The news that the Cannes Film Festival was postponing its 2020 edition because of an unprecedented global lockdown over the coronavirus wasn’t necessarily a surprise. The question was whether the French government would force them to find a new date or they would make that move on their own? That being said, revealing that the annual May event could potentially move to the end of June or beginning of July might actually turn into a positive for a number of awards contender and acquisition titles (assuming the festival can be held).
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It was already an open secret that films such as Wes Anderson’s “The French Dispatch,” Apichatpong Weerasethakul’s “Memoria” and Leos Carax’s “Annette” were likely premieres at the festival. The fact it’s now moved potentially a month to six weeks later likely won’t change that (even if “French Dispatch” moves to a Fall release it’s hard to see it avoiding la Croisette.) And, to be clear, Cannes didn’t even float potential dates in its release. What the new timeframe should do, however, is convince films that were planning on debuting in the crowded Venice, Telluride, Toronto, and New York Film Festival corridor to pivot to a Cannes debut instead.
The ability to have less competition for headlines and online chatter has been a major benefit for Cannes premieres the past few years (“Parasite,” “BlacKkKlansman” and “Carol” being strong examples in that regard). Even if you’ve always planned a fall release, a July debut is much easier for nervous marketing execs to swallow than a May one. And considering how crowded the fall will probably be with delayed releases from the spring and early summer possibly jumping on release dates, an early Cannes boost is a perfect way to remind the industry, media and Academy members what films they need to pay serious attention too when screenings start post-Labor Day.
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Moreover, if you’re a potential prestige/awards player hoping to be acquired for a year-end release, why would you aim for the fall festivals at the end of August and the beginning of September if you can make July instead? The benefit of six extra weeks to plan a publicity and marketing campaign would be a godsend and allow for an October or early November release instead of December one (a fate left recently for “I Tonya,” “Jackie” and “Molly’s Game”). And the Cannes Market, assuming its part of the festival this year, is arguably more ideal for global sales than Toronto.
Of course, this is assuming a lot. It’s assuming films that were aiming for Cannes will even make a June or July premiere considering the industry work stoppage. And it’s assuming that the festival will take place for the same period of time, include the same number of films and important sidebars such as Director’s Fortnight (“The Lighthouse”) and Critics Week (“I Lost My Body”). At this point, it all might be a pipe dream to think Cannes can take place at all.
It may only be March 20, but the coronavirus has made its mark on the 2020 movie season outside of delayed blockbusters such as “F9” and “Black Widow.” Potential Oscar players such as Melanie Laurent’s “The Nightingale,” Guillermo Del Toro’s “Nightmare Alley,” Ridley Scott’s “The Duel,” Joel Coen’s “Macbeth” and Reinaldo Marcus Green’s “King Richard,” among other titles, may not make their original year-end release dates because of the work stoppage. But for those that are ready, a summer premiere at Cannes may make more sense than ever before.