The Greatest Showman - Chapter 1351: Field Publication Released

After carefully reviewing the manuscript once again to ensure its accuracy, Sean Levy quickly uploaded it to the official website of Empire Magazine. As a front-line film critic, time is of the essence. Every minute is crucial. If Sean had stuck to his usual routine, he would have rushed back to the hotel, showered, and gotten some sleep to recharge for tomorrow's work. But today, even though his work was done, sleep seemed elusive.

Sitting in his chair with a beer in hand, the image of Drunken Country Folk Ballad kept resurfacing in his mind. For Sean, Drunken Country Folk Ballad wasn't just a perfect film—it left a lingering impact.

It wasn't just the script, cinematography, or performances that left an impression. It was the unique essence that radiated from every detail—the poetry, the lightness, the depth, the beauty, and the sadness that all merged into something unforgettable. What truly stood out, however, was the film's profound ending, which left him reflecting long after the credits rolled.

As the soft folk melodies echoed in his mind, Sean could almost transport himself back to the Greenwich Village of the 1960s—the misty streets, the humble yet warm people, and the disillusioned yet happy souls strumming guitars between bars.

Curious, Sean wondered what other film critics thought of the official Cannes Film Festival.

...

The Cannes Film Festival, known as the largest film market in the world, also boasts a complex official catalogue system. Some films are viewed by the market before their official premieres, and all their rights are sold in advance, which naturally raises the expectations of reporters and critics. Only after the critics release their reviews will the market respond.

Moreover, the official review list is divided into categories based on region and media. There's the French and European media, led by Cinebook, the UK and US mainstream media, Latin American outlets like Mexico (known as the Apicha List), and East Asian media, among others. Each list holds its own value in the market.

For marketers in South American markets, such as Brazil or Argentina, the Apicha List is particularly influential when purchasing film rights. For those considering potential Oscar nominations for Best Foreign Language Film, the UK and US media ratings are typically the most reliable.

However, this often leads to misreporting by Chinese media. They might declare a film a hit at Cannes, but when the results are out, the film with the highest ratings doesn't necessarily win, leaving audiences confused and questioning the process. This discrepancy arises because the top awards at major European festivals are decided by a jury system, where the judges' personal tastes play a large role. Therefore, it's essential to understand that magazine ratings don't always align with the final award results.

Moreover, aesthetic preferences differ between countries. A prime example is Crouching Tiger, Hidden Dragon, which many UK and US critics hailed as the best Chinese martial arts film of the new century, yet for Chinese audiences, while it's a masterpiece, it's not necessarily the greatest of them all.

Thus, when reading reports from foreign festivals, one must recognize the cultural and regional biases at play. Standing outside the context can lead to misunderstandings.

Among the myriad of Cannes Film Festival reviews, however, one official publication stands out: The Field Journal.

Each year, the festival selects ten film critics from different regions and publications to form a diverse media panel. This ensures fresh perspectives and avoids stagnation in the journal's analysis. The official journal strives for an average, reflecting a variety of viewpoints rather than a singular opinion.

This year, Liberation/Release, Feature Film from France, Sight and Sound, The Daily Telegraph, Screen from the UK, Los Angeles Times from the US, Medusa from Russia, Die Zeit from Germany, Movie Xunbao from Japan, Bangkok Post from Thailand, and others, comprised the scoring group.

Each critic rates films on a four-star scale, with scores being updated daily. These ratings appear in the morning edition of the journal, ensuring timely access to the latest feedback. Notably, this scoring system only applies to the main competition films; other units, like the Directors' Fortnight, are not included.

The next morning, Emily was jolted awake by the ringing of her alarm, but her mind still felt foggy. Despite brushing her teeth and washing her face, the exhaustion lingered. After a small cup of espresso, she began to feel more alert.

The excitement from the previous night's conversation at the bar still lingered, but she had stayed up far too late and only managed to sleep for a few hours. Now, the weariness hit her hard.

Suddenly, a loud voice pierced through the haze: "God! Renly Hall exploded! Renly Hall exploded!"

Emily jolted up, instantly alert, and rushed over to ask, "Is it Le Verne Davis?"

"Yes, yes, yes! I really love movies!" The person handed her the official publication, still fresh with ink.

The Movie Catalogue had a quadrant list: the vertical axis displayed movie titles in release order, while the horizontal axis listed magazines and critics randomly. The catalog had been printed out before the festival began, with blanks waiting to be filled in. Each day, the ratings for the latest films would be added in real-time.

Emily skimmed the ratings and suddenly burst out, "Boom! Blast! Ahhhh, Renly Hall exploded!" She was jumping with excitement, barely able to contain her joy.

The group around her laughed as well. "I told you! The French press is going to love it!" one of them said.

Another voice added, "I was worried about the American reception, but now it's clear: the Los Angeles Times gave it a solid thumbs-up. Let's see what this means for the Oscars next year."

"The most surprising part? The German Die Zeit gave it four stars. I didn't think they'd get folk music or poetry, but now it seems philosophy is part of the mix!" someone else remarked.

"But what about Russia and Thailand? They're the only ones holding back!"

The conversation continued as Emily eagerly flipped through the official publication, hearing murmurs of excitement all around her. "Let's get to the review comments!" one of the new friends urged.

Emily read aloud, "The Coen brothers shifted the focus away from the narrative and centered the camera entirely on LeVine Davis. His portrayal of the character was gentle, inviting viewers to wander through Greenwich Village in the Sixties, questioning: How could this man be such a jerk and so unrepentant?"

"God!" The group groaned, rolling their eyes. "Doesn't he get it?" one of them grumbled. "If LeVine's a jerk, what about Ray Charles?" another added.

"Wait, it's not over yet," Emily interrupted, reading on, "But despite all that, you can't take your eyes off him. You see the vulnerability and pain beneath the surface. As much as it pains me to admit it, Renly Hall did it again."

A smile crept across Emily's face as she finished reading, "This comment is from Anton Dolin of Russia's Medusa magazine, and he awarded the film three stars."

By the way, Drunken Town Folk Ballad has a field journal rating of 3.6.