欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！

随着短平快，却富有编排创意的闭幕晚会结束，第77届戛纳电影节的各大奖项都有了归属。美国电影《阿诺拉》摘得金棕榈，场刊最高分的《神圣无花果之种》只拿到一个从字典里翻出来的生僻奖项——“评审团特别奖”。

这届戛纳可以说是被美国电影全面攻占入住的一年，无论是评审团主席格蕾塔·葛韦格所代表横扫好莱坞的流行文化，还是八项大奖中美国电影占据其三的超高比例都深切地说明了这一点。

每个电影节前线的保留曲目，我们对颁奖名单进行了一番审判。谁有点赛脸，谁比较值得？通过颁奖名单，我们可以看出当下戛纳对于艺术电影的态度是什么？

本期节目还有一小段珍贵的花絮内容，就是电影记者忠泽采访《阿诺拉》摄影指导的经历分享。这或许是目前中国记者对金棕榈得主剧组的首篇报道，希望能够通过忠泽的讲述，能让大家收获更多关于美国独立电影现状的认识。

第77届戛纳前线播客日记到这里告一段落了，但相关更新还将继续。大家有什么感兴趣的话题，欢迎在留言告诉我们哦～

1:09 开胃菜

2:18 准备5年的正装，终于在戛纳红毯充分利用上了

4:05 国内外电影节颁奖晚会播出方式的区别

6:00 开场小片改编自《星战》片头，致敬荣誉金棕榈得主乔治·卢卡斯

7:06 科波拉给卢卡斯颁奖，大哥跟小弟的拉手

10:35 一届戛纳到底颁几个荣誉金棕榈？

12:51 主菜

13:08 短片金棕榈《无法保持沉默的人》，“特别提及”的意义

16:10 金摄影机奖《阿曼达》

17:10 短片奖+金摄影机+基石单元合成的新企划：明日电影（CINÉMA DE DEMAIN）

18:17 集中开火：今年评奖三大槽点

26:21 最佳剧本奖《某种物质》，给得又小又怪

26:42 最佳女演员+评审团奖《艾米莉亚·佩雷斯》，真的有必要吗

30:01 最佳男演员《善良的种类》，兰斯莫斯的面子比天大

32:22 评审团特别奖《神圣无花果之种》，为了不给金棕榈开始翻字典查生僻奖项了

38:34 最佳导演奖《壮游》，学习了戛纳对导演奖项的定义

40:44 评审团大奖《想象之光》，印度电影重返戛纳的意义，以及跟印度记者交流的分享

43:13 女性导演的创造力，对比老白男电影令人愤怒的僵化自恋

46:23 大家应该重新认识世界舞台上的印度电影了

50:55 从科波拉卢卡斯同框，联想到“新好莱坞”时代大师入住好莱坞荡气回肠的过往

51:56 金棕榈《阿诺拉》，众望所归

56:03 采访《阿诺拉》摄影指导Drew Daniels 的体验分享

57:17 最高奖的评奖标准

1:00:10 肖恩·贝克拍性工作者，好像欧阳锋练蛤蟆功

1:03:31 Drew Daniels 看完《神圣无花果之种》的担忧，美国独立电影的出路

1:05:31 《阿诺拉》剧组为拍片，在布鲁克林俄裔区的生活

1:08:59 甜点

1:09:30 来到戛纳，再回首恍然如梦，再回首我心依旧

1:15:58 下一站？

Shownotes in English:

Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban!

With the conclusion of the short but creatively choreographed Closing Gala, the major awards of the 77th Cannes Film Festival have been decided. The American film “Anora” won the Palme d'Or, and the highest-scoring film in the program, “The Seed of the Sacred Fig” received only the “Special Jury Prize,” an out-of-the-way award that was rewritten from the dictionary.

This year's Cannes was arguably the one in which American cinema took over, both in terms of the sweeping Hollywood pop culture represented by jury president Greta Gerwig, and in terms of the high percentage of American films that took up three of the eight prizes.

A holdover from every festival front, we put the awards list through its paces. Who had a bit of a a misnomer and who was more deserving? What can we tell about Cannes' attitude to art cinema at the moment by looking at the awards list?

There's also a small piece of precious bonus content in this episode, which is the sharing of film journalist Zhongze's experience of interviewing the Cinematographer of “Anora”. This is perhaps the first report on the Palme d'Or winner's crew by a Chinese journalist, and we hope to gain a better understanding of the current state of American independent cinema through Zhongze's narration.

This is the end of the 77th Cannes Frontiers podcast diary, but updates will continue. If there are any topics you're interested in, feel free to let us know in the comments!

1:09 Appetizer

2:18 5 years of preparation for the formal dress, finally in Cannes red carpet to make full use of it

4:05 Differences in the way the awards gala is aired at national and international film festivals

6:00 Opening film adapted from the opening credits of Star Wars, a tribute to honorary Palme d'Or winner George Lucas

7:06 Coppola presents Lucas with his award, big brother pulling hands with little brother

10:35 How many Honorary Palmes d'Or are awarded at Cannes?

12:51 Main course

13:08 Palme d'Or for the short film The Man Who Could Not Remain Silent, the significance of the “special mention”.

16:10 Camera d'Or for Amanda

17:10 New program of the Short Film Award + Camera d'Or: CINÉMA DE DEMAIN (Cinema of Tomorrow)

18:17 Focused fire: the three biggest slogans of this year's awards

26:21 Best Screenplay for The Substance, small and weird.

26:42 Best Actress + Jury Prize for Emilia Perez, was it really necessary?

30:01 Best Actor for Kinds of Kindness, Lanthimos' face is bigger than the sky

32:22 Special Jury Prize for The Seed, so we're not giving the Palme d'Or, but going to the dictionary to look up obscure awards.

38:34 Best Director for Grand tour, learning the Cannes definition of directing.

40:44 Grand Jury Prize for All We Imagine as Light, the significance of the return of Indian cinema to Cannes, and an exchange with an Indian journalist

43:13 The creativity of women filmmakers, and the infuriatingly rigid narcissism of old white male films.

46:23 It's time for everyone to reacquaint themselves with Indian cinema on the world stage

50:55 Coppola and Lucas in the same frame, a reminder of the “New Hollywood” era of masters in Hollywood's stirring past

51:56 The Palme d'Or, Anora, is a worthy winner.

56:03 Interview with Drew Daniels, Director of Photography for Anora, sharing his experience.

57:17 The criteria for the top prizes

1:00:10 Sean Baker photographs sex workers like Ouyang Feng practicing toadstools

1:03:31 Drew Daniels' concerns after seeing the Seed , the way forward for American independent film

1:05:31 The crew of “Anora” living in Brooklyn's Russian neighborhood for the movie