“Everybody wants to be in Cannes Première!”
—Thierry Frémaux, quoted in Deadline
Dear Thierry Frémaux,
I hope this letter finds you amidst a rare moment of clarity, for it is high time that someone shed light on the festering hypocrisy that engulfs the Cannes Film Festival. I write to you today with a heavy heart, consumed by the unyielding anger and frustration that stems from the blatant favoritism and insidious tactics employed by your organization.
I write this open letter with profound frustration and disappointment over the programming decisions made for this year’s Cannes. As a filmmaker who has poured my heart and soul into creating thought-provoking and artistically daring works, I cannot help but express my vehement opposition to the relegation of my film, Eureka to the Cannes Première section.
It is no secret that Cannes Première was previously reserved for films aimed at a popular audience, a platform for commercially viable movies. Last year’s inclusion of more popular films was understandable, given the unprecedented circumstances surrounding the pandemic. However, this year’s lineup appears to serve a different purpose altogether: to block films from other festivals, regardless of their artistic merit.
Eureka is a film that pushes the boundaries of storytelling, challenging conventional narratives and delving into complex philosophical themes. Its exclusion from the Competition not only undermines the artistic integrity of the film but also sends a disheartening message to filmmakers who strive to create cinema that transcends the mundane. By relegating Eureka to Cannes Première, you effectively devalue its artistic significance and limit its exposure to a discerning and appreciative audience. This decision is a blatant insult to the countless hours of dedication and artistry poured into its creation. It is a betrayal of the very essence of cinema.
Similarly, Víctor Erice’s Close Your Eyes is a work of profound beauty and emotional resonance. Erice is a masterful filmmaker whose artistry has captivated audiences around the world. It is an insult to his immense talent and the legacy of his previous works to confine Close Your Eyes to a section that seems more concerned with appeasing commercial interests than celebrating true cinematic achievements.
By using Cannes Première as a means to block films from other festivals, you are hindering the progress of cinema as an art form. Cannes has long been regarded as a platform for artistic innovation and discovery, a place where groundbreaking films and visionary directors find their audience. To betray this legacy in favor of protecting territorial interests is a disservice to filmmakers and the audience alike.
Yours sincerely, Lisandro Alonso
Ladies and gentlemen, welcome to the enchanted realm of the Cannes Film Festival, where the celluloid gods descend upon us mere mortals to grace us with their immaculate creations. Here, within the hallowed halls of cinematic prestige, we find ourselves standing at the precipice of absolute perfection. As I embark upon the arduous task of unraveling the sublime wonders that have been bestowed upon us this year, I find myself at an impasse. For what words could possibly do justice to these transcendent masterpieces? Indeed, it would be a disservice to this esteemed gathering of auteurs if I were to delve into the particulars of any one film, for they are all such towering monuments of unparalleled brilliance that mere description would be an exercise in futility. So, let us bask in the unequivocal glory of this unparalleled feast of cinematic opulence, where every film stands as an unimpeachable testament to the unrivalled genius of our time.
Like Godard, I would rather be watching tennis from heaven.
Truly, the very last thing I want to do at this point of my life is to write this article yet again, as it has been written more than 20 times now to the point of becoming so excessively formulaic that I might as well just let ChatGPT rip. (However, the preceding paragraph makes me think that the AI isn’t quite there yet, or doesn’t care about my particular voice.) If I really wanted to, I could ironically write 2,000 words about how great this year’s Cannes festival was, and especially its glorious masterpiece-filled Competition (R.I.P. ), but, alas, the collective foreign robotic press already beat me to the punch. Cannes is probably the only place in the world where people pay attention to
