Comment: Cannes Film Festival Issues a Defiant Call to Arms

By Halligan, Fionnuala | Screen International, April 18, 2019 | Go to article overview

Comment: Cannes Film Festival Issues a Defiant Call to Arms


Halligan, Fionnuala, Screen International


The message from Thierry Fremaux at today’s press conference was clear: Cannes is fully behind the theatrical experience.

It was interesting to hear delegate general Thierry Fremaux liken Cannes 2019 to Cannes 1939 – the inaugural Cannes Film Festival which never took place, cancelled due to the war. In a way, the press conference for the 72nd edition – Cannes finally held its first festival in 1946 – felt like a call to arms.

The message: Cannes is for cinema, fully behind the theatrical experience. Its allies are its old friends the studios, the cinemas which will now simultaneously show some of the festival’s films, and a mix of venerated auteurs with some exciting new – mainly female – talent in official Competition. Cannes had a role in rebuilding cinema after the war, said Fremaux, and it certainly sees one for itself now in the second age of the small screen.

Much of Fremaux’s line-up had been predicted, and it’s tempting to look at a page with names like Pedro Almodovar, Ken Loach, Jim Jarmusch, the Dardenne Brothers, Marco Bellocchio, Terrence Malick and Elia Suleiman and wonder whether this is a Competition line-up from 20 years ago. (Fremaux did use the word “comeback” more than once.) But that’s not quite right. Although it seems as if these auteurs are sticking to their comfort zones when it comes to subject matter, they are the lions of cinema – people you want on your side when it comes to a battle.

*

Cannes reveals 2019 Official Selection

They are all masters of the seventh art who can sell tickets to the cinemas with which Cannes is now physically as well as spiritually allied. (The festival is co-operating on French release dates: the opening ceremony and film will be beamed live into 400-odd French cinemas, and some Competition titles will be released commercially during the second week of the festival.)

The closing film slot is currently empty, and it seems clear from Fremaux’s comments that the festival is still hoping that Quentin Tarantino’s not-quite-ready 35mm Once Upon A Time In Hollywood will defiantly close this cinematic event 25 years after Pulp Fiction was the last film to play in Competition – and won. Fremaux’s Cannes press conference had several messages: we’re about cinema, we’ll fight for it, we’ve been here a long time, things will change and we’ll change with them, and there are more names in the game than Netflix. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Comment: Cannes Film Festival Issues a Defiant Call to Arms
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.