The Critics’ Week used to do an official meeting for the announcement of his selection, and after that, there was a little drink to talk about it. Since the selection is now announced online, there’s only the little drink left, like a truncated head. A drink at 10 a.m., that is a coffee shot, two croissants and plenty of time to shoot the breeze.

X7 Metodo Iperespresso machines in showcases and a ceiling light made of cups; this is the setting. Soft jazzy music in the background, jingles of spoons and cups, the voices start getting louder. The world of film critics is quite small. It is said there is some kind of schism in the profession. Roughly, you have critics who come from a journalistic background and then turn to the cinema, and those who come from a university background, already working in the field of cinema, and have a more theoretical approach. But here, you can’t tell. All over the café, people recognize each other, start talking and a smooth friendly atmosphere is immediately settled.

No official speech is coming up, no film presentation; so, softly, you give in to the chit-chat dance. Very quickly I found out that our little NISI MASA team is quite famous: everybody has heard of it! But since I’m the new guy, nobody knows me. Anyway, I managed to run into an old professor of mine who happened to be in the selection team for the Critics’ Week. Mixed with a cup of memories and general talks, some neat information pops up.

Openings start like this: “Russel Crowe is the same kind as George Cloney. They don’t break the box-office the first week-end as, say, a Will Smith or a Johnny Depp, but people start talking. They’re good on the long run.” Anyone waiting for Robin Hood must know that, in the early stages of the project, Nottingham’ sheriff was supposed to be the good guy, played by Russel Crowe, and Robin Hood (who might have been played by Christan Bale), would have been see though his darker side. At one point too, Russel Crowe was supposed to play both parts! Maybe too insane for the audience, that’s why our opening film sounds so… familiar.

Back to the Critics’ selection, here are some of the “must-sees”: the opening film, Le Nom des gens (by Michael Leclerc), the Korean’s Bedevilled (by Jang Cheol So) or David Robert Mitchell’s The Myth of an American Sleepover. Belle Épine could hide some surprises too. “If you have one revelation throughout the selection, then you can say it’s a good year”, confides my professor. “But if no ones break through, then they said it was a bad selection, though there were good films. It’s the same for the Director’s Fortnight. Everybody wants his revelation and the pride of having chosen it.”

“Prepare for madness” seems to be one recurring theme of Cannes’ tips off. A tall guy grabbed me when I was leaving and said: “From 4 p.m., put your tuxedo on or they won’t let you in. And bring your bow tie. Don’t forget the bow tie, it’s critical! But don’t worry, you practically can buy one at every street corner!” Now, you’re ready for the storm, my friends.

Romain Pichon-Sintes