Whether it does Guardians of the Galaxy Vol. It made $11 Million at its Thursday night screenings alone. Nick Vivarelli contributed to this report.Wonder Woman will be the Number One film at the box office this weekend.
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The opponents noted that “Carlos” was a TV miniseries that would not be shown in theaters.įremaux backpedaled and moved “Carlos” out of competition, which caused Assayas – and Fremaux himself – some frustration. In 2009, his selection of Olivier Assayas’ “Carlos” for the competition lineup sparked protest from the festival board, which is made up of representatives from the exhibitors guild, the CNC and other film-industry associations. “But we cannot fail to realize that, with the arrival of new platforms, there is no turning back, and festivals must not be forced to take sides.”įremaux has faced similar pressures in the past from exhibitors and other guilds.
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“For me, cinema remains an experience that is tied to movie theaters,” he added.
Its role is to be a platform for quality cinema – select it, make it emerge, support it,” without making it conditional “on how it can be seen,” Barbera said. But the role of a festival is separate from all this. There are so many interests and agendas at stake: those of exhibitors, distributors, sales agents, producers and filmmakers. “We are in the throes of a market that has evolved and changed too fast, without any rules being set. In 2015, when Venice decided to include the streaming giant’s “Beasts of No Nation” in competition, artistic director Alberto Barbera faced some backlash but stood by his choice.īarbera told Variety on Wednesday that he sympathized with Cannes artistic director Thierry Fremaux, saying that “it must not have been an easy decision.” Netflix has premiered films at other high-profile European festivals, including Berlin. “Between day-and-date and 36 months, there is a wide margin, and we should be able to come up with a compromise,” said Edouard Waintrop, the head of Directors Fortnight. Discussions to amend the regulations have been deadlocked for several years, but many industry players are hopeful that the upcoming government of President-elect Emmanuel Macron will take a pragmatic approach and shake up the window release schedule. A decision on the permit has not yet been made.Īlthough Cannes opted to maintain Netflix’s films in competition without a traditional theatrical release, the festival’s new rule is likely to pose a major obstacle for Netflix unless France tweaks its windowing rules. The limited release would allow Netflix to get around France’s strict regulation forbidding films that have been in wide theatrical release from being made available on an SVOD platform for three years.īut the CNC is also facing pressure from local guilds, especially from exhibitors who say that a temporary release is insufficient. Meanwhile, sources say Netflix has begun negotiations with The Jokers, a French distribution company, and the CNC, France’s National Film Board, to obtain a temporary visa that would allow it to release Bong Joon-ho’s “Okja” and Noah Baumbach’s “The Meyerowitz Stories” day and date on its streaming service, along with a one-week theatrical rollout in several theaters. Amazing film that theatre chains want to block us from entering into Cannes film festival competition.” Hastings added: “See Okja on Netflix June 28th. Reacting to Cannes’s new rule, Netflix’s Reed Hastings wrote on his Facebook account that “the establishment closing ranks against us.”
Starting next year, “any film that wishes to compete in competition at Cannes will have to commit itself to being distributed in French movie theaters.” The festival said it had decided to “adapt its rules” for the future.
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