Film Festivals Are Evolving for the Better

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“We built a room, a platform, to hold hundreds of people at a time to talk about these films. Without the lockdown, we wouldn’t have found this really important piece to keep pace with cinema-going online.”

This time, though, Jackson and her colleagues were prepared. Since they’d held the festival online last year, they knew what to do. And in planning this year's festival as a hybrid event, they found most of the mechanisms for pivoting to streaming were already in place. When the event launched last night, it was practically seamless.

Yes, and no. Yes, the audience's relationship to film is changing—people are now fairly comfortable using multiplexes and home theaters interchangeably. But so, too, are filmmakers’ relationships with the people who consume their work. Directors like Denis Villeneuve and Christopher Nolan can, justifiably, insist vociferously that their movies get seen in theaters, but these filmmakers are a far cry from indie directors who just want their films to get seen by.

Shari Frilot thinks about this a lot. She’s been curating Sundance’s New Frontier program for 15 years and has seen it evolve from a few interactive performance and virtual reality projects into a massive part of the festival. The Spaceship exists largely because she wanted people to have a virtual platform, regardless of the festival's format—it just came in very handy when the event went online.

So what, then, does the film festival of the future look like? In the short term, it needs to be agile and encompass some form of digital and in-person involvement. Right now, each fest seems to be reacting to the evolving situation it’s in—Omicron made Sundance in Park City, Utah untenable, but organizers are still planning for an in-person Berlin Film Festival in February, although it’s. But even if Covid is, one day, a thing of the past, another virus could take its place.

 

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