Has Cannes Found Its Early Front-runner?

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Has Cannes Found Its Early Front-runner?

Survey journalists during the first few days of the Cannes Film Festival, and you’re likely to hear some grumbling. Though it may seem uncharitable to complain in such a glittery, glamorous location, it’s practically tradition for critics here to shrug at the initial salvo of movies, wondering how long it will take for a viable contender to emerge that could win the prestigious Palme d’Or.

Sometimes, it takes quite awhile. Unlike other major film festivals, Cannes, which started Tuesday, doesn’t front-load its highest-profile titles: Significant movies unspool every day over two weeks, and the Palme winner often does not debut until the festival’s back half.

This year, though, an early pacesetter seems to have emerged. Directed by Mascha Schilinski,

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skips through time to track four girls who have lived on the same ******* farm over the course of a century. From the prewar era to the modern day, these young women contend with many of the same issues, from nascent ******* curiosity to brutally violent repression.

It’s arty and lengthy in the way that Cannes juries often favor, and many of the early reviews were rapturous, especially those by critics who had prescreened the movie before the festival began. To hear those scribes tell it, “Sound of Falling” is “transfixing” (The Hollywood Reporter), “astonishingly poised and ambitious”(Variety), and “a high-water mark that will be hard for another feature to reach” (Vulture).

Still, the response on the ground wasn’t entirely positive after Wednesday’s premiere. A critic friend texted me that he found the film “pretty vacuous” and the fest’s popular

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, which compiles scores from a dozen critics on a scale from one to four, gave “Sound of Falling” an average of 2.8. That’s respectable, but last year’s Palme winner, “Anora,” hit 3.3, while the previous victor, “Anatomy of a Fall,” earned a 3.0.

Can passion win out over consensus? Stay tuned.

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#Cannes #Early #Frontrunner

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