Jafar Panahi Co-Leads Screen's Cannes Jury Grid with 3.1 points [Cannes] – world of role

Two competition titles were shown yesterday: Jafar Panahi's “A Simple accident” and Mario Martones “Fuori”. They developed as the highest and lowest titles on the Cannes jury of Screen International.

Only yesterday – not days after the start of the festival – the usual whisper began to swell to something safer: Finally a real palm -d'or contender had arrived. And now, almost overnight, the bookmakers have a simple accident as favorites.

The Iranian drama of Panahi, which examines the wave effects of an apparently minor event, is associated with Sergei Loznit's “two prosecutors” for the top position, with both earning an average of 3.1 from the network critic. This marks a remarkable improvement for Panahi, whose last competition title “3 Faces” (2018) received an average of 2.6.

In the meantime, Martone's “Fuori” is currently at the end of the network with an average of 1.0 – an ascent, even if the remaining two critics award the top brands. In the best case, it would still only achieve an average of 1.5.

In all my years in which Cannes unfolds, I cannot remember a list that is so overcrowded with entries with a low score. It doesn't just feel like a coincidence – a portrait of a competitive slate begins to paint, which at least for the time being and with the exception of some titles seems to have difficulty finding its foundation. Regardless of whether it is brave swings that miss it or just steamed ambition, the pattern is difficult to ignore.

As it looks, the lower level of the Cannes Screen Jury Network consists of “Fuori” (1), “Alpha” (1,5) “Eddington” (1,5), “Eagles of the Republic” (1,9), “The Little Sister” (2) and “The Phönicin Scheme” (2.3).

Today three competition titles are shown: Carla Simon's “Romeria”, Oliver Hermanus' “The History of Sound” and “Joachim Trier's” Sentimental value “.