On Tuesday May 17 at 7 p.m. the seventy-fifth edition of the International Film Festival was inaugurated, ready to sail under full sail with a pandemic contained and the announced return of professionals. It fell to mermaid Virginie Efira, all in silver lamé, matching ring and flowing blonde hair, to embody the billowing jewelry of the opening ceremony.
On the other side of the decor, at the helm, a new armada. That of France Télévisions, which has replaced Canal+ for official coverage of the festival and has made every effort to mobilize all its channels. It is also the return of the historic producer of the Cannes television ceremony, Renaud Le Van Kim, ousted by Canal+ a few years ago and with both the public service group and Brut, a powerful information platform that he is now relaunching has created and which is intended to bring new clout to young people on the one hand and abroad on the other to disclosure of the event.
The old lady from Cannes, with her more or less outdated rituals and unchanging appearance, demands respect and nudges. The world around them burns, the images wander, the cinema shakes to its foundations. We will not here repeat the reasons for the thousandth time as we swear and call of his impending death at will the ghosts digging his grave.
However, the current challenge of the festival could not be understood without considering this great theater of change and the danger of these abysses. Thierry Frémaux the first, in the columns of the magazine full screen May worries about: “Twenty-five years from now, our children shouldn’t be asking us why we’re letting cinemas die. » Even if we are more likely to be accused of having plundered the whole planet, we clearly see that today more than ever the challenge of the festival is to preserve the light and the heavy, the glamorous and the tragic, the dreaming and the concern .
Tears in the eyes, standing ovations and collective vibratos
If he needed more than an encouraging sign of how he intends to go about it, the opening ceremony was just under an hour away. She was perfect from start to finish. Imprint of sobriety, dignity, emotion, surprise, accuracy. Far from the heights of boredom and complacency that this type of event too often provokes.
No doubt the awareness that the hour was serious had a lot to do with it. And the art of dialectics was so well executed there, between the noise of the world and the way cinema responds to it, between the love for people and the courage of the ideas, of which the seventh art has more noble, takes us without firing a shot. A ceremony that took place briefly like a film, in a dramaturgy whose success is due to many talents. First of all the scenography, which is wide open to the city thanks to panels on which the cityscape itself was filmed. Nice idea that this connection between the closed vase of the ceremony and the surrounding reality has been restored. The mistress of ceremonies, beautiful, alive, even touched and sometimes overwhelmed by the emotions of this or that moment. Jury President Vincent Lindon, author of a speech he wrote and read on stage, with an incredible outfit to celebrate “Weapon of Massive Emotions” what is cinema.
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