New times at the film festival: Cannes dispels criticism from the red carpet
The Cannes Festival has opened. The latest: The films will only be shown when the stars are behind the red carpet. Because of the reviews and for the markets in the Far East and Far West.
How long have we been debating summer and winter time? A decade? Two? An hour ago or an hour ago? At the world's largest film festival in Cannes, they are in a completely different mood and, with their 72nd edition, made the day into the night, without discussion, without warning, from yesterday to today.
You could compare it to the day and night shift in your company. You are scheduled for the day shift, and when you arrive at work in the morning, you are told that the boss changed it at short notice, that you now have night shift, continuously for the next two weeks.
In this case, the boss is called Thierry Frémaux and determines when the competitive films that everyone wants to see are shown. So far there was the first at 8.30 a.m., the second at 7 p.m. and occasionally a third in the afternoon. Now the first competitor of the day starts at 4 or 5 p.m. and the second at 7 or even 10 p.m.
Let’s play this through the film everyone’s waiting for. Quentin Tarantino's “Once upon a Time in Hollywood” press screening starts at 4:30 p.m. next Tuesday and ends around a quarter past seven. This means a) the reviews can only appear in newspapers on Thursday; b) Meetings are not online before 9 p.m. Experience has shown that they are only read the next day; c) The winners are the electronic media, which in "Today" or the "Daily Topics" enjoy pictures of the red carpet - the glamor and glamor that sponsors demand.
Frémaux said last year that he did not want his stars to be able to read the bad reviews of their films on their cell phones on the red carpet before the gala screening and therefore put the press releases parallel to the gala. That could still be understood, but what he tries this year is a massive influence: The first twelve to 24 hours of a film's life should be as free of criticism as possible, a refuge where only beautiful pictures of beautiful people in beautiful robes exist; and if the critics start, the next film will be driven over the carpet.
Now Cannes is a global event, which brings us to another delicate consequence: Media in America or Asia have no problems with this time difference - in contrast to the heartland of the festival in France and the rest of Europe. Of course, the on-site rapporteurs have to change their biorhythms, night work is now mandatory for everyone.
At first glance, one could believe that there was finally the opportunity to sleep over the night for the first time (which is mostly good), but no, the relentless online rhythms will not allow this. For example, at 2 a.m., Abdellatif Kechiche's “Mektoub, my Love” (beginning at 10 p.m., four hours) will stagger back into the apartment and start writing. The gastronomy in Cannes will curse the festival, nothing is left with the cozy, long dinners outside in the balmy mail-smells; can Frémaux's sales losses be sued? And shouldn't the festival actually have to pay all correspondents a night bonus?
A logical development in an industry that does not function any differently than the chemical group Bayer z. B. The creatives have long been strangled. In Europe, the instrument for this is television. It was foreseeable that this would also affect film criticism. It was the last bastion of a remnant of freedom in the cinema world, which is now seen as a weed at the global cinema transfer station, where millions are turned over. Can it be surprising that "weed killers" are used to kill those who could have said something critical? This is in the sense of all those who know a lot about banking, but nothing about art. The audience will have to "eat" like this .........