Cannes Film Festival makes a big and big comeback after pandemic-induced scaling

Preparing for the Cannes Film Festival party. (Photo credit: File)

Preparing for the Cannes Film Festival party. (Photo credit: File)

After 2020 Cannes Film Festival Pandemic canceled, 2021 edition scaled again – even kisses on the red carpet are forbidden – the luxurious French Riviera movie Souri is getting ready to return with a festival that promises something as usual.

Or at least 12 days of formal costumes and film shining in the sun, stopwatch-time standing ovations lasting minutes, and at least Canon’s special brand that speaks the names of directors like Corey-ed and Denise with silent respect. .

Passing as usual at Cannes was never particularly common, but it has proven to be incredibly resilient in the face of time fluctuations. In the aftermath of World War II in 1946, from its first festival, Cannes remained a maximalist view of world cinema and the C ഡിte d’Azur glamor.

This year marks the 75th anniversary of Cannes.

Reuben Austland, who returned this year with a social satire on his 2017 Palme d’Or hit film The Square’s follow-up triangle of sadness, says, “I hope it’s back to a normal can now.

“If you’re a filmmaker, it’s a great place. You feel like you’re getting the attention of the film world,” Austland adds. “To hear the rush going on, people are talking about different movies. They’re talking about your movie.”

This year’s Cannes, which opens on Tuesday with the premiere of Michael Hassan’s Zombie’s zombie film Z, will expand in Ukraine not only against the late ebbs of the epidemic and the rising tide of streaming, but also against the biggest war Europe has seen since World War II. Launched as a by-product of the war – the festival first began as a French rival to the Venice Film Festival, which involved Benito Mussolini and Adolf Hitler – this year’s Cannes will resonate with echoes of the hitherto not yet. Contradiction.

The organizers banned Russians with government ties from the festival. It is set to screen a number of films from leading Ukrainian filmmakers, including the documentary The Natural History of Destruction by Sergei Losnitsa.

His fiance Hannah Bilobrova will also show footage taken by Lithuanian filmmaker Montas Quadravicius before he was killed by Mariupol in April.

Meanwhile, the Hollywood star will be hosting Wattage Cannes for more than three years. Joseph Kosinski’s Pandemic-Delayed Top Gun: Mavericks to hit theaters just before opening. Tom Cruise walks the carpet and sits for a rare, career-spanning interview.

It is the dream of every director to go to Cannes someday, says Kozinski. “Go there with Tom with this movie, show it there and be part of the retrospective they’re going to do for him, it will be a once in a lifetime experience.”

Warner Bros. will premiere Bass Luhmann’s Splashi Elvis, starring Austin Butler and Tom Hanks.

Mad Max: Cannon will finally present his fantasy legend, The Thousand Years of Longing, along with George Miller, Idris Elba and Tilda Swinton, along with Fury Road. Ethan Cohen will screen his first film without his brother Joel in the documentary Jerry Lew Lewis: Trouble in Mind, a documentary about rock and roll epics and archival footage. Also debut: James Gray’s Armageddon Time, a semi-autobiographical upcoming story set in New York with Anthony Hopkins, Ann Hathaway and Jeremy Strong.

People far removed from Hollywood will attend. CAN’s restrictions on theatrical release of streaming services from the competition to select the Palme d’Or winner have been removed. This year’s jury is chaired by French actor Vincent Linden.

Last year’s Palm winner, Julia Ducorno’s explosive Titan, starring Linden, is only the second time a female director has received the highest honor at Cannes. This year, five films directed by women for Palm are in the competition, a record at Cannes, but with a lower percentage than other international festivals.

This year’s lineup is full of festival veterans and former Palm winners, including Hirokasu Corey-Eda (broker), Christian Mangius (RMN), Jean-Pierre and Luke Dardenes (Tory, Lokita). Iconoclast filmmakers such as Claire Denise (Stars at Noon), David Kronenberg (Crimes of the Future), and Park Chan-Wuk (Decision to Divorce) are also ready for Palm, and, like Kelly Richard, will be reuniting with Michelle Williams on the show.

Even though Cannes has a solid slate full of all sorts of stars, how old can the festival go back to? Last year’s light-on-crowd edition included masking inside theaters and regular COVID-19 testing for attendees. It still produced some of the most acclaimed films of the year, including Best Picture Nominated Drive My Car, The Waste Person in the World, and A Hero. While subject to criticism for its representation, Cannes remains an unparalleled venue for some of the film’s best actors.

Not likely to return anytime soon is the same amount of partying that was ubiquitous at the Harvey Weinstein Festival. COVID-19 concerns have not been removed. Participants are not tempted and are strongly encouraged to wear the mask. Some non-streaming companies have budgets for luxury parties. The crowd will return to Cannes, but for how long?

“It’s going to be different than before,” says Tom Bernard, co – president of Sony Pictures Classic and longtime Cannes regular. “Are they going to have parties? Are they going to have Kovid concerns? Or is everyone just going out there and trying to ignore things?”

Bernard has noticed some of the practices that remain virtual in the Cannes market, which buys and sells movie distribution rights.

Preliminary meetings with vendors, executives and producers usually jump between hotels in Croydon, he says, took place in Zoom before the festival. Deal making focused more. Kans, known as the high-minded and the petty, has probably grown a little more calm.

“It’s a rearrangement of an event that is always the same in every way,” says Bernard. “I think the routine will change.”

One thing that can be relied upon to be iron-clad at Cannes is the intense comments that are being made between the ongoing sea changes in the film industry and the primacy of the big screen. Some films like Austland starring Woody Harrelson are expected to transcend the different film worlds that Cannes encounters.

“Our self-determined goal was to combine the best parts of American cinema with European cinema and try to do something really fun and at the same time thought-provoking,” says Austland.

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