The baseball season recently kicked off in the US, so here’s some baseball on the festival’s new developments. For a quarter of a century, Canal Plus, France’s main paid cable car station, has been following the event, meaning the opening and closing ceremonies and everything in between. This long-term partnership has ended and France Televisions, the French public television network, is the new official television partner.
When the film festival starts, the world will know who will be the president of France for the next five years. Emmanuel Macron (who was 10 when I first went to Cannes in 1987) wants to eliminate the symbolic share raised by almost all the families in France that is used to finance the country’s enviable public television and radio services. . Macron’s rival, far-right demagogue Marine Le Pen, believes that privatizing the aforementioned public service would be a good idea.
du Film Festival has established a new partnership with Tik Tok.
Tikti Tikti Tok
Between a hard place and a rock
The festival is renewed
Views online
Tikti Tikti Tok
If you, like me, are wondering if the algorithms should be presented under Friend or Foe, you might want to temporarily turn to a new sponsor of the festival, Campari.
I mention these commercial projects because they show how far the festival has evolved from its longstanding goal of being an artistic bulwark against creeping fascism, as exemplified by the Venice Film Festival in Italy. And I’m inclined to say that the money to buy a pair of these sneakers could have fed the Kahn family of four for a long time in 1939. (This first festival, scheduled for September, was canceled when Germany invaded Poland, which helps explain why this is the 75th edition even though it has been 83 years since the idea of a controlled cinema event on the French Riviera for the first time.)
Cannes will celebrate its 75th edition with a symposium, during which directors will consider “their profession, which previously involved making 35mm films for cinemas. What is it now? ”Asked Fremaux.
In 1982 Wim Wenders invited a delightful cross-section of international filmmakers to a hotel room in Cannes and, with his 16mm camera at play, asked the likes of Steven Spielberg, Jean-Luc Goddard, Rainer Werner Fassbinder, Werner Herzog, Michelangelo Antonioni, Suzanne Seidelman and Paul Morrissey if the cinema A dying language. Four decades later, a director named Lubna Playoust was tasked with repeating the exercise.
