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Winners At The 2017 Cannes Film Festival

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Winners at the 2017 Cannes film festival

Here are the winners from the 2017 Cannes film festival, as chosen Sunday by a star-studded jury led by Spanish director Pedro Almodovar.

Palme d’Or: ‘The Square’ 

Swedish film “The Square”, a dark satire of the contemporary art world, was the surprise winner of the top Palme d’Or prize at the world’s biggest film festival.

The film, a savagely funny takedown of political correctness and the things we choose to hang in art galleries, had premiered to strong reviews — but even director Ruben Ostlund was shocked as he picked up the award, shouting, “Oh my God, oh my God!”

Grand Prix: ‘120 Beats Per Minute’

“120 Beats Per Minute”, a moving drama set in Paris at the height of the AIDS epidemic in the early 1990s, scooped second prize for its wrenching portrayal of a romance between two activists in the advocacy group ACT UP.

The film was a deeply personal project for director Robin Campillo, who was himself an activist in the French branch of the group that helped shame the world into action.

Jury Prize: ‘Loveless’ 

“Loveless”, a bleak tale of a middle-class couple in Moscow looking to offload their child as they go through a bitter divorce, came in third.

The film by Kremlin critic Andrei Zvyagintsev offers a stinging critique of modern Russian society, depicting a country obsessed with consumerism and its smartphones.

Best actor: Joaquin Phoenix 

Triple Oscar nominee Joaquin Phoenix won best actor for playing a traumatised hitman in Lynne Ramsay’s ultra-violent “You Were Never Really Here”.

He gives an electrifying performance as Joe, a former soldier who is hired by a New York state senator to rescue his daughter from a paedophile ring.

Best actress: Diane Kruger

In her first film role in her native German, Hollywood star and former model Diane Kruger swapped her usually glamorous image to play a mother who vows revenge after her ethnic Kurdish husband and son are killed in a neo-Nazi attack.

Hailed as a “powerhouse performance” by Variety magazine, Kruger said the role had taken a huge emotional toll. “The film almost killed me,” she said at Cannes. “I haven’t worked since.”

Best director: Sofia Coppola 

Sofia Coppola picked up best director for her remake of the American Civil War thriller “The Beguiled”, starring Colin Farrell as a soldier who bewitches several Southern women including Nicole Kidman.

Collecting her award, the “Bling Ring” director thanked her father — “Apocalypse Now” director Francis Ford Coppola — for teaching her the tricks of the trade.

Best screenplay: Lynne Ramsay and Yorgos Lanthimos

The nine-member jury opted to split the screenplay prize in two, dividing it between Scottish director Lynne Ramsay for “You Were Never Really Here” and Greece’s Yorgos Lanthimos for “The Killing of a Sacred Deer”, a chilling suburban thriller starring Colin Farrell and Nicole Kidman.

Special prize: ‘Nicole Kidman’

Nicole Kidman was the undisputed queen of this year’s Cannes with four projects showing. To mark its 70th birthday, the festival rewarded her with a special prize.

Winners at the 2017 Cannes film festival

AFP

ENTERTAINMENT

AFRIFF 2024: Check Out The Complete List Of Winners

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2024 AFRIFF: The Complete List Of Winners | fab.ng

The 2024 AFRIFF celebrated exceptional African cinema through a vibrant week-long showcase of talent, creativity, and storytelling excellence.

Filmmakers, actors, and cinema enthusiasts gathered from across the continent to participate in screenings, masterclasses, and engaging panel discussions at the 2024 AFRIFF.

This 13th edition of AFRIFF demonstrated unprecedented diversity in African storytelling, featuring compelling narratives that captivated audiences through multiple genres and languages.

In the 2024 AFRIFF, carefully curated selections sparked meaningful conversations about contemporary African experiences while highlighting the continent’s rich cultural heritage.

Also, at the 2024 AFRIFF Globe Awards ceremony, outstanding films earned recognition for their artistic merit, technical excellence, and powerful storytelling.

These winning productions represented various African perspectives, from intimate personal narratives to broader social commentaries.

Let’s explore the complete list of winners who made their mark at this prestigious celebration of African cinema.

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ENTERTAINMENT

Enioluwa Replies X User Questioning The Use Of Same Actors In Nollywood

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Enioluwa on why Nollywood uses the same actors | fab.ng

Nollywood actor and social media personality Enioluwa explained why the Nigerian film industry uses the ‘same faces’ in movies.

It all began on November 11, 2024, when an X user reacted to actress Jemima Osunde‘s post on X regarding the new YouTube film Fame and Fury.

The user said, “I’m sincerely tired of seeing the same faces in this damn industry.”

Osunde did not take her comment lightly. She retorted, saying, “We’re tired of seeing your face too in your office. Damn! I hope they sack you.”

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John Njamah Says Actors Should Be Cast Based On Talent Not Instagram Followers

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John Njamah Says Actors Should Be Cast Based On Talent | fab.ng

Nollywood filmmaker John Njamah recently voiced his concern about the prevailing casting practices in the industry. He argued that casting decisions should prioritize an actor’s talent over their physical appearance or social media popularity.

In an exclusive interview, Njamah, a Nollywood veteran, gave insightful commentary on the current state and future trajectory of Nigerian cinema.

Known for his role as Rabiu in the popular TV soap opera “Fuji House of Commotion,” Njamah has also graced the screens of numerous television shows.

Interestingly, the shows he has featured in include “Tinsel,” “Living In Lagos,” “Solitaire,” “Casino,” “Emerald,” “Tide,” and “My Flatmates.”

During the interview, Njamah talked about his filmmaking journey. He emphasized his unwavering passion for the industry and his aspirations for its continued development.

“What is fuelling me is beyond passion. There’s that knack and need to grow with every month, whatever year. There’s that need to.do something different. This industry of ours is for you to do whatever you want to do and not join the bandwagon. So for me, it’s the originality in me and the need to do something right that is fuelling me Basically, it’s the ever-creative venture in me,” he said.

Njamah discussed how African stories are evolving. Furthermore, he emphasized that positive and negative changes have happened over the years.

“There’s a positive aspect and there’s a negative aspect. There’s a technical input. We’re telling our stories better technically. We’re telling better and bigger stories. The negative is that we are beginning to lose our originality. We are beginning to join the bandwagon to tell what is peculiar to other people and not to us. We are beginning to lose a bit of our identity cos there’s no longer us,” he said.

What’s more, Njamah spoke about casting in the industry. He pointed out differences between the industry during his time and the current climate, especially with casting.

“Fuji House was a one-camera shoot with hungry and passionate people. Now we have people who cast people who are beautiful and with Barbie bodies and followership and not necessarily for your talents. Some of us try to be that original because that’s where better stories are told. You want to tell stories with passionate people. Whether you like it or not, it’s a long shot but it’s possible. You want to give the actors that are worthy of the job and not the ones that are based on Instagram followers. We borrow from society and give back to society by way of entertainment and pedagogical values.”

Further, he criticized the lack of professional work ethic among filmmakers in Nollywood. He highlighted the absence of a robust system to evaluate the performance and accountability of producers within the industry.

“Professionalism is lacking. Respect for those in charge, humility and the like is lacking today. The industry lacks checks and balances. Every Tom, Dck and Harry can wake up and call themselves a producer and just get on board and be doing stuff without being checked and of course, the guild system is not working so they can’t check. There are no criteria for who should become a producer. The system is also not working. Let’s just be mindful as producers, directors and actors,” he added.

In conclusion, John Njamah acknowledged the unique character of Nollywood. Meanwhile, he proposed the creation of a domestic platform to market and distribute Nigerian films. Consequently, this would reduce reliance on foreign streaming services.

“That thing that they don’t like about us is what makes us, us. I am tired of people saying they don’t want to come into the country for coproduction cos we’re that and that and why are we relying on the likes of the streamers? Why can’t we do something that is for us by us so that they will come to us and ask for these things? We are solely depending on them to licence our movies, for survival. Speaking of coproduction, if you tell me you don’t want to come into the country for any reason, I’ll tell you you’re wrong, cos there are amazing producers here that you’ve seen their work. All you need to do is come to them and agree on modalities.”

Watch the interview with John Njamah below.

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