
Robert De Niro was his charming self at the press conference regarding the jury’s decisions about Cannes this year. He grinned affably at the full room of journalists, and quipped — in his usual near-inarticulate bumbling style — that why did they pick x or y film to win a prize, “well most of us here thought that film was very good.” The term “most of us” was repeated in most of his answers, giving rise to the suspicion that this was a year where consensus was not the norm (especially as some of the other jurors, such as Olivier Assayas, tellingly began their responses with: “Speaking for myself…”)
When it came to discussing why the Dardenne film The Kid with A Bike won, in tandem with Nuri Bilge Ceylan’s Once Upon a Time in Anatolia, the Grand Prize, De Niro expressed a more unanimous decision:
“This was the best solution for what we all felt about the movies.”
The Dardenne brothers are an institution at Cannes: they have had several films in the competition in the last fifteen years, and have won the Palme d’Or twice.
“We have a love story with Cannes,” Luc Dardenne said to me earlier that week, one sunny morning on the Marriott terrace. “It is thanks to Cannes that our cinema is known, even in Belgium. Cannes makes our films sell throughout the world.”
One reason the brothers are so beloved at Cannes — and successful world-wide — is that their films inspire good feelings: you feel the integrity, concern and ethics of the two






