ARRI: the choice of Cannes winners
Almost three-quarters of the films in the main competition at the 69th Cannes Film Festival were shot with ARRI cameras -- over half were captured with ALEXA. In the Un Certain Regard category the proportion was even higher, with two-thirds of all competing films being ALEXA productions.
Veteran British director Ken Loach took home the Palme d'Or -- the top prize at Cannes -- for his uncompromisingly hard-hitting social drama about the failings of the British welfare system: I, DANIEL BLAKE. Having come out of retirement to make the film, Loach received a standing ovation from the festival screening audience. Acknowledging the applause with Loach was cinematographer Robbie Ryan BSC, who shot the film with ARRICAM cameras and ARRI/ZEISS Master Prime lenses.
Remarkably, Ryan also shot the film that won the Jury Prize: Andrea Arnold's AMERICAN HONEY. For this social realist road movie about wild young misfits travelling across the United States selling magazines, Ryan worked with ALEXA cameras, often shooting at real locations in very low light conditions.
Andrea Arnold's AMERICAN HONEY won the Prix du Jury at Cannes 2016. For this social realist road movie about wild young misfits travelling across the United States selling magazines, DP Robbie Ryan BSC worked with ALEXA cameras, often shooting at real locations in very low light conditions.
The Grand Prix was awarded to IT'S ONLY THE END OF THE WORLD (JUSTE LA FIN DU MONDE), a tempestuous Canadian-French drama about a young man who returns to his estranged family in order to tell them he is terminally ill. Directed by the hugely talented and divisive young Quebecois director Xavier Dolan, the film was shot by cinematographer André Turpin with ARRICAMs and Master Primes.Two winners shared the Best Director Prize: Cristian Mungiu for GRADUATION (BACCALAURÉAT), captured with ALEXA XT and ARRI/ZEISS Master Anamorphic lenses by Tudor Vladimir Panduru; and Olivier Assayas for PERSONAL SHOPPER, shot with ARRICAMs by Yorick Le Saux.
The Best Screenplay Prize went to Iranian writer/director Asghar Farhadi for THE SALESMAN (FORUSHANDE), which was captured with ALEXA and ARRI/ZEISS Ultra Prime lenses by Hossein Jafarian; the same film also picked up the Best Actor Prize.
In the Un Certain Regard category the top prize went to HYMYILEVÄ MIES (THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI), directed by Juho Kuosmanen and shot in Super 16 with ARRIFLEX 416 cameras by Jani-Petteri Passi. This win came just days after ARRI announced a new Super 16 recording mode for the AMIRA camera, showing the company's ongoing support for a format that continues to endure -- as evidenced by Todd Haynes' 2015 film CAROL, which garnered cinematographer Ed Lachman ASC an Oscar nomination for his work with the 416.
Director Xavier Dolan collected the Grand Prix at Cannes 2016 for IT'S ONLY THE END OF THE WORLD (JUSTE LA FIN DU MONDE), a Canadian-French drama about a young man breaking the news of his terminal illness to his family. The film was shot by André Turpin CSC with ARRICAM cameras and ARRI/ZEISS Master Prime lenses.
The Director's Fortnight, for which ARRI acts as a sponsor and hosts an annual beach-side drinks event, saw the top SACD prize go to THE AQUATIC EFFECT (L'EFFET AQUATIQUE), directed by Sólveig Anspach and captured with ALEXA by Isabelle Razavet.
In addition, two Director's Fortnight productions captured with AMIRA were recognized with prizes: the Art Cinema Award went to WOLF AND SHEEP, directed by Shahrbanoo Sadat and shot by Virginie Surdej, while the Illy Prize went to Lise Akoka and Romane Gueret's short film CHASSE ROYALE.
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