Film festivals have been postponed indefinitely, until the global coronavirus outbreak makes public gatherings unsafe – especially those that bring together guests from different parts of the world. And yet, lineups keep coming, even though programmers know their festival won’t happen this year.
Coincidentally today’s Cannes Official Election has opened, where we learned of Wes Anderson’s “French sent” two entries from Steve McQueen’s BBC-backed “Small Axis” anthropology project, Pete Doctor’s Pixar-animated “Soul” and many more. The festival was invited to the premiere.
Is it better to announce a list of no-frills films than there is no way to list them? Films that want to host events like this – “Say, what is the way to prevent an upcoming festival from benefiting from claiming those titles as its own? Why would any filmmaker choose to take the label” Can 2020 “at a world premiere at Venice or Toronto film festivals? Do?
These are complex questions that have little to do with festival politics (such as whether Cannes or Venice can “claim” its own premiere, although this is one of the reasons why) such events play a role in the life cycle of certain movies. Filmmakers rely on festival to locate their films. This is where they often look for distributors to acquire their movies for both domestic and international releases (the way “parasites” were sold to Nine in Cannes last year).
So, without being too technical, let’s take a look at what’s at stake here.
First, it is noteworthy that the announcement of Cannes is a different event from the situation we first observed, when the outbreak forced festivals like SXSW and Tribeca to pull the plug on its annual events. It was an unfortunate – and unpublished – situation that effectively prolonged hundreds of films, but could not be helped after the lineups were unveiled before the lockdown began.
(Technical side: In the case of festivals, the status of the premiere is the most valuable product of any film. A certain percentage of international premieres must be present in a festival competition to qualify as a “festival” nominated by the International Film Federation.) Producers’ Association, and consequently buyers, press And the film attracts critics which further strengthens its reputation. So the strategic thing to do with any filmmaker goes beyond your best fest, then offer your film at low-level festivals that don’t end with street premiere status)))
With that in mind, it may seem counterintuitive for festivals that already know they’re not happening to share their lineups. One might ask: Does Hot Docs affect the premiere status of a movie when it doesn’t share 226 movie monster rosters? (The Toronto-based Nonfiction Fest has made about 100 people available through virtual versions since, now running, but like the others, the rival festival will probably still consider them world premieres.)
To moviegoers stuck at home, these announcements may seem like a kind of tension, a festive way to say, “Take our word for it when we are so committed to the quality of all these great films. Luckily you have access to them yourself.” You see, this is a matter of approval. Festival programmers devote countless hours to modifying grain cream for the public to screen thousands of entries, and instead of wasting that effort, they make the discoveries a success on their own. The simple fact that a film has been selected by a high-festival festival can make a big difference in the way it can be perceived by listeners, buyers, critics and other festival programmers.
Cannes added a further definition of the situation, as artistic director Thierry Framax made it clear that there would be no online version of the festival to replace the canceled event. We’ll soon see if any of the titles are present in Virtual March 7 (an industry-centric market element of the festival, where sales outlets show movies for sale), but if they do, there’s no question about whether the acquisition titles will have ear labels. Serve to promote them from a pack – subsequent festivals like Sundance’s San Sebastian now benefit from being able to compete in Cannes films, where they wouldn’t have been able to do it before because they had already premiered at a larger festival.
Toronto Film Festival artistic director Cameron Bailey said, “I think the official election at a significant festival means something, but not by itself.” Diversity In March. “You need to be able to deliver the film to those who are interested in buying the film for their regions, who are interested in writing about it and who are interested in evaluating it as a critic.”
But what if it is not possible to do it in a safe way? Although Toronto, Telluride and Venice have all sent messages to capture their 2020 editions in one form or another, the coronavirus crisis could probably cancel all major film festivals by the end of the year.
Now consider this: Under normal circumstances, Toronto programs about 300 movies a year, many press or acquisition ones are too much for processing – and yet, there is a real reputation for putting TIFF logos, Berlin Bear or Can Palm movie posters or movie trailers if The same applies to those who are honored to be lost at a big festival, but the same should be applied to those shows that are canceled until the selection is made public.
It counts for the films that Cannes has already distributed (lots of French release ends within a week or two of the festival, piggybacking the promotions produced by the Cannes red carpet, reviews and press conferences). In theory, movies like Franোois Weight’s “Summer 85” and Mauven’s “DNA” can still claim the glory of being invited to the cinema when they open in theaters – which has a measurable impact on the box office of a French film.
The national announcement is seen as a setback for their chances of being elected to Venice, which maintains a competitive relationship with Cannes (two festivals that were not originally published before the national plan was discussed later this year). This means that the 56 movies that received the Cannes label knew that Italy-based Fest would not accept them. Others, such as Nanny Murthy’s “Three Floors” and Apichatpong Werestakul’s “Memoria”, rejected Cannes ‘offer’ to qualify for the world premiere in Venice. And yet more – among them Paul Verhoeven’s “Benedata” and Lewis Carax’s “Annette” – they are choosing to wait a whole year and re-submit to the bride the following year.
In this case, the announcement of Cannes began to look political, but the fact is that Framex and his team recognize the enormous power that the Cannes Film Festival gives to the Car Film Festival for selected projects. They won’t start applying ear labels to films that don’t play fest in future years, but they don’t want to deprive the directors of that cassette in an exceptional year when the festival won’t happen. Other festivals may not be nearly as prestigious, but they still add value to another unknown film (for example, the SXSW-selected “Aviva”, which is releasing the strand and achieving it despite the festival being canceled).
Acquisitions appear to be the most complex part of this equation, as festivals serve as the ideal place for buyers – and critics – to look at a film. Reviews are important to ensure that small firms want to buy seemingly risky art films before all these Kavid-related festival cancellations have created a chicken-and-egg situation: in general, trades don’t review films unless they are publicly screened anywhere in the world; And without reviews, short movies are hard to find distribution. However, considering the exceptional circumstances surrounding COVID-19, many businesses are redesigning their policies and agreeing to cover films from canceled festivals. Diversity For example, Can Label will review movies that received the label, where if the festival decides not to reveal its lineup, those same images will not be covered at the moment.
A similar philosophy explains why SXSW and Tribeca went ahead with their minimal competitions, although no one else saw the movie: because winning a festival award gives more power to the rising fame of an unknown film, and all the differences in how it is realized. People can. It would take a lot of extra work to evaluate whether it would be a powerful version for Cannes or one of these festivals, considering if the audience couldn’t come anywhere in the world and watch the films. But when they do, they stand out as a movie that “premieres” in a place where fame is important. And that means something.