festival, was an excellent one, regardless of some storms that fell over the croisette.