“The Worst Person in the World” and “A Hero.” Cannes remains an unparalleled platform for the best in cinema, while still susceptible to criticisms of representation.What's not likely to return anytime soon is the same amount of partying that characterized the years where Harvey Weinstein was. COVID-19 concerns aren't gone. Attendees won't be tested and are strongly encouraged to mask. Few non-streaming companies have the budgets for lavish parties.
“It's going to be different than it's ever been before,” says Tom Bernard, co-president of Sony Pictures Classic and a longtime Cannes regular. “Are they going to have parties? Are they going to have COVID concerns? Or is everyone going to go there and just try to ignore stuff?” Bernard has noticed some practices in the Cannes market, where distribution rights for films are bought and sold, remain virtual. Initial meet-and-greets with sellers, in which executives and producers typically hop between hotels along the Croisette, have taken place largely on Zoom before the festival, he says. Deal-making has gotten more focused. Cannes, known for being both high-minded and frivolous, has perhaps grown slightly more sober.
One thing that can relied on with ironclad certainty at Cannes is frequent and ardent overtures to the primacy of the big screen, despite ongoing sea changes in the film industry. Some films, like Östlund's, which co-stars Woody Harrelson, will hope to straddle the disparate movie worlds that collide in Cannes.
“The goal we set out for ourselves," says Östlund,"was to combine the best parts of the American cinema with the European cinema, to try to do something that's really entertaining and at the same time thought-provoking.”
Something like normal - so the elite class will be walking around while the peasant class wears masks and caters to their masters?
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