CANNES JOURNAL, MAY 20
Women vs Nature
A scene from Naomi Kawase’s Still The Water.
The frothing waves crash, the typhoon roars and teenage love crackles in Naomi Kawase’s Futatsume No Mado (Still The Water), the sole Asian entry in this year’s main competition at Cannes. Delicate, lyrical, sun-dappled and somewhat calculated, but it wasn’t the masterpiece that some of us might have been waiting for. Last week, prior to the festival, Kawase, one of the two female directors in the male-dominated Competition, made a bold announcement that Still The Water was her chef d’oeuvre that deserved the Palme d’Or. We’ll see if that rings true on Saturday when the awards are handed out, though to be honest, the odds seem long for the Japanese auteur.
This article is older than 60 days, which we reserve for our premium members only.You can subscribe to our premium member subscription, here.