2026戛纳电影节DX｜那么多双黄蛋啥意思？再聊聊今年主竞赛最大的遗珠
废话燃料NonsenseFuel
第79届戛纳电影节落下帷幕，罗马尼亚导演克里斯蒂安·蒙吉时隔19年凭借《峡湾》二封金棕榈，成为戛纳历史上第10（组）位迈入双金俱乐部的导演（这个数字是官方在发布会上说的，严谨来点也可以说是第9位或第11位）。
最佳男演员和女演员奖都颁给了同一部片子里的两位演员，导演奖更是同时颁给了两部片子，共计3位导演，获奖人数之多可以说是史上罕见，就连工作人员都来不及为每个获奖者制作奖杯，导演们像参加接力赛似的，轮流举着同一座奖杯合影留念，场面一度十分荒谬。
对于今年的颁奖结果，我会给到一个“人”的评价，连“人上人”都算不了。所以本期节目将会就奖项归属逐个进行分析，男女演员奖的“双黄蛋”意味着什么？在我们心中根深蒂固的“主配论”在欧洲电影节逐渐模糊。导演奖双黄蛋又意味着什么？戛纳在同时鼓励着极繁与极简两种谋篇策略的技法。连李庚希都在期待的《峡湾》能助力蒙吉再度斩获金棕榈的核心原因究竟是什么？
节目最后的甜点部分，还展望了下明年有望入围戛纳主竞赛单元的两部国产片种子选手：刁亦男X易烊千玺的《融雪以后》与贾樟柯X赵涛的《敦煌妈妈》。如果预测成真的话，明年将是千玺携主演电影来到主竞赛单元的第二年，廖凡也将在同一年有两部电影同时入围主竞赛单元，将会是不折不扣的华语大年。希望这两部电影都能够顺顺利利，发挥稳定。
回想起来，本届戛纳获奖的几部重磅影片都做了比较细致的单片影评，只是还没有进行精剪，那么《峡湾》《黑球》《米诺陶》《懦夫》，大家最想先听到哪部的评论，也欢迎留言告诉我，监督我的工作：）
1:02开胃菜
1:05《无名女孩》拿的两个奖
3:01对本届戛纳主竞赛最大遗珠《纸老虎》的评论
8:10詹姆斯·格雷在当代美国导演中的特殊位置
15:01主菜
15:19整体给到“人”评级的理由
17:21最佳男演员《懦夫》伊曼纽尔·马基亚与瓦伦丁·坎帕涅 ：女性颁奖，女性形象
18:54最佳女演员《突如其来》维尔日妮·埃菲拉与冈本多绪：维尔日妮在双片入围的女演员里演得不错
19:24演员奖双黄蛋背后代表着什么审美趋势？
21:54最佳编剧《我们的救赎》伊曼努尔·马雷：公平，公平，还是XX的公平
25:02评审团奖《向往的冒险》：要是没硬伤能冲大奖的
27:06最佳导演奖《黑球》 哈维尔·安布罗希 / 哈维尔·卡尔沃与《故土》帕维乌·帕夫利科夫斯基：极繁和极简，都值得夸赞
33:02评审团大奖《米诺陶》：结尾不太行
34:15金棕榈《峡湾》：结尾太行了
40:15甜点
40:21明年有望入围戛纳主竞赛单元的中国电影
SHOWNOTES IN ENGLISH:
The 79th Cannes Film Festival has come to a close. Romanian director Cristian Mungiu won his second Palme d’Or after a 19-year hiatus for Fjord, becoming the 10th director (or team) in Cannes history to join the “Double Palme” club (this figure was cited by officials at the press conference; strictly speaking, it could also be considered the 9th or 11th).
The Best Actor and Best Actress awards were both presented to actors from the same film, and the Best Director award was split between two films, honoring a total of three directors. The sheer number of winners was unprecedented in the festival’s history; even the staff didn’t have time to produce trophies for every recipient. The directors took turns holding the same trophy for photos, as if participating in a relay race—a scene that was, at times, quite absurd.
As for this year’s results, I’d rate them as merely “average”—not even “above average.” So in this episode, we’ll analyze each award individually. What does the “double win” for Best Actor and Actress signify? The deeply ingrained “lead-support actor” distinction in our minds is gradually blurring at European film festivals. What does the double win for Best Director signify? Cannes is simultaneously encouraging both hyper-elaborate and minimalist narrative strategies. What is the core reason why Fjord, a film even Gengxi Li is anticipating, could help Mungiu secure another Palme d’Or?
In the program’s closing segment, we also look ahead to two promising Chinese films expected to compete in next year’s Cannes Competition: Yinan Diao and Jackson Yee’s Red Snow and Jia Zhangke and Zhao Tao’s Mamma Dunhuang. If these predictions come true, next year will mark the second consecutive year that Jackson Yee brings a film in which he stars to the Competition. Liao Fan will also have two films simultaneously nominated in the Competition that same year, making it an unquestionably banner year for Chinese cinema. We hope both films proceed smoothly and deliver solid performances.
Looking back, I’ve written fairly detailed reviews of several major award-winning films from this year’s Cannes, though they haven’t been edited yet. So, between Fjord, The Black Ball, Minotaure and Coward, which one are you most eager to hear about first? Feel free to leave a comment and let me know—it’ll help keep me on track :)
1:02 Appetizer
1:05 The two awards won by A Girl Unknown
3:01 A review of Paper Tiger, the biggest snub of this year’s Cannes Competition
8:10 James Gray’s unique position among contemporary American directors
15:01 Main Course
15:19 The reasons behind the overall “average” rating
17:21 Best Actor for Coward: Emmanuel Macchia and Valentin Campagne – A female presenter, a female image
18:54 Best Actress for Suddenly: Virginie Efira and Tao Okamoto – Virginie delivered a strong performance among the actresses nominated for two films
19:24 What aesthetic trend does the double win for acting awards signify?
21:54 Best Screenplay for A Man of His Time: Emmanuel Marre，Fair, fair, or just plain unfair
25:02 Jury Prize: The Dreamt Adventure: Could have been a contender for the top prize if not for its flaw
27:06 Best Director: The Black Ball (Javier Ambrossi / Javier Calvo) and Fatherland (Pawel Pawlikowski): Both maximalism and minimalism deserve praise
33:02 Jury Prize: Minotaur: The ending falls a bit short
34:15 Palme d’Or: The Fjord: The ending is absolutely brilliant
40:15 Dessert
40:21 Chinese Films Likely to Compete in the Cannes Competition Next Year
