[Here is Cannes, Afterwards] Does Time Run Backwards at the Cannes Film Festival? Behind the Scenes of the Coverage

75th Cannes Film Festival Wrap-Up
Private Coverage Notes
War-Like Reporting Experience

[Asia Economy Reporter Lee Isul] Finally, I am sending off Cannes. This year will be remembered as an unforgettable film festival. It was that good, joyful, and also exhausting. Despite a tight schedule that felt like 48 hours in a day, it was a pleasant coverage experience that made me truly feel the status of K-movie on the global stage. Here is a highly personal summary of my 12 days of coverage.

The 75th Cannes Film Festival opened on the 17th of last month and closed on the 28th. I covered it for the third consecutive time, the only domestic journalist to do so. Entering the press room at the Palais des Festivals in Cannes, France, I recalled the time in 2019 at the 72nd festival when I covered the local awarding of the Palme d'Or to "Parasite." I remembered the moment I was heading back to Korea, thinking it might just be a temporary glory, which made the feelings all the more special. Also, having covered the 74th festival last year where Song Kang-ho served as a jury member and Lee Byung-hun appeared as a presenter at the closing ceremony, I witnessed the changed respect Cannes showed. This year marked the peak.

Even before going to Cannes, it was somewhat anticipated. The news that Lee Jung-jae, who became a global star with "Squid Game" last year, would make his directorial debut with "Hunt" at Cannes circulated quietly in the film industry before the official announcement. It was quite convincing. Cannes reached out with the "Lee Jung-jae card" to successfully lead the festival. For Cannes, which awarded the Palme d'Or to Korean cinema under sharp scrutiny in 2019, this flow of K-culture might have been welcome. It might be right to see it as a natural trend that cannot be ignored.

Cannes' strategy hit the mark. Lee Jung-jae actively played the role of a special guest throughout the festival. Locally, it was said that the number of foreign media outlets requesting interviews was the highest ever. Rumors circulated that it was even more than some other big names. The premiere screening, held amid tremendous interest, was also highly anticipated. A spectacular scene unfolded as the line of audiences waiting to enter the Lumi?re Theatre stretched all the way to the casino in the distance. The press also had to wait a long time before entering to watch the film.

"Hunt," which was revealed at midnight, was literally a "midnight" screening. For the domestic press, "Hunt" was the first official event. The film ended at 3 a.m. When I arrived at the accommodation and started writing the article, dawn had already broken. I arrived and immediately endured an all-night schedule, becoming exhausted. Midnight schedules early on are physically challenging.

Lee Jung-jae and Jung Woo-sung, whom I met in Cannes, shone even brighter. They looked dashing in tuxedos. Who would believe they are in their fifties? This year's "Hunt" team was so impressive that I wanted to cover them separately. Or more precisely, it was the honesty and sophistication of the "Cheongdam-dong couple," Lee Jung-jae and Jung Woo-sung, that shone. Returning to the coverage, even the powerful Lee Jung-jae was nervous on the Cannes stage. How much must he have felt presenting his debut work at Cannes? He couldn't smile freely and comfortably. Of course, when he met the domestic press two days later, he seemed to have regained composure and showed a refreshing wit.

Cannes opened the festival grandly this year with Tom Cruise, a surprise card alongside Lee Jung-jae. Watching the crowds flooding the streets to see their films gave a feeling of returning to the pre-pandemic era. On the premiere screening day of "Top Gun," Cannes flew Air Force fighter jets. The roar of the jets shook the ground, providing a spectacular show. A local official I met said, "Tom Cruise kept looking up at the sky while walking the red carpet." The "Top Gun" team seemed very excited about the scheduled event. After watching "Top Gun" locally, I nodded in understanding why this event was special.

The hot enthusiasm stirred Cannes. "Maybe soon for us too?" Envy quickly turned into expectation.

In front of the Majestic Hotel, where posters promoting major Hollywood works were displayed, posters of CJ ENM's "Decision to Leave" and "Broker" were also posted. For reference, the Majestic is the top-tier hotel where Cannes Film Festival assigns accommodations to the highest-level invited directors and actors. Just as I wondered, "How much did this cost?" I looked up and saw photos of actors Tang Wei and Park Hae-il on the hotel wall. Expectations grew that "there would be work again this year." Of course, whether the billboards directly relate to Cannes Film Festival awards is uncertain, but the local advertising effect cannot be ignored. Isn't advertising executed with the expectation of investment returns?

There was also a poster of "Decision to Leave" at the entrance of the Cannes Film Festival Film Market. It was the same place where the poster of "Parasite" was displayed in 2019. Expectations grew. At the same time, having experienced what terrifying things happen to reporters covering the festival when a film wins the Palme d'Or, fear and worry surged.

Locally, many officials said the film "Triangle of Sadness" was good. Some domestic media translated it as "Sorrow Triangle," but this publication used the original English title while covering the closing ceremony of this year's Cannes Film Festival. This was because the translated title could not fully capture the work. The distributor Green Narae Media announced on the 2nd that it would be released under the original title. Although the Dardenne brothers, beloved by Cannes, directed it, it seemed unlikely they would receive the Palme d'Or. The atmosphere suggested that director Ruben ?stlund would take it. After winning, Ruben roared with joy at the photocall. It was intriguing to see the trajectory of the young director who won the Palme d'Or again five years after "The Square" won at the 70th festival in 2017.

"Parasite" became the standard for all Cannes awards. The applause, cheers, atmosphere, and audience expressions immediately after the screening at Cannes are unforgettable. "Decision to Leave" left a strong impression as a well-made film. It commercially and excellently touched universal emotions. "Broker" was also good, but judging by the atmosphere immediately after the screenings of both films, expecting the Palme d'Or was difficult. Although "Broker" was good, no one could know Cannes' heart. The award results were hard to predict.

CJ ENM Vice Chairwoman Lee Mi-kyung vigorously applauded alongside director Park Chan-wook and actor Song Kang-ho at the premiere screenings of "Decision to Leave" and "Broker." Vice Chairwoman Lee had previously supported Cannes in 2019, attending for the first time in 10 years since "Thirst" (2009), ahead of the official screening of "Parasite" (director Bong Joon-ho), which won the Palme d'Or. She headed to Cannes again after three years.

Director Park Chan-wook, who planted the seed of trust in Korean cinema at Cannes with "Oldboy," must have had thoughts watching "Parasite" win the Palme d'Or. It would be a lie to say he was not a bit disappointed. At a tea time in Cannes before the screening, when asked by a reporter if he expected the award, Park replied, "I hope theaters and the film industry will revive." He expressed this as his sentiment after going on stage immediately after the award.

Park, whom I met locally, was full of confidence. Foreign media reactions to "Decision to Leave" were also good. Foreign media interviews with advertisements were noticeable. Whether Park would return empty-handed was not the issue. If he won, the Best Director award seemed most likely.

Actor Song Kang-ho roamed Cannes for two consecutive years as Palme d'Or winner and jury member. Covering this locally, I was impressed by the Cannes Film Festival's utmost respect for him. It might be natural, but seeing a domestic actor receive such "treatment" at Cannes was not a familiar sight. During the screening of "Broker," cameras focused a lot on Song Kang-ho. Thierry Fr?maux, the executive director, led big applause welcoming director Hirokazu Kore-eda and Song Kang-ho. Song said, "A film festival is a celebration, not a sport," but we all knew how much he hoped for the Cannes Best Actor award. Last year, he suffered so much judging at Cannes that he had a nosebleed, and when "Parasite" was racing for the Oscars, he dropped all schedules to stay by director Bong Joon-ho's side.

This year, Asian actors won both Best Actor and Best Actress awards. Although not a common sight at Cannes, it was refreshing to witness such an event.

Right after the closing ceremony, awardees Park Chan-wook (Best Director) and Song Kang-ho (Best Actor) headed to the press room. Song Kang-ho had visited the press room with Bong Joon-ho right after "Parasite" won, so he appeared quite relaxed. Park Chan-wook was stopped several times for interviews on the way to the press room. Reporters welcomed them with applause as they entered. The scale of Cannes coverage has grown considerably. This year, broadcasting station coverage increased significantly. Three years ago, the atmosphere was more intimate with reporters chatting quietly, but this year it resembled a small press conference. Rather than excited remarks, organized words were exchanged.

The poster for the 75th Cannes Film Festival paid homage to the ending of Jim Carrey's film "The Truman Show." Looking at the poster, I felt Cannes embedded a message for the endemic film industry. How did Jim Carrey live after escaping the set through the door? What kind of scenery did he face? Similarly, what will the endemic film industry look like? Cannes must have been genuinely curious. I think they cleverly included this in the poster.

Covering this year's Cannes Film Festival, I felt more than anyone the passionate hope that audiences would love films again and return to theaters. Director Park Chan-wook said in his prepared remarks, "We will protect movie theaters and forever protect films." Jung Woo-sung, whom I met locally for Asia Economy, said, "Cannes Film Festival is great, but the box office news of 'The Outlaws 2' in Korea is even more joyful," adding, "I hope domestic audiences return to theaters and revive cinemas."

Reporters also had to fight the fear of disease during coverage, but they saw hope for endemic films. Cannes proved that if the work is good, audiences will come in droves. Will we be able to keep smiling at Cannes? There are also talks that Korean films will face scrutiny for a while. One thing is clear: the status of K-movie has changed. Beyond recognition, I felt the changed global trust. There is consensus that this is the result of the endless efforts and evolution of our filmmakers. A new challenge has also been received: how to overcome the absence of a second Park Chan-wook, Bong Joon-ho, and Song Kang-ho. The evolution of K-culture is just beginning.

This content was produced with the assistance of AI translation services.