By Morgan Gaberu
More movies, less people. After an epidemic-induced break last year, the Festival de Cannes has returned to the truth, doubling down with ultra-powerful programming instead of the Farsa festival.
After cleverly lengthening the event by shifting the lion’s share of the market sales activity to virtual spheres, dubbed pre-Cannes, there are more films to attract a smaller number of people (approximately 5-6,000 acknowledgments – this is usually above 20,000). So far, it’s creating more intimate, less insane speeds with better access to screening.
However, it could be a double-edged sword for global film markets and festivals. While this hybridization seems to be working, the need to be personally present is probably being severely undermined by virtualizing the sales market. The tradition of making and marketing movies has historically been a very relationship-based business, and declining social continuity and interaction are signs of major disruptions in the movie ecosystem. After enduring a historic recession in the running of movies, the only thing that holds up is the price of Cannes accommodation. It is not surprising that large sections of the non-talent industry have chosen to avoid the hassle and expense of staying here.
The requirements for covid testing and health passes are not proving too difficult and the initial dental problems seem to have been resolved with the verification method, although there are concerns that reducing the adhesion of the mask, especially once screening begins, could lead to elephants in the room. In solidarity with the French resignation, Adam is reported to have lit a cigarette inside the house at the driver’s opening screening. Annette.
Palais des Festivals, a huge brutal bunker by the sea where Kansas has the largest auditorium, as well as festival offices and large convention floor spaces is a haunted town. The costly army of sales and marketing assistants is gone. Even the country pavilions along the beach have been further downgraded to sidebar status. If you are here, because you like movies. Fortunately, the blind faith that got you here is being rewarded with an excellent reputation. “Six months ago, we weren’t at all sure it was going to happen,” said festival director Thierry Framax. And yet, Cannes is among the generation of film curation, autism and publicity, either in private or in cyberspace.
All the documentaries that seemed to interest Kane so long ago were Michael Moore’s choice. However, for several years now, and at least for the first few days of the festival, longform documentaries have secured a large portion of the official selection screening slots. They seem to have almost equal billing with their imaginary brothers. Generally less expensive, the feature documentary – with the right material – has been successful in a certain amount, effective drama rental and commercial.
The first festival screening was by documentary filmmaker Mark Cousins, who returned with a rebirth of his epic. The story of the film Series. The story of the film: a new generation A Tour de Force that manifests like a film studies masterclass, a montage of moments and memories. The film is a poetic meditation on the history of cinema, its current state and what is going to happen, a distinct ‘medium is the message’ vibe. It tries to give a sense of the decline of non-blockbuster moviegoing around the world, whether viral or streaming-induced and how it can rise again. Despite the hard work of the first legacy professionals of many movies, it’s hard to imagine how it would vibrate as much as it did before as a social and cultural experience. No matter how strong the global feature film output is, the future of quality independent cinema remains uncertain without the political will to protect dramatic windows and invest heavily in innovative theatrical experience.
Cousins ’sculptures on the effects of visual representation, humanism, identity politics, and technological innovation are a powerful message about the dangers of losing the sanctity of film for social discussion. Cousins have become the ideal carriers of cinema as an enlightened public consciousness. Roger Ebert, a kind of David Attenborough, has met with cultural theorists and documentaries.
They were still putting up signboards at the new cinema complex in adjacent Cannes La Boka Annette, Which served as inaugural screening at the flagship IMAX-cum-Laser Theater, which has 400 wide-bodied business class seats. The complex is adjacent to a huge concrete warehouse and a new industrial, design and technology campus of industrial multiplex. It is a bold attempt to integrate the next generation of entertainment and education, and to reinvent the cinema-running culture. Floor spaces like wide open rave before and after screening allow for wide mixing and flashing.
Annette By yourself? Starring Adam Driver and Marion Cotillard, this is a daring adventure, if not somewhat anaerobic rock opera, where director Lewis Caracas ate the red pill instead. La La Land Blue pills. It works, but its somewhat restless cleverness occasionally clashes with its restless mental underpinning.
Good Large text is verified. A profound personal autobiography drawn on his blockbuster set and the lifetime home movies shot in and around it (Batman, Top gun), Lesser known drama acting career, and personal travel. Curiously confused at times, we see a wild, more experimental aspect of Kilmer that he suggests has been hidden a lot by his “commercial work”. From growing up at the Roy Rogers Ranch outside of Los Angeles, to his Juliard years, Kilmer hits Jitjist in the head with a memorable backstage scene that virtually admires the youthful Sean Penn and Kevin Bacon admiring Kilmer’s curious new game – a home video. Self-portrait which he can do as much as possible according to the situation. Honest and dissatisfied, Good It’s a time capsule of an artist who, while highly successful, seems to have lost his more creative ideas, aspirations and self in the end with his well-known work. When a producer Good In his opening remarks, Kilmer told him early in the project that it would premiere in Cannes, with festival director Thierry Framax quickly adding, “… and we’re tough.”
Festival favorite Francois Ozone is back in the competition Everything was going well, A humble and limited view of the two bourgeois Parisian sisters, facing the moral and emotional minefield of their deceased father’s intentional intent. A strong performance by Sophie Marceau casts a clear light on difficult choices and ongoing targets that are the business consequences of life.
Velvet underground Director Todd Haynes is an extremely mediocre and mesmerizing look at the life of an influential music group. The Academy Award-caliber editing and sound design gives a more refined and integrated explanation to this deep dive canonization of drug-saturated, NYC-hated creativity in the 60’s. Extraordinary archive footage is very loyal, but often sheds new light on the workaholic friendships of band members, including Lou Reed and John Kell, as well as harmful emotions and arrogance in the workplace of their patron, Andy Warhol.
Finally, Language This is a portrait of Chad’s single mother and her 15-year-old daughter who is pregnant. Fantastic cinematography captures the sun-gray pastels of contemporary urban African life, while revealing a labyrinth of suppressed aspirations, economic necessities, family ties, general decency and the liberation of the often oppressive Muslim community.
Morgan Gabero is a writer and filmmaker based in London and Vancouver.