The Film Verdict: The Quinzaine has a new name, but the selection appears to be very much in line with the section’s history. Is it a case of “the more things change, the more they stay the same”?
Julien Rejl: The name change, from Quinzaine des Réalisateurs to the more neutral and inclusive Quinzaine des Cinéastes, was something the SRF [the French Directors Guild, which founded the section] decided on before I was appointed, and I support it wholeheartedly. Regarding the selection, it’s too early to make an assessment of its impact, but I do of course hope the films connect with the audience, and they certainly do reflect a tradition of showcasing established names alongside exciting discoveries.
TFV: The Quinzaine is its own thing, but also very much part of Cannes’ structure and history. This is also exemplified by your two special guests, Souleymane Cissé and Quentin Tarantino.
JR: I’m not in a position to comment on Cissé, because I was not involved in the invitation. The Quinzaine does host the Carrosse d’Or ceremony, but the event itself is 100% the brainchild of the SRF. As for Tarantino, I both agree and disagree with your premise: yes, he’s a major part of recent Cannes history, and I admire his films very much, but that’s not why I invited him. The starting point was his book, Cinema Speculation: he has a specific perspective on film history, and I wanted to highlight that in a context where his opinions can be at odds with the more conventional idea of cinephilia.
TFV: You mentioned in your editorial on the Quinzaine’s website that this year’s feature film selection adheres to France’s so-called “media chronology”, meaning the films will receive a proper theatrical release after the festival. You also have a partnership with MUBI, which has a permanent series of films from past editions. Is this the ideal balance between cinema and streaming?
JR: As you know, France has a very special bond with the theatrical experience, and that’s something Cannes in general is very committed to. That’s also why I decided to expand our reruns program in June, bringing the films to 30 cinemas across France and making sure viewers who couldn’t make it to Cannes in May can enjoy them. It’s especially important for us to have that kind of connection with the audience, because the Quinzaine is the only section of the festival that sells tickets to regular moviegoers. The invitation to Tarantino is also part of that philosophy. As for MUBI, that partnership predates my arrival, but yes, I do think it’s a good use of the platform to make part of the Quinzaine’s history available online after the films have already had their first lifecycle in cinemas.
TFV: There’s been a few articles in the press about a conflict of interest within the SRF. Is that something you’ve addressed?
JR: Absolutely. It was one of the first things we discussed, for the sake of transparency regarding the role of the General Delegate. Now, I must say the SRF has been hands-off when it comes to the selection. I do keep them in the loop concerning initiatives like the reruns in cinemas, but they have no say in the choice of films. But, as you mentioned, there has been a bit of a conflict of interest, in that their membership consists of filmmakers, who would obviously like to have their work screened in Cannes. With that in mind, there’s already been one rule change: from now on, SRF board members are not allowed to submit their films to the Quinzaine while they’re sitting on the board. There are other items still on the table, to be dealt with in the years to come.
