A sin worse than Cannes' political grandstanding is its cliquish atmosphere. Not only is the jury made up of a very select group but the directors whose films pass the screeners are small in number and homogeneous in taste. China's Lou Ye got through the door this year but rest assured, Ning Hao would never make the cut. Not even Lu Chuan. Why? Because they are not "quirky" enough for the panel.
Put more bluntly, you have to make a certain kind of movie. If your aesthetic goes outside the realm of the selection committee, and later on the jury, you'll never register on Cannes' radar.
Consider this year's list. It basically consisted of Cannes favorites, among them Ken Loach, Jane Campion, Ang Lee, Lars von Trier and Pedro Almodovar. While all were tried and trusted "insiders", Ang Lee's inclusion was all the more remarkable for the fact he was welcomed back into the fold, having lost favor for having the temerity to win at Venice and Berlin, making him a favorite at rival festivals.
To further see how buddy-buddy Cannes has become, take a look at this year's winners. The coveted Palm went to Michael Haneke for The White Ribbon. The Austrian director had previously won for Cache and so was already "on the inside" but a bigger factor was the fact that Isabelle Hupert was president of this year's jury. And Huppert was Cannes' 2001 best actress for The Piano Teacher, which Haneke directed and which also won the Grand Prix, equivalent to runner-up to Best Picture. If you were Huppert, wouldn't you use your power and influence to get your friend the coveted prize? I would - unless the movie was a total disappointment.
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