那些被戛納評審團冷眼的遺珠
It’s not always noted, but there are two Cannes film festivals, one composed of critics, journalists and industry professionals and the other inhabited by the sequestered jury. Sometimes these two Cannes speak with one voice, but in this 69th festival, they definitely did not.
我們常常忽略，但是確實有“兩個”戛納電影節，一個是由影評人、記者、業內專業人士組成，而另外一個則由獨立評審團主導。有時，這兩個電影節的意見一致，不過在第69屆戛納電影節上他們顯然產生了分歧。
The German film Toni Erdmann, directed by Maren Ade, one of the few women in the competition, was easily the non-jury favorite among the 21 films eligible for prizes.
瑪倫•阿德執導的德國影片《託尼•厄德曼》是21部候選影片中爲數不多的女性導演作品，而它無疑不合評審團的胃口。
Both wildly raucous and movingly humane, it chronicles the evolving relationship between a prankster father and his high-powered careerist daughter. Far from winning a top prize, however, Toni Erdmann was totally shut out by the jury chaired by Mad Max director George Miller. The same thing also happened to several other audience-approved films, such as Jim Jarmusch’s Paterson and Paul Verhoeven’s Elle. Other big Cannes premieres, like Jodie Foster’s Money Monster, debuted outside the competition altogether.
這部影片兼具狂放嘈雜和悲天憫人，記錄了一位愛惡搞的父親和工作能力超羣的女兒之間不斷昇華的關係。雖然該片距離獲獎還有一段距離，但是由《瘋狂麥克斯》的導演喬治•米勒領銜的評審團完全不給它絲毫希望。另外幾部受到觀衆認可的電影，如吉姆•賈姆什導演的《帕特森》和保羅•費爾胡芬的《艾拉》也遭遇了一樣的命運。另外幾部在戛納盛大首映的電影，如朱迪•福斯特的《金錢怪獸》也無緣角逐大獎。
Instead, on May 22, the Palme d’Or went to 79-year-old British filmmaker Ken Loach for I, Daniel Blake, the on-the-nose narrative of working-class folks getting the runaround from an unfeeling government welfare bureaucracy.
5月22日，金棕櫚大獎花落79歲英國電影製作人肯•羅奇。他執導的電影《我是布萊克》使用完全敘事的方法，講述了享受政府福利的冷酷官僚們是如何搪塞工薪階層的。
Loach, who first won the Palme a decade ago for The Wind That Shakes the Barley, gave an impassioned acceptance speech, championing “a cinema of dissent against those who are powerful and mighty. We must show that another world is possible and necessary”.
十年前，羅奇曾憑藉電影《風吹麥浪》獲得過金棕櫚獎，當時他發表了一篇慷慨激昂的獲獎感言，支持“小衆電影挑戰強勢電影。我們必須向觀衆展現另外一種世界，這是可能的也是必要的。”
The other awards, each baffling in its own way, included the Grand Prix to Canada’s Xavier Dolan for his It’s Only the End of the World, the Jury Prize to Britain’s Andrea Arnold for American Honey, and the actress award to Jaclyn Jose, the star of Phillipine director Brillante Mendoza’s Ma’ Rosa.
其他獎項的歸屬也讓人匪夷所思，包括獲得評審團大獎的加拿大導演哈維爾•多蘭的電影《只是世界的盡頭》、獲得評審團獎的英國導演安德里亞•阿諾德的《美國甜心》和因出演菲律賓導演布里蘭特•曼多薩的電影《我們玫瑰》獲得最佳女主角的傑克琳•約瑟。
As the choices above indicate, every visitor to Cannes constructs his or her own festival out of what interests them and what they can manage to see. One characteristic of this year’s Cannes is that many of its finest films were unaccountably left out of the main competition.
正如上面的結果所示，每個參加戛納電影節的人都會依據個人的喜好構想他們自己心目中的電影節。本屆戛納電影節的一大特色就是許多優秀電影都莫名其妙地無緣角逐主要獎項。
