The film business continues dealing with shifts. The upcoming Cannes Film Festival deck while loaded with auteurs missed some real big titles this spring. The Devil Wears Prada 2 kicks off May 1st. Michael, the latest superstar bio has drawn in fans from around the world, opening to a shattering $200 million weekend. While the critics slammed as an “AI film work”, movie goers voted their opinions with blockbuster ticket sales. While having a conversation with an entertainment journalist, we lamented the state of the situation. Why didn’t this Springs most anticipated films screen on the Croisette? Hollywood is no longer interested in film festivals. Instead of concentrated gatherings, big studios are now in focus mode. Foregoing where there are many for a few in controlled settings.
Going back and forth on WhatsApp, we acknowledged, the old ways of doing things got swapped away, our expectations for the future low. It is a guessing game what happens covering entertainment, a possible lead actor interview or early screening, maybe. After the successful release of the top record seller’s bio, the funnel strategy is the new marketing and releasing model, softball junkets wrapped in extravagant road show premieres.
Are film festivals worth the risk these days? As a launch vehicle, the Berlinale certainly can only have a pray of getting a big film, even a cat food commercial wold be wishful. The chances of Hollywood returning to the dead of winter festival look even more remote. The 2026 Golden Bear winner Yellow Letters earned $800.000 since the March 5th release. Given the amount of headline controversy surrounding Berlin’s 76th film edition, that ticket sale number is a shrug.
My colleague hopes the Lido in late summer will herald a return of big titles to the festival scene. “Hope for the best, deal with what you get” is a quote from a Marvel Film.