La plupart des étudiants en écoles de cinéma ne sont pas vraiment passionnés par ce domaine, ils ont seulement envie d’être connus. Mais de nos jours, tout le monde et n’importe qui peut facilement connaître son quart d’heure de gloire. En tant que moyen de réussite, il semble donc que faire un film n’est pas le meilleur raccourci. En ce sens, la situation de Cannes d’aujourd’hui est juste un effet d’inertie.
Most students in cinema schools don’t actually have passion about films, they merely wish to become famous. But nowadays, everyone and anyone can have their fifteen minutes of fame. As a way towards success, making a film therefore does seem like the long way around. In this prospect, the situation of Cannes now appears as a phenomenon of inertia.
Or, si le film de cinéma n’est pas encore mourant, il se fige doucement en une forme muséale. Quand les jeunes comprendront finalement cette situation, il n’est pas impossible d’imaginer que Cannes redevienne dans l’avenir la petite ville tranquille du Sud de la France qu’elle était auparavant, ce qui sera peut être pour le mieux.
Au sein du Marché du Film, le pavillon du Short Film Corner offre aux réalisateurs de courts-métrages un espace d’accueil convivial fait spécialement pour eux et pour leurs films. Dès l’ouverture du Marché, c’est la course à l’affichage des posters, les quelques espaces libres étant rapidement recouverts. Tsunami avec son “Golden Wedding”, et VJ avec “The Pit & The Kid” sont parmi les premiers arrivés, et déjà ils ont du mal à se trouver des emplacements. Dans quelques jours, plusieurs épaisseurs de posters seront superposées.
Lieu d’échange entre cinéastes du monde entier et de rencontres avec des professionnels, le Short Film Corner propose diverses formations, conférences et ateliers pendant toute la durée du festival. Introduisant les nouveaux venus au us et coutumes de Cannes, Sydney Levine (“Sydney Levine a plus de 29 ans d’expérience dans l’industrie du divertissement”, IMDb) a fourni de nombreux conseils à son public, et une anecdote en guise d’avertissement. Connu pour être complexe et dense, le Festival de Cannes l’a longtemps été davantage ! Et Sydney de décrire une situation ubuesque qu’elle a vécue il y a plusieurs années lorsque, ayant pourtant obtenu une invitation pour une séance, elle s’est retrouvée dans une foule qui tentait, en vain, de passer une porte que la sécurité refermait petit à petit. D’après elle, ce moment symbolise l’industrie cinématographique dans son ensemble : sur la multitude d’individus qui souhaitent faire des films, combien en effet réussiront à se faufiler dans l’entonnoir du succès ?
Tsunami & Sébou/세부
Les blogs de Sydney Levine :
– http://blogs.IndieWire.com/SydneyLevine (en anglais) ;
– http://sydneysbuzz.blogspot.com (en anglais).
Le site officiel du Short Film Corner : http://www.shortfilmcorner.com.
If, indeed, the “cinema” film isn’t dying yet, it is slowly crystallizing in a museal form. In a near future, when young people will finally understand that, it is likely that Cannes might become again the nice, quiet city from the South of France that she used to be, and perhaps that will be all the better for the city.
Within the Film Market, the Short Film Corner pavillion offers the short films directors a welcoming area for themselves and their movies. Right after the Market opens, the race for poster displaying begins; the few available spots are quickly covered. Tsunami with his “Golden Wedding” and VJ with “The Pit & The Kid” are amongst the first arrived, and they’re already struggling to find themselves a spot. In a few days, there are going to be several layers of posters on top of each other.
As a place of exchange between filmmakers from all around the world and of encounters with professionals, the Short Film Corner proposes various trainings, conferences and workshops throughout the festival. Introducing the newcomers to the subtleties and the hidden mechanics of Cannes, Sydney Levine (“Sydney Levine has over 29 years experience in the entertainment industry”, IMDb) advised her audience, as well as a cautionary tale. Known for being complex and dense, the Festival de Cannes used to be even more so! Sydney depicted an Ubuesque situation that she lived several years ago when, even though she had had a ticket for a screening, she ended up in a crowd vainly pushing its way through a door that security agents were closing little by little. In her view, that moment symbolises the film industry as a whole: among the myriad of individuals who wish to make films, how many shall slip through the funnel of success?
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