The latest website: Nazf Mujic and Abu Dai-Koshixu, both of them are winners of the three major European film festivals in 2013.

Nazf-Mujic, with the help of "A page of mystery", reached the top of the Silver Bear actor at the Berlin Film Festival; and Abu Dai Kexixu, with "The Life of Adele", won the Palme d'Or at the Cannes Film Festival .

These two artists have won their own glory in the three major European film festivals, and the non-professional actor Nazf Mujic, who has never had any performance experience before, has won global attention in one fell swoop, for any actor to come. Said that this is the highest glory of dreams.

Unfortunately, neither the Silver Bear nor the Palme d’Or can bring about a fundamental change.

Nazf is still an ordinary farmer. He did not change his job to become a professional actor. Instead, he returned to the Bosnian countryside and his life returned to peace.

Not long ago, Nazf was seriously ill, but because of poverty, he couldn't get proper treatment. The previous movie "A Page of My Life" was adapted from Nazf’s real life experience. His wife was still pregnant. The husband and wife had to run around to raise money for surgery; and now, Nazf is repeating the same mistakes again, in order to live, and have to sell the silver bear trophy to the bar owner for four thousand euros.

At the beginning of the year, Nazf left most of the four thousand euros to his family as living expenses, but he only left part of the fare, and he planned to go to Berlin and seek help from the organizers of the Berlin Film Festival. Suddenly worsened and eventually passed away. He was forty-five years old.

In the same situation, there is also Abu Dai.

Compared with the non-professional actor Nazf, Abu Dai is a high-profile new-generation director in France, and his situation is slightly different.

After reaching the top of Cannes with "The Life of Adele", Abu Dai's directorial career was highly optimistic, and he subsequently invested in the production of the new work. Originally, many people thought that Abu Dai would show up in Cannes this year with "Fate, My Love", but they didn't expect this movie to be delayed.

In March, the French media broke the news that Abu Dai's new work based on François-Begaudeau's "True Wound" will be expanded into two films, failing to catch up with this year's Cannes Film Festival; But when the time advances to mid-May, things have changed. In fact, the real reason why this movie could not be completed is because the capital chain has not been able to keep up.

On the eve of the opening of the Cannes Film Festival, the film production company of "Fate, My Love" publicly auctioned Abu Dai-Koshixu's film-related memorabilia, including the Palme d'Or trophy.

Such a move caused an uproar, but Abu Dai was very calm. In an interview, he said that he was only a last resort. "In the later stage of the filming of this film, the financing bank suddenly interrupted the credit funds, which caused the entire project to be in The predicament of being unable to move forward and unable to retreat."

In this regard, the Cannes Film Festival has undoubtedly become the focus of attention. The major news media have interviewed Thierry and asked his views.

So far, Thierry has refused to respond publicly; but it is conceivable that this is a resounding slap in the face of the Cannes Film Festival.

Cannes, which claims to be the first of the three major European film festivals, the honor and aura represented by a Palme d’Or trophy is definitely beyond measure by money. Gilles-Jacob is trying to make the Palme d’Or trophy the best in the industry Glory, a trophy for all filmmakers to fight fire with moths.

But now, Abu Dai directly auctions the Palme d’Or trophy, which is undoubtedly a humiliation.

Leaving aside Thierry Fumao’s arrogance at the Cannes Film Festival for the time being, from Nazf Mujic to Abu Dai Kosichu, they fell into such a predicament in just two years, even better than the "Birdman." The situation described is even worse. In fact, it reflects a dilemma in the European film industry-at least one of many dilemmas, that is, under the influence of the fast food culture in the Internet age, the audience is becoming more and more impatient.

Even on the land of Europe, the number of young people willing to calm down to read, study and think is drastically decreasing.

This also means that the living space of art films on a global scale is indeed shrinking. The most intuitive fact is that the proportion of young people willing to learn painting or sculpture is declining; while the popularity of fashion or photography relative to the new generation of art is rising at a speed visible to the naked eye.

The progress of the times is probably the case. Each era has its own products.

It is against this background, whether the three major European film festivals or the Oscars, they are all facing a level of continuous development.

If you look at the high point of the long history, in 2019, the Berlin Film Festival chose "synonyms", the Cannes Film Festival chose "Parasite", and the Venice Film Festival chose "Joker". The latter two works are all standard. Genre film is a kind of commercial film; and the first work is also a reflection in the context of the era of globalization. Film language and thinking core have also changed with the times.

In other words, the boundary between business and art is becoming more and more blurred-how to make art films also enter the cinema, how to make commercial films break through on the artistic level, this is a problem that the global film industry must face squarely, no one Hope that the comic superhero series will completely dominate the big screen of the movie.

Then, the topic returned to Renly and Thierry.

Obviously, the online streaming media proposal put forward by Lan Li is showing a possibility, the possibility of combining commerce and art, and Thierry must face up to this possibility if he has a sufficient long-term perspective.

"Mr. Fumao, maybe you don't know the status of Nazif-Mujic, but you should know the status of Abu Dai-Koshixu, right?"

Facing Lanly's words, Thierry's eyes showed a gleam, "If you want to create a provocative effect, then you have succeeded."

Thierry dislikes Abu Dai's choice very much, and the auction of the Palme d'Or trophy is definitely not the situation that Cannes Film Festival hopes to see.

Lan Li was noncommittal, but raised his lips slightly, "Mr. Fumao, the only way to break the traditional imprisonment is to create conflicts and initiate wars; otherwise, it will be difficult to achieve the power of the younger generation only by relying on subtle changes. This also means that we Must dare to take risks."

Thierry's expression didn't change much, but he looked at Lan Li quietly, and said in a slightly mocking tone, "Your adventure is online streaming?"

Sure enough, the French have a perseverance in movie theaters. As long as they mention "online streaming", they will enter a fighting state like a cockfight.

"I think there is some misunderstanding between us. Online streaming is not to seize the market of traditional theaters, but to provide another option beyond the cinema." Lanly said calmly, which is also the Don Quixote channel and Netflix. The biggest difference.

Netflix's primary consideration is profit, so it must ensure that its work can be streamed online as soon as possible. "Online and offline are in sync". This is their slogan and a gimmick. They do their utmost to strive for theatrical movies to be online on their platform as soon as possible. In other words, this is equivalent to grabbing food from the mouths of traditional theaters.

The primary consideration of Don Quixote Channel is diversification, because the box office of art films is not a strong point, even if they are shown in theaters, it is difficult to achieve profitability; while online streaming media provides another channel for more audiences to see Movies also provide additional income for art creators. The conflicts between them and traditional theaters are far less intense.

For the three major European film festivals or film festivals such as Sundance and Telluride, the true goal of the Don Quixote channel is actually this:

If a work is favored by the distribution company, then the Don Quixote Channel will wait and see its changes, and negotiate with the distribution company and the art theaters to see how many weeks and four weeks the movie should be shown on the theaters? Or eight weeks? Then the movie will be logged on the online streaming media platform to provide on-demand.

If a work cannot find a distribution company, then the Don Quixote channel can provide a platform for more audiences to appreciate the work. Especially those senior fans who love art films but can't find channels to appreciate these works can open the door to a whole new world.

Of course, Sisyphus Films is not a charity company. "First on the Don Quixote channel, and then if it is favored by the publishing company, remove the online broadcast and enter the theater." This kind of thing is impossible, and they are also It still needs to be profitable to keep the company running for a long time. However, Sisyphus Films is able to provide directors with a talent display platform to gain more attention, care, and even investment for their next work.

It is precisely because of this that Sundance Film Festival is willing to cooperate with Don Quixote Channel~lightnovelpub.net~ Robert Redford has spent countless efforts to create this film festival, he naturally will not be a little petty. Lee betrayed himself, in the final analysis, because Renly successfully persuaded Robert.

Lan Li further explained in detail, and Thierry's thoughts began to surge--

Although online streaming media still needs to face countless tests, the simplest point is that Don Quixote channels still need to be profitable to continue to operate. It is difficult for them to create enough business by relying only on the title of "Art Film Channel" Value, this also means that the Don Quixote channel will inevitably need more and more exclusive rights in the future, that is to say, the competition between them and the theater will come sooner or later.

But Thierry has to admit that Renly has indeed grasped the crux of the problem. If the Don Quixote channel can provide an additional distribution channel for art films, this will be a good thing for the three major European film festivals— —At least in the early stage, when the interests of theaters have not been directly touched, this is indeed the case.

The key now is that this pie looks very delicious, but one bite, whether the filling inside is as advertised, no one can be sure.

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