This year the Netflix attracted all attention from filmmakers in Cannes, because they didn’t want to compromise with Cannes official rules—films aren’t allowed to appear on streaming platforms for three years after screening in cinemas. That runs so counter to Netflix’s model (which puts movies in theaters and online for subscribers on the same day). So Netflix just pull the competition film from Cannes film festival as a fight back. It’s kind like a war between stream movies and cinema. Actually, stream movies already impacted on those cinema box office, by putting its movies online immediately, the streaming service represents an existential threat to the French theater industry’s business. Cannes rewards represents a role as a honor and authority, which means most of filmmakers consider that obtain the Golden Plam will bring a big reputation and the access to other top film festival. Netflix seems represents one of a future way about how people will watch movies. The company will still offer consumers a choice between drama and home viewing experience. Those who don’t live near movie theaters may have to wait for a while to see an art movie, but they can still get this access through Netflix subscriptions, which is what movie lovers dreamed of 10 years ago.
Movies from traditional studios typically run exclusively in cinemas for about three months. However, synchronizing online new cinema videos will greatly affect people going to the cinema to watch movies, which will reduce the theater’s showtime. Not only Netflix, but more and more e-commerce companies are beginning to offer streaming media screening services. Especially when they start investing in their own films, which makes copyright issues easier. Although I don’t think the home theater experience is comparable to the theater’s screen, it’s obviously an easy and convenient way to watch a movie at home. The conflict between such traditional theaters and streaming media may happens more in the future, and it may really change the way people watch movies, even if it has not really had a huge impact. Not only is the Cannes Film Festival facing such a problem, although Cannes is still the most influential film festival, but just for filmmakers, it does not mean that it can also be supported by mass audiences. anyway, I am still standing on the side of the film festival, but perhaps working with streaming media is also a new direction for the continued development of traditional film festivals.
I paid attention to the film process at the Toronto Film Festival recently, The Toronto International Film Festival was founded in 1976. It was originally featured in other film festivals and was called the “The Festival of Festival”. In 1994, it officially changed its name to the Toronto International Film Festival. After years of development and transformation, it has become one of the most influential film events in the world. From the very beginning, only 30,000 people participated and developed into a shadow of more than 400,000 fans every year. The altar event. In recent years, it has been regarded as a preview of the Academy Awards. 90% of the films shown at the Toronto Film Festival are premiered in North America.
Because I like director Jiang Wen very much. I watched his master director’s class panel. Jiang Wen is a talented Chinese director. His film ‘Devils on the Doorstep’ which was won the Grand jury award at the Cannes Film Festival in 2000. This film was banned in China for about ten years, but it is one of my favourite Jiang Wen’s movies. In this panel of Toronto Film Festival, Jiang Wen said a lot about filmmaking. He said that the innovation that every generation of filmmakers can do is very limited, and the progress of the film in the innovation process is very slow. And also he talked about censorship system in China, He believed that it is currently impossible to change, but as a creator he try not to self-censor. I agree with this point of view. I feel that creators have to maintain their creative freedom to have some real soulful works. Although China’s box office is growing rapidly and the market is expanding, Chinese films are rarely welcomed by overseas audiences. They are rarely selected in various international film festivals, especially heavyweight film awards such as Oscar. At present, China does not have a very influential film festival. I think this is probably influenced by the censorship system. Filmmakers need to make choices in terms of creative freedom and box office income. I recommend everyone to look at some of Jiang Wen’s classic works，‘Devils on the Doorstep’ and ‘The Sun Also Rises’， which was full of black humour and masterful narrative.
I’d like to talk about my experience in Melbourne International Film Festival(MIFF), because other Talk Panel’s ticket was sold out, there’s only one panel left which was about sex on screen. I think it’s a good topic to discuss, then I bought the ticket. They invited four filmmakers and actors to discuss representations of sex on screen and compare approaches to exploring and evoking eroticism. They consider the question: how do we depict on-screen intimacy authentically and originally, without being exploitative?
The panel was about an hour, some views of that actress was impressed me and gave me a lot of thoughts. First of all, she mentioned that the sex part in many movies is meaningless, just to pull the attention of the audience back from the dull story in the middle of the movie, especially male audience. Then she asked why there’s most of sex plot is let the actress naked, not the male. Most importantly, the movie always shows the good side of sex, but the fact is not the case. This has high requirements for actresses, who must control their expressions under such circumstances. I agree with her point of view, as she said, there are a lot of plot didn’t need to show sex, but now it’s kind like a part of rules in film making, like if you want to show the couple’s love each other, you must shoot this. I don’t think it’s unnecessary to have sex on the screen, but I also think it has some misuse and unfairness to actresses.
I think this panel is very meaningful. Sex is a topic that is rarely discussed with everyone in public, and it is not uncommon on the screen. In China, this is almost impossible to discuss in the film festival, which brings me some different cultural experiences and a different perspective on the film and film festival. The Chinese film festival will hardly discuss LGBT or sex. I think it is a good thing to think like this. It is good for everyone to watch movies from more aspects, especially those filmmakers and distributors.
The film needs a film festival. Sending a movie to a film festival, especially to a highly competitive film festival, is often considered a support mechanism that requires film to enter a “real” life. Watching a movie at a film festival is seen as a way to open the door to the future. You can watch a series of films at other film festivals, and then distribute them in a wide range of regions through cinemas and DVD agreements (Rhyne,2009). We can see that the festival is not only about screening movies, but also has a huge distribution market. Many film distributors will participate in the film festival, which is a business opportunity for amount of independent films.
The most influential A-class film festivals in the world are the Berlin Film Festival, the Cannes Film Festival and the Venice Film Festival. Among them, my personal favourite is the Venice Film Festival and the Cannes Film Festival. First, the Venice Film Festival is the oldest film festival in the world. From the 1930s to the 60s, the Venice Film Festival is the cradle of many world film masters. The Cannes Film Festival, founded in 1939, was originally designed to counter the Venice International Film Festival, which was dominated by the Italian fascist regime, and is now one of the most influential and top international film festivals in the world.
As a fan who loves movies, I also have some simple understanding of the film festival. When I grew older, I watched more and more movies. In order to filter out good movies, I gradually touched some information about the film festival. I think for some people, the authoritative film festivals like a guarantee. For example, a film that won awards at three major European film festivals is usually a symbol of good film. Each type of film festival has their own selection of tastes. Although I don’t fully appreciate all the films that won awards at the three major film festivals, I think that many award-winning films have more or less flash points, whether they are recent award-winning like LGBT movies or technological innovations. Whether it is cultural or artistic, it is an innovation and leading position. People express their artistic and political appeals in the film. I think this is good for the society. The purpose of the film festival is not only for specific fans or film workers, but also for the public. It’s one of the most fascinating things about the film festival.
Rhyne, R. ed., 2009. The Festival Circuit. St Andrews Film Studies.