Okja, a Netflix case at the Cannes Film Festival

It was the great news of Cannes 70 but it became a controversy before the festival began. The streaming platform presents the

first of its two films in competition for the Golden Palm and is chaos

When the Cannes 70 titles are announced in April, the two Netflix films on the Golden Palm

(Okja and The Meyerowitz Stories) do not go unnoticed, indeed, many are welcomed as an interesting novelty.

From there to a few weeks, the festival, in the certainty that the two films will have no distribution other than streaming,

puts their hands on for years to come by publishing on its site a statement that, in fact, excludes from the competition,

Starting from 2018, movies that do not go to the movies. It is the beginning of a controversy and, of course, its closure. With a (abrupt)

shutter.
But is not so.
Cannes 70, inaugural conference of jury presentation.

President Almodovar reads a few notes back on the subject: from his point of view cinema is born for cinema and, with no

preconceptions about technology, nothing can replace the magic of a room and a big screen.

An intrigue in the corner of the sworn Will Smith, who realizes that the fuse is ready to break out again, brings the issue to the tie:

streaming does not rule out cinema, who likes it – and cites the example of his children –

fails Do less than the second as the first one; Together they guarantee a more in-depth culture and driven by always personal choices.
But now comes the time of the first Netflix projection at the festival, that for journalists, and something goes wrong.

Technical problem, the projection begins again, but in the middle it is rain of ‘buu’ and whistling, some – it seems –

also directed to the brand. It’s up to the Okja cast to bring the discussion back to milder tones.

The first one to react is director Bong Joon Ho, who, unmoving, immediately exclaims,

“Better, we’ll see the movie twice!” But I’m Tilda Swinton, the antagonist of the little protagonist and her four-legged friend

in the movie, the words that make it happen. “We came to Cannes to see our work, not to be rewarded.

And being here is an unbelievable opportunity, “he said, and then responded to the jury

president’s statement on how it would be absurd to reward with the Golden Palm a movie

that will not be seen on the big screen. “We’re his fans, he can say anything, there’s room for everyone,” he says and is – for now – the final joke.

Behind the scenes most interesting, what is talking about is changing production, festival or not,

arrives when we take the floor is President of Plan B, Dede Gardner. He tells that the director has

sent the script to a very rooted partner in the USA, because “he would be dealing with two very different universes for the first time.

The film has American and Korean stars, is shot in two languages, in three countries, on two continents, with a child

crossing a sea of ​​cultural and even difficulties. When we read it, we did everything to be part of this work,

so unique and singular. ” At least the second that sees Plan B next to Netflix, for production or distribut