When Thierry Frémaux speaks, he usually raises the bread. The director of the prestigious Cannes Film Festival He does not usually mince words when it comes to getting into the most diverse gardens or, for example, entering an open battle with the almighty Netflix while brandishing the banner of traditional distribution with pride.
America First
This week, the man from Tullins has set his sights on the last Oscar delivery ceremony, in which the fantastic ‘Everything at once everywhere’ swept away, eclipsing prestigious filmmakers such as Steven Spielberg. This, as it could not be less, has not pleased Frémaux, who, during a conversation with Variety, has not hesitated to challenge the best picture awards given to non-US productions —or Americans, as he calls them.
“I thought the ceremony was very good and it made me happy to see Michelle Yeoh awarded. And disappointed that Steven Spielberg wasn’t, because his film is a love letter to the cinema. I also don’t understand why ‘The Triangle of Sadness’ can’t compete for the Oscar for best international film, even if it’s in English. How can a non-American feature film win the Oscar for best film if it’s a ceremony honoring American cinema? It won ‘Parasite’, great, but it’s a Korean movie.
It is worth mentioning the fact that ‘The Triangle of Sadness’, winner of the last Palme d’Or, is mostly shot in Shakespeare’s language, and the Academy’s rules require that nominations for the category of best international film are shot “predominantly (more than 50%) in a language or languages other than English”, which leaves Ruben Ostlund’s title out of the equation.
Leaving this small detail aside, the Cannes honcho has also defended American authors and “adult” stories, and has claimed France as a kind of oasis for that cinema that he considers black leg. That “true cinema” that Andrés Trasado talks about.
“Cinema is an imprecise entity, and we must respect its uncertainty, its fragility and its magic. Pouring tons of money has never made movies better. For movies to exist, we need artists and professionals above all else. Even film studios Hollywood, whose vocation is to generate profits, have always respected this immutable rule. Let’s hope that the films of the great American authors will find their audience in the United States again, that the public will once again enjoy those great and beautiful stories for adults. We are happy to see that those films are doing well in France. I think our country was the best international country for Damien Chazelle’s ‘Babylon’ and Steven Spielberg’s wonderful ‘The Fabelmans’ is doing very well here.”
To top it off, as it couldn’t be less, the good old Thierry sweeps home and reminds industry professionals that You don’t have to release a movie in November to get to awards season in top shape. There is Cannes to prove it.
“When it comes to American auteur films, they prefer to release at the end of the year to be closer to Oscar season. But I have to say it again: We can be born in May in Cannes and still be alive in March at the Dolby Theater! We prove it every year.”