The jury of the 2014 Cannes Film Festival, led by Jane Campion, presented their awards at a ceremony at the Palais last Saturday. Here's an overview of the winning films, with quotes and links courtesy of David Hudson's tireless updates at Keyframe Daily.

Nuri Bilge Ceylan‘s Winter Sleep,  a "three-hour fifteen minute Turkish treatise on class distinction comprised mostly of slow conversations and shot in a reserved, naturalistic style" (Jordan Hoffman for Vanity Fair) has won the Palme d’or.

 Ceylan's 196-minute follow-up to his 2011 drama Once Upon a Time in Anatolia is a character study -- or, as Mike D'Angelo put it at the Dissolve, “an epic portrait of a complete prick." According to Variety's Justin Chang, it is an "engrossing and ravishingly beautiful magnum opus.”

Alice Rohrwacher’s The Wonders, “a lyrical and warm portrait of an unusual family” (Dave Calhoun, Time Out), has won the Grand Prix.  “So much is encircled by this film’s seemingly modest reach: the slow onset of adulthood, but also the fading of the old ways,” writes Robbie Collin in the Telegraph.

Steve Carell, Mark Ruffalo, and Channing Tatum are the unlikely, celebrated leads in Bennett Miller's Foxcatcher, which won for Best Director. “Chronicling the events leading up to the 1996 murder of Dave Schultz, the Olympic wrestling champion who tragically found the wrong benefactor in the Pennsylvania multimillionaire John E. du Pont, this insidiously gripping psychological drama is a model of bleak, bruising, furiously concentrated storytelling, anchored by exceptional performances," says Variety's Justin Chang.

The big surprise of the night was that the Prix du Jury was split between two very different directors and two very different films: Mommy, by 25-year-old prodigy Xavier Dolan, which is "precisely the electroshock the festival needed," according to Richard Corliss: "Beginning with a car crash and accelerating from there, Mommy administers primal therapy to its viewers and perhaps to Dolan himself.”

The other Prix du Jury winner was Jean-Luc Godard‘s Goodbye to Language, the nouvelle vague master's first film in 3D and a movie that has already produced a slew of fascinating responses. Manohla Dargis reported from the premiere for the New York Times: “a thrilling cinematic experience that nearly levitated the packed 2,300-seat Lumière theater here, turning just another screening into a real happening."

Timothy Spall won Best Actor for his performance as the celebrated 19th century painter in Mike Leigh’s Mr. Turner.  “Spall—a veteran of Leigh’s films—plays this eccentric, determined London bohemian like a bronchial, cantankerous, randy old toad with backache,” according to Time Out's Dave Calhoun. But for Vulture‘s Kyle Buchanan, “two thirds of Timothy Spall’s grimacing, lurching lead performance is made up of nonverbal noises. This movie has more grunts in it than most hip-hop albums."

For her performance in David Cronenberg’s Maps to the Stars,  Julianne Moore won the Best Actress award. According to the Guardian‘s Peter Bradshaw, the film “is a gripping and exquisitely horrible movie about contemporary Hollywood. It is a further refinement of this director’s gifts for body horror and satire." But forVariety‘s Peter Debruge, it seems like punching down: “Somehow, it’s more interesting to watch dreamers struggling to play stars than it is for Oscar nominees to parody the desperate, which is pretty much what Julianne Moore is doing in a fearless performance far more gonzo than the out-of-touch satire that contains it.”

The Best Debut Feature of the festival, awarded by the Camera d’or jury, is Party Girl directed by Marie Amachoukeli, Claire Burger and Samuel Theis. The film is “a docu-style French dramedy about an aging cabaret girl who tries to change her ways by getting hitched to a former client." (Jordan Mintzer for the Hollywood Reporter). For Indiewire‘s Eric Kohn, “the movie manages to hit a resoundingly sad note without overplaying it.”