A Cinematic Occasion

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After 66 years, the Cannes Film Festival continues to captivate film lovers around the world with cultural diversity, enchanting artistry and worldly elegance.

By Peter A. Balaskas

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For more than six decades, the Cannes Film Festival and the film industry have been involved in an intriguing love affair. Known as one of the most prestigious events in the world, the Cannes Film Festival serves as a “cinematic sanctuary,” a place where filmmakers around the world present their works of art to the international community. And once that connection is made between the movie and its audience, a magical relationship is established.

When it comes to the festival’s mystique, the atmosphere is always electrifying: the graceful actresses, adorned in elegant gowns and the rarest of jewels; the mysterious meetings conducted by producers and other industry insiders; and that famous red carpet leading into the grand Palais des Festivals. But most of all, the Cannes Film Festival possess a dynamic, energetic pulse that is filled with promise, hope and, of course, a passionate love for film.

As it celebrates its 66th anniversary from May 15 – 26, 2013, the Cannes Film Festival will continue to enchant film aficionados, stirring their creativity beyond their imaginations.

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“There’s a mythology that surrounds the Cannes Film Festival that I think is very similar to some of the mythology of old Hollywood … the images of the starlet on the beach, the stories of those Cannes parties, the hotels, the lunches overlooking the Croisette,” says Jacqueline Lyanga, director of the American Film Institute’s AFI Fest, who has attended the Cannes Film Festival for three years and will attend the 2013 event this coming May. But she points out that accompanying the festival’s legendary glamour is the exceptionally diverse film selection.

“I think what is also really beautiful and brilliant about Cannes is it gives an opportunity for world films to come together,” Lyanga says. “It’s a place where they give directors that freedom to take a chance and showcase their new work.”

Each year, thousands of films are submitted from more than 100 countries to be considered for a limited number showings in the Official Selection, the main body of work showcased at the festival.

Lyanga says she is impressed by the festival’s programming and the hard work that the general delegate and his staff invest in its planning. “I greatly admire Thierry Frémaux and the programming team and what they do at the Cannes Film Festival,” she adds.

The Cannes Film Festival’s dedication to celebrating cinematic excellence and artistic freedom has been maintained ever since 1938 when Jean Zay, French minister of national education, and Philippe Erlanger, the director of French Association for Artistic Action, created an idea for an international film festival to be held in Cannes. After many years of formulating and fine-tuning the plans and festival dates, the Festival du Film de Cannes (whose name was changed to the Festival de Cannes in 2002) was held in 1946. It took place at the Casino de Cannes and 16 countries were present, where one representative from each country served as a member of the Cannes jury. The movies that were featured during the festival’s genesis included Billy Wilder’s “The Lost Weekend,” David Lean’s “Brief Encounter” and Roberto Rossellini’s “Rome, Open City.”

In 1949, the location of the festival was moved to the Palais des Festivals et des Congres. This “film palace” can be found near the scenic La Croisette, where visitors can take a romantic stroll along the beaches or eat exquisite culinary delights at the cafes and restaurants that populate Cannes.

“The entire world converges for 10 days in this little town of Cannes,” says Antoine de Cazotte, executive producer of the Oscar award-winning film “The Artist. He has attended the Cannes Film Festival on and off for almost 30 years, and, even so, the event’s popularity never ceases to amaze him.

“Any time in the day or the night, especially the night, the sidewalks are packed,” he adds. “But if you’re in this business (the film industry), you can see people in Cannes that you cannot even get on the phone the entire year.

Golden Discoveries 

Movies that are debuted at Cannes often capture the attentions of notable film industry insiders around the world. And one of the many things Lyanga loves to do as director of AFI Fest, besides overseeing the operations and the programming of the festival, is discovering these new films at Cannes.

“For the festival year, a big part of what I do is traveling to other festivals, looking for both American and international films to bring to the city of Los Angeles in November for AFI Fest,” she says. “A lot of our programming is drawn from the Cannes Film Festival just because a lot of significant foreign films premiere there in May.”

One of the best examples of a “Cannes discovery” is Jacques Audiard’s “Rust and Bone” (starring Oscar-winner Marion Cotillard), which was presented at the 2012 festival. It delivered such an emotional response, as well as critical acclaim, that “Rust and Bone” was showcased at AFI Fest this past November.

“This festival puts into the light films that would never, ever, be heard of. And it’s the only one that does that,” says de Cazotte.

Another film discovered at Cannes that was featured at the 2012 AFI Fest was Michael Haneke’s “Amour,” a dramatic love story between two elderly retired musicians, which won the treasured grand prize at Cannes: the Palme d’Or (Golden Palm).

It was the creation of the Palme d’Or in 1955 that proved to be a significant addition to Cannes. In the festival’s history, 18 films from the United States have been awarded the Palme d’Or— more than any other country in the world. And winning a Palme d’Or, as well as other Cannes festival prizes, sometimes brings increased exposure and critical acclaim. Films that won the Palme d’Or, such as “Missing,” “Apocalypse Now,” “The Piano” and “Pulp Fiction,” have earned a number of Academy Awards. The most recent example occurred at the 2011 Cannes Film Festival when actor Jean Dujardin won the coveted Best Actor prize for his performance in “The Artist.”

“[Dujardin] deserved the award,” de Cazotte adds. “He is a brilliant actor, with amazing possibilities. “I think there was a 20-minute standing ovation when he got the prize.”

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A Cannes Success

Dujardin’s win at Cannes also served as a success vehicle for “The Artist” as a whole. But as de Cazotte points out, the film almost didn’t get to compete in Cannes, much less receive the American distribution it needed. Initially, the film was going to be showcased out of the competition.

“But the film’s director (Michel Hazanavicius) and producer (Thomas Langmann) were very confident in the film,” de Cazotte says. “They knew, rightly so, that they had a great film in their hands and it should enter the competition as a full competing body of work.”

Their determination led to success: A week before the festival opened, “The Artist” was allowed to enter the competition.

De Cazotte also shares that The Weinstein Co. co-founder Harvey Weinstein saw an unfinished version of the film before the festival began and was so impressed that his company purchased its American distribution rights before the movie was screened during festival week. After earning a nomination for the prestigious Palme d’Or, as well as winning the Best Actor prize for Dujardin, “The Artist” swept many film awards in 2011, including the Academy Award for Best Picture and Best Actor (Dujardin).

De Cazotte stresses that the Cannes Film Festival and Weinstein’s promotion and marketing campaign in the United States played key roles in the film’s popularity and success.

“I think we were very fortunate at Cannes,” he says. “On many levels, you cannot have this without good material to begin with. I strongly believed in the film. It’s a film that makes you feel good. There is not even a kiss in the film. No violence. No sex. Just a simple, romantic story.”

As the festival gained more popularity and prestige, the festival programming expanded, specifically with regard to film education.

In 1991, the Lecon de Cinema (Film Masterclass) was established, bringing famous actors, directors and other artists to the stage to give lectures to visiting filmmakers, discussing their lives and their input about film. Previous lecturers included Wim Wenders, Stephen Frears, Milos Forman and Martin Scorsese. There is also the Residence du Festival, a workshop for young directors to work on their first screenplays, and L’Atelier, which guides young filmmakers in the art of obtaining international funding from producers and distributors.

While the festival is helping to create budding film connoisseurs, they are also searching for the next big breakthrough at the 2013 festival.

Festival president Gilles Jacob, general delegate Thierry Frémaux and their programming team for the upcoming 2013 Cannes Film Festival have been diligent as ever searching for the highest quality of films. Scott Foundas, principal film writer for the Village Voice, was appointed special advisor in order to help find new American films for the program.

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Lyanga is enthusiastic about discovering new films at the 2013 festival. “I’m hoping, as in years past, there will be films that I’m anticipating, but then also some new films that perhaps I’ll discover in one of their sections,” she says. “Cannes has always been a really wonderful place to go see those master films, but then also discover emerging talent.”

But despite their chaotic schedules, film industry insiders still have fun at Cannes, whether it’s watching new films, being acquainted with new people or even accidentally meeting old friends.

Lyanga recalls the memorable times when she would unexpectedly meet friends from Los Angeles and fellow AFI alumni. “To encounter people and friends that I had known in school … it was really a beautiful thing to be there and we just all sat down and started talking about the films we’ve seen and the films we’re going to see,” she says.

De Cazotte says that the festival is also about building relationships. “For me, who has spent half of my life working out of France as a producer [before coming] here to the U.S., it’s great because in one week I see everybody in Cannes,” he shares. “One of the reasons to go back to France is to go to Cannes.”

This year at Cannes is expected to be no different, as film aficionados from around the world flock to the French Riviera to be a part of cinematic history. There will be glamour reminiscent of a past era and crowds eagerly awaiting the next “discovery,” and without all of this, it wouldn’t be Cannes—the most influential, prominent film festival in the world.