Netflix has two films in the running for the Palme d’Or at Cannes, and a policy of releasing its movies online on the same day that they start showing in cinemas.
Spanish director Almodovar told reporters at Cannes that it would be “an enormous paradox if the Palme d’Or went to a film that can not be seen in cinemas”.
Todd Haynes, director of acclaimed lesbian drama “Carol“, has the first film in the main competition, “Wonderstruck“, based on a half-text, half-graphic novel about the inter-connected stories of two troubled children, set decades apart. In a statement from the festival several days ago, officials said that as of 2018, “any film that wishes to compete in competition at Cannes will have to commit itself to being distributed in French movie theatres”.
“It was first known as a political film and in some respects, it could be”.
This year’s program also points to changes shaking up the film industry, including the march on Hollywood by streaming giants Netflix and Amazon and the arrival of virtual reality.
“So I am excited to be here, more than anything to learn”, he told a news conference alongside other members of the jury that will decide which film wins the Palme d’Or award on May 28. Haneke, who is from Austria, has already been awarded the Palm d’Or twice before for The White Ribbon (2009) and Amour (2012).
“Set in and around Calais as the refugee crisis grows, the film is certainly not short of political relevancy”, said Irish Times critic Donald Clarke, who reckons this year’s line-up is “the most promising in a decade”.
Nicole has four projects on the bill, including the latest film by Lost In Translation director Sofia Coppola, The Beguiled, which also stars Kirsten Dunst, Elle Fanning and Colin Farrell. It is also one of the most controversial films at the festival, for reasons having nothing to do with its content.
Fremaux said the Netflix titles were short-listed for their artistic merit, “directed by two directors who are real movie guys”: South Korean Bong Joon Ho and American Noah Baumbach.
Netflix is also locked in a similar battle against big USA cinema chains.
That has not happened, but the festival has tightened its rules so that in future any competition film will have to get a French theatrical release – effectively barring Netflix after this year.
In coming to this decision, Cannes has opted to welcome new funders of cinema such as Netflix, while at the same time reaffirming its commitment to the traditional mode of theatrical exhibition of film in France and beyond.
He added that he is both anxious and excited to show his film at Cannes, a film which he said is a “love story” between a girl and an animal.
In 2015, Netflix debuted Beasts of No Nation but 2017 marks the year when the company shows its cards.
Smile, there are cameras everywhere (and not just movie and TV ones). That’s been much easier to do with television, but film has been harder to crack.
But the small screen offering that everyone’s really on tenterhooks to see is the return of David Lynch’s Twin Peaks, 26 years after its last outing. Top of the Lake aired on BBC in 2013 to great acclaim.
“Man of Iron” won the Palme d’Or (Golden Palm) at Cannes in 1981.