Following the New Zealand government’s decision to allow award-winning director James Cameron and his filming crew into the country, many from the opposition party have accused the government of double standards. Responding to this anger and outburst, the government announced it will ease its Covid-19 border controls.
Like every other country in the world, New Zealand was forced to close its border to non-residents and non-citizens in early March after recording cases of people being down with the coronavirus. However, as of Monday this week, a new rule is now being enforced. The new rule gives “high-value workers” with “projects or assignment of national or regional significance” access into New Zealand.
Earlier before the latest rule change, two athletes competing for America’s Cup were denied access to enter the country. Coupled with the rule change for high-value workers, arrivals are to undergo a mandatory 14-day quarantine. This means James Cameron and his crew of 55 are currently in lockdown in their Wellington hotel rooms.
As of the time of this writing, New Zealand is yet to record a new Covid-19 case in 28 days. In addition, there are no active cases in the country
No Time to Die, the latest installment in the James Bond franchise is now scheduled to release earlier than expected.
Originally scheduled to release April 2020 but then rescheduled with a new release date of November 25, the long-awaited movie will now be released five days earlier in U.S. theaters.
The new release date was made official last week on the franchise’s official Twitter account. The account tweeted to reveal No Time to Die will premiere on November 20 only in the United States.
The tweet read: ‘The return of old friends in NO TIME TO DIE. In Cinemas 12th November UK, 20th November U.S.’
Asides being the latest movie in the James Bond franchise, the movie will also be Daniel Craig’s last outing as James Bond.
No Time to die is not the only highly anticipated movie whose original release date was postponed due to the coronavirus pandemic. Other blockbuster movies like Disney’s Mulan (July 24), Paramount Picture’s ‘A Quiet Place II’ (Sept. 4), Pixar’s‘Soul’ (Nov. 25), and Marvel’s‘Black Widow’ (Nov. 6) all had summer releases before being forced to reschedule their release dates.
The new release date is as a result of the changes Warner Bros. has been making to several of their upcoming movies. Other Warner Bros. movies have also been moved up and down to give the movies the best possible publicity they can get. Christopher Nolan’s upcoming spy film has been delayed from its initial release date by two weeks and is now scheduled to release July 31. Wonder Woman 1984’s initial release date of August 14 has also jumped to Oct. 2.
With many countries now switching from total lockdown to partial lockdown, many activities have now been allowed to resume albeit under strict and extensive regulations.
Film and TV Productions is one such activity set to resume again in some states as early as Friday although with extensive regulations issued by Los Angeles Country. This new extensive regulation is not much of a surprise considering professional football has also restarted behind closed doors.
While productions are allowed to restart Friday, 19th of July, many producers would probably only start filming around July or August.
As would be expected, the first major rule is for cast and crew to maintain social distancing while on sets. The county also sets the use of face masks and coverings as an important detail not to be overlooked by cast and crew members as actors and musicians who cannot perform with face-covering on are expected to be eight feet apart. Furthermore, it mandates that only essential cast crew be present on set at any given time with the directive that actors must wash their hands before shooting any scene.
Also, it discourages all prolonged physical contact that arises from sex and fight scenes and mandates that all actors and crew keep information about any film shooting from the public. The country also directs that all crowd scenes are discouraged.
The rules also direct that makeup artist are only allowed on set when the actors cannot apply makeup to fit the scene. Also, Craft service buffets are temporarily forbidden on all sets.
Talk Shows and Sitcoms also looking to film new scenes in Los Angeles that must follow new rules. The rules now mandate that audience members must sit six feet apart and must not occupy more than 25% of the available space. It also allows paid staff and crew to serve as audience members. And capping it all, the rules set that only the same group of the audience present at the restart of filming are allowed for subsequent productions.
Although the entertainment industry released some rules for crews and cast to follow when production restarts, the rules released by the county are more strict. This is because the entertainment industry task force didn’t mandate many of their rules like the county did.
Following the release of the entertainment industry’s rules and guidelines, Donna Langley – Chairman Universal Film, stated in a statement that the rules, in his words, are “a significant step in getting our industry back to work in Los Angeles County”.
In his statement, the chairman expressed gratitude to the County Board of Supervisors as well as the county’s mayor for their commitment to the region’s economic recovery. He also expressed gratitude to the County’s Public Health Department for their efforts to keep their region safe. He then went ahead to say “Teams across the Studios, production companies, guilds, and unions in every facet of our business have shown and will continue to show innovation and creativity in bringing film, TV and digital production safely back to Los Angeles”.
Though production restart is imminent, there are still several things that will come into play which might delay restart to mid or late August. One of the obstacles production restart faces includes the detailed protocols all guilds and unions are yet to agree to.
Another major obstacle many productions will face pending the restart is whether or not they will be able to obtain insurance. Bob Jellen, the managing director for entertainment at HUB international believes many productions that were underway before the lockdown would be spared from “additional costs that are required to make filming safer for the actors and crew”. In other words, this obstacle is only for new productions that have not yet started filming before COVID-19 lockdown that caused productions to stop. Obtaining insurance is even going to be more difficult for independent filmmakers.
Many in the film making industry have expressed concerns about the difficulty many new productions will face when trying to secure insurance. To this end, Congress has introduced a bill that gives insurance companies the power to sell policies covering the coronavirus shutdown. The bill, however, is yet to pass.
Netflix Q1 Preview: Another Blockbuster Quarter Despite Price Hikes?
When Netflix reports first-quarter 2018 earnings Monday after market close, investors again will laser in not on revenue or profits — but on the number of net adds, a key indicator of the subscription streamer’s momentum.For Q1, Wall Street analyst consensus estimates are for 1.48 million net streaming U.S. subscriber adds, and 4.84 million internationally. That’s roughly in line with what Netflix’s forecast in January (1.45 million domestically and 4.90 million internationally).
The expected strong showing comes after Netflix raised the price of its streaming plans in the fourth quarter of 2017 for customers in multiple territories, a demonstration of its relative pricing power. In the U.S., for example, the standard two-stream HD plan rose from $9.99 to $10.99 per month, still a great value, analysts observed.
“A steady stream of new content introduced throughout Q1 likely mitigated churn associated with higher pricing on standard and premium plans,” Wedbush Securities’ Michael Pachter wrote in a note issued last week.
Analyst consensus estimates for Netflix Q1 see revenue of $3.89 billion and earnings per share of 64 cents. Investors remain upbeat on the company, even as it doubles down on its heavy content-spending strategy (with content expenditures of up to $8 billion this year, vs. $6 billion in 2017).
Netflix’s cash burn (negative free cash flow) is expected to increase from $2 billion in 2017 to $3 billion for the full year 2018, Goldman Sachs’ Heath Terry wrote in a note last week. Terry raised his price target on the stock, from $315 to $360 per share, citing a strong originals slate, new distribution partners and returns from increased marketing spending.
Over the past eight quarters, Netflix has on average topped its total net subscriber addition guidance by around 950,000, mostly on stronger-than-expected international additions, Pachter noted. However, a year ago, Netflix turned in subscriber metrics slightly below forecasts, delivering 4.95 million inQ1 2017
Is Netflix poised for a Q1 2018 beat? Thanks to its continued growth — and bullish analyst forecasts — Netflix’s stock is up 62% year to date, besting nearly every other company on the S&P 500 and outperforming the other stocks in the FAANG (Facebook, Amazon, Apple, Netflix, Alphabet/Google) cohort tracked by Wall Street.
Netflix has “an increasingly robust content slate,” Cowen & Co.’s John Blackledge wrote in a Q1 earnings preview. He estimated Netflix released some 483 hours of U.S. original programming in the first quarter, up 85% from a year earlier.
In the first quarter, Netflix debuted 18 new original series, including 11 returning series, and 14 new original movies. Those included season 2 of “Marvel’s Jessica Jones” and sci-fi series “Altered Carbon.”
But Netflix currently has a weaker originals lineup going into Q1, with nine original series (five returning and four new series), including “Lost in Space” and second seasons of “Dope,” “3%,” and “Marvel’s Luke Cage.”
Wall Street expects 5.2 million net streaming adds in Q2 2018, but that “may be on the high side,” RBC Capital Market’s Mark Mahaney wrote in a note. He cited “what doesn’t clearly appear to be a rock-star spectacular Q2 new content slate” as well as typically weak Q2 seasonality and “tough comps” with Netflix’s huge beat in the second quarter of 2017.
Two wildcards on Netflix’s Q2 content performance remain, according to UBS’s Eric Sheridan: When season 2 of popular teen drama “13 Reasons Why” will be released and whether Netflix “is enjoying success in its local-language content initiatives outside of North America,” he wrote in an April 11 note.
In addition, Netflix’s newly expanded deal with Comcast — under which the cable operator will bundle Netflix service with new and existing TV packages — could give Netflix a boost in Q2, which is historically weak for subscriber additions.
Meanwhile, Wedbush’s Pachter pointed to Netflix’s potential longer-term risk from losing content-licensing deals. It’s worth noting that the bulk of the viewing on the platform remains generated by licensed TV shows and movies — with licensed content estimated to account for 80% of Netflix’s U.S. streams for the 12 months ended September 2017, per a study by 7Park Data.
“[T]he combination of less content from Disney (pulling the majority of its newer content at the end of 2018) and a steady migration of Comcast, Time Warner, and 21st Century Fox content towards exclusive deals with Hulu will ultimately lead to lower subscriber satisfaction,” he wrote.
Vittorio Taviani, Award-Winning Italian Director, Dies at 88
Italian director Vittorio Taviani, of the multiple award-winning Taviani brothers, has died at 88.
His daughter Giovanna told media he died in Rome after a long illness.
Vittorio was the older of the prolific Taviani brothers who emerged in the 1970’s as the revered filmmaking duo whose works blended neo-realism with more modern storytelling in works such as Padre Padrone which won the 1977 Cannes Palme d’Or, World War II drama “The Night of the Shooting Stars” (1982) and “Kaos” (1984) which is based on Pirandello.
Born in the Tuscan town of San Miniato, Vittorio and Paolo Taviani soon moved to nearby Pisa where as high-school students they became aspiring directors. “We walked into a movie theater called Cinema Italia, which no longer exists, and there was a film playing called ‘Paisà’ that we had never heard of”. That experience “really blew our minds,” they said. “We had experienced the war as kids, and very deeply. But what we were seeing on screen made that reality so much clearer for us. This movie was telling us things about ourselves that we did not know. So we said to ourselves: ‘If cinema has this strength, this power to reveal to ourselves our own truths, then we will make movies!’
Years later, when they went to Cannes with “Padre Padrone,” the thought that they had started making movies thanks to Rossellini and that he was awarding them the Palme d’Or was for them “like the closure of a splendid luminous circle.”
More recently the Taviani brothers won the Berlin Golden Bear, in 2012, with “Caesar Must Die,” which is about high-security inmates acting Shakespeare, followed by “Wondrous Boccaccio,” (2014) an adaptation of “The Decameron” and “Una Questione Privata” in 2017, based on a novella by Italian author Beppe Fenoglio.
Italian president Sergio Mattarella in a statement said the country is in mourning and called Vittorio Taviani “a beloved protagonist of Italian cinema and culture.”
“Yesterday Milos Forman, today Vittorio Taviani,” tweeted Venice Film Festival chief Alberto Barbara. “We owe them a great deal of our cinematic formation…and will remember them always with gratitude.”
The Tavianis received a Golden Lion for lifetime achievement from Venice in 1986.
Giovanna Taviani said her father’s body would be cremated and there will be no public funeral.
R. Lee Ermey, ‘Full Metal Jacket’ Golden Globe Nominee, Dies at 74
R. Lee Ermey, best known for his Golden Globe-nominated portrayal of Gunnery Sergeant Hartman in “Full Metal Jacket,” has died. He was 74.
Ermey’s longtime manager announced the news via a tweet to Ermey’s official Twitter account.
“It is with great sadness that I regret to inform you all that R. Lee Ermey (‘The Gunny’) passed away this morning from complications of pneumonia. He will be greatly missed by all of us,” the tweet reads.
In addition to his role in Stanley Kubrick’s Oscar-nominated film, which earned him a best supporting actor Golden Globe nod, Ermey had several other mostly authority figure roles to his credit, including Sheriff Hoyt in 2003’s “The Texas Chainsaw Massacre,” a police captain in “Se7en,” and the voice of the plastic army men’s
Ermey was a former United States Marine Corps staff sergeant and honorary gunnery sergeant, and served as a drill instructor during his tenure from 1961-1972. He was stationed in Okinawa, Japan for one year until 1968, when he was moved to Vietnam and spent 14 months in country.
His first film role occurred when he was studying in the Philippines, and he played a First Air Cavalry chopper pilot in “Apocalypse Now,” also serving as a technical adviser to Francis Ford Coppola. He had a series of other small roles until his casting in 1987’s “Full Metal Jacket.”
Ermey was originally meant to function only as a technical adviser to Kubrick, but when Kubrick was impressed by an instructional tape Ermey put together in which he went on long rants at extras, he instead cast him in the role of Gunnery Sergeant Hartman. Kubrick allowed Ermey to improvise and write or edit his dialogue, and he said Ermey often only needed two or three takes to finish a scene — both unusual for Kubrick films.
All told, Ermey had roles in some 60-plus films, as well as several voice credits, including “The Grim Adventures of Billy & Mandy,” “SpongeBob SquarePants,” “The Simpsons,” and “Family Guy.”
On top of his voice acting, he hosted two programs for the History Channel: “Mail Call,” in which he provided expertise on military issues, both modern and historic, and “Lock N’ Load with R. Lee Ermey,” which focused on the development of different types of weapons.
R. Lee Ermey
Statement from R. Lee Ermey’s longtime manager, Bill Rogin:
It is with deep sadness that I regret to inform you all that R. Lee Ermey (“The Gunny”) passed away this morning from complications of pneumonia. He will be greatly missed by all of us.
‘Rampage’ Sneaks Up on ‘A Quiet Place’ to Win Weekend Box Office
After a weekend of fluctuating projections, Dwayne Johnson (just barely) owned the North American box office after all.
Though earlier estimates looked like the second frame of A Quiet Place would take the weekend, Johnson’s Rampage snuck up to take the top slot with $34.5 million from 4,101 theaters.
New Line Cinema and Warner Bros.Rampage opened under initial predictions that estimated between $37 million to $40 million. Though the sci-fi actioner has an impressive A- CinemaScore and 80% audience approval on Rotten Tomatoes, “Rampage” will need to rely heavily on overseas to carry its costly $120 million budget.
Still, its opening was enough to just narrowly take the box office crown from A Quit Place” which earned $32.9 million in 3,589 locations. “A Quiet Place” has been riding high with rave reviews only dropping 34%. That brings its cumulative domestic gross to an impressive $100 million.
Also benefitting from the Friday the 13th weekend was Universal and Blumhouse’s Truth or Dare starring Lucy Hale and Tyler Posey. The supernatural thriller debuted in third place with $19 million from 3,029 theaters.
“This is an outstanding debut considering the competitive landscape,” Jim Orr, head of domestic distribution at Universal, said. “For original horror, Blumhouse has define the genre for many years. They built a model that is just terrific.”
The third frame of Steven Spielberg’s “Ready Player One” made $11 million from 3,661 locations, lifting its domestic gross to $114.5 million.
Rounding out the top five is the sophomore weekend of Universal’s “Blockers.” Kay Cannon’s raunchy comedy starring John Cena, Leslie Mann, and Ike Barinholtz took in $10 million from 3,418 locations. In total, the pic has made $37 million.
The wide release of Wes Anderson’s “Isle of Dogs” made $5 million from 1,939 locations. The stop-motion animated film, which has grossed $18.5 million, opened in limited release at the end of March with the best per screen average of 2018 to date.
Another newcomer, Entertainment Studios’ canine-themed “Sgt. Stubby: An American Hero,” made $1.1 million in 1,633 locations. Directed and co-written by Richard Lanni, “Sgt. Stubby” features the voices of Logan Lerman, Helena Bonham Carter and Gerard Depardieu.
The 2018 box office is down 2.4% compared to 2017. The same weekend last year, where “The Fate of the Furious” opened with $98.8 million, is down 15.5%
Milos Forman, Oscar-Winning Director of ‘One Flew Over the Cuckoo’s Nest,’ Dies at 86
Czech-born director Milos Forman who won best directing Oscars for “One Flew Over the Cuckoo’s Nest” and Amadeus has died. He was 86.
Forman died Friday in the U.S. after a brief illness, his wife, Martina, told the Czech news agency CTK. She said that “his departure was calm, and he was surrounded the whole time by his family and his closest friends.”
Forman was also known for directing “Hair,” “Ragtime” and “The People vs. Larry Flynt.”
Directors’ Guild president Thomas Schlamme said, “Miloš was truly one of ours. A filmmaker, artist, and champion of artists’ rights. His contribution to the craft of directing has been an undeniable source of inspiration for generations of filmmakers. His directorial vision deftly brought together provocative subject matter, stellar performances and haunting images to tell the stories of the universal struggle for free expression and self-determination that informed so much of his work and his life.“A member of the DGA’s National Board and a recipient of the DGA’s highest honor, the Lifetime Achievement Award, Miloš actively championed artist’s rights throughout his career, speaking multiple times before Congress and world audiences about the importance of creative rights and artists’ protections against the violation of those rights. He stood up on behalf of his beloved fellow filmmakers time and again, and he believed with all his heart that creativity and artistic freedom could make a difference in the world. Now it’s up to us to prove him right. We will miss him.”
Having made just one American film at the time, the ironic comedy “Taking Off” (1971), which won critical acclaim but failed to connect with audiences, Forman seemed an unlikely choice to direct the adaptation of Ken Kesey’s countercultural novel “Cuckoo’s Nest.” But he brought a balance and objectivity to the film, which could easily have descended into histrionics. The critically lauded and immensely popular film starring the fast-rising Jack Nicholson struck a nerve in 1975, and on Academy Awards night it became the first film since 1934’s “It Happened One Night” to sweep the top five Oscar prizes: best picture, director, actress, actor and screenplay (adapted).
To shoot Amadeus, Forman returned to his native Czechoslovakia in 1983 and used little-known theater actors to play Wolfgang Amadeus Mozart (Thomas Hulce) and his rival Antonio Salieri (F. Murray Abraham), Forman created a compelling and cogent adaptation of Peter Shaffer’s award-winning stage play — helped in great measure by the magnificent Mozartian score. Again, Forman ruled the Oscars, taking another director trophy as the film also drew awards for picture, actor (Abraham), and screenplay, winning eight awards in all. The film was also his most financially successful after “Cuckoo’s Nest.”
With a style that film historian David Thomson said stressed the everyday over the melodramatic and a flair for improvisation, Forman had flourished as a young director in Czechoslovakia with such satirical films as 1966’s “Loves of a Blonde” and 1968’s “The Firemen’s Ball,” the latter of which was refused a showing in his native country because of its satire of bureaucratic thinking.
Forman was in Paris in August 1968 when Russian tanks rolled into Czechoslovakia, ending the Warsaw Pact country’s brief artistic renaissance. Soon thereafter he moved to New York, joining another celebrated Czech director, Ivan Passer, who had penned “Loves of a Blonde” with Forman and others. Forman’s first U.S. film, “Taking Off,” was similar in approach and style to his earlier work, and while it was praised by critics, it did little to establish him as an American director. He also took on “The Decathlon” episode of “Visions of Eight,” a compilation documentary of the Olympics by an octet of different helmers.
Over the years Forman directed few films, and his American track record was mixed. Though “Cuckoo’s Nest” transformed him into an A-list director, he waited four years before his next film, tackling another challenging piece of material, “Hair,” based on the ’60s smash hit musical. But 10 years later, the episodic piece seemed passe onscreen, and Forman’s simple approach was ill-suited for the musical material. He did better with 1981’s “Ragtime,” a mostly successful adaptation of E.L. Doctorow’s bestseller centered on intersecting lives in the early 20th century. The film did not score at the box office, however.
He attained commercial and critical success once more with “Amadeus” but never quite scaled those heights again.
Forman appeared next in 1989 with “Valmont,” an adaptation he co-penned of the French period novel “Les Liaisons dangereuses” starring Colin Firth and Annette Bening. While graceful and witty, the film suffered from comparison to the more melodramatic “Dangerous Liaisons,” released the previous year and starring John Malkovich and Glenn Close.
He didn’t direct again until he issued two other satirical pieces in the late ’90s, the first of which was “The People vs. Larry Flynt,” a well-reviewed comedy about the First Amendment controversy stirred up by Hustler publisher Larry Flynt, embodied in the film by Woody Harrelson. While reviews were strong, the film did only moderately well at the box office. But it brought Forman another director nomination in 1996.
The reception to his 1999 film “Man on the Moon,” about the offbeat comic Andy Kaufman, was mixed, though lead Jim Carrey pulled in great notices.
After an absence of seven years, Forman returned in 2006 with “Goya’s Ghosts,” in which he sought to wed the Inquisition, the life of the painter Goya and the Napoleonic Wars, starring Natalie Portman, Javier Bardem, Stellan Skarsgard and Randy Quaid.
In 2009 Forman directed, with his son Petr, the Czech-language “A Walk Worthwhile,” a remake of his earlier 1966 work for Czech television.
Forman collaborated with Vaclav Havel on the adaptation of a novel about the Munich Agreement, through which Hitler annexed Czechoslovakia’s Sudentenland in 1938, but the project did not come to fruition. He also had in development as a directing project the story of Charles Ponzi, the early 20th century fraudster who lends his name to the Ponzi scheme.
In addition to his directing chores, Forman was co-director of the film program at Columbia U. and appeared as an actor in such films as “Keeping the Faith,” “Heartburn” and “New Year’s Day.”
Born in the town of Caslav (also spelled Kaslov), near Prague, Jan Tomas Forman was raised by an uncle and in foster homes following the death of his parents in WWII concentration camps. After graduating from the Prague Film Faculty of the Academy of Dramatic Arts in 1957, he wrote sketches for the mixed media Laterna Magika, which was celebrated at the 1958 World’s Fair in Brussels. After departing the group in 1961, he was hired by the Czech state film studio, where he came to attention with two medium-length films, 1961’s “The Talent Competition” and “If There Were No Music.” His feature debut in 1963, “Black Peter,” won the top prize at the Locarno Film Festival and led to such internationally acclaimed efforts as “Loves of a Blonde” and “The Fireman’s Ball.”
Forman was jury president at the Cannes Film Festival in 1985 and the Venice Film Festival in 2000.
In Czechoslovakia Forman was married twice, first to actress Jana Brejchova (sister of his lead actress in “Loves of a Blonde”) and then to Vera Kresadlova, who was the mother of his twin sons Peter and Matej. In 1998 he had another set of twins, Andrew and James, by his third wife, Martina Zborilova.
Cannes Lineup Includes New Films From Spike Lee, Jean-Luc Godard
New movies from Spike Lee (“BlacKkKlansman”), Jean-Luc Godard (“The Image Book”) and Oscar-winning “Ida” director Pawel Pawlikowski (“Cold War”) join previously announced Solo: A Star War Story at the 2018 Cannes Film Festival, making for a lineup that’s considerably less starry — at least by Hollywood standards — than in years past.Apart from Lee, films with American connections are few and far between. “It Follows” director David Robert Mitchell will present his 140-minute thriller Under the Silver Lake; Egyptian-made “Yomeddine” was directed by NYU Tisch graduate A.B. Shawky; and Brazilian director Joe Penna (whose English-language “Arctic” will bow in the Midnight section) resides in Los Angeles.
At the press conference in Paris, Cannes artistic director Thierry Frémaux explained that his programming team deliberately selected work by lesser-known and in some cases unheard-of directors. Conspicuous absences include a number of “the usual suspects” — established directors such as Nuri Bilge Ceylan and Mike Leigh to whom Cannes typically invites high-profile spots for each new film. Also missing is Naomi Kawase from a lineup that is otherwise heavy with Asian directors, including a pair of Iranians: Jafar Panahi with “Three Faces” and Asghar Farhadi, who made opening-night selection“Everybody Knows” (starring Penelope Cruz and Javier Bardem) in Spain.
The competition program includes just three female filmmakers, prompting Frémaux to reiterate his position that “the films that were selected were chosen for their own intrinsic qualities,” not the gender of their directors. Acknowledging the importance of the #MeToo and #TimesUp movements, he said, “The world will never be the same again … and we will question our own practices about the gender parity” in salaries and jury representation, but stressed that “there will never be a selection with a positive discrimination for women.”
Frémaux countered criticisms that the festival may be losing its power to attract high-profile films, unconvincingly suggesting that prize-winning directors Xavier Dolan and Jacques Audiard had not turned down a formal invitation to screen in Cannes, but rather, were still editing their respective films, “The Death and Life of John F. Donovan” and “The Sisters Brothers.” And yet, he admitted that American companies in particular can get nervous about how a film’s reception in Cannes can impact its awards and box office chances, admitting, “When you are on a strategy of a late [fall] release, Cannes might not be the ideal place to show a film.”
Even a cursory survey of past lineups reveals that many films chosen for official selection already have French distribution, which is frequently timed to the days and weeks immediately following the festival. This phenom illustrates not only the way French companies leverage Cannes for publicity, but also the enormous influence they wield over the selection of such films in the first place — nowhere more evident this year than in the exclusion of Netflix from competition.
Frémaux explained that he had personally appealed to Netflix honchos Reed Hastings and Ted Sarandos not to pull their films from the festival, and yet, under pressure from the French industry (where a law insists upon a three-year window between theatrical release and streaming), Cannes was forced to exclude them from competition unless Netflix agreed to sell theatrical rights to a French distributor. “We made offers on two films owned by Netflix,” said Frémaux, “and there were candidates for the theatrical distribution of those films,” including the restoration of Orson Welles’ “The Other Side of the Wind,” which Frémaux sorely wanted to invite.
Several more movies may be announced in the days to come, including a couple midnight screenings. Asked about whether Lars von Trier (whose “The House That Jack Built” would be a likely candidate) is still persona non grata with the festival, Frémaux enigmatically replied, “We will answer in a few days.”
At just 17 titles, the competition lineup is currently the smallest in decades, although it should be noted that 2017 Palme d’Or winner “The Square” was a late addition to last year’s lineup. Frémaux specifically hinted that they would have liked to invite Terry Gilliam’s “The Man Who Killed Don Quixote,” which is currently tied up in a legal dispute, and said discussions are still underway with Paolo Sorrentino about his two-part “Loro,” the first half of which opens in Italy before Cannes.
Scheduled to kick off a month after the inaugural television-focused Cannes Series event, the festival will unspool from May 8-19 — which is the earliest the festival has taken place in more than 20 years. The parallel Directors’ Fortnight and Critics’ Week programs will take place during the same dates, but technically fall outside the “official selection,” and as such, will announce their lineups later in April.
2018 CANNES FILM FESTIVAL LINEUP
“Everybody Knows” (Asghar Farhadi)
“Ash Is Purest White” (Jia Zhang-Ke)
“At War” (Stéphane Brizé)
“BlacKkKlansman” (Spike Lee)
“Burning” (Lee Chang-dong)
“Capernaum” (Nadine Labaki)
“Cold War” (Pawel Pawlikowski)
“Dogman” (Matteo Garrone)
“Girls of the Sun” (Eva Husson)
“The Image Book” (Jean-Luc Godard)
“Lazzaro Felice” (Alice Rohrwacher)
“Leto” AKA “Summer” (Kirill Serebrennikov)
“Netemo Sametemo” AKA “Asako I & II” (Ryusuke Hamaguchi)
“Shoplifters” (Kore-Eda Hirokazu)
“Sorry Angel” (Christophe Honoré)
“Three Faces” (Jafar Panahi)
“Under the Silver Lake” (David Robert Mitchell)
“Yomeddine” (A.B. Shawky)
UN CERTAIN REGARD
“Angel Face” (Vanessa Filho)
“Border” (Ali Abbasi) — PICTURED
“El Angel” (Luis Ortega)
“Euphoria” (Valeria Golino)
“Friend” (Wanuri Kahiu)
“The Gentle Indifference of the World” (Adilkhan Yerzhanov)
“Girl” (Lukas Dhont)
“The Harvesters” (Etienne Kallos)
“In My Room” (Ulrich Köhler)
“Little Tickles” (Andréa Bescond & Eric Métayer)
“Manto” (Nandita Das)
“My Favorite Fabric” (Gaya Jiji)
“Sextape” AKA “On Your Knees, Guys” (Antoine Desrosières)
Sofia” (Meyem Benm’Barek)
OUT OF COMPETITION
“Le Grand Bain” (Gilles Lellouche)
“Solo: A Star Wars Story” (Ron Howard)
“Arctic” (Joe Penna)
“Gongjak” AKA “The Spy Gone North” (Yoon Jong-Bing)
“Dead Souls” (Wang Bing)
“La Traversée” (Romain Goupil)
“O Grande Circo Místico” (Carlo Diegues)
“Pope Francis – A Man of His Word” (Wim Wenders)
“The State Against Mandela and the Others” (Nicolas Champeaux & Gilles Porte)
“10 Years in Thailand” (Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol & Apichatpong Weerasethakul)
Netflix’s chief content officer says that the festival sent a clear message with a new rule that bans any films without theatrical distribution in France from playing in competition. Netflix could screen some of its upcoming movies out of competition, but Sarandos says that doesn’t make sense for the streaming service.
“We want our films to be on fair ground with every other filmmaker,” Sarandos says. “There’s a risk in us going in this way and having our films and filmmakers treated disrespectfully at the festival. They’ve set the tone. I don’t think it would be good for us to be there.”
Netflix made a big splash at the prestigious film festival last year with two movies that showed in competition: Bong Joon-ho’s “Okja” and Noah Baumbach’s “The Meyerowitz Stories.” But after the 2017 announcement, French theaters owners and unions protested the inclusion of these films to Thierry Fremaux, the artistic director of Cannes. Netflix was amenable to having their movies play on big screens in France, but a law in the country requires movies to not appear in home platforms for 36 months after their theatrical release.
Netflix has had day-and-date theatrical releases for such titles as “Mudbound,” Angelina Jolie’s “First They Killed My Father,” “Okja” and “The Meyerowitz Stories.”
Sarandos will not personally be attending Cannes in May, but some of his executives will be there. “It is not a coincidence that Thierry also banned selfies this year,” Sarandos says, of another new rule that doesn’t allow guests to snap pictures on the red carpet. “I don’t know what other advances in media Thierry would like to address.”
Here, Sarandos spoke with Variety about the Netflix rule change.
Are you deciding not to participate in Cannes this year? Well, it was not our decision to make. Thierry announced the change in their qualification rules [that] requires a film to have distribution in France to get in, which is completely contrary to the spirit of any film festival in the world. Film festivals are to help films get discovered so they can get distribution. Under those rules, we could not release our films day-and-date to the world like we’ve released nearly 100 films over the last couples of years. And if we did that, we’d have to hold back that film from French subscribers for three years under French law. Therefore, our films they are not qualified for the Cannes Film Festival competition.
And you aren’t taking movies to the festival out of competition? No. I don’t think there would be any reason to go out of competition. The rule was implicitly about Netflix, and Thierry made it explicitly about Netflix when he announced the rule.
Were you surprised by the rule? Netflix had the two biggest English-language releases at last year’s Cannes. I would say not just on the English-language side. I think they were the biggest films in the world last year with Bong Joon-ho and Noah Baumbach and the star power we were able to bring — Jake Gyllenhaal, Tilda Swinton, it goes on and on. We loved the festival. We love the experience for our filmmakers and for film lovers. It’s just that the festival has chosen to celebrate distribution rather than the art of cinema. We are 100% about the art of cinema. And by the way, every other festival in the world is too.
Did you talk to Thierry before he made the rule change?
I believe it was not just Thierry’s decision. I think it was the decision of his board, which is made up of several exhibitors. I know we didn’t have any conversation with Thierry. I read about it in the press.
In interviews, Thierry said that “the Netflix people loved the red carpet,” but your “model is now the opposite” of what Cannes does. Do you agree with that? No, obviously not. Do we love the red carpet? I love our filmmakers being on those red carpets. Of course. It’s a very glamorous, very fun event for filmmakers. That is beside the point. That is true of every festival. Last year we were jointly celebrating the art of cinema at Cannes. The divergence is this decision to define art by the business model. In that way, yes, we have diverged.
Will you or other Netflix employees be attending Cannes? I personally won’t be attending myself. But we will have people there who are in the business of acquiring films, because many films will be there without distribution.
So you could end up buying a movie that’s in competition?
Yes 100%. We don’t discriminate that way.
Netflix acquires movies from film festivals all the time. Ultimately, this rule seems to be about preventing a movie from entering Cannes as a Netflix release. It was a puzzle to me. Keep in mind last year at Sundance, we produced the film that won the jury prize [“I Don’t Feel at Home In This World Anymore”], and we acquired “Mudbound” in the biggest acquisition of the festival.
Have you had conversations with your filmmakers about Cannes?
We’ve talked to a lot of our filmmakers after the rule change. When we went into making these films and acquiring these films, that rule wasn’t in place. That was a change in dynamics.
Do you think Cannes might change its mind in the future? Yeah. I do have faith that Thierry shares my love for cinema and would be a champion of changing that when he realizes how punitive this rule is to filmmakers and film lovers.
What is your message for the international film community? We hope that they do change the rules. We hope that they modernize. But we will continue to support all films and all filmmakers. We encourage Cannes to rejoin the world cinema community and welcome them back. Thierry had said in his comments when he announced his change that the history of the Internet and the history of Cannes are two different things. Of course they are two different things. But we are choosing to be about the future of cinema. If Cannes is choosing to be stuck in the history of cinema, that’s fine.