David Lynch loves a Cannes scandal. His gleefully evil southern gothic “Wild at Heart” scored the Palme d’Or in 1990–and plenty of boos. Even jury head Tennessee Williams was appalled: “Watching violence on the screen is a brutalizing experience for the spectator… Films should not take a voluptuous pleasure in spilling blood and in lingering on terrible cruelties as though one were at a Roman circus.”Ĥ. It’s hard to believe how much outrage was generated at the time by Martin Scorsese’s urban nightmare “ Taxi Driver,” which won the Palme d’Or in 1976 after eliciting verbal protests due to explicit violence and the casting of the then 13-year-old Jodie Foster as a dolled-up prostitute. READ MORE: 2 or 3 Things to Know About This Year’s Cannes Lineupģ. The film’s modernist ending continues to stump viewers, showing a world where human connection is futile, where the lovers (played by Vitti and Delon) do not meet for their appointed date by a water fountain, where the world simply goes on with or without us. “L’eclisse” is among Antonioni’s most challenging films, though Vitti and co-star Alain Delon is sure easy on the eyes. Much of the same can be seen in his 1962 “ L’Eclisse.” With its languorous pacing and long takes of Monica Vitti indifferently ambling through an industrially ravaged Italy - when is she not doing this in an Antonioni film? - “L’Eclisse” was also greeted with jeers at Cannes despite winning the Special Jury Prize. Though his “L’Avventura” received a prize at the festival in 1960, many viewers were bored to tears by his torpid style and apathetic characters. Austere Italian director Michelangelo Antonioni was no stranger to mockery on the Croisette. Nicolas Winding Refn Remembers ‘Only God Forgives’ 10 Years Later: ‘Art Is an Act of Violence’Ģ.
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