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Cannes Official Selection Line-Up Overview with Digressions You Won’t Find Anywhere Else | Festivals & Awards

The baseball season has just started in the USA, so here are some baseball updates on the new events of the Festival. For a quarter of a century, the pioneering French pay cable station Canal Plus has covered the event, i.e. the opening and closing ceremonies and everything in between. This longstanding partnership has ended and French public broadcaster France Televisions has become the new official television partner.

By the time the film festival starts, the world will already know who will be the president of France for the next five years. Emmanuel Macron (who was 10 years old when I first arrived at the Cannes Film Festival in 1987) wants to abolish the token fee charged to nearly every family in France to help finance the country’s most enviable public television and radio services. Far-right demagogue Marine Le Pen, Macron’s rival, thinks it would be a good idea to privatize the public service.

Festival du Film has entered into a new partnership with Tik Tok.

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Between anvil and rock

Festival resumes

His online views

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If, like me, you’re wondering if algorithms should be registered under Friend or Foe, you can find temporary shelter with another new festival sponsor, Campari.

I mention these commercial endeavors because they illustrate how much the festival has moved on from its longtime goal of becoming an artistic bulwark against creeping fascism, as demonstrated by the Venice Film Festival in Italy. And I want to say that the money required to purchase one pair of these sneakers in 1939 would have been enough to feed a Cannes family of four. (The first festival, scheduled for September, was canceled when Germany invaded Poland, which helps explain why it’s the 75th edition, even though it’s been 83 years since the jury’s idea of ​​a film event on the French Riviera was first brought to life.)

Cannes will mark its 75th edition with a symposium during which filmmakers will “reflect on their profession, which once meant making films in 35mm for cinemas. What is it turning into now?” Fremault asked.

In 1982, Wim Wenders invited an appetizing group of international filmmakers to a Cannes hotel room and, with a 16mm camera on, asked the likes of Steven Spielberg, Jean-Luc Godard, Rainer Werner Fassbinder, Werner Herzog, Michelangelo. Antonioni, Susan Seidelman and Paul Morrissey on whether cinema is a dying language. Four decades later, a director named Lubna Plyust was commissioned to repeat the exercise.

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