2023-05-25 20:17:42
While the festival-goers, at the end of an exhausting fortnight, wander like ragged zombies on a Croisette which is gradually beginning to be deserted, certainties waver and illusions remain, at least in the light of the different balance sheets which are looming. Cannes is about to end, and guessing who will win the Palme d’Or seems like a waste of time. The Marché du film has closed its doors and sellers have filled up with contracts.
But above all, the overflow offered by the selection this year has fulfilled its promises, to the point of stifling the parallel sections. There are now two Cannes festivals. Even three, if we add that of glamor, of the rise of steps reflected in celebrity magazines and nowhere else. Two festivals: that of the official section, which overflows with films as never before, and that of the parallel sections, Quinzaine des cinéastes, Semaine de la critique and ACID. Frequenting both is no longer conceivable, unless you do everything halfway.
Fracture weighed down by digital ticketing, which will have been the nightmare of all those festival-goers who have a less important badge, who spend their mornings rowing while others bask in the sun (except in the event of rain) or doze off in room. The first year after the Covid, in 2021, everything was working perfectly – or almost. There were fewer people, so everyone could hope to find tickets for the movies they wanted. But already in 2022, online ticketing was starting to turn sour. This year, it has completely imploded.
The Cannes system must once again be reviewed. Redesigned. Rebalanced. Cannes is undoubtedly a victim of its size, its bulimia – everyone wants to be there – and its excess. Until losing the relationship with reality. This derealization is certainly sometimes good, but taken to the extreme, it is no longer healthy at all.
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#editorial #Cannes #implodes #pull
– Cannes implodes and must pull itself together