Cannes Film Festival opens with ‘Final Cut’

aIn one of the photos you can see Sergio Leone and Michelangelo Antonioni chatting on the beach at the foot of the Croisette, and you want to know what they are talking about. In another scene, Sophie Marceau and Gerard Depardieu sadly sat side by side in a taxi on their way to a movie screening that they obviously would have preferred not to be filmed together. Luchino Visconti and Romy Schneider are also present, Martin Scorsese, Quentin Tarantino, Javier Bardem and Nicole Kidman, and if anyone is still missing, they are sure to be spotted somewhere around town soon.

The Cannes Film Festival revealed his past on the streets. I turned seventy-fifth this year, and for the festival management that’s reason enough to celebrate, even though the seventieth birthday was widely celebrated five years ago. But during the holidays, something must be done.

Aside from the new golden palmette designed by Swiss jeweler Chopard, which is based on rose quartz and contains two palmettes surrounded by diamonds, there is just the usual reception for festival veterans and a symposium, which the guests of honor would like to consider. The future of cinema. This may be an unpleasant event.

Swiss jewelry house Chopard has redesigned the Palme d'Or to celebrate its 75th anniversary.

Swiss jewelry house Chopard has redesigned the Palme d’Or to celebrate its 75th anniversary.

Photo: AP

Author’s cinema dark mode

Because the situation of cinema, at least the cinema of the authors who made Cannes great, is bleak. In France, the largest European country in the field of filmmaking, sales have fallen by a third compared to the period before Corona, and even if the numbers cannot be easily extrapolated to other countries, their message is unambiguous.

At a time when the audience of American blockbuster films returned to the screens, the older viewers of the so-called art house films called the cinema en masse. Behind the exodus is a long-term development significantly accelerated by the epidemic, the replacement of traditional forms of distribution with streaming services.

While two-thirds of the movie industry’s revenue before 2019 came from the box office and only one-third from Netflix, Amazon and other platforms, the proportion has reversed in the past three years. Digital custodians now rule the photo market.

But the streaming provider’s success model is not the feature film, but the series. For festivals, this means that if they want to continue to portray the evolution of the medium, they have to open up to a narrative form that is at odds with the drama of the event. The series is not good material for film festivals.

Hollywood discovered live broadcasting for itself

However, all festivals are trying to give away the products of the satellite broadcasting world. All except Cannes. There is no section for serial models yet, and Netflix movies that have not been released in French cinemas are still excluded from the program. Three years ago, this position still seemed to prevail. Now she has a bitter taste of challenge.

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