Huppert's fellow jury members have been quoted describing her as a "fascist", which could mean only one thing: She was determined her friend would win. That does not mean the movie did or did not deserve the Golden Palm. It just sheds light on the voting process, which is anything but democratic. If it's a panel of nine people, as it was at Cannes this year, it could not possibly be democratic. People are bound to be swayed.
Judging from the results, China's Shu Qi and South Korea's Lee Chang-dong also exerted a lot of influence.
Although Asian movies got only minor awards - Filipino Brillante Mendoza's best director prize for his rape-and-dismemberment drama Kinatay, Chinese director Lou Ye's best screenplay for Spring Fever and South Korean Park Chan-wook's share of the jury prize for his vampire story Thirst - their announcement is said to have drawn heavy booing from the assembled media. I'm not suggesting journalists are always right - maybe a larger Asian news corps would have tipped the response from jeers to cheers - but it shows how, in an event dominated by a few well-connected and persuasive people, a few can make or break a movie's chances regardless of its quality.
Cannes has over time shown great insight and courage - it gave its top nod to Apocalypse Now, arguably one of the best war movies ever - but it has also shown an inordinate amount of inertia. It often goes for mediocre works by top-notch filmmakers whose best days may be behind them. In 1983, it honored the Japanese director Shohei Imamura for his memorable The Ballad of Narayama; but it defies logic that he won a repeat Golden Palm for his 1997 entry, The Eel. Similarly, while recognizing Steven Soderbergh for Sex, Lies and Videotape (1989) was brave, giving Gus Van Sant the Palm in 2003 for Elephant was equally hard to comprehend. By any standard, this was not Van Sant's best work, or even one of better ones.
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