If a film festival selection drops without screenings, does it make an impact? That is the question for Thierry Fremaux’s Cannes 2020, a branded “official selection” of 56 titles for a festival that does not exist, and without the usual theaters, red carpet galas, media, juries, and prize-winners. It’s tough to imagine the trajectory taken by Bong Joon Ho
” without Cannes, from becoming the first Korean film to win the Palme d’Or to blockbuster ($255 million worldwide) to the Best Picture Oscar.
Most of the Cannes 2020 lineup won’t be reviewed by critics until they open locally in theaters or screen at fall festivals, where they will be swamped by a larger selection. Cannes branding is well and good, especially in Europe, but it won’t do much for the would-be awards-contenders that might have hoped for a lift into the Oscar race.
None of these movies will