From our correspondents Laurent Ziliani, Sandrine Marques & Moland Fengkov

Sunday May 26: Find out the Palme winners. Read reviews of the films that marked the festival and works that went unrecognized. A Plume Noire exclusive thanks to our special correspondents who took you to the screening room and not the gossip.

CANNES - MAY 26, 2002

Palme d'Or: The Pianist by Roman Polanski (Poland/France)

Grand Prix: L'homme sans passé d'Aki Kaurismäki (Finland)

Best Actress: Kati Outinen (L'homme sans passé)

Best Actor: Olivier Gourmet (Le Fils) by Luc et Jean-Pierre Dardenne (Belgium)

Best Director: Im Kwon-Taek (Ivre de femmes et de peinture) and Paul Thomas Anderson (Punch-Drunk Love)

Best scenario: Paul Laverty (Sweet Sixteen)

Prix du jury: Intervention divine by Elia Suleiman (Palestine)

Prix du 55me anniversaire: Bowling for Columbine by Michael Moore (USA)

Camera d'Or : Bord de Mer de Julie Lopes-Curval (France).

Cinefondation : Palme d'Or (shorts) : Eso utan by Peter Meszaros; Prix du jury : The Stone of folly by Jesse Rosensweet & A very very silent film by Manish Jha

OFFICIAL COMPETITION

24 Hour Party People Winterbottom is back in Cannes with a film that will undoubtedly only speak to a certain generation and a particular public. If you are not familiar with bands like Joy Division and Happy Mondays, you might get bored unless you find the adventures of a music label producer appealing. For others, it's visual and musical jubilation.

All or Nothing All or Nothing starts like a social drama, introducing several characters from a lower-class neighborhood who are suffering from family and social problems, a setting that falls under Ken Loach territory.

Ararat For quite some time Atom Egoyan has wanted to direct a film about the Armenian genocide perpetrated by the Turks. After postponing it a few times, he finally takes on this delicate subject.

Bowling for Columbine Warning, Hot! The cantor of anti-globalization, author of the corrosive The Big One, returns full force with this documentary about gun control in the U.S.

Divine intervention Suleiman makes a militant film that, as often the case, is a vehicle for excesses and sometimes extremism, provoking uneasiness.

Demonlover The idea of a film with industrial espionage and virtual worlds as a background is rather exciting in principal. The intentions of the director are no less enthralling, since he proposes a reflection about image at a time of globalization.

Irreversible Long awaited, dreaded, Gaspar Noé second full-length film cannot leave you indifferent. Ultimate artistic incarnation or gratuitous provocation? Our editorial staff is equally divided. Though the film isn't flawless, it is nonetheless an object worthy of the curiosity it arouses. Criticism not being irreversible, Plume Noire offers two critiques, one for and the other against. You be the judge.

Kedma The hot topicality of Gitaï's film unfortunately contradicts the salutary will for peace expressed by its character. The director holds, throughout his upsetting film, in the right place, taking into account the points of view of both camps.

The Pianist Three years after the poor Ninth Gate, Polanski returns with very traditional direction. The Pianist is the academic and literal adaptation of musician Wladislaw Szpilman's memories. Winner of the 2002 Cannes Film festival Palme d'Or.

The Son (Le Fils) With The Son, the Dardenne brothers are back with their mascot, actor Olivier Gourmet, in a film where a man finds himself face to face with the murderer of his son.

Sweet Sixteen After the railroad war in The navigators, Ken Loach returns with Sweet Sixteen, a film about the war on drugs with some of his favorite themes in the background: the share of humanity that fights in a world filled with difficulties.

Spider In Spider, Cronenberg forsakes his organic universes for very cerebral fiction.

Ten A woman in a car and ten sequences, ten conversations with the passengers who take a seat in the vehicle. As many figures who testify to the condition of the women in Iran today and the desire for emancipation which is hampered by men who are still exerting their domination on this society.

Unknown Pleasures Jia Zhianghe, whose films Xiao Wu and Platform garnered considerable attention, returns with a contemplative work about the idleness of Chinese youth in a country in transition.

CERTAIN REGARD

Seaside A first film which, through a gallery of portraits, looks like a commercial for a beach resort in the bay of Somme, France.

Ten minutes older: The Trumpet Film sketches, a genre that had fallen into abeyance, is not dead! As proof, these short films from some of cinema's greatest names. Each director delivers his own interpretation of time, as many free figures on an imposed subject.

OUT OF COMPETITION

Hollywood Ending With a title like Hollywood Ending, you might expect a caustic satire from the New York-based director. Instead, Woody Allen's latest work proves to be a charming but futile exercise that always remains on the surface.

The Kid Stays In the Picture Full of Hollywood lore, wit and a dose of myth, this intimate look at the rise and fall of Hollywood legend mogul Robert Evans proves to be a fascinating documentary.

Spirit Some beautiful animation serves an inept story: not recommended for people above age 7.

Star Wars Episode II: Attack of the Clones With Attack of the Clones, Lucas has undoubtedly invented a new genre: the intergalactic soap opera. But just at the moment when the threat of a new disaster seems all too real, the film leaves its torpor to offer, in a higher bid of action scenes, a finale faithful to the spirit of the sci-fi B movies of the first trilogy.

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