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And Cannes was embracing American cinema, too—just a different side of it from the one the Academy found most palatable. The festival gave Martin Scorsese its top prize for Taxi Driver, but he lost best picture to Rocky; Francis Ford Coppola famously snagged the Palme for Apocalypse Now but the best-picture award that year went to Kramer vs. Kramer; Quentin Tarantino was handed the Palme for Pulp Fiction but Forrest Gump ultimately won best picture that time around; and Terrence Malick’s The Tree of Life won the Palme while The Artist dominated at the Oscars. It was around this time that the Academy was beginning to shift—in 2015, #OscarsSoWhite and the fury it prompted inspired a great deal of soul-searching, and led to the organisation taking steps to diversify its membership and make it significantly more international. Soon, the films that were winning best picture—Barry Jenkins’s hallucinatory Moonlight, Guillermo del Toro’s surreal The Shape of Water—though they’d premiered at Telluride and Venice, respectively, began to feel more like Cannes films: experimental, artful and in defiance of convention.Flintstones Bedrock City Custer So Dak Shirt
Then came Parasite. It wasn’t so much a shock that Alejandro González Iñárritu’s jury named it the festival’s top film—it’s exactly the sort of ingenious release which usually wins this prize—but it was remarkable that it was able to carry that early momentum all the way to the Oscars, and defeat Scorsese’s The Irishman, Todd Phillips’s Joker, Sam Mendes’s 1917, and Tarantino’s Once Upon a Time in Hollywood to become the first non-English language best-picture winner in history. It sparked a new era and appetite for international fare across the US and UK, as well as at the Oscars, and Cannes, the home of the world’s best international cinema, would, naturally, have a significant part to play in this new world order. The 2021 festival, the first post-pandemic edition to go ahead after Parasite’s victory, featured future best-international-film Oscar winner and best-picture nominee Drive My Car, Ryusuke Hamaguchi’s intimate epic, plus Joachim Trier’s glorious The Worst Person in the World, which received two Academy Award nominations.
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