The Greatest Showman

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Natzef Mujic and Abdai Koshish, both winners of the three major European film festivals in 2013.

Nazef Mujic won the Silver Bear Best Actor at the Berlin Film Festival with "A Page of a Little Life"; while Abdai Koschich won the Palme d'Or at the Cannes Film Festival with "The Life of Adele" .

These two artists have won their own glory in the three major European film festivals, and the non-professional actor Nazf Mujic, who has never had any acting experience before, has won global attention in one fell swoop. Said, this is the highest glory of dreams.

But unfortunately, neither the Silver Bear Award nor the Palme d'Or can bring about earth-shaking essential changes.

Nazf is still an ordinary farmer. He did not change his career to become a professional actor, but returned to the Bosnian countryside and his life returned to peace.

Not long ago, Nazf was seriously ill, but because of his poverty, he could not get proper treatment. The previous movie "A Page of a Missing Life" was adapted from Nazf's real life experience. His wife was stillborn during pregnancy. The husband and wife had to run around to raise money for the operation; now, Nazf has made the same mistake again, in order to make a living, he has to sell the Silver Bear trophy to the bar owner for 4,000 euros.

At the beginning of the year, Nazf left most of the 4,000 euros for his family as living expenses, while he left only part of the fare, and was going to Berlin to ask the organizers of the Berlin Film Festival for help. Sudden deterioration and eventually death. Died at the age of forty-five.

In the same situation, there is Abu Dai.

Compared with the non-professional actor Nazf, Abdai is a high-profile young director in France, and his situation is slightly different.

After climbing to the top of Cannes with "Adele's Life", Abday's directorial career was highly optimistic, and he then devoted himself to the production of new works. Originally, many people thought that Abu Dai would appear in Cannes this year with "Fate, My Love", but they did not expect that the film would be difficult to give birth.

In March, French media broke the news that Aboudai's new work based on the novel "The Real Wound" by francois-begaudeau will be expanded into two films, failing to catch up with this year's Cannes film. Festival; but when the time moved to mid-May, things took a turn. In fact, the real reason why the film could not be completed was because the capital chain could not keep up.

On the eve of the opening of the Cannes Film Festival, the film production company of "Fate, My Love" publicly auctioned Abu Dai-Kexich's film-related memorabilia, including the Palme d'Or.

Such a move caused an uproar, but Abu Dai was very calm. In an interview, he said that he just had to do it, "In the later stages of the filming of the film, the financing bank suddenly interrupted the credit funds, which caused the entire project to be in turmoil. A predicament that cannot go forward and cannot go back.”

In this regard, the Cannes Film Festival has undoubtedly become the focus of attention, and major news media have interviewed Thierry to ask his opinion.

Thierry has so far refused to respond publicly; but it's conceivable that it was a slap in the face for Cannes.

Cannes, which claims to be the top three film festivals in Europe, the honor and halo represented by a Palme d'Or is absolutely incalculable by money. Giles-Jacob is trying to make the Palme d'Or a top in the industry. Glory, the trophy for which all filmmakers are moths to the flames.

Now, Abu Dai is directly auctioning the Palme d'Or, which is undoubtedly a humiliation.

Leaving aside Thierry Fumau's conceit about the Cannes Film Festival for the time being, from Nazf Mujic to Abdai Koschich, in just two years, he has fallen into such a predicament, even more than "Birdman". The situation described is even worse. In fact, it reflects a dilemma of the European film industry - at least one of the many dilemmas, that is, under the influence of the fast food culture in the Internet age, the audience is becoming more and more impatient.

Even on European soil, the number of younger generations willing to stop and read, learn and think is dwindling sharply.

This also means that the living space of art films on a global scale is indeed shrinking. The most intuitive fact is that the proportion of young people who are willing to learn painting or sculpture is declining; while the popularity of new-generation arts such as fashion or photography is rising at a speed visible to the naked eye.

The progress of the times is probably like this. Every era has its own product.

It is against this background that the three major European film festivals, be it the Oscars, are all facing a hurdle of continuous development.

If you stand at the high point of history, in 2019, the Berlin Film Festival chose "Synonym", the Cannes Film Festival chose "Parasite", and the Venice Film Festival chose "Joker". The latter two works are standard Genre films are also a type of commercial films; and the first work is also a reflection in the context of the globalization era, and the film language and thinking core have also changed with the times.

In other words, the boundaries between commerce and art are becoming more and more blurred - how to make art films also enter the cinema, how to make commercial films make breakthroughs at the artistic level, this is a problem that the global film industry must face up to, no one I hope that the comic superhero series will completely dominate the big screen of the movie.

Then the conversation returned to Renly and Thierry.

Obviously, Renly's proposed online

The streaming media proposal is showing a possibility, the possibility of combining business and art, and Thierry must face up to this possibility - if he has enough long-term perspective.

"Mr. Fumau, maybe you don't know what's going on with Nazif-mujic, but you should know what's going on with Abdai Koshish, right?"

Facing Renly's words, Thierry's eyes showed a gleam, "If you want to create a provocative effect, then you have succeeded."

Thierry very, very dislikes Abdai's choice, the auction of the Palme d'Or, which is definitely not what the Cannes Film Festival wants to see.

Renly was noncommittal, but raised the corner of his mouth slightly, "Mr. Fumau, the only way to break the traditional confinement is to create conflict and start a war; otherwise, the power of the younger generation will be difficult to achieve just by relying on subtle influences. This also means that we You have to take risks.”

Thierry's expression didn't change much, he just looked at Renly quietly, and said in a slightly mocking tone, "Your adventure is online streaming?"

Sure enough, the French have an obsessive insistence on the cinema. As long as "online streaming" is mentioned, it is like a cockfighting state.

"I think there is some misunderstanding between us. Online streaming is not to seize the market of traditional theater chains, but to provide another option outside the theater." Renly said calmly, this is also the case between Don Quixote Channel and Netflix. the biggest difference.

Netflix's primary consideration is interests, so it must ensure that its works can be launched on streaming media as soon as possible, and "maintain synchronization between online and offline". This is their slogan and their gimmick. They are doing their best to get theatrical movies to be available on their platforms as soon as possible. In other words, this is equivalent to grabbing food from the mouths of traditional theater chains.

The primary consideration of Don Quixote Channel is diversity, because the box office of art films is not a strong point, even if it is released in theaters, it is difficult to achieve profitability; online streaming media provides another channel for more audiences to see Movies, but also provide additional income for art creators. The conflict between them and the traditional theater chain is far less intense.

For the three major European film festivals or film festivals such as Sundance, Telluride, etc., the real goal of Don Quixote Channel is actually this:

If a work is favored by the distribution company, then Don Quixote will wait and see, negotiating with the distribution company and the art theater to see if the film should be in theaters for a few weeks, four weeks? Or eight weeks? The movies then land on online streaming platforms, available on demand.

If a work cannot find a distribution company, then Don Quixote can provide a platform for a wider audience to enjoy the work. Especially for those veteran fans who love art films but can't find a way to appreciate these works, they can open the door to a whole new world.

Of course, Sisyphus Pictures is not a charitable company. "First on the Don Quixote channel, and then if it is favored by the distribution company, it will cancel the online broadcast and enter the theater", such a thing is impossible, and they also Profits are still needed to keep the company afloat for a long time. But Sisyphus Pictures can give the director a platform to showcase his talents and win more attention, attention, and even investment for his next work.

It is precisely because of this that the Sundance Film Festival is willing to cooperate with the Don Quixote Channel. Robert Redford has spent countless efforts to create this film festival. Naturally, he will not betray himself for a little petty profit. In the final analysis Or because Renly managed to persuade Robert.

Renly's further detailed explanation made Thierry's thoughts begin to churn—

Although online streaming still needs to face countless challenges, the simplest point is that Don Quixote Channel still needs to make a profit to continue to operate. It is difficult for them to create enough business just by relying on the name of "artistic film channel". value, which also means that in the future, Don Quixote Channel will inevitably need more and more exclusive copyrights, which means that competition between them and the theater will come sooner or later.

But Thierry has to admit that Renly does get to the heart of the matter. If Don Quixote can provide an additional distribution channel for art films, it will be a good thing for the three major European film festivals- - At least in the early stage, when the interests of the theaters have not been directly touched, this is indeed the case.

The key now is that this pie looks delicious, but when you bite into it, no one can be sure if the filling will be as advertised.

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