Praise for the 70th Cannes Film Festival Amid Security Threats and Netflix

The 70th Cannes Film Festival enters its second half under the shadow of security threats and themes derived from global political and social developments, coinciding with the increasing power of online film distribution networks like Netflix and Amazon. Cannes, in addition to its traditional role as a showcase for the latest works of renowned filmmakers from around the world, is holding special programs this year to commemorate its 70th anniversary, reminding attendees of its prestige, history, and legacy. For this celebration, Cannes has gathered some of the world's most famous filmmakers for a gathering that honors this event while recalling the function and power of cinema. In addition to well-known filmmakers present at this year's festival, such as Nicole Kidman, Michael Haneke, Pedro Almodóvar, Uma Thurman, and Roman Polanski, another group of previous Cannes winners, including Nanni Moretti, Oliver Stone, and Ken Loach, also attended the main ceremony held on Tuesday evening in the festival's main hall. A part of the programs planned this year to commemorate the 70th Cannes Festival includes the screening of the last film by the late Iranian director Abbas Kiarostami. The film '24 Frames' was Kiarostami's last visual project, which he had been preparing with patience and precision in recent years. This project combines painting, photography, and music, even reaching the borders of visual arrangement. '24 Frames' is a collection of 24 still images, mostly from nature and animals, combined with some visual elements. In one painting, smoke gradually emerges from a chimney, accompanied by the sound of a barking dog. In another image, pedestrians pass by the famous viewing platform of the Eiffel Tower. In this visual arrangement, Kiarostami seemingly made no effort to impose order, transitioning from a frame of a snowy, empty winter scene to a view from a window overlooking a tree with many branches. '24 Frames' requires patience from the audience to accompany it over its two-hour duration, yet it has found admirers among Cannes viewers. While the Iranian presidential election casts a shadow over news related to Iran, a group of Iranian filmmakers present at Cannes has brought attention to Iran from another angle by showcasing their new films. Besides '24 Frames,' which was screened on Tuesday, two films by Iranian filmmakers were also shown at the 70th Cannes Festival on Friday, coinciding with the elections. 'Lord,' the latest work by Mohammad Rasoulof, a contrarian and protest filmmaker in Iranian cinema, represents Iranian cinema this year in the 'Un Certain Regard' section, which, unlike several of the filmmaker's recent works, was made with a production permit from the Ministry of Culture and Islamic Guidance. Despite the production permit, the final result apparently contradicted the opinions of the Ministry of Culture's officials, and 'Lord' could not be present at the recent Fajr Film Festival. The film depicts the corruption infiltrating various management structures in Iran and faced various reactions at Cannes. For some, 'Lord' was reminiscent of the acclaimed Russian film 'Leviathan,' which attracted attention at Cannes three years ago. 'They,' another film by Iranian-born filmmaker Anahita Ghazvinizadeh, was screened on the day of the Iranian elections. Ghazvinizadeh won the first prize in the student section of the Cinefondation four years ago with her short film 'Needle.' According to Cannes' usual tradition, the first feature films of the winners in this section are screened in subsequent festival editions, and 'They' was also shown in the special screenings section: a film made in the U.S. with Iranian and American contributors that narrates the gender crisis of a teenager amid the identity issues of a young Iranian. The reactions to this film, however, were not as significant as the attention given to its creator's short film. 'Tehran Taboo,' another film by an Iranian-born filmmaker, was screened in the Critics' Week section. This film, directed by Ali Soozandeh, was made by Iranian filmmakers residing abroad as an animation. It is a blunt and sharp film with dialogues unheard in Iranian films, depicting sexual crises and the issues of prostitution with unprecedented frankness. In the second half of the Cannes Festival, two Iranian short films are also set to be screened. The film 'Lunch Time,' directed by Alireza Ghasemi, is present in the important competitive short film section and has a chance to win the Palme d'Or in this section. The other film is titled 'Animal,' a joint work by brothers Bahman and Bahram Ark, which has reached the student section of the Cinefondation. This year's Cannes Festival has an exciting mix regarding the display of the latest works of reputable filmmakers, but what has been felt so far after the screening of half of the films in this festival is the absence of a standout work that everyone agrees upon. Michael Haneke's latest film, 'Happy End,' has somewhat satisfied critics, but many find it difficult for him to win his third Palme d'Or with this film. On the other hand, Andrey Zvyagintsev's recent film 'Loveless' has garnered more positive attention than Haneke's, building on the credibility of recent Russian cinema with films like 'The Banishment' and 'Leviathan,' but these reflections are not as strong as his previous works. Sofia Coppola's latest film has also made headlines at Cannes. This film, titled 'The Beguiled,' not only brought together some of the world's most recognized actors, including Nicole Kidman, Colin Farrell, Kirsten Dunst, and Elle Fanning, but also sparked reactions due to its portrayal and perspective on female characters. The story of this film takes place during the American Civil War and revolves around a Northern soldier who becomes trapped in a remote house among a group of Southern women. The competition among these women of different ages to attract the attention of this young man culminates in a tragedy. 'The Square,' directed by Swedish filmmaker Ruben Östlund, has also attracted attention. His previous film, 'Force Majeure,' garnered critical acclaim, and now his new work, which has a unique theme and treatment, is considered a contender for this year's Palme d'Or. The news-making films of this year's Cannes Festival are overshadowed by the increasing presence and power of online streaming networks, including Netflix and Amazon. The acceptance and screening of a significant number of exclusive products produced for these networks have raised concerns among cinema industry professionals, who argue that films are made for screening in large cinema halls, and home distribution can affect the essence of cinema. For now, however, Cannes aims to maintain an open stance towards them by accepting two Netflix-produced films in the main section.