Dispatch May 2009

Playing it Safe at Cannes

Why this year's international film festival may fall short as a proving ground for innovation and adventure in moviemaking.

The celebrities, the topless beaches, the red carpets – the Cannes Film Festival is typically a lavish affair, but also a place where people who are serious about movies come together to launch films and make or break filmmaking careers. But this year could be different. In the midst of a global recession, the movie industry is becoming increasingly risk-averse, and that conservative streak is bleeding into Cannes, an 11-day event that starts this week. Some fear that the festival may fail to live up to its reputation as a proving ground for innovation and adventure in filmmaking.

Cannes has long been known for spotting new talents and bringing them to widespread attention.  As Tom Bernard, co-president of Sony Pictures Classics, puts it, the festival is "the largest film marketplace in the world." With thousands of screenings each year, most of them world premiers, the festival is a Mecca for distributors seeking to "move quickly and identify films that have merit."  In recent years, Bernard and his team have discovered films at Cannes like Austria's The Counterfeiters and Germany's The Lives of Others. After Sony Pictures secured distribution rights for both films, they went on to become international hits, winning Oscars for Best Foreign Language Film.  At this month's festival, there will be nearly 10,000 producers and distributors from 101 countries, seeking to cut deals on the banks of the Riviera.

Cannes is also a boon to directors from across the globe.  Canadian filmmaker David Cronenberg (The Fly, Eastern Promises) says that earning a spot in the festival's central line-up of 52 films, known as the “Official Selection, ” is an opportunity to show your film on "one of the most visible platforms." Cronenberg's films have thrived in this prime-time setting, earning awards and critical accolades that have sealed his reputation internationally.  The exposure he’s received at Cannes has also meant increased commercial prospects for his work, an important consideration for a director whose filmic portraits of venereal slugs, drug-addled gynecologists and Russian mobsters won't always make it to your local multiplex. If you have made "a very heavy duty art film that does not have a lot of distribution around the world," he explains, Cannes is "a good place to find that distribution."

Of course, Cronenberg is also quick to point out the risks of debuting a film under the bright lights of Cannes. If your work is reviled there by critics, or simply ignored, "it's a gamble that has failed,” he says, “and can actually damage your film forever." Cannes "can make or break a career," agrees film critic Kieron Corless, the author of Cannes: Inside the World's Premier Film Festival. "It's that intense."

This atmosphere has been known to produce extreme and unusual behavior. In the heat of festival fever, critics may erupt into a standing ovation at the end of a film, as they did for Cronenberg's A History of Violence in 2005, but they are just as likely to unleash boos and hisses, a misfortune that befell his film Crash in 1996. And filmmakers are by no means immune to the movie madness. Spike Lee threatened to beat Jury President Wim Wenders with a baseball bat when his film Do The Right Thing was shut out of a prize in 1989. The festival's Palais du Film, a monumental building that houses gala screenings, is fittingly nicknamed "Le Bunker."

Presented by

Will Di Novi is an intern for The Atlantic.

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