Cannes: 12 Times the Palme d’Or Was Awarded to the Wrong Film

The deliberation process in the Cannes Film Festival is known for being shrouded in secrecy. Each year during May, this world-renowned film event gathers approximately eight prominent individuals – directors, actors, craftspeople, and sometimes even critics – to decide which movie will win the Palme d’Or. This task is both grueling and glamorous: Over a period of 12 intense days, they watch, discuss, and evaluate around two dozen films directed by auteurs. By night, they walk red carpets, attend galas, and are spotted at various dinners and parties along the Croisette while maintaining strict silence about their opinions on the festival’s screened movies.

What happens within the private room at the historic Hôtel Martinez, where final deliberations take place, is seldom revealed. However, whispers do circulate (Did James Gray truly threaten to leave the 2009 jury because of Isabelle Huppert’s “dictatorial behavior”? Is it true that Ethan Coen found Xavier Dolan unbearably annoying at the 2015 festival? It’s challenging to confirm, but such stories continue to be captivating Cannes legend.) What’s indisputable is that confining a group of unique artists in a room and requiring them to reach consensus on an aesthetic judgment of global importance can lead to some unexpected results.

In certain years, aesthetically daring submissions seem to cancel each other out, resulting in the jury favoring a more traditional selection (see below for the astonishing instance of Nanni Moretti’s The Son’s Room winning over Mulholland Drive and The Piano Teacher). Other times, a conservative-leaning jury surprises with a daring yet artistically sound choice (as when Steven Spielberg’s jury awarded Abdellatif Kechiche’s three-hour erotic drama Blue Is the Warmest Colour over the Coen Brothers’ Inside Llewyn Davis). There are also years when the competition is too strong for any single film to claim the top prize without extensive debate (In the year 2000: Dancer in the Dark over In the Mood for Love and Yi Yi? Cannes heartbreak at its finest.)

However, there are also numerous instances when the jury – through committee decisions, compromise, or blind spots – makes mistakes. Here are a dozen such occasions when the Cannes jury talked themselves into making poor decisions, along with the films we believe should have taken home the Palme d’Or instead.

1956: Jacques Cousteau and Louis Malle’s ‘The Silent World’ Over Satyajit Ray’s ‘Pather Panchali’

In this particular year, the fleeting fad triumphed over the longstanding humanist ideology depicted in a work. However, Jacques-Yves Cousteau and Louis Malle’s documentary was not devoid of appeal. The film’s stunning underwater photography offered an extraordinary, almost Avatar-like vision in its time, earning Cousteau and Malle the first directors to win the top prize at Cannes. Nowadays, their vibrant crowd-pleaser is primarily remembered as a precursor to Wes Anderson’s THe Life Aquatic with Steve Zissou. Conversely, Ray’s Pather Panchali is globally acclaimed as a milestone – a film that introduced the world to one of cinema’s great humanists. Notably, the Cannes jury in 1956 was predominantly French (seven out of twelve members, including Maurice Lehmann as chair), hinting at some local favoritism. Nonetheless, the jury recognized the significance of Ray’s masterpiece, creating a “Best Human Document” prize – an unprecedented move for Cannes. The token recognition undoubtedly contributed to the emergence of Indian neorealism, but many aspects that led to Silent World’s acclaim over Ray’s masterpiece now seem outdated, including the reported comment from François Truffaut, “I don’t wish to watch a film about peasants eating with their hands.

1957: William Wyler’s Friendly Persuasion Over Ingmar Bergman’s ‘The Seventh Seal’

While I have great appreciation for “Friendly Persuasion,” it’s important to acknowledge that during the 10th Cannes Film Festival, there were several cinematic masterpieces that outshone it. These included Ingmar Bergman’s “The Seventh Seal,” Federico Fellini’s “Nights of Cabiria,” Robert Bresson’s “A Man Escaped,” Jules Dassin’s “He Who Must Die,” and Andrzej Wajda’s “Kanal.” Even though the jury, led by French writer André Maurois, might have preferred a Hollywood film, they had a far superior option in the form of the Fred Astaire-Audrey Hepburn collaboration “Funny Face.” It is possible that Maurois was bestowing the prize as a tribute to Michael Wilson, the blacklisted screenwriter whose name was removed from “Friendly Persuasion” after he refused to cooperate. While this gesture may have been honorable, it still represents an unfortunate selection, particularly when compared to the enduring impact of “The Seventh Seal.” In essence, “Friendly Persuasion” serves as a trivial detail in film history trivia, whereas “The Seventh Seal” stands as a significant piece in the world cinema pantheon.

1959: Marcel Camus’ ‘Black Orpheus’ Over François Truffaut’s ‘The 400 Blows’

In the 1950s, Marcel Camus’ musical reinterpretation of Orpheus and Eurydice, performed during Carnaval in Rio de Janeiro with an all-Afro-Brazilian cast, might have seemed groundbreaking. It’s hard to find another reason why this almost overlooked film outshone two now-legendary French films: François Truffaut’s The 400 Blows and Alain Resnais’ Hiroshima Mon Amour, at the Cannes Film Festival. The Cannes jury wasn’t the only one captivated. Black Orpheus even won the Oscar for best foreign film. However, astute critic Jean-Luc Godard had a keen insight in his Cannes review. “What bothers me about this travelogue is that it lacks adventure, or what’s wrong with this poem is that there’s no poetry.” Even in 1959, Camus’ portrayal of Rio’s lush beaches and vibrant favelas seemed like Euro-tourism and a romanticized postcard image.

1962: Anselmo Duarte’s ‘Keeper of Promises’ Instead of Agnès Varda’s ‘Cléo from 5 to 7’

Guardian of Promises (O Pagador de Promessas)

This at times emotional drama, focusing on themes of faith and societal inequality, stands as the sole Brazilian film to claim the Palme d’Or. However, it’s a movie that is seldom watched today, often overshadowed by at least two other films from the 1962 Cannes Film Festival, which are now revered classics of European art cinema. These include Agnes Varda’s New Wave masterpiece, “Cléo from 5 to 7,” and Michelangelo Antonioni’s introspective exploration of isolation, “L’Eclisse.” The year 1962 was particularly noteworthy, as it also saw the release of Pietro Germi’s “Divorce, Italian Style,” Robert Bresson’s “The Trial of Joan of Arc,” and Luis Buñuel’s “The Exterminating Angel.” Many found the jury’s decision in 1962 surprising; with time, it has become a point of contention.

1986: Roland Joffé’s ‘The Mission’ Over Andre Tarkovsky’s ‘The Sacrifice’

The film titled “The Mission” is a somewhat heavy period epic, boasting the acting prowess of Robert De Niro and Jeremy Irons at their peak. It also showcases stunning cinematography by Chris Menges and a captivating Ennio Morricone soundtrack. However, it does not live up to the expectation of being the magnum opus of one of cinema’s most revered auteurs.

In an unexpected turn of events, a jury led by studio veteran Sydney Pollack (having recently won Oscars with “Out of Africa”) stirred controversy at the festival by awarding the Palme d’Or to a film that was criticized as being more of a cumbersome white elephant, akin to what one might expect from the Oscars rather than Cannes, according to Time critic Richard Corliss. On the other hand, Andre Tarkovsky’s final work, a deeply moving portrayal of haunting imagery and profound spiritual depth, was the emotional highlight of the festival. This resonated even more so as the Soviet master was battling cancer in a Paris hospital at the time.

In the aftermath of the Palme ceremony, French producer Daniel Toscan du Plantier is said to have confronted juror Philip French in the lobby of the Palais, exclaiming, “You are a member of the jury, aren’t you? You have brought shame upon yourselves. This will be remembered as a night of disgrace.” In essence, this sums up the outrage felt by cinephiles along the Croisette.

1987: Maurice Pialat’s ‘Under the Sun of Satan’ Over Wim Wenders’ ‘Wings of Desire’

1987 marked a legendary awards ceremony at Cannes, symbolizing the festival’s dramatic intensity and critical confrontation. The Palme d’Or that year, celebrating the festival’s 40th anniversary, was awarded to Maurice Pialat’s film “Under the Sun of Satan“, a somber religious drama featuring Gérard Depardieu, who was France’s most prominent actor at the time. Although Pialat is widely respected and the film has its supporters, both then and now, it was clear that Wim Wenders’ film “Wings of Desire“, a lyrical fantasy now iconic in independent cinema worldwide, was the competition’s front-runner.

“I am pleased tonight by all the boos and whistles directed at me — and if you don’t like me, I don’t like you either!” Bonus points for punk rock spirit, but it’s “Wings of Desire” that has proven to be the more lasting film in terms of influence and affection.

1989: Steven Soderbergh’s ‘Sex, Lies, and Videotape’ Over Spike Lee’s ‘Do the Right Thing’

1989 marked a significant chapter in Cannes’ history, as Steven Soderbergh’s breakout film, Sex, Lies, and Videotape, garnered immense acclaim at the festival. The 26-year-old director’s low-budget debut was a harbinger of the independent film movement in America during the 1990s. However, it shared the stage with Spike Lee’s masterpiece, Do the Right Thing, which left an indelible impact on its audience. Roger Ebert famously expressed that watching Do the Right Thing was one of his most profound cinema experiences, stating that it wasn’t just a film that stayed on the screen but one that touched his soul. Despite this powerful impact, Soderbergh took home the Palme d’Or while Lee went empty-handed. Chaz Ebert later revealed that her husband was so disheartened by the festival’s neglect of Lee that he contemplated boycotting future editions of Cannes. Lee expressed his feelings of being robbed, stating that he would wait for Wim Wenders, who served as the jury chief that year, and would be ready with a baseball bat labeled with Wenders’ name. Over time, the two directors have humorously addressed this incident. While Sex, Lies, and Videotape continues to be highly regarded, Lee’s exploration of racial tension in Brooklyn on a sweltering summer day is considered a full-fledged cultural watershed.

1992: Bille August’s ‘The Best Intentions’ Over Robert Altman’s ‘The Player’

In the ’90s, I witnessed some bizarre moments that still leave me scratching my head, from the resurgence of parachute pants and scrunchies to the Palme d’Or being given to Bille August’s “The Best Intentions.” While the fashion trends have made a comeback, I can’t help but wonder if this film will ever find its footing. The Danish director, who had previously won the Palme for his 1988 period piece “Pelle The Conqueror,” served up a rehashed Bergman-esque narrative in this one, using a script penned by Bergman but delivering a dull Scandinavian melodrama about priests and discontented housewives living an ordinary life in rural Uppsala. In my opinion, the jury, led by Gérard Depardieu, made a curious choice when they opted for August’s work over Robert Altman’s “The Player.” To me, it seemed like they preferred a mediocre imitation of a film genre people used to appreciate rather than the sharpest satire of Hollywood ever produced.

2001: Nanni Moretti’s ‘The Son’s Room’ Over David Lynch’s ‘Mulholland Drive’

In this piece, we’re discussing a timeless controversy. Moretti’s film, while it has its merits, may be considered decent. It presents an emotionally resonant story about a family grappling with the sudden loss of their son. Compared to the director’s more recent works presented at Cannes, it undoubtedly improves. However, posing the question: Is The Son’s Room superior cinema than David Lynch’s Mulholland Drive or Michael Haneke’s The Piano Teacher, both contenders that year, seems almost blasphemous. Liv Ullmann, the jury head, hinted at a challenging selection process during the awards ceremony, stating that Moretti’s film “resonated with our emotions,” but that the jury’s discussions were filled with “passion and even anger.” The most logical conclusion is that The Son’s Room was chosen as the compromise between passionate advocates of those aesthetically groundbreaking masterpieces.

2003: Gus Van Sant’s ‘Elephant’ Over Lars von Trier’s ‘Dogville’

Criticizing American culture might help you win at Cannes, but it was still surprising when the jury awarded the Palme d’Or to Gus Van Sant’s movie about slacker school shooters. The film had supporters, but most critics harshly criticized the low-budget production, which was initially made for HBO and loosely based on the Columbine school massacre, for failing to offer any understanding of such senseless acts of violence. If the jury truly aimed to demonstrate their anti-American stance, they could have chosen a more effective deconstruction of the foundational narratives in America, as seen in Lars von Trier’s film “Dogville.” One review at the time read, “Von Trier has judged America, declared it flawed, and therefore deserving of immediate destruction.” With today’s news headlines, can anyone deny that Lars’ assessment might hold some truth?

2004: Michael Moore’s ‘Fahrenheit 9/11’ Over Park Chan-wook’s ‘Oldboy’

From this edition’s puzzling conclusion, we can draw at least two significant lessons: Conforming to immediate political pressures rarely leads to good artistic decisions, as evidenced by Cannes’ prolonged disregard of Korean filmmaker Park Chan-wook starting in 2004. At that time, George W. Bush was campaigning for re-election, and the U.S.-led invasion of Iraq and its subsequent impact were at the forefront of global discussions. Michael Moore’s Fahrenheit 9/11 was a powerful and fulfilling film if one despised the incumbent president and his disastrous foreign policy, which seemed to be the sentiment shared by most attendees at Cannes (the film received a 20-minute standing ovation, one of the longest in festival history). Even esteemed artists like Quentin Tarantino, who served as the jury chair that year, and Tilda Swinton, were swayed by the political climate. However, they later claimed their support for Moore’s documentary was based on artistic merit rather than politics.

The true cinematic revelation of the day was Cannes making an unusual exception to allow a young Park Chan-wook’s Oldboy to compete in the festival’s main competition despite it already being commercially released in South Korea months prior. This decision was understandable given the film’s impact. Moore’s movie, while powerful in its moment, has since proven to be disposable, whereas Park’s revenge thriller remains a standout cult classic. With memorable scenes and striking imagery (such as Choi Min Suk’s eccentric hairstyle, the repetitive claw-hammer fight scene, and the scene featuring live octopi consumption), the film also heralded the arrival of the Korean Wave in world cinema. Park has since presented three exceptional masterpieces at Cannes — Oldboy, The Handmaiden (2016) and Decision to Leave (2022) — but he is yet to receive the Palme d’Or. It’s no wonder that the cinematic successor to Hitchcock is taking his next project, the black comedy thriller No Other Choice, to Venice this year instead.

2022: Ruben Östlund’s ‘Triangle of Sadness’ Over Park Chan-wook’s ‘Decision to Leave’

Ruben Ostlund could potentially be remembered in Cannes lore as the contemporary equivalent of Bille August, a Scandinavian filmmaker whose award-winning films appealed to Cannes juries (twice!), but whose work may not have stood the test of time. Five years after winning his first Palme d’Or with “The Square,” Ostlund returned with another satire on capitalism and privilege, this time featuring a yacht full of the wealthy who become stranded on a desert island and must rely on their help to survive. However, one shocking scene (the infamous yacht vomiting scene) cannot compensate for “Triangle”‘s long sections of self-righteousness and dull humor. The jury president, Vincent Lindon, could have chosen Park Chan-wook’s film noir masterpiece “Decision to Leave,” a film whose acclaim is expected to grow with time, but instead opted for a comedy that failed to elicit laughter and presented a political message that was overly simplistic, even compared to “The Square” or “Dr. Strangelove.

2025-05-14 09:26