Honor roll:Festival de Cannes Jury Awards for Feature Films
From AwardAnnals
Each of these films has been nominated for a Festival de Cannes Jury Awards for Feature Films. They are ranked by honors received.
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- 1995 Edgar–Video winner
- 1995 MTV-Movie winner
- 1995 Saturn-Action winner
- 1994 Cannes Palme d’Or
- 1995 BAFTA-Film nominee
- 1995 Golden Globe-Drama nominee
- 1995 Oscar-Picture nominee
- Score: 58.45
With the knockout one-two punch of 1992’s Reservoir Dogs and 1994’s Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d’Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million)…
- 2003 BAFTA-Film winner
- 2002 Cannes Palme d’Or
- 2003 Golden Globe-Drama nominee
- 2003 Oscar-Picture nominee
- Score: 32.53
Winner of the prestigious Golden Palm award at the 2002 Cannes film festival, The Pianist is the film that Roman Polanski was born to direct. A childhood survivor of Nazi-occupied Poland, Polanski was uniquely suited to tell the story of Wladyslaw Szpilman, a Polish Jew and concert pianist (played by Adrien Brody) who witnessed the Nazi invasion of Warsaw, miraculously eluded the Nazi death camps, and survived throughout World War II by hiding among the ruins of the Warsaw ghetto. Unlike any previous dramatization of the Nazi holocaust, The Pianist…
- 1996 Cannes Palme d’Or
- 1997 BAFTA-Film nominee
- 1997 Golden Globe-Drama nominee
- 1997 Oscar-Picture nominee
- Score: 28.46
If a film fan had never heard of director Mike Leigh, one might explain him as a British Woody Allen. Not that Leigh’s films are whimsical or neurotic; they are tough-love examinations of British life—funny, outlandish, and biting. His films share a real immediacy with Allen’s work: they feel as if they are happening now. Leigh works with actors—real actors—on ideas and language. There is no script at the start (and sometimes not at the end). Secrets and Lies involves Hortense (Marianne Jean-Baptiste), an elegant black woman wanting to learn her birth…
- 1993 Cannes Palme d’Or
- 1994 BAFTA-Film nominee
- 1994 Golden Globe-Drama nominee
- 1994 Oscar-Picture nominee
- Score: 28.43
Jane Campion’s The Piano struck a deep chord (if you’ll excuse the expression) with audiences in 1993, who were mesmerized by the film’s rich, dreamlike imagery. It is the story of a Scottish woman named Ada (Holly Hunter), who has been mute since age 6 because she simply chose not to speak. Ada travels with her daughter Flora (Anna Paquin) and her beloved piano to a remote spot on the coast of New Zealand for an arranged marriage to a farmer (Sam Neill). She gives piano lessons to a gruff neighbor (Harvey Keitel) who has Maori tattoos on his face, and,…
- 1986 Cannes Palme d’Or
- 1987 BAFTA-Film nominee
- 1987 Golden Globe-Drama nominee
- 1987 Oscar-Picture nominee
- Score: 28.36
The Mission is director Roland Joffé’s fuzzy effort at an epic in David Lean style without David Lean’s sense of emotional proportion. In fact, Lean’s most important screenwriting collaborator, Robert Bolt, wrote The Mission, which concerns a Jesuit missionary (Jeremy Irons) who establishes a church in the hostile jungles of Brazil and then finds his work threatened by greed and political forces among his superiors.
Robert De Niro is briefly effective as a callous soldier who kills his own brother and then turns to Irons’s character to oversee…
- 1982 Cannes Palme d’Or
- 1983 BAFTA-Film nominee
- 1983 Golden Globe-Drama nominee
- 1983 Oscar-Picture nominee
- Score: 28.32
The peril facing a lone American amid Third World political turmoil is elegantly communicated in this important film from Costa-Gavras (Z), adapted by the director and Donald Stewart from Thomas Hauser’s nonfiction book. The key to its power onscreen stems from the decision not to center the action merely on the disappearance of Charles Horman (John Shea), but also on the search for him by his father Ed (Jack Lemmon)—and on Ed’s discovery of a son he never knew. The Oscar-winning script flows freely between that search and Charles’s earlier experiences in…
- 1979 Cannes Palme d’Or
- 1980 BAFTA-Film nominee
- 1980 Golden Globe-Drama nominee
- 1980 Oscar-Picture nominee
- Score: 28.29
In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad’s classic story “Heart of Darkness” into the horrors of the…
Something like a perfect artistic union is achieved in the major components of Paris, Texas: the twang of Ry Cooder’s guitar, the lonely light of Robbie Muller’s camera, the craggy landscape of Harry Dean Stanton’s face. In his greatest role, longtime character actor Stanton plays a man brought back to his old life after wandering in the desert (or somewhere) for four years. He has a 7-year-old son to get to know, and his wife has gone missing. The material is much in the wanderlust spirit of director Wim Wenders, working from a script by Sam Shepard and…
Choreographer-turned-director Bob Fosse (Cabaret, Lenny) turns the camera on himself in this nervy, sometimes unnerving 1979 feature, a nakedly autobiographical piece that veers from gritty drama to razzle-dazzle musical, allegory to satire. It’s an indication of his bravura, and possibly his self-absorption, that Fosse (who also cowrote the script) literally opens alter ego Joe Gideon’s heart in a key scene—an unflinching glimpse of cardiac surgery, shot during an actual open-heart procedure.
Roy Scheider makes a brave and largely successful…
Kagemusha: (The Shadow Warrior)
In his late color masterpiece Kagemusha (The Shadow Warrior) director Akira Kurosawa returned to the samurai film and to a primary theme of his celebrated career—the play between illusion and reality. Sumptuously reconstructing the splendor of feudal Japan and pageantry of war, Kurosawa creates a soaring historical epic that is also a somber meditation on the nature of power. The Criterion Collection is proud to present Kagemusha for the first time in its full-length version.
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