Festival Circuit 2018

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Big Ben
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Re: Festival Circuit 2018

#26 Post by Big Ben » Thu Mar 15, 2018 6:50 pm

It's going to be...interesting to see how Cannes goes if von Trier returns.

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mfunk9786
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Re: Festival Circuit 2018

#27 Post by mfunk9786 » Thu Mar 15, 2018 6:54 pm

At the time it seemed like what was a pitch black joke was (appropriately but sort of knowingly) overreacted to. The recent Björk stuff seems like the more concerning thing, but I don't know if that'll ever really be resolved in a way that casts too harsh a light on either party.

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Big Ben
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Re: Festival Circuit 2018

#28 Post by Big Ben » Thu Mar 15, 2018 7:03 pm

mfunk9786 wrote:At the time it seemed like what was a pitch black joke was (appropriately but sort of knowingly) overreacted to. The recent Björk stuff seems like the more concerning thing, but I don't know if that'll ever really be resolved in a way that casts too harsh a light on either party.
IFC already bought the film rights so they don't seem to care much. They're also promoting the hell out of The Death of Stalin despite Jeffrey Tambor's involvement (He was however removed from posters made by IFC.). von Trier isn't a big name director here so I don't think it'll be an issue. I also don't think he'll do a Dan Harmon and do a legitimate apology though either though.

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Re: Festival Circuit 2018

#29 Post by mfunk9786 » Wed Mar 28, 2018 2:24 pm


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Ribs
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Re: Festival Circuit 2018

#30 Post by Ribs » Wed Mar 28, 2018 2:51 pm

It's weird a bunch of outlets are picking this up like recent news - it's just that the policy as announced at last year's Cannes hasn't changed, and Netflix has made absolutely no effort to make any amends with anybody.

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Ribs
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Re: Festival Circuit 2018

#31 Post by Ribs » Wed Apr 04, 2018 12:16 pm

Asghar Farhadi's Spanish-language Everybody Knows will open Cannes

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Omensetter
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Re: Festival Circuit 2018

#32 Post by Omensetter » Wed Apr 04, 2018 6:03 pm

I'm liking Fremaux's recent play of having typical competition auteurs open the festival, like Desplechin last year. I frankly cannot recall any recent opening films aside from Grace of Monaco and My Blueberry Nights, which was in competition and seems to fit the mold of Desplechin and Farhadi. While Farhadi's competition status isn't confirmed, it's been rumored opening out of competition for the last month or so and seems a good bet.

I absolutely love Cannes, even though the film calendar doesn't revolve around it of course (sometimes it seems that way, though---last year, definitely not). It coincides with warm weather emerging and school getting out and does generally give a glimpse to U.S. viewers of what to look forward to in the fall or the Spring of the next year (Ramsay and Denis's film from last year open this month; I'm still waiting, perhaps fruitlessly, on A Gentle Creature).

Here's my wholly unsolicited competition predictions:

Long Day's Journey into Night --- Bi Gan
Maya --- Mia Hansen-Løve
Everybody Knows --- Asghar Farhadi
Dogman --- Mateo Garrone
Un autre monde --- Stéphane Brizé
High Life --- Claire Denis
Sorry Angel --- Christophe Honoré
Ash is Purest White --- Jia Zhang-ke
The Beach Bum --- Harmony Korine
Burning --- Lee Chang-dong
Domino --- Brian De Palma
Donbass --- Sergei Loznitsa
Radegund --- Terrence Malick
Under the Silver Lake --- David Robert Mitchell
Three Faces --- Jafar Panahi
Sunset --- László Nemes
Cold War --- Pawel Pawlikowski
La quietud --- Pablo Trapero
The House that Jack Built --- Lars von Trier
Angelo --- Markus Schleinzer

EDIT: Farhadi's in competition---nevermind.
Last edited by Omensetter on Wed Apr 11, 2018 9:23 pm, edited 7 times in total.

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FrauBlucher
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Re: Festival Circuit 2018

#33 Post by FrauBlucher » Thu Apr 05, 2018 4:36 pm


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DarkImbecile
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Re: Festival Circuit 2018

#34 Post by DarkImbecile » Fri Apr 06, 2018 4:17 pm

The ongoing squabble between Cannes and Netflix over eligibility for competition films may result in Welles' The Other Side of the Wind, along with new Greengrass and Saulnier films, being pulled from screening at the festival.

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Oedipax
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Re: Festival Circuit 2018

#35 Post by Oedipax » Fri Apr 06, 2018 5:56 pm

I honestly wouldn't expect anything else than for something like this to hinder the release of Welles' film once again (even if, thankfully, it's probably just a question of timing at this point).

dda1996a
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Re: Festival Circuit 2018

#36 Post by dda1996a » Sat Apr 07, 2018 2:07 am

I feel like Cannes has a lot less to lose here, as much as I like those three directors (I don't know how much interest the Welles will spark in non cinephiles).

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DarkImbecile
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Re: Festival Circuit 2018

#37 Post by DarkImbecile » Sat Apr 07, 2018 1:27 pm


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Ribs
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Re: Festival Circuit 2018

#38 Post by Ribs » Sat Apr 07, 2018 1:31 pm

Cannot believe that the reporting has so overwhelmingly missed the fact that it’s Netflix won’t be invited, because they’re not planning on actually releasing the movies, not that they’re “choosing to snub” the festival. Good riddance.

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DarkImbecile
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Re: Festival Circuit 2018

#39 Post by DarkImbecile » Sat Apr 07, 2018 1:45 pm

That’s inaccurate; the festival is only excluding the films in question from the main competition, and Netflix is threatening to pull films from showing there in any capacity. And if I recall correctly, the issue is not so much willingness to commit to a theatrical release in France, but an unwillingness to commit to the exclusion of films that play theatrically from streaming services for three years after release, which does seem extreme in the current environment.

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Ribs
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Re: Festival Circuit 2018

#40 Post by Ribs » Sat Apr 07, 2018 1:52 pm

Yes, and Netflix obviously are choosing not to submit if they're not being considered on equal standing to other distributors. Which is convenient, because there is literally not a single film Netflix has released that anyone cares for that didn't first have a positive festival reception and premiere; if they want to ruin the industry they can do it on their own. We could do with such protectionist laws here, maybe then they'd leave well enough alone.

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Omensetter
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Re: Festival Circuit 2018

#41 Post by Omensetter » Sat Apr 07, 2018 2:06 pm

DarkImbecile wrote:Add Cuaron’s Roma to the list of Netflix acquisitions that may not play Cannes as part of this dispute.
News to me. I guess I cannot wait to eventually stumble into watching this apparently 70mm (?) film on a friend's account?

Regardless, Cannes will be fine without these five films.
Last edited by Omensetter on Sun Apr 08, 2018 8:11 am, edited 1 time in total.

dda1996a
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Re: Festival Circuit 2018

#42 Post by dda1996a » Sat Apr 07, 2018 2:11 pm

Can't agree more with you Ribs. France's 36 months might be too much but I wholeheartedly agree with the rejection of Netflix concurrent streaming and half-hearted cinema release. When did Netflix pick up Roma?

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DarkImbecile
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Re: Festival Circuit 2018

#43 Post by DarkImbecile » Sat Apr 07, 2018 2:26 pm

Between your tone here and the MoviePass thread, I have to ask, Ribs: are you a major AMC stockholder or something?

I have to admit, I’m disappointed at Netflix’s acquisition of Roma, and I absolutely would prefer that they be more aligned with Amazon’s willingness to support wider theatrical releases; on the other hand, given the amount of money streaming services are putting behind original productions by major talent, it doesn’t seem crazy to re-examine distribution policies like those in France to reach a compromise. If the traditional studios wanted to own the corner of prestige releases and limit Netflix et.al. to made-for-TV-level talent, I’m sure they could; as the Vanity Fair piece above said, few filmmakers worth caring about are going to forego a 2,000+ screen release if they can get one.

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Re: Festival Circuit 2018

#44 Post by dda1996a » Sat Apr 07, 2018 5:51 pm

But Netflix are obviously not willing to reach a middle ground, as they consider concurrent release essential to their MO, unlike Amazon. I'm still hopeful I'll be able to watch You Were Never Here on a big screen, and Wonderstruck was never shown here.
It's all great Netflix is investing in these auteurs, but when they are forcing them to shoot digitally and forego a cinema release, they are imo hurting he very basis of cinema. Enabling great films to be made is important, especially in today's climate, but I much rather they follow Amazon at the very least

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Omensetter
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Re: Festival Circuit 2018

#45 Post by Omensetter » Sun Apr 08, 2018 9:11 am

Amazon Studios is the rare instance of them being heroic.

I don't really care about Netflix's spat (for now) with Cannes in that they really do not seem well-positioned to consistently bring films to Cannes that they would have screened anyway. Presumably, Cannes would love to screen Roma (which likely isn't in 70 mm, despite reports from last year), but Cuarón's never even screened at Cannes. I doubt Scorsese himself would accept a Competition invite in 2018/9 given the number of accolades he's already received; he hasn't screened a title there since After Hours. The Coen's latest is in a format not conducive to Cannes and given their history with Cannes and willingness to still screen there, I'm sure they'll be back.

Fremaux's publicly painting himself as naïve in that he could have changed their format, but it was never clear last year that he even needed those Cannes films; it just seemed like a pointless experiment in that of course Netflix will follow its inexorable capitalistic logic.

I'm fine with non-distributed films going straight-to-Netflix ala Dolan's It's Only the End of the World, although I'll need convincing to see that one (Cotillard might be enough, honestly). They picked up Filho's Aquarius from the same year, but it eventually found its way onto physical format. I'd be fine if they picked up the currently distributor-less A Gentle Creature.

What I'm curious about is how this rule will affect non-Netflix films without French distribution. It's been pointed out elsewhere that Uncle Boonmee who can Recall his Past Lives would not have been eligible under this rule. Mike Leigh's Peterloo currently lacks French distribution, although it's been screened for distributors. It may not screen.

Related to whether or not Cannes needs Netflix: There's no shortage of films submitted and vying for a selection slot. It seems the Croisette would lack star-power, but I guess that's where the Star Wars movie came in. There's so many potential competition titles at the moment that Ceylan's long-ass Palme follow-up could end up elsewhere in the selection perhaps for logistical reasons.

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Re: Festival Circuit 2018

#46 Post by DarkImbecile » Wed Apr 11, 2018 9:33 am

Image

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DarkImbecile
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Re: Festival Circuit 2018

#47 Post by DarkImbecile » Wed Apr 11, 2018 2:12 pm

Netflix pulls its slate from Cannes
Ted Sarandos wrote:We hope that they do change the rules. We hope that they modernize. But we will continue to support all films and all filmmakers. We encourage Cannes to rejoin the world cinema community and welcome them back. Thierry had said in his comments when he announced his change that the history of the Internet and the history of Cannes are two different things. Of course they are two different things. But we are choosing to be about the future of cinema. If Cannes is choosing to be stuck in the history of cinema, that’s fine.

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swo17
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Re: Festival Circuit 2018

#48 Post by swo17 » Wed Apr 11, 2018 2:20 pm

Ted Sarandos wrote:Film festivals are to help films get discovered so they can get distribution.
Then what's the point of a Netflix film being in competition, if it already has distribution lined up from Netflix?

Also, this is funny:
Q: Were you surprised by the rule? Netflix had the two biggest English-language releases at last year's Cannes.

A: I would say not just on the English-language side. I think they were the biggest films in the world last year...

dda1996a
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Re: Festival Circuit 2018

#49 Post by dda1996a » Wed Apr 11, 2018 2:46 pm

Finally, the days of Baumbach films making millions of dollars are here. I guess we can thank Sandler for increasing his popularity

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Ribs
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Re: Festival Circuit 2018

#50 Post by Ribs » Wed Apr 11, 2018 4:54 pm

Props to Deadline for doing possibly the only good Journalistic choice they've ever made, with the headline "Netflix Dumps Cannes One Year After Being Dumped By Cannes"

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