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Cannes diary: Closing thoughts on a so- so festival but a satisfying set of winners. At the 7. 0th edition of the Cannes Film Festival, recently concluded on May 2. L. A. Times film critic Justin Chang took in the scene and all the movies he could watch on very little sleep. In this, his Cannes diary, he gives us an up- close view of one of the world’s most glamorous events, a mecca for film lovers. DAY 1 . And rest assured, this year there will be no indignant screed against their decisions from yours truly. What’s remarkable about this festival is that, even with a much less impressive competition than last year’s, the jury managed to come up with a much more discerning and satisfying set of winners.

Not entirely satisfying, of course: My personal choice for the Palme d’Or would probably have been “Loveless,” followed closely by “A Gentle Creature” (what can I say, it’s been a good year for devastating portraits of modern- day Russia), and I regret that the Safdie brothers and Robert Pattinson won nothing for their sensationally entertaining “Good Time.”But in the end, I can't fault a jury for honoring a film as provocative as “The Square,” as moving as “1. Beats Per Minute” or as stylishly single- minded as “You Were Never Really Here.” A title that more or less captures what it would probably feel like to be in Cannes now — once more a sleepy beachside town, with the red carpets rolled up and the metal detectors stowed away for another year. Until then .. The charge of excitement delivered last year by the likes of “Toni Erdmann,” “Elle,” “Paterson,” “The Handmaiden,” “American Honey,” “Aquarius” and “Personal Shopper” — bold, confident visions all, regardless of what you may think of them individually — has struggled to reproduce itself here. And yet — as always, a blanket sense of disappointment doesn’t tell the whole story. The highs may not have been stratospheric this year, but there have been highs nonetheless.

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One of them, for me, is the Ukrainian filmmaker Sergei Loznitsa’s “A Gentle Creature” (“Krotkoya”), which is unequivocally one of the toughest, darkest and longest movies playing in competition. Rebuffed at her local post office, she decides to travel to the prison and deliver the parcel herself — a journey that will lead her through her a Kafka- esque bureaucratic nightmare and into the very heart of Putin’s Russia, a place where violent absurdity and everyday inhumanity reign. Loznitsa, making his third appearance in the Cannes competition (after “My Joy” and “In the Fog”), uses richly textured visuals and sustained long shots to usher us alongside this “gentle creature” down the rabbit- hole. That allusion comes from the story itself, whose surreal climax plays like something out of “Alice in Wonderland,” at least until — well, I’ll leave that horror for you to discover.

With its single most challenging offering out of the way, the competition has seemed to speed toward the finish with several brisk, light- footed genre movies that have been, if not a series of unmitigated delights, then at least something of a relief. That’s not unusual given the track record of Thierry Fr. The 2. 00. 4 selection, one of the first under his reign, included the now- infamous “Oldboy,” whose director, Park Chan- wook, sits on this year’s competition jury. Robert Pattinson and Benny Safdie in the film . The action is so brisk and kinetic that you may not notice the social insights that the Safdies have so shrewdly tucked into the margins of their story: Nick and Connie may have had a rough upbringing, but the Safdies are not so sympathetic that they overlook their characters’ undeniable privilege and the even more marginalized people they exploit along the way. A2. 4 is releasing “Good Time” in U. S. Adapted from a Jonathan Ames novella, the movie stars a heavily bearded Joaquin Phoenix as a severely troubled, hammer- wielding assassin whose latest job will either kill him or give him a reason to keep living.

What follows is a kind of 2. Taxi Driver” that morphs, by the end, into a stealth art- house remake of “Logan” — a deranged odyssey across a wide- ranging New York hellscape that combines sleek formal elegance, fatalistic humor, unsparing violence and another gorgeously unnerving score by Jonny Greenwood. Ramsay’s unwillingness to compromise artistically has often run afoul of a bottom- line- minded industry, which explains why “You Were Never Really Here” is only her fourth film in the 1. Cannes- premiered debut feature, “Ratcatcher.” Her return seals her standing as one of our most fearless and forceful filmmakers, if not one as prolific as she deserves to be.

Fitting the Hobbesian criteria of nasty, brutish and short — it’s been ruthlessly whittled down from an anticipated 9. Ramsay’s film brought the competition to an electrifying but polarizing close. Some declared it precisely the tour de force the festival had been waiting for; others stayed behind to loudly boo the film as the lights came up, perhaps repelled by its brutal nihilism or its placement in the competition. I may be crediting them with too much thoughtfulness: It’s entirely possible that they’re verbally incontinent morons who should be banned from ever attending the Cannes Film Festival again. As thoughts turn toward the jury prizes that will be handed out on Sunday, no film has stood out as a clear frontrunner for the Palme d’Or. If forced to hazard a guess, I would reiterate my suspicion that Robin Campillo’s AIDS- activist drama “1.

Beats Per Minute,” one of the competition’s most roundly satisfying emotional experiences, stands the best chance. Meanwhile, Jacques Doillon’s suffocatingly dull and didactic artist biopic “Rodin” must surely rank near the bottom of the list for everyone who saw it. Slow, taxing films are par for the course at a major international film festival, but this inexplicable competition entry is the rare experience to which watching clay dry would be infinitely preferable. J. Full of bright primary colors, punny chapter breaks, all manner of meta- winks and other strenuous bits of Godardian business, the movie draws an unambiguous parallel between the disintegration of their relationship and the loss of Godard’s filmmaking mojo as he is swallowed whole by his own surly, disagreeable post- ’6. Redoubtable’s” critical take on Godard threatened to divide audiences between his fiercest acolytes and those who are convinced he hasn’t made anything watchable since 1.

Weekend” (for what it’s worth, I fall into neither category). Still, I can’t imagine even the most diehard Godardian working up enough passion to loathe this self- satisfied pastiche, which has none of the effervescence or stylistic dazzle of Hazanavicius’ Oscar- winning “The Artist.”Far more deliriously entertaining among the French titles in competition was Fran. Download I Do Until I Don`T (2017) For Free there. Not because it isn’t good, but because it’s exactly the sort of exuberantly disreputable pleasure that could not have been more of a tonic at the end of a long competition. The movie stars Marine Vacth (also in Ozon’s “Young and Beautiful”) as a woman who falls for her therapist (J. Buy In Pursuit Of Silence Teaser (2017) The Movie On Dvd. It also features what may be one of the greatest opening shots in the history of cinema, one that drew gasps, laughs and claps from the audience with its speculum’s- eye view of its central character.

I won’t say more, but the non- spoiler- averse among you should check out Kyle Buchanan’s excellent deep dive over at Vulture. What of the other awards?

My personal jury of one would give Pattinson the best actor prize for “Good Time,” and given his impassioned social- media fan base, I frankly pity the man who wins if he doesn’t. Still, he does have strong competition from Claes Bang, the talented Danish discovery who stars in “The Square,” and Nahuel P. Ironically in the year that the president of the jury is none other than Pedro Almod. A tense, methodical courtroom drama ensues, followed by a more personal search for justice.