Cannes 2017 winners put their trust in ARRI
The majority of the prize-winning films at the 70th Cannes Film Festival were shot with ARRI cameras.
Out of the 19 films selected for best picture at the 2017 Cannes main competition, 16 were shot with ARRI cameras and over half of these were captured with ALEXA. Of the 18 films selected to represent the “Un Certain Regard” section at the festival; all but four chose the ALEXA family of cameras. Not only were digital cameras popular with cinematographers at Cannes, but also ARRI’s legendary film cameras were recognized. Various pictures shot with ARRI analog cameras could be viewed at the festival as part of the main competition as well as Director’s Fortnight and Critic’s Week selections.
The top prize at Cannes, the Palme d’Or, went to Swedish director, Ruben Östlund, for his feature film THE SQUARE; a piece that calls into question topics such as masculinity, morality, and the bigotry of the middle class. His Director of Photography (DP), Fredrik Wenzel, shot the film with the ALEXA XT and used ARRI Master Prime lenses.
Fredrik Wenzel, DP of THE SQUARE, on set. The film won the Palme d’Or, Cannes top prize.
The Grand Prix and the Jury Prize in the main competition of the festival also went to films that were captured with ARRI cameras. For 120 BATTEMENTS PAR MUNUTE, winner of the Grand Prix, DP Jeanne Lapoirie AFC shot with the ALEXA Mini and Ultra Prime lenses. Jury Prize winner, LOVELESS, was shot with both ALEXA XT as well as ALEXA Mini cameras. The film’s cinematographer Mikhail Krichman RGC, also relied heavily on ARRI SkyPanel lighting fixtures during production. Joaquin Phoenix won best actor in the film YOU WERE NEVER REALLY HERE; this picture, which also went home with the award for Best Script, was captured with ALEXA. The Best Actress award in this category went to Diane Kruger for her work on IN THE FADE, a Fatih Akin film shot by DP Rainer Klausmann BVK/SCS on ALEXA.
LOVELESS DP Mikhail Krichman RGC at the Festival de Cannes.
The “Un Certain Regard” main prize went to Mohammad Rasoulof and his feature LERD. Shooting with the ALEXA Mini, cinematographer Ashkan Ashkani also used ARRI Ultra Prime lenses and Alura zooms. Other awarded films in this category to be captured with the ALEXA Mini included WIND RIVER (Best Direction winner), LUCKY (Best Actress winner), and JEUNE FEMME (Camera d’Or).
The Director’s Fortnight, for which ARRI acts as an annual sponsor hosting a beach-side cocktail event, saw the Art Cinema Award go to THE RIDER, directed by Chloé Zhao and captured with ALEXA Mini in combination with Ultra Prime lenses by cinematographer Joshua James Richards.
The Short Film Palme d’Or is the highest prize given to a short film at the Cannes Film Festival. This year, that honor went to the film A GENTLE NIGHT directed by Qiu Yang and shot by DP Constanze Schmitt with the ALEXA Mini and Master Primes.
At the Cannes International Film Festival ARRI holds two events to intensify relationships with filmmakers.
ARRI would like to congratulate all the participants and well-deserved prize recipients of Cannes 2017. For a complete list of winners, please visit the official Festival de Cannes website.
Pictures: © Bronx (Paris). Photo: Claudia Cardinale © Archivio Cameraphoto Epoche/Getty Images (1), Tobias Henriksson (1), ARRI (1)
Outras Histórias >>
- AMIRA Multicam agita no The Who
- Iluminando BLADE RUNNER 2049
- Skynamic: "ALEXA Mini pode lidar com tudo"
- ALEXA Mini utilizada em FEITO NA AMÉRICA
- Uma Breve Crônica da ARRI na América Latina
- SkyPanels da ARRI sem fio com o novo SkyLink
- Master Anamórficas em JOHN WICK II
- Câmeras ARRI para HDR na Amazon
- Novo hardware e software da ALEXA Mini
- Nova AMIRA Multicam: looks e recursos
Take a journey through time >>
Let there be Sky. >>
CSS Showreel >>
See new creative options in film-making revealed in the brand new ARRI Camera Stabilizer Systems Showreel.