It’s not always noted, but there are two Cannes film festivals, one composed of critics, journalists and industry professionals and the other inhabited by the sequestered jury. Sometimes these two Cannes speak with one voice, but in this 69th festival, they definitely did not.

我们常常忽略，但是确实有“两个”戛纳电影节，一个是由影评人、记者、业内专业人士组成，而另外一个则由独立评审团主导。有时，这两个电影节的意见一致，不过在第69届戛纳电影节上他们显然产生了分歧。

The German film Toni Erdmann, directed by Maren Ade, one of the few women in the competition, was easily the non-jury favorite among the 21 films eligible for prizes.

玛伦•阿德执导的德国影片《托尼•厄德曼》是21部候选影片中为数不多的女性导演作品，而它无疑不合评审团的胃口。

Both wildly raucous and movingly humane, it chronicles the evolving relationship between a prankster father and his high-powered careerist daughter. Far from winning a top prize, however, Toni Erdmann was totally shut out by the jury chaired by Mad Max director George Miller. The same thing also happened to several other audience-approved films, such as Jim Jarmusch’s Paterson and Paul Verhoeven’s Elle. Other big Cannes premieres, like Jodie Foster’s Money Monster, debuted outside the competition altogether.

这部影片兼具狂放嘈杂和悲天悯人，记录了一位爱恶搞的父亲和工作能力超群的女儿之间不断升华的关系。虽然该片距离获奖还有一段距离，但是由《疯狂麦克斯》的导演乔治•米勒领衔的评审团完全不给它丝毫希望。另外几部受到观众认可的电影，如吉姆•贾姆什导演的《帕特森》和保罗•费尔胡芬的《艾拉》也遭遇了一样的命运。另外几部在戛纳盛大首映的电影，如朱迪•福斯特的《金钱怪兽》也无缘角逐大奖。

Instead, on May 22, the Palme d’Or went to 79-year-old British filmmaker Ken Loach for I, Daniel Blake, the on-the-nose narrative of working-class folks getting the runaround from an unfeeling government welfare bureaucracy.

5月22日，金棕榈大奖花落79岁英国电影制作人肯•罗奇。他执导的电影《我是布莱克》使用完全叙事的方法，讲述了享受政府福利的冷酷官僚们是如何搪塞工薪阶层的。

Loach, who first won the Palme a decade ago for The Wind That Shakes the Barley, gave an impassioned acceptance speech, championing “a cinema of dissent against those who are powerful and mighty. We must show that another world is possible and necessary”.

十年前，罗奇曾凭借电影《风吹麦浪》获得过金棕榈奖，当时他发表了一篇慷慨激昂的获奖感言，支持“小众电影挑战强势电影。我们必须向观众展现另外一种世界，这是可能的也是必要的。”

The other awards, each baffling in its own way, included the Grand Prix to Canada’s Xavier Dolan for his It’s Only the End of the World, the Jury Prize to Britain’s Andrea Arnold for American Honey, and the actress award to Jaclyn Jose, the star of Phillipine director Brillante Mendoza’s Ma’ Rosa.

其他奖项的归属也让人匪夷所思，包括获得评审团大奖的加拿大导演哈维尔•多兰的电影《只是世界的尽头》、获得评审团奖的英国导演安德里亚•阿诺德的《美国甜心》和因出演菲律宾导演布里兰特•曼多萨的电影《我们玫瑰》获得最佳女主角的杰克琳•约瑟。

As the choices above indicate, every visitor to Cannes constructs his or her own festival out of what interests them and what they can manage to see. One characteristic of this year’s Cannes is that many of its finest films were unaccountably left out of the main competition.

正如上面的结果所示，每个参加戛纳电影节的人都会依据个人的喜好构想他们自己心目中的电影节。本届戛纳电影节的一大特色就是许多优秀电影都莫名其妙地无缘角逐主要奖项。