"Everything is a little up in the air right now," says one agent. "But if the health situation looks better, I'm going. There are worse places to be than the South of France."” />
Paillard said it was too early to determine what the protocol in Cannes will be but said "it will be fully respectful of the regulations." He also said that the market will make sure that there's more space between booths to facilitate social distancing and the festival is also looking at hosting more outdoor events.
Cannes' artistic director Thierry Fremaux is in active discussions with U.S. studios and producers submitting films for consideration, sources familiar with the festival said, and is also seeking American jurors to join the panel that Spike Lee will preside over.
Festival organizers are still hammering out health protocols. “Vaccines aren’t available to enough people, notably in Europe, so we can’t discriminate against people that way,” said a Cannes festival insider. It's unlikely that attendees will have to present proof of vaccination.
Even as questions swirl about how exactly Cannes will pull off a global festival in the midst of a pandemic, executives and agents have begun booking flights and rooms. Currently, about 90% of hotels are closed in Cannes, but many are planning to reopen starting in mid-May, according to a hotel owner.
Several of the largest talent publicity firms in the U.S. Similarly, brokers for glam squads — the essential stylists and hair and makeup artists that facilitate the expected Cannes red carpet and party aesthetic — have yet to be booked for any events, sources said. Star wattage may not be as high this year. have yet to schedule a single star to attend the July event.
Fremaux is moving forward with the blessing of both the mayor of Cannes and the French government, who, insiders say, want the festival to take place as scheduled, between July 6 to July 17.
Some international sales agents have high hopes that the Cannes Film Festival will keep its July dates so they can get a respite from the Zoom calls and, once again, conduct business face-to-face.
“The presence of U.S. Of course, this year they might not make the trip if they are just looking to pre-sell films; they may not be willing to have the talent travel to Cannes to promote projects for platforms that are headquartered in L.A. That’s understandable." “Companies might send less people, and instead of sending 10 people, they’ll have the CEO and two or three sales agents on the ground,” said Jerome Paillard, the head of the Cannes Marché du Film. sales agents and talent agents will depend on whether or not they have films in the Official Selection.
One film the festival is considering screening is Nicolas Cage starrer "Pig," a drama about a truffle hunter searching for his kidnapped foraging pig. The artistic director has also been urging Wes Anderson and Disney's Searchlight to screen "The French Dispatch" at Cannes, fulfilling the auteur's initial intention to premiere the film on the Riviera, a plan that was scuttled in 2020 when the pandemic forced the festival to cancel.
Coronavirus cases have reached a five-month peak in France and the country is in the midst of yet another lockdown, but the worsening public health situation hasn't deterred the Cannes Film Festival from moving forward with its plans to host an in-person event in early July.
Cecile Gaget, president of international production at Anton Capital, a London-based financier, said the company is "planning on attending all three events — in May, June and July." Anton Capital's slate ranges from "Mothers’ Instinct," a psychological thriller with Jessica Chastain and Anne Hathaway to the animation film “Fireheart” from the producers of “Intouchables.”
sales agents felt the May date was too close to the recent Berlin Film Festival and are moving forward with the June virtual market instead to give themselves more time to attach directors and actors to hot scripts. Because that June event is expected to have some of the sexiest projects for sale, studios have privately told Variety that they are only planning to send small teams instead of their standard armies of executives to the Cannes Film Festival in July. But many U.S. Several publicists who rep A-list stars also say they do not expect their clients will be on hand for red carpet premieres because they will be too busy filming other projects. Not to be outdone, the Cannes Marché is hosting its own May virtual sales event, which will largely be devoted to screening completed films that have a more commercial bent and aren't meant to play on the festival circuit. Some may skip the festival entirely.
Even as planning continues and Cannes higher-ups signal that they believe that they will be able to pull off an event attracting stars and filmmakers from around the globe in three months from now, there are reports and rumors that the festival may move to the fall, particularly if coronavirus numbers continue to climb in France.
That leaves the Martinez and the Majestic and Gray d’Albion as the major hotel choices for guests looking to spend lavishly on suites, though many festgoers opt for apartment rentals instead. But two of the Croisette’s most iconic venues will remain shuttered, as both the JW Marriott and the Carlton hotels are undergoing renovation, with the Carlton not scheduled to reopen until 2023.
Hotels are also being much more flexible with reservations. “Usually we ask guests to pay 50% when they make the reservations and pay in full six to eight weeks before the event, but we can’t ask that now, so we just demand an account to block the rooms,” said the hotel owner. Although July is a busy season for tourism in Cannes, local hotels will have the same rates as the ones they use in May for festivalgoers — which are actually higher than regular summer prices, said a hotel owner. Many venues have also told guests that they if they cancel their reservations by late May, they can get full refunds.
Despite the festival's coaxing, it's unclear if U.S. Moreover, prominent sales agents are planning to host a June online market, unaffiliated with the festival, where many of the glitzy packages that typically command eye-popping fees at Cannes will be on offer. studios will have much of a presence on the Croisette given that executives and some A-list talent is wary of traveling internationally to promote a movie or see films for sale that could be viewed virtually. That event will be held during the week of June 21.
“We are crossing our fingers that Cannes takes place, and if it does we will definitely be there, even if we come with less people than usual. It’s crucial for us to get back to the physical market,” said Susan Wendt, managing director of TrustNordisk, who reps Thomas Vinterberg’s lauded “Another Round.” “When you’re selling a film playing at the festival, the difference is really huge, because you get the Cannes atmosphere, with the press and everything."
He notes that American companies currently comprise 20% of participants registered, followed by France and the U.K. But Paillard still expects that buyers will be out in force at the May Cannes virtual market, even ones from the U.S. All the major European sales companies, from Wild Bunch, to Match Factory, Studiocanal and TrustNordisk have confirmed they will attend.
France President Emmanuel Macron recently said during a televised address that people under 50 years old are expected to get their first shot in mid-June. The vaccine rollout has had a slow start in France, but the festival is seizing on hopeful signs that more people are getting shots.
One movie that does not seem destined for a Cannes bow, despite some rumors that it might be headed to France, is "Dune" — the Denis Villeneuve sci-fi epic starring Timothee Chalamet and Zendaya, which is more likely to debut at one of the fall festivals like Venice.
France's cinemas have been shut down since the end of October and are expected to reopen in mid-May, Macron said during his recent address. If these venues are subjected to the same restrictions as French theaters, there could be a cap of 70% on seating capacities by early July. Some health measures that are being studied by the Cannes Film Festival and Cannes authorities include setting up testing stations throughout the city as well as around the Palais des Festivals, the main hub of moviegoing. Press screenings, for instance, will now accept reservations instead of operating on a first-come, first-serve basis. There might also be a cap on seatings inside the main screening venues, notably the Louis Lumière auditorium which has 2,309 seats. The festival is also looking at measures to avoid having people stand in long lines.
“During the virtual event in May we’ll be screening our completed films that are not aimed at festivals to secure distribution deals, and then in June, we’ll start pre-selling our hot English-language projects, while in July, we hope to be there with a film in the Official Selection," said Gaget.
The Cannes Lions, an annual communications and advertising festival, is going in a different direction. MediaLink, the sister company of the Cannes Lions, will instead host some live events for the Lions during the International Festival of Creativity in New York City, according to Ad Age. The event was scheduled for late June, but is instead going virtual. Insiders believe Cannes Lions went online because the event relies heavily on major American companies hosting splashy events, including parties, which would have been very complicated to pull off due to the pandemic. The Cannes Film Festival, meanwhile, believes it can still move forward since the event is more focused on movie premieres rather than promotional events and parties, and is less U.S.-centric than Cannes Lions. Tribeca, for instance, will be in-person, but the June festival will unfold in outdoor venues as a safety precaution. Cannes' decision to plunge ahead with an in-person gathering comes as other global media events are struggling with whether or not to host live festivals and conferences in the COVID era.
In July, many of the luxury brands that have events tied to Cannes are moving forward with their plans to be on the ground for the film festival — Chanel, for instance, has rented Villa UGC, a luxurious penthouse located between the Carlton and Martinez hotels, to use for its promotional activity. The guest list is being cut in half for this iteration in order to comply with health guidelines and the event will not be held at Hotel du Cap-Eden-Roc, which usually serves as the setting for the gala. In years past, the event has drawn attendance from A-listers like George Clooney and seen performances from Mariah Carey and Dua Lipa. The festival's most sought-after invite, an annual gala benefitting the American Foundation for AIDS Research (amFAR), is moving ahead with a July 16 event and is already soliciting well-heeled hopefuls for pricey dinner tickets.

His life will end, but his love, like that land, is eternal. And the film’s meaning is rooted in that splendor. This, "A Hidden Life" tells us — this beauty, this paradise, this heightened vision of what all of us call home — is the place Franz has been blessed with, and the one he will now leave, through his willingness to die. Every caress of Malick’s camera eye says (or, rather, forces the audience to ask), But how could Franz leave this place? The world that Malick presents is, in a way, too sublime for self-sacrifice. He will leave this beauty behind because, and only because, he glimpses a mirror of that beauty on the other side. Yet that becomes the measure of Franz’s radicalism.
That was their power and allure. What people were doing at Cannes this year was seeing movies that declared themselves, in dozens of different ways, to be movies. And the reason that no one was talking about Netflix very much — beyond the usual industry white noise of chatter about it — is that a number of the key films at Cannes this year owed their impact to the big screen in a way that was so potent and obvious and inevitable, so tied up with their molecular essence, that it literally went without saying.
It’s about how the quietest acts of resistance are part of what save civilization. The movie is cinema at its mightiest and holiest. Some, in fact, will prove resistant to it (it was not universally beloved), but "A Hidden Life," as much as any film I’ve seen in the 21st century, is totally contingent upon the big screen. It’s a movie you don’t just watch; it’s a movie you enter, like a cathedral of the senses. All of this hinges on our grand immersion in the world that "A Hidden Life" shows us. It needs to be bigger than you are, because it’s about bigger things than you — or anyone else.
But this year at Cannes, with Netflix literally out of the picture, all that dialogue seemed a distant memory. No one was sitting around debating the fine points of French government regulations about three-year windows, or whistling past the graveyard of America’s own inevitable streaming-vs.-theatrical, studio-vs.-exhibitor window war — a clash of capitalist–aesthetic forces so titanic it’s destined to make the battle between Hollywood talent agencies and the WGA look like a misunderstanding between friends.
In the middle of the column, there was a shockingly extreme and revealing quote from the late Steve Jobs, who in 2008 said, "It doesn’t matter how good or bad the product is, the fact is that people don’t read anymore." The column keyed off the surprising strength of books in the marketplace: the hours that people still devote to them, the proliferation of the independent bookstores that were supposed to be going the way of the dodo bird, the falling off of electronic reading devices like the Kindle. In the May 24 edition of The New York Times, there was a column by Timothy Egan, entitled "The Comeback of the Century: Why the Book Endures, Even in an Era of Disposable Digital Culture," that celebrated those things that come between two hard covers as a larger phenomenon than mere nostalgia.
After all, let’s assume that "Roma" had been part of the Cannes competition, and that it had won the Palme d’Or (which, in hindsight, doesn’t seem a farfetched scenario). It would say that if they can beat the movies there, they can beat them anywhere. What would it say to the world that even a Cannes Film Festival winner would then go out to be experienced, essentially, on a streaming platform? That’s what the war of words, at last year’s Cannes Film Festival, between the forces of Cannes and Netflix was really all about: not just the issue of whether Netflix films like "Roma" or "22 July" would be allowed to qualify as festival competition entries (they weren’t), but what the future was going to look like.
The reason that quote is so revealing is that 1) it was never really true, and 2), to the extent there was a small grain of truth to it (i.e., highbrow wags have been warning about declining literacy levels since the 1960s), you’d think that a cultural figure as dominant as Steve Jobs would have wanted to hold that glass up to the light and look for the part that was full. What that should tell you, since Jobs was a brilliant man, is that he got the death-of-reading thing so wrong because what he was really expressing was his wish. But no: He looked at book culture — and old media culture in general — and, in a few words, trashed it all, with staggering inaccuracy. You’d think he would have wanted to be a guardian of reading.
They want to belong to the Couch Potato Forever Club. How ironic it is, then, that in the movie-theater-vs.-streaming showdown, the old paradigm of going out to a movie (even a major commercial one) is now on the high-end/boutique/art side of the equation. The argument goes: People want what they want, at least where technology enables it, and what they want now is streaming. For a hundred years now, movies have been sparked by the art-vs.-commerce dialectic.
No, it’s the way they all combine in your head, the way Tarantino invites you to take a dip in his heightened vision of a Hollywood backwater that once was. I seriously doubt I’d be thinking about that movie in the same way if I hadn’t seen it on the big screen. And then there was Quentin Tarantino’s "Once Upon a Time…in Hollywood," a movie I saw close to a week ago, and what has stuck with me more than anything is the sense-memory of Quentin’s Los Angeles — not just the cars and fashions and pop songs, the sculpted mid-century neon kitsch of the restaurants and movie theaters (at one point, there’s dazzling montage of fabled nightspots flipping on their lights at dusk), the TV-Western backlots that are like knockoffs of old movies that were themselves imitations.
The films at Cannes that demanded, and earned, the big screen also included "Les Misérables," Ladj Ly’s jagged propulsive tale of police brutality in a French housing project; "Little Joe," Jessica Hausner’s stately trancelike horror film, with its armies of creepy red-tendril flowers and its sly skewering of psychotropic drugs as a conformist conspiracy; and the Palme d’Or-winning "Parasite," Bong Joon-ho’s grand teeming scurrilous social thriller about an impoverished family of con artists who launch a scam so gnarly and chaotic that every mad detail of it needs to be writ large.
Or another rapturous period piece that worked in exactly the opposite way: "Portrait of a Lady on Fire," Céline Sciamma’s tale of the slow-burn dance between a budding artist (Noémie Merlant) in the late 18th century and the young woman (Adèle Haenel), about to be married, whose portrait she’s engaged to paint. Movies like "The Lighthouse," Robert Eggers’ thrillingly atmospheric and tempestuous gothic face-off between a grizzled lighthouse keeper (Willem Dafoe) and his surly apprentice (Robert Pattinson), a movie that plunges you, with stunning authenticity, into the hardscrabble spookiness and mechanical ingenuity of the 19th century. Sciamma has made one of the rare romantic costume dramas that’s rooted in the creaky quietude of the era — it’s there in every inch of her delicate, hovering images, which the actresses undermine only with their eyes. There were other Cannes films, many of them, that needed to be bigger than you.
(The ads before the trailers, the cell phones and the popcorn munchers, the general sticky rudeness of it all: We’ve heard the anti-theater litany a thousand times.) If you buy into the catechism of the new technology, movies are still good for spectacle, and will be for quite a while — otherwise, the new Disney-Fox behemoth wouldn’t be plotting out blockbuster universe sequel systems through the next four centuries. If you believe everything you hear, then binge-watching is the key entertainment act of our time, and there are 4,379 good reasons not to bother going out to a movie theater anymore. But surely the rise, rise, and rise of streaming will do movies in! I get that same feeling when I hear prognosticators of the pop-cultural landscape talk about the the waning of the motion-picture experience.
It cannot be replaced. Yet the essence of that love is that it refuses to be measured only by numbers. But just as books made a "comeback," not the way vinyl made a comeback, as an analog-geek so-old-it’s-new-again novelty fetish object, but because books never went away, since it turned out people had a primal and timeless love for them, the motion-picture experience isn’t going away, because people have a primal and timeless love for it. It cannot be streamed without a loss of some of that essence. In reminding us of that, Cannes got back in touch with its glory.” /> It cannot be reduced. Going to the movies, as the key films at Cannes proved this year, is a sacramental experience.
Much of it was shot in the Austrian countryside, where Franz Jägerstätter (August Diehl), the farmer who refuses to enlist in Hitler’s army at the outset of World War II, works the land in a place that looks like the opening sequence of "The Sound of Music" as painted by Bruegel. Visually, the film is extraordinary. But that’s because Malick uses his camera as a virtual sensory heightener, transforming this land of mountains and grass into the Garden of Eden as seen through a wide-angle lens. There was no better example, to me, than "A Hidden Life," Terrence Malick’s epic, enveloping true-life drama about one man’s journey into the darkness — and the light — of self-sacrifice.
The fact that Fox Searchlight paid $12 to $14 million to obtain distribution rights, in the U.S. Yet that film made $61 million worldwide, and "A Hidden Life," with its European vantage on Third Reich fascism (an unfortunately timely theme right now), has the potential to be a landmark event in foreign territories. It felt like an act of faith, a vote for nothing less than the unique transcendent appeal of movies. and several international territories, to "A Hidden Life" may seem like a corporate folly, given that Malick's "The Tree of Life," which starred Brad Pitt, only grossed $13 million domestic. (We'll learn, later this year, if it is vindicated.) That said, the audacity of the Fox Searchlight deal — $12 million for a three-hour Terrence Malick art film — is that it felt like more than just a deal.

The fact that Canneseries runs alongside a market is an obvious advantage for a festival. “A good festival cannot exist without a market,” he says, citing Cannes Film Festival as an example. “We work hand-in-hand with MipTV,” he adds.
“Now it is embedded within the market, so all the MipTV attendees can go there,” he says. This year Canneseries has brought the In Development sessions within the Palais, the main location for MipTV, whereas last year it was in a separate building next to the harbor.
While there are many other events dedicated to series, such as Series Mania, and film festivals that have added series to their lineups, such as Berlin, this does not concern Louvet.
Competition between series events is a good thing, he says. “The more we talk about series the better it is for everybody.”” />
The idea, he says, is to bring people from the areas of content creation and distribution together under one roof.
A second strength of Canneseries is that it is “totally dedicated to series,” he says. “They are at the heart of the festival.”
The festival benefits from its association with MipTV, the market that kicks off in Cannes on Monday, especially the partnership the two events have with regards to the In Development section. While MipTV’s strength has traditionally been its focus on distribution, Canneseries’ focus is on content creation, an area that MipTV intends to build on.
Canneseries is a day shorter than last year but with more series screening and with more masterclasses and other events on offer, Louvet says the intention is to grow year after year.
The competition between TV series events is no way as intense as that between film festivals, he says, citing the fact that there are 350 festivals dedicated to cinema in France alone.
For Benoît Louvet, the managing director of Canneseries, “the Golden Age of television is ahead of us.” He hails the wealth of creativity of the series – both the projects in development and the completed shows – to be found at this year’s drama series festival, which runs to Wednesday in Cannes.
there are about 500 new scripted shows released on the market each year, he says – a major issue is to be able to grab the attention of viewers. With so many series being produced – in the U.S. Whereas when “The Wire” launched in 2002, viewers would be willing to watch several episodes to see if they wanted to stick with the series, now many viewers will decide in the first 10 minutes, Louvet says.
Looking at the various trends among the series submitted this year, he picks out the number of quirky comedies on offer, in contrast to last year when the majority of shows were quite dark in tone. This year’s crop of comedies, he says “are more linked to the way of life of people in the street,” although he adds that some of them are a little more “crazy” than most people’s lives, using Gregg Araki's "Now Apocalypse" as an example.
Attracting financing for new scripted series is not the challenge, says Louvet, who used to work at French broadcaster TF1. “It is not about the money. You need to have new idea,” he says. It is about the creation. The investment from relatively new entrants like Amazon, Netflix and Apple, in addition to increased spending on drama by traditional networks, has flooded the field with cash.

That film went on to gross $3.6 million. "Shoplifters" is first non-anime Japanese film to cross $2 million since Akira Kurosawa's "Ran" came out in 1985.
"We knew from festival screenings that audiences really loved the movie, so we just trusted that if we made it available people would seek it out," said Neal Block, head of distribution at Magnolia.
"Shoplifters" debuted in five theaters in New York, L.A. The film is currently in 100 theaters and Block thinks the footprint could expand to 150. A lot will depend on whether or not "Shoplifters" receives a best foreign language film nod next Tuesday when Oscar nominations are unveiled. and San Francisco on November 23 and has been quietly expanding as its awards heat has built.
Awards attention aside, "Shoplifters'" box office performance is remarkable at a time when audiences are steering clear of foreign language films.
Hirokazu Kore-eda's "Shoplifters" has become an unexpected box office success.
The Japanese drama about a petty thief who adopts a young girl has earned critical raves and picked up the Palme d'Or at last year's Cannes Film Festival. Netflix's "Roma" has reportedly done strong business in its limited theatrical run, but the streaming service does not disclose grosses, so it's impossible to know how much money it has generated. That translated into commercial success for Magnolia, the indie distributor that's been overseeing the film's rollout. "Shoplifters" passed the $2 million mark on Thursday, making it one of the highest-grossing foreign language releases of 2018. "Fantastic Woman" also passed $2 million at the box office, though it had a limited release in 2017 in order to qualify for Oscars.
"Every year it seems harder and harder to get people to see these types of films," said Block.” />

Labaki is also the only woman director in the foreign-language film category. 23. "Capernaum" is on Oscar's shortlist for foreign-language film, with nominations to be unveiled Jan. The Globes ceremony will be Jan. 6, and the Globes nom marks the second ever for the director’s home country of Lebanon. And it’s all men in the Globes' best-director race, meaning Labaki has a notable (but lonely) distinction.
As a mother, she said she felt a visceral connection with many of the film's female characters, especially in the ways they interacted with their children or expressed their views about the world. Labaki's instinct also carried over into the filmmaking process. And although the characters were also quite different in other ways, she said it was important that she could help enrich the film by incorporating her own experience as a woman.
“I do have this sort of pride being a woman director among all these amazing filmmakers,” she said. “But of course there’s this other surprise when you feel like you’re the only one, when I know that there are so many women making films that are so interesting and so very important out there.”
You see a different point of view of the world and you see different sensibilities,” she said of female-directed films. Though thankful for the recognition, Labaki emphasized the importance of acknowledging more female directors. “I think it’s very healthy.” “You see the woman behind it.
It was something bigger than us, and life, in a way, was interfering with the picture that we wrote.” “We sensed that we were not just making a film, it was something beyond this. “Sometimes you have this instinct that what you’re doing is really on the right path and you have this instinct that whatever is happening in front of your eyes has a certain meaning,” she said.
“I think sometimes it’s very instinctive, and it’s very subconscious. We don’t really need to talk.”” /> “There are codes that we understand as women and that we pick up and that we understand and that we reflect unconsciously,” she said. It’s a secret code between women, and we understand each other.
With its jury prize at the Cannes Film Festival, Nadine Labaki’s “Capernaum” made history, and with its current Golden Globes nod for best foreign language motion picture, the film is on its way to marking further milestones.
Labaki said she knew she was working on something special. “Capernaum,” distributed by Sony Classics, follows a young boy who sues his parents over his birth; the production relied upon a relatively small budget and a largely inexperienced cast of non-professional actors.

MoviePass parent Helios and Matheson Analytics' stock has declined to its lowest closing price amid ongoing concerns on Wall Street about a cash shortage.
In an interview last week at the Cannes Film Festival, Helios and Matheson chief Ted Farnsworth told Variety that the subscription service was viable and had roughly $300 million available from an equity line of credit. The Helios chief was at the festival to premiere John Travolta's "Gotti," which MoviePass is releasing with Vertical Entertainment.” />
An independent auditor also raised questions in April about MoviePass' ability to continue operations. The filing also said if adequate funding did not materialize, the company could be required to reduce the scope of its growth or otherwise alter its operations.
The issue has now lost more than 80% of its value during the past three weeks and declined steadily since a May 8 filing with the Securities and Exchange Commission that revealed it had $15.5 million in available cash at the end of April, plus $27.9 million on deposit with merchants while monthly expenses totaled $21.7 million. It slid 5 cents, or 12%, to close at 41 cents on Friday.
The stock hit a 52-week high of $38.86 a share in October, two months after it lowered its monthly subscription fee from $50 to $9.95. The company is losing money because it pays movie theaters full price for the tickets its customers buy.