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FOR Indian filmmakers, a Cannes Film Festival has remained one of a choicest platforms to showcase their newest work. Yet, year after year, they have unsuccessful to secure a place in a foe section. Christian Jeune, executive of a Film Department of a festival, says: “Believe me, we are failing to get some-more Indian entries and to have them in a foe section. We have had some unequivocally good films during a festival, Masaan, Titli and Ugly. But they were not in a competition. Indian films should underline in a foe territory of other festivals too.”
During his new revisit to India, Jeune explained a routine of picking cinema for a festival. “We try to make a best preference possible. Of course, there will be mistakes, as a preference is formed on personal choices.” So, there are cinema that a festival didn’t collect though they went on to turn successful eventually? “Yeah. Probably,” says Jeune with a chortle.
However, in invulnerability of a festival’s preference process, he says, “The assembly during Cannes is unequivocally opposite from other film festivals. It consists of professionals, especially mediapersons. While selecting movies, we have to keep that in mind. The flip side of this is that a mediapersons design each film to be a masterpiece. Sometimes, we don’t name certain films presumption that they would be during risk in Cannes, where they will be open to serious criticism. However, it is fine to take a risk.” Jeune, who is a categorical hit for promulgation entries for a festival, believes that films are some-more “kindly judged” during other festivals, compared to Cannes.
However, Cannes gives a tellurian prominence that many filmmakers aspire for. Last year’s winner, The Square, is now in a Oscar competition for a Best Foreign Film Award. While Jeune concedes that winning
Palme d’Or gives a film “a lot of exposure”, there have been occasions when a winners of a tip endowment during Cannes have not had a good run during a box-office.
When asked about a matter done by actor Jessica Chastain — who served on a festival jury final year — about a illustration of women in films, Jeune said: “We are not creation a films. We are selecting them.” While presenting a jury report, Chastain had stated, “One thing we unequivocally took divided from this knowledge is how a universe views women from a womanlike characters that we saw represented. And it was utterly unfortunate to me, to be honest. we do trust that if we have womanlike storytelling, we also have some-more authentic womanlike characters.” Referring to Chastain’s statement, Jeune added, “This is something to do with a society. This contention should take place during several sections of a society.”