Hope dies last. This is one of the most famous mantras of cinema – a mantra of its stories, especially in those that came out during the Golden Age of Hollywood, a manta of those who, despite all of the despair that they might feel towards the bigger picture, insist to hope that art will triumph in front of commercialized detritus, and its triumph will be one of humanism, rather than cynicism. And the miracle did, indeed, happen this year at Cannes, in a year of mammoth-sized films, with Aki Kaurismäki’s newest offering – a small, discreet film (clocking in at just 80 minutes), that contains within it more life than many of the other films in the competition, altogether –, which was justly awarded the Jury Grand Prix.

Flavia Dima

+ posts

Film critic & journalist. Collaborates with local and international outlets, programs a short film festival - BIEFF, does occasional moderating gigs and is working on a PhD thesis about home movies. At Films in Frame, she writes the monthly editorial - The State of Cinema and is the magazine's main festival reporter.

This author does not have any more posts.