For almost two years, the whole world has shifted into parallel universes while performing a serious digital catch-up. Even the most resistant had no choice “to line up” to follow a fast-paced train, in order to mitigate the impact of the surrounding chaos.
In this context, film festivals have had no other options than to reinvent themselves – a word almost hated, just like rainbows … And at the dawn of 2022, several leaders are still asking questions existential questions on the viability of this model, that of the online distribution of films, but also of debates, master classes, etc. Coming from the Latin “festivus” meaning “festive”, is it one when the “festival-goer” is alone in front of his screen? Some are convinced of it, others less.
The precursors
“The founders of Plein (s) screens as well as the current team and collaborators are fans of theatrical cinema, but we offer another way of seeing films. [sur Facebook, sur Instagram et sur le site du festival] and to people who would not have seen them elsewhere ”, declares Ariane Roy-Poirier, programming director of this exclusively online event, which will be at its 6e edition from January 12 to 23.
Entirely devoted to short films, Plein (s) screen (s) offers 41 productions this year, an essential showcase for a neglected or downright unrecognized format. This is confirmed by Catherine Legaré-Pelletier, general manager of the event. “At Plein (s) Ecran (s), the short film is offered as a work in itself, not a complement to the program before or after another film. And among the potential spectators [rejoints par les réseaux sociaux], there are many who not only have never seen short films, but have never seen Quebec films. “With 1.5 million views in 2021 and more than 42,000 subscribers to their Facebook page, the heads of the festival believe in the potential of their model.
They also know that in its early days, Plein (s) Ecran (s) was as much a pioneer as it was an anomaly. From March 2020, the perception has changed dramatically. “The festivals that have made the switch to virtual have discovered that it is not so easy to put films online and have a conversation. [virtuelle avec les internautes], underlines the general manager. Some did very well and discovered a whole new audience, sometimes even from across Canada. “
Full Screen (s) has been pampering his for six years, and others for longer. This is the case with MyFrenchFilmFestival, an annual digital event headed by Unifrance, an organization responsible for promoting French and French-speaking cinema internationally. Daniela Elstner, Executive Director, is proud to present the 12e edition from January 14, and until February 14, available on 70 platforms in more than 200 countries and territories, the programming of the 2021 edition having accumulated 13 million views.
Skepticism was present at first, acknowledging that she was part of this clan, not yet at Unifrance. “The producers, distributors and artists were skeptical, remembers Daniela Elstner, because we had to prove that it allowed French-speaking cinematography to travel to countries where access to the big screen is not easy. Today, all this seems logical to us, but at the time… ”
Even if MyFrenchFilmFestival did not have to reinvent itself from March 2020, its directing soul recognizes that the last two years have accelerated their learning of online broadcasting, wishing for the future a communication with viewers spread over the whole world. year, not just a month. A long-term job, but one that will never replace the promotion of French-speaking seventh art on the big screen. “We will always be partners of many festivals, insists the general manager. We care about the cinema, but we have to do a bit of everything today, talk to people where they are. And above all, do not give up. “
Rediscover the meaning of the party
For events whose DNA is digital, the current period has several advantages, even if they must prevail in a market that is now overloaded… and globalized. As for the others, the challenges are numerous, while there was no shortage of them when it came to organizing a “face-to-face” film festival. To be honest, the time has come for uncertainty in various organizations, but in tune with the rest of society!
Rather than concocting a second online edition, Martin Genois, general manager of the Quebec City Film Festival (FCVQ), preferred to “work on a real recovery plan” which he intends to present to his partners in a few weeks. . This regular at grandiose events (he worked for a long time at Ex Machina, then at the Festival d’été de Québec and at the Red Bull Crash Ice) was not yet in post during the 2020 online edition, but he noticed that “The results were mixed, the pandemic had been raging since March, and we felt shortness of breath to be in front of the screens, especially during [les beaux jours de] summer ”.
He would like to point out that he has no “expert opinion or in-depth study to offer” on the question, but for the continuity of the FCVQ, the future is not digital, at least not only. . “Producing a hybrid event requires strong backs and a big team,” says Martin Genois. You have to choose your battles. What worries him more is knowing that many young people have never been to the movies. The FCVQ has a role to play in attracting them to a work presented on the big screen, developed for the big screen. And it starts by finding all possible means to tear them away from the little ones.
Before the pandemic, film festivals were effervescent places for meetings and exchanges (of all kinds!), Things that were more difficult to accomplish each behind a screen. Many people lacked the sense of celebration, who want to rediscover it. In a text recounting his festival experience in Slovenia last fall, Chris Robinson, artistic director of the International Animation Festival ottawa for thirty years now, has returned to this euphoria – and the multiple restrictions that go with it.
He already knew it, but it was crystal clear: nothing beats the warmth of a movie theater with attentive spectators. “During our 2020 edition, I sided with the idea of being online, telling myself that it would be for only one year,” he said without laughing. After this first experience, the 2021 edition was more difficult, the novelty effect had faded. The Festival is a pleasant, convivial and unifying event; it does not translate online. “For those who say they are reserved, but capable of” clownish “presentations before screenings to entertain their audience, Chris Robinson does not hide his” fear of still being in hybrid mode “at the next edition in September.
The Rendez-vous Québec Cinéma (RVQC) will be held soon, from February 23 to March 5, but little concern is felt in the speech of Sylvie Quenneville, general manager of Québec Cinéma. She and her team are preparing “for a face-to-face edition, with a digital component in addition”, drawing on the experience acquired in 2021. Because the RVQC were one of the last Montreal festivals to be held in the complete carefreeness of before COVID-19 in 2020.
If she recognizes, like the other directors, “that digital technology can attract other audiences”, she agrees with Martin Genois, namely that this technology “requires a lot of investment”. According to her, this event dedicated to Quebec cinema and its artisans cannot do without cinema lessons, debates, festive evenings. In short, of all these occasions where people in the community can establish both “business relationships and new alliances” and the spectators, take advantage of “one of the last chances to see a [récent] Quebec film on the big screen ”.
Sylvie Quenneville undoubtedly expresses the most unanimously hoped-for wish, regardless of the status of the festival: “If the virus can finally get away from us, I have the impression that people are going to need even more to see each other and to see each other. to meet. “