Cannes created a reality parallel to the pandemic
Every year the most important film festivals in the world, among which Cannes stands out, become a microcosm in which the pulse of today can be felt.
The world is tired of Covid, confinement and masks and this was reflected in a festival in which the virus was always lurking but hardly and was mentioned in the Festival’s direction.
“Here we are talking about cinema, not about Covid,” replied a press agent of the institution when a colleague asked her about the infection figures. And it is that the red carpet of the French Riviera had a clear mission: to forget that the danger existed.
A parallel reality was created in which the stars paraded displaying all their glamor to the rhythm of festive music that tried to create a climate of, “nothing happens here” that contrasted with the tent that just a few meters away was testing the audience with PCR tests every 48 hours.
The festival spent more than a million dollars in tests with which approximately 28 thousand participants were examined to make the party happen.
And there were positive cases, yes, but they were not discussed. They were taboo, something that was not wanted to know because the show had to continue and it was better for the spoilers who threatened it to remain silent, confined to their hotels without poking their noses at the Olympus of cinema.
An Olympus that this year was very feminine, as it was also the Cannes of history. Starting because the Palme d’Or was won by a director, the French Julia Ducournau, something that had not happened since in 1993 Jane Campion won it for “El Piano”. Also because the jury was made up mostly of women and because its president, Spike Lee, was the first African-American to hold that honor and cause the most chaotic closing ceremony ever seen by revealing the highest award at the beginning of the delivery.
Mexican women were also not lacking as directors, protagonists and content, because if Mexican cinema spoke of something, it was what it is like to grow up as a woman in a society in which the crossfire between drug trafficking and organized crime reaches everyone, but above all. everything, to them.
This is how the world paints us according to the Cannes of the Covid: with a virus that we no longer want to see but that is still there, with women as centers of stories that we hope we will not have to continue telling and with a present in which everything known is being transforming as proposed by the winning film that turned Cannes on its head with its discourse on the dissolution of genres. In the meantime, let the band continue to play, as they did at Cannes Castle at their traditional luncheon with the jury and the press in which the Mayor of the city invites more than a thousand people to taste Provencal delicacies.
From the Castle you can see the majestic blue Riviera, with its hundreds of luxury and medium-sized hotels, from whose windows many infected attendees observed that world parallel to the virus in which in theory, nothing happened.— El Universal