From ‘heelgate’ to the Palm Dog to the ‘Dad bod’ – it’s been a dizzying 12 days. Here are nine lessons from the film festival as it draws to a close.

从“高跟鞋门”到“金棕榈狗狗奖”（Palm Dog），再到迅速走红的“老爹身材（Dad bod）”，戛纳电影展的这12天，真是令人眼花缭乱。随着电影节进入尾声，英国广播公司回顾了本届戛纳影展上的九桩事。

1. Cannes has a dirty underbelly

1.戛纳也有软肋

It was Somerset Maugham who said the French Riviera is “a sunny place for shady people” – and looking around at all the ‘models’ in the hotel lobbies and the men in dark sunglasses who seemed to know them, I knew what he meant. Behind the festival’s shiny facade¹, there is an unseemly side – and beneath the azure² waters, a polluted mess. The French diver and environmentalist³ Laurent Lombard’s video of the Cannes seabed strewn with waste and debris⁴ went viral before the festival began. We were assured there was no danger to swimmers, and the mayor had it cleaned up according to the Daily Mail – but the Med had certainly lost some of its sparkle.

萨默塞特•毛姆（Somerset Maugham）曾形容法国里维埃拉（French Rivier）为“阴暗人物的阳光之地”。环视着酒店大堂里的“模特”，带着黑超的男人们似乎与他们相识，我似乎理解了毛姆。戛纳华丽的外表下有着其并不光彩的一面，就如湛蓝的海水下垃圾成堆。电影节开幕前，法国潜水员，同时也是环保人士的Laurent Lombard(劳伦•隆巴德)拍摄的戛纳河床沉积着大量垃圾废物的视频被疯传。我们被告知在此游泳并无危险。据《每日邮报》报道，市长已下令清理。但是小镇确实不再那么闪耀迷人了。

2. The ‘Dad bod’ is so hot right now

2.“老爹身材”受热捧

As the stars’ private jets swooped⁵ in, the internet was going mad for ‘the Dad bod’; the slightly flabby male physique was trending and there were plenty of examples on screen. Deborah Cole of AFP noted⁶ a “sweating, panting and shirtless” Gerard Depardieu in Valley of Love and a flash of Joaquin Phoenix’s “tubby tummy” in Woody Allen’s Irrational⁷ Man. When Colin Farrell strode the red carpet for the premiere of The Lobster⁸, he looked his usual trim self – but in the film he is distinctly paunchy. To add some girth for the role of a lonely singleton in Yorgos Lanthimos’ absurdist black comedy, Farrell went on a massively calorific diet that included drinking melted ice cream, he told the Hollywood Reporter. Eating “two cheeseburgers, fries and Coca-Colas, and two slices of chocolate cake at 10am is not that fun,” he said. “And I love cheese¬burgers."

明星们的私家飞机刚停稳，“老爹身材”一词便在互联网上走红。男性微胖的身材成为潮流，荧幕上不少这样的例子。法新社（AFP）Deborah Cole（黛博拉•科尔）写道：“杰拉尔•德帕迪约（Gerard Depardieu）在《爱之谷》中的形象便是“大汗淋漓、气喘吁吁地打着赤膊”， 华金•菲尼克斯 （Joaquin Phoenix）在 伍迪•艾伦（Woody Allen）的新片《非理性的人》（Irrational Man）中也露出了他那胖胖的肚子。科林•法瑞尔（Colin Farrell）出席《龙虾》（The Lobster）的首映红毯时，看起来如往常一般衣冠楚楚，然而在剧中他却大腹便便。为了给荒诞主义者欧格斯•兰斯莫斯（Yorgos Lanthimos）的黑色喜剧中的孤独主角增肥，法瑞尔大量进食高热量食品，其中包括融化了的冰淇淋。他告诉《好莱坞报道》（Hollywood Reporter），“在早晨10点享用2个芝士汉堡、薯条和可乐可不那么有趣，”他补充道，“不过我喜欢芝士汉堡。”

3. In Cannes, they speak English

3.在戛纳，他们说英语

“Selling out!” “Pandering⁹ to the Americans!” The cries went up immediately when the official selection was announced. The list of directors crossing over to make films in English was a long one including the Italians Matteo Garrone and Paolo Sorrentino, Yorgos Lanthimos of Greece, Norway’s Joachim Trier and even Guillaume Nicloux of France, a country whose cultural establishment is highly sensitive to the creeping Anglophone menace. The argument goes that Cannes is supposed to be a haven¹⁰ for world cinema; for English, there is Hollywood. But does it really matter? Films at Cannes in languages other than French or English play with subtitles¹¹ in both languages – and that’s a lot of text to deal with.

“见风使舵！”“谄媚迎合美国人！”官方入选名单一经宣布，负面评价如潮水般汹涌而来。电影节上影片使用英语对白的导演不在少数，包括了意大利的马提欧•加洛尼（Matteo Garrone）和保罗•索伦蒂诺（Paolo Sorrentino），希腊的欧格斯•兰斯莫斯，挪威的约阿希姆•提尔（Joachim Trier），甚至包括法国的纪洛姆•尼克乐（Guillaume Nicloux）。法国有着对英语威胁极其敏感的文化情结。有一个观点认为，戛纳应该是世界电影的天堂，而英语电影的天堂已经有了，就是好莱坞。但这有意义吗？在戛纳电影节上，除了法语或英语影片，其他影片都是双语字幕--这是个巨大的工程。

4. Booing isn’t just for pantomimes

4.嘘声不仅仅是个手势

Cannes’ heckles and jeers¹² are famous and the first film to fall foul¹³ of this tough crowd was Gus Van Sant’s Sea of Trees, which was greeted by a storm of raspberries and thunderous boos at its press screening. Because these take place before a film receives its black-tie premiere, word quickly gets around and can cast a pall¹⁴ over the big event. When Naomi Watts¹⁵ and Matthew McConaughey took their turn on the red carpet, it had “a horrifically compelling walk-of-shame quality” according to the Daily Telegraph. But the Texan actor put on a brave face at a press conference shortly afterwards. “Anyone has as much right to boo as they do to ovate,” he said. I think we know what he meant.

戛纳电影节素以质问与嘲笑著名。在本届电影节上，《青木原树海》（Sea of Trees）成为第一部遭遇观众挑剔的电影。该片由格斯•范•桑特Gus Van Sant指导。在媒体放映场，《青木原树海》遭遇嘲弄的风暴，陷入了嘘声之海。由于这些发生在首映红毯前，恶评迅速传播，使得盛典蒙上阴影。娜奥米•沃茨（Naomi Watts ）和 马修•麦康纳（Matthew McConaughey）走上红毯时，《每日电讯报》（Daily Telegraph）形容此场景为“极其糟糕却又引人瞩目的羞辱之途”。但是在随后的新闻发布会上，马修•麦康纳，这位来自德克萨斯的演员表情坦然，“每个人都有权倒喝彩，正如他们有权喝彩一样，”他说道。我相信我们都知道他的意思。

5. It’s a dog’s life for the British

5.英国人设定的“狗狗奖”

It’s a bit of a lark¹⁶ organised by UK film critics – a gong for the top canine¹⁷ performance at the festival, handed out on the last Friday in the British pavilion. This year the Palm Dog went to Lucky, a Maltipoo – that’s half Maltese terrier, half poodle – who plays Dixie in Miguel Gomes’ six-hour epic¹⁸, Arabian Nights. The prizewinner is presented with a toy bone and this year delivered a brief acceptance speech (“woof”) by video link. A jolly time was had by all but an unnamed French journalist felt that the award was “an unwanted intrusion of British silliness” in the glamorous¹⁹ proceedings²⁰, according to AFP. “From the French perspective, this is a bit bizarre,” he is reported to have said. “The British are weird²¹.”

这是英国影评人参与评选的娱乐性奖项，为在参展影片中表现最精彩的狗颁发纪念奖章。颁奖仪式于上周五（5月22日）在英国展馆举行。今年的金棕榈狗狗奖颁给了一只名叫幸运的狗，它是马耳他梗犬（Maltese terrier）与贵宾犬（Poodle）的混血品种。幸运出现在米古尔•戈麦斯（Miguel Gomes）时长6小时的巨作《一千零一夜》（Arabian Nights）中，在剧中叫做迪克西。幸运的奖品是一只玩具狗骨头，通过视频幸运发表了简短的获奖感言（汪）。但据法新社报道，在这大家其乐融融的时刻，一位法国记者认为在极具魅力的影展间隙举办这样的颁奖仪式真是“英国人愚蠢性格的无端干扰”。“在法国人看来，这有些奇怪，”他在报道中说。“英国人真是不可思议。”

6. The parties are epic – if you have the time

6.派对应有尽有——只要你有时间

It was all work, work, work for the BBC Culture team and parties, alas, were few and far between. But the rest of Cannes was painting the town red. In 2013 we tried to calculate the amount of champagne²² consumed at the festival by contacting Piper Heidsieck, “the official drink” of the festival, but they declined to comment – though judging by the merry faces and staggering gaits of some on the Croisette, it’s safe to assume a colossal²³ quantity. At the party for Matteo Garrone’s Tale of Tales on the first weekend, the champers flowed freely and the revellers stayed on until the early hours. When the BBC’s Rebecca Laurence spoke²⁴ to one of its stars the following morning and asked how many hours sleep he’d had before their interview, he simply narrowed his bleary eyes and held up two fingers.

对于英国广播公司文化部门来说，戛纳期间堆满了工作，而派对是少之又少。但是，影展之外的电影节给小镇描上了醉人的红色。在2013年，我们试图联系白雪香槟酒庄（Piper Heidsieck）计算电影节期间香槟的消费数量，但作为提供“官方饮品”的白雪香槟酒庄拒绝回应。不过看看克鲁瓦塞特(Croisette)大道上那些微醺的脸庞以及踉跄的步态，我们可以合理的推测香槟的消费数量十分庞大。电影节的第一周，在为马提欧•加洛尼影片《故事的故事》(Tale of Tales)举办的派对上香槟成河，狂欢者嗨至凌晨。次日早晨，英国广播公司的瑞贝卡•劳伦斯与某位明星进行访谈，询问其在采访前休息了多久。这位明星只是眯起了惺忪的眼睛，抬起了2根手指。

7. Cannes’ ‘year of women’ didn’t go so well

7.戛纳的“女性之年”并走运

It was billed as the year in which female film-makers and women’s issues would be in the spotlight²⁵. The festival opened with a film by a female director for the first time in 28 years, Isabella Rossellini chaired the Un Certain Regard jury and Salma Hayek convened²⁶ a high-profile panel to discuss the role of women in cinema. There was plenty to talk about – but had anything really changed? The numbers seemed to speak for themselves: of the 19 films in competition, only two were directed by women. And then came ‘Heelgate’ – of which, more later… Faced with suggestions that the festival is sexist, artistic²⁷ director Thierry Frémaux was having none of it. Cannes was being held to an unfairly high standard, he claimed, one not applied²⁸ to other festivals like Venice or Berlin. His suggestion? Instead, people should “attack the Oscars”.

在本届戛纳电影节上，女性电影制作人以及相关女性话题曾广受关注成为宣传主题。28年来，戛纳首次以女导演拍摄的电影拉开序幕，伊莎贝拉•罗西里尼(Isabella Rossellini)成为“一种关注”单元评审团主席，莎尔玛•海雅克(Salma Hayek)主持讨论会高调探讨女性角色在电影中的意义。可以讨论的话题有许多，但是真的有何改变吗？数字似乎更能说明问题，主竞赛单元的19部入围作品仅有2部来自女性导演。而后发生的“高跟鞋门”，更有.....面对外界对于影展涉嫌性别歧视的负面消息，艺术总监蒂埃里•弗雷莫(Thierry Frémaux)一点儿反应都没。他只是说，戛纳电影节的举办有着及其不公平的高标准，参展影片不能申请其他诸如威尼斯或柏林电影节。这难道是建议人们去“攻击奥斯卡”？

8. Flats are allowed on the red carpet – or are they?

8.身着平底鞋禁止入场，是吗？

The biggest story of the festival had nothing to do with films. It was about shoes. On Tuesday trade magazine Screen reported that a group of women had been denied access to a screening of Todd Haynes’ Carol because their footwear – flat shoes with rhinestones²⁹ – was unsuitable for the red carpet. Further tales came tumbling forth³⁰, social media erupted in indignation and soon enough we were soon dealing³¹ with a fully fledgedscandale. The Cannes press office rushed out a garbled³² statement: “Rules have not changed throughout the years (Tuxedo, formal dress for Gala screenings) and there is no specific mention about the height of the women’s heels as well as for men’s. Thus, in order to make sure that this rule is respected, the festival’s hosts and hostesses were reminded of it.” Well, that cleared that up. Perhaps wisely, press screenings are exempt³³ from any dress code: scruffy³⁴ journalists are free to ascend³⁵ the Palais’ steps in flip³⁶ flops³⁷ and trainers.

本届电影节最大新闻与电影无关，而是关于鞋子。据《银幕日报》报道，上周二（5月19日），数名女性在去参加托德•海因斯(Todd Haynes)执导的《卡罗尔》(Carol)首映红毯时，因穿着装饰有莱茵石的平底鞋，而被工作人员以不符合规定为由拒之门外。报道一出，社交媒体上义愤填膺。戛纳新闻办公室仓促应对，称该报道断章取义：“这么多年来，电影节的规则都没有变过(参加电影节放映会，男士着无尾半正式晚礼服，女士穿正式礼服。)而对女性高跟鞋的跟高没有特定的要求，同样对男性的亦无特殊要求。”因此，为了确保遵守规则，男女主持会被提醒记住这些规则。好了，这下清楚了，媒体放映场没有任何着装要求：着装邋遢的记者们可穿着人字拖与运动鞋随意踏上皇宫广场（Palais）的阶梯。

9. Never trust the polls

9.千万别相信民调

It was the lesson of the UK general election and it’s the big ‘takeaway’ from Cannes too: prediction is a mug’s game. All week the chatter³⁸ was that Todd Haynes’ lesbian love story Carol was set to collect the Palme d’Or – or that Holocaust³⁹ drama Son of Saul from first-time director László Nemes would triumph. In the last few days a consensus⁴⁰ began to form around The Assassin from Taiwanese director Hou Hsiao-Hsien; according to British bookmakers, The Lobster was the one to beat. But when Jacques Audiard’s Dheepan was announced as the winner, the response was a collective “really?” For all the pundits⁴¹, critics’ panels, insider gossip, statistics and God knows what else, few had picked it. Oh well: c’est la vie.

英国大选就是个教训。民调也不过是戛纳的“外卖餐点”：预测是傻瓜才干的事。一整周，坊间盛传托德•海因斯的女同性恋恋爱故事《卡罗尔》将斩获金棕榈最佳影片奖，或者拉斯洛•杰莱斯László Nemes 处女作《索尔的儿子》Son of Saul将折桂。最后几天，共识则是来自台湾的导演侯孝贤（Hou Hsiao-Hsien）指导的《刺客聂隐娘》（The Assassin）将问鼎大奖。且据英国博彩分析，《龙虾》是个难缠的对手。但是，最终宣布雅克•欧迪亚Jacques Audiard’s 《流浪的迪潘》Dheepan获奖时，大家一致惊讶表示：“真的吗？”所有的评论员、影评人小组、内部八卦、数据统计、上帝都知道，只是少有人提及罢了。好吧，这就是生活。