Meeting the 79th Festival de Cannes winners

Cristian Mungiu, Palme d’or for Fjord
It’s important to understand that there is no single truth and that we can survive and live alongside others, even if we do not share the same values. Even if we may be convinced that our values are the best, I do not believe we have the right to impose them on others.
Without engaging in this dialogue, we’re going to see high levels of social violence. And this isn’t for our sake — since we’re older — but for our children.

Andreï Zviaguintsev, Grand Prix for Minotaure (Minotaur)
It took us a year and a half to write the screenplay, and even back then I realized I couldn’t make a genre film, a comedy, or a romantic movie. I had no right to do that because Russia is currently in the midst of a crisis, because a fundamental transformation of the human condition is currently taking place. And as a Russian director, the reason I decided to testify to the real truth is that I’m part of this community.

Valeska Grisebach, Jury Prize for Das Geträumte Abenteuer (The Dreamed Adventure)
When I speak to people who were young when the Berlin Wall fell in 1989, I realize just how connected we are — and how the experiences we’ve lived through in different countries have divided us and fragmented Europe and peace. And the echoes of that phenomenon can still be heard today. It’s a very difficult time for women in Bulgaria — a very male-dominated era, with a feeling of war in the air.

Emmanuel Marre, Award for Best Screenplay for Notre salut (A Man of his Time)
I consider it a wonderful surprise because, in fact, I see the screenplay as a fixed blueprint. It’s true that this film was made according to a screenplay, but not one scene was shot exactly as it was scripted. And in a way, I accept this award not just for myself, but also for all those filmmakers who sometimes spend three or four years struggling with their screenplays.

Javier Calvo and Javier Ambrossi, Award for Best Director for La Bola Negra
During the editing process, our producers told us, “You need to have it ready by this date if we want to submit it to Cannes for the Official Selection.” We told ourselves we wouldn’t manage it. Our producers suggested that we show them the film. We brought them to a movie theatre without even having watched the edited version. They came out of the screening completely shaken up and said, “Well, you better hurry up.”

Virginie Efira and Tao Okamato, Award for Best Actress for Soudain (All of a Sudden)
Virginie Efira: Perhaps this was the shoot where I understood most clearly and deeply that what happens off-screen is just as important as what happens on-screen, and that acting alongside Ryusuke was, above all, about listening — but it goes beyond that. It means getting in touch with different things, being inside things, experiencing them, opening your heart, and being in tune with them.
Tao Okamato: Initially, when I read the script, I didn’t know how I was going to rise to the challenge of playing this role, but the electric connection between us — that chemistry — really enabled us to work together to bring the script to life.

Emmanuel Macchia and Valentin Campagne, Award for Best Actor for Coward
Emmanuel Macchia: I started to accept who I was, and I think the film deals with that too. Pierre accepts who he is, these wounded people accept themselves, and all these people also love each other.
Vincent Campagne: What makes a good pairing of actors is when they understand each other, are compatible, and also love each other very much. To act together, I feel you have to love each other deeply.

Paweł Pawlikowski, Award for Best Director for Fatherland
Films need to be made that aren’t just there just to push your narrative. You have to find multifaceted characters, as it were. We all have different personalities. That is the mission of art. Today, we need to show humanity, empathy, and intelligence. We need to observe people. Chekhov said: “When an artist isn’t there to teach people things, they’re there to describe problems in a way people can understand.”

Marie-Clementine Dusabejambo, Caméra d’or for Ben’imana
When I took on this film, I wanted to experience my country for myself in all its complexity and beauty. Above all, it was a process that forced me to ask myself how to listen, how to feel, and how to interpret or speak.

Federico Luis, Palme d’or – Short Film for Para Los Contrincantes (For the Opponents)
Currently, the political situation in Argentina is very complex. I thought that by crossing borders through my filmmaking, it might be interesting for Argentines to see how things are done in Mexico. Today, in this globalized world, we can make films that aren’t limited to only one country’s flag. I hope that this short film, this modest contribution, will help strengthen the ties and cooperation between our two countries.