The Greatest Showman #1363 – Can’t tell

Among the three major European film festivals, the position of the chairman of the jury is crucial. During the award selection process, all judges deliberate and vote to ensure that a consensus is reached. However, the chairman must bear the heavy responsibility of coordination and control, especially when differences arise. In such cases, they must demonstrate decisiveness and authority.

Throughout the history of these festivals, the aesthetic taste of the jury chairman has often played a pivotal role in determining the award winners. In the past decade alone, the Cannes Film Festival has seen many such instances—such as The White Ribbon (2009), The Wind Blows the Wheat Waves (2006), Fahrenheit 911 (2004), and The Elephant (2003). These Palme d'Or-winning films sparked huge controversies, but ultimately, the tough decisions made by the chairman resulted in those films taking home the award, even if they were criticized as "arbitrary."

Time will reveal whether these decisions were right.

On the other hand, a weak chairman who is swayed by the judges or lacks control can lead to a complete collapse in the selection process. This can spell disaster for the festival's credibility.

The 1997 Cannes Film Festival serves as a prime example. Legendary French actress Isabelle Adjani chaired the jury, but she lacked the necessary aesthetic judgment and the strength to manage the group effectively. This led to intense arguments among the judges, causing the process to completely unravel.

During the deliberations, Isabelle tried to appear generous by insisting that all discussions be conducted in English. This was not an official Cannes policy, as some judges were not proficient in English and were allowed to use their native languages with the help of translators. Isabelle's decision to use English backfired, as her grasp of the language was not strong enough to keep up with the fast-paced discussions. Worse still, several prominent English-speaking judges—such as Tim Burton, Mira Sorvino, and Mike Lee—were on the jury.

Mira Sorvino, fluent in English and an expert in East Asian languages from her studies at Harvard, even served as a translator for Gong Li, another judge. Meanwhile, Italian director Nanni Moretti, skilled in persuasion, and Mike Lee, fresh off his Palme d'Or win the previous year, brought a level of intensity and authority that overshadowed Isabelle.

The first film discussed was Wang Jiawei's Spring Light Zha Xie, which Isabelle dismissed as "not a good movie." Some judges strongly disagreed, praising it as one of the best works of the year. Isabelle, unable to defend her position, lost her composure.

Mike Lee, after the discussions, vented his frustration at a PR party, publicly calling Isabelle "the stupidest woman I have ever seen!"

At the 50th anniversary of the Cannes Film Festival, Isabelle's choice, Don't Lose and Don't Forget, won the Grand Jury Prize. Meanwhile, Nanni's The Taste of Cherry, despite being less favored by most judges, won the Palme d'Or, with Mike Lee's support. This was a rare double win.

Festival chairman Gilles Jacob was dissatisfied with the outcome, having tried to avoid such a scenario, but in the end, he had no choice but to accept it. Isabelle's inability to control the situation left him frustrated, and after the festival, he complained extensively. Furthermore, Spring Light Zha Xie went on to win the Best Director Award.

Isabelle became a target of media ridicule, highlighting how crucial it is for the jury chairman to have both aesthetic authority and the power to guide the selection process. Generally, the Palme d'Or is seen as the embodiment of the chairman's aesthetic vision, with their name forever linked to the award-winning film.

So, how will Steven Spielberg fare in this role?

"It's confirmed! It's confirmed!"

A shout echoed through the media center, instantly grabbing everyone's attention. The bustling chatter died down, and the room fell silent, the news traveling fast.

"'Venus in Furs' is out, they're not on the list."

"Ah!" Emily raised her hands instinctively, cheering, and soon realized she wasn't alone. The other reporters around her clapped, sharing in the celebration as the air around them became charged with excitement.

"'Hua Rong Yue Miao' is definitely not going to attend the red carpet!"

"Wow." A collective sigh of relief rippled through the group, as if they had narrowly escaped disaster—though the term felt inappropriate, it was the sensation they all shared.

"But... 'City of Beauty' and 'Hurley' are still uncertain."

A unified sigh spread through the crowd. Both films had only recently premiered, and the entire crews remained in Cannes. The reasons for their presence were unclear, but it meant that eight crews were still in Cannes—an unusual situation, as there were only seven awards. Could this mean a double winner for the Palme d'Or? The competition was becoming increasingly tense and unpredictable.

Despite the uncertain outcome, the focus remained on two films, Adele's Life and Drunken Country Ballads, which were dominating the race. As the festival drew to a close, the suspense was palpable. No matter which film took the Palme d'Or, the other would inevitably lose. But if a surprise film like City of Beauty or Hurley triumphed, it could turn the entire competition upside down, making it an excruciating outcome for the other contenders.

This was why the reporters reacted so uniformly.

As the tension built, everyone tried to distract themselves with gossip and social media updates. Emily, however, could not shake the mounting anxiety. She found herself obsessing over the potential consequences of City of Beauty winning. What would it mean?

Her nerves grew as she turned her attention inward, unable to avoid the uncertainty.

Finally, in a moment of desperation, Emily plugged in her headphones and played the soundtrack to Drunken Country Ballads.

The Coen brothers had mentioned in a press conference that the soundtrack was released before the film itself, and Emily had already ordered the album. She lost herself in the music, particularly drawn to Renly's vocals. Initially, she had imagined a real-life singer named Le Verne Davis, but over time, she became enamored with Renly's performance.

Her favorite track was "The Beast," a song laden with sadness and anger, capturing the helplessness of a lost dream. It resonated deeply with Emily, and she finally understood why the Coens had chosen Renly to portray LeVine Davis.

Amidst the music, the reporters in the media center suddenly grew restless again. Emily took off her earphones, following their gaze to the TV screen mounted on the wall. She stood up quickly as she realized—

The red carpet had begun!