Netflix vs. Cannes has been one of the most fascinating and exhausting industry stories of the last few years. It started at the 2017 edition of the Cannes Film Festival, when it was revealed that Cannes' festival director and public figurehead Thierry Fremaux had permitted two Netflix films to play in the coveted competition slots. It began as mostly an online discussion in cinephile circles, but the conversation around those two films, Bong Joon-ho's Okja and Noah Baumbach's The Meyerowitz Stories, continued even on the Croisette. Critics booed the Netflix logo when it appeared in front of Okja, jury chief Pedro Almodovar made some choice comments, and Fremaux began pondering how to fix this situation for 2018. Well, his decision didn't exactly please Netflix, especially content honcho Ted Sarandos. Fremaux decided that Netflix films would be relegated to out-of-competition slots, unless the media giant complied with complicated French regulations requiring a theatrical release and a lengthy waiting period before streaming. Speaking with Variety, Fremaux recently said he was "eager to welcome" Netflix back to Cannes, but we've now learned that there will be no such return after all.
In an interview with Variety, Ted Sarandos confirmed that Netflix will not be taking any films to Cannes this year. That means Alfonso Cuaron's Roma, Jeremy Saulnier's Hold the Dark, Paul Greengrass' Norway, and Orson Welles' The Other Side of the Wind will not be attending the festival. Sarandos sat down with Variety to talk about his choice, emphasizing that he wants Netflix films to be "on fair ground" with other films, specifically speaking from the standpoint of the streaming giant's top-level filmmakers. He also slammed Fremaux's ban of selfies on the red carpet, saying "I don't know what other advances in media Thierry would like to address." Sarandos placed some level of blame on Fremaux, but also pointed his finger at the Cannes board, which includes some prominent French theatrical exhibitors. By the end of the interview, the face of Netflix's growing original content division did not close the door on the possibility that the studio may buy some of the films in competition, nor did he rule out attending Cannes in the future. But considering the way this has all been going, the odds of that are doubtful.
At its core, this is a generational and ideological battle. Cannes is one of the last institutions of global cinema, and they have significant clout in the industry. Netflix is one of the most dominant media companies in the world, making choices that disrupt and disturb the status quo every single day. In a way, this is a power struggle for the future of cinema, and it just ended in a stalemate. But we know who wins this battle in the long run. Sarandos isn't wrong when he claims that Cannes is clinging to the history of cinema- the roots of tradition are strong in the Cote d'Azur. As a major force in film, Cannes is not going anywhere anytime soon. But what happens when more films start going to Netflix? What happens when the theatrical viability of some current releases begins to diminish even further? These aren't small films from minor filmmakers- these are new movies from Oscar winners, rising genre stars, and yeah, a guy named Orson Welles. If more of these types of films go to Netflix and this stalemate continues, what will Fremaux be able to play at the festival?
Netflix has long been one of the most aggressive companies in this entertainment paradigm shift, and their brand of antagonism was always going to represent a conflict with Cannes, a festival that expects you to worship the ground beneath its feet. Critics and industry will defend Cannes vehemently, but how many more decisions like this can Fremaux and the board make before the tide starts to turn? Netflix will be fine, as they'll just take their films to the fall festivals or surprise release them in the summer. But Fremaux needs to make his next move carefully- I'm not sure this strategy of resistance will last.
Logo courtesy of Netflix
Sources: Vanity Fair, Variety
In an interview with Variety, Ted Sarandos confirmed that Netflix will not be taking any films to Cannes this year. That means Alfonso Cuaron's Roma, Jeremy Saulnier's Hold the Dark, Paul Greengrass' Norway, and Orson Welles' The Other Side of the Wind will not be attending the festival. Sarandos sat down with Variety to talk about his choice, emphasizing that he wants Netflix films to be "on fair ground" with other films, specifically speaking from the standpoint of the streaming giant's top-level filmmakers. He also slammed Fremaux's ban of selfies on the red carpet, saying "I don't know what other advances in media Thierry would like to address." Sarandos placed some level of blame on Fremaux, but also pointed his finger at the Cannes board, which includes some prominent French theatrical exhibitors. By the end of the interview, the face of Netflix's growing original content division did not close the door on the possibility that the studio may buy some of the films in competition, nor did he rule out attending Cannes in the future. But considering the way this has all been going, the odds of that are doubtful.
At its core, this is a generational and ideological battle. Cannes is one of the last institutions of global cinema, and they have significant clout in the industry. Netflix is one of the most dominant media companies in the world, making choices that disrupt and disturb the status quo every single day. In a way, this is a power struggle for the future of cinema, and it just ended in a stalemate. But we know who wins this battle in the long run. Sarandos isn't wrong when he claims that Cannes is clinging to the history of cinema- the roots of tradition are strong in the Cote d'Azur. As a major force in film, Cannes is not going anywhere anytime soon. But what happens when more films start going to Netflix? What happens when the theatrical viability of some current releases begins to diminish even further? These aren't small films from minor filmmakers- these are new movies from Oscar winners, rising genre stars, and yeah, a guy named Orson Welles. If more of these types of films go to Netflix and this stalemate continues, what will Fremaux be able to play at the festival?
Netflix has long been one of the most aggressive companies in this entertainment paradigm shift, and their brand of antagonism was always going to represent a conflict with Cannes, a festival that expects you to worship the ground beneath its feet. Critics and industry will defend Cannes vehemently, but how many more decisions like this can Fremaux and the board make before the tide starts to turn? Netflix will be fine, as they'll just take their films to the fall festivals or surprise release them in the summer. But Fremaux needs to make his next move carefully- I'm not sure this strategy of resistance will last.
Logo courtesy of Netflix
Sources: Vanity Fair, Variety
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