FINAL FRAME
have steered to calmer waters, seeming to close their doors to filmmakers with #MeToo-related baggage. Why the split? America’s proximity to these movements could be a factor. Toronto and Sundance have also been at the forefront of a global drive for greater diversity within festival programming ranks. Simultaneously, and seamlessly, they have increased
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the number of women and ethnic
CONTENTIOUS From left: Roman Polanski, Woody Allen and Nate Parker.
minorities in their programs.
ATLANTIC CROSSINGS
what is the purpose of a festival, and to
How are festivals on both sides of the pond responding to controversial directors in the #MeToo era?
movies directed by women. If you look at
BY A N D R E A S W I S E M A N
lens you’re looking through. It’s nuanced.”
The divergence begs the question: what extent should one take into account a filmmaker’s private life? “Alberto is not buying into optics,” one leading festival executive told us. “But it’s a fantasy that there are not enough the A-list European festivals, they tend to be run by older, white, men. It’s about the To some degree, this transatlantic film
A FEW YEARS AGO, A POLITICALLY
Barbera has stirred controversy by pro-
festival division mirrors a broader indus-
charged movie starring and directed by
gramming Parker’s feature, as well as the
try divide across continental lines. After it
Nate Parker and championed by Spike
new film by Roman Polanski, and only
was ditched by Amazon, U.S. distribu-
Lee would have all-but walked into TIFF.
two women directors in Competition.
tors have so far steered clear of Allen’s A
Cannes, dogged by gender issues in
Rainy Day in New York, which we hear is
The cultural landscape has been radi-
recent editions, feted polarizing actor
very good. European buyers have been
cally and vitally reshaped by the #MeToo
Alain Delon in May, one year after wel-
less shy, and Allen has found a happy
and Time's Up movements. As part of
coming back Lars von Trier. Deauville
home to shoot his next movie in Spain.
that reshaping, a coterie of prominent
has just revealed that it will open with
Polanski’s movie, An Officer and a Spy,
filmmakers with checkered pasts have
Woody Allen’s latest, A Rainy Day in
was pieced together in Europe relatively
become lightning rods for industry
New York, after the film (and filmmak-
easily. It too is said to be a strong film;
debate and division. This year more
er) was shunned by Amazon in a high-
Venice has given it a primetime weekend
than ever, we are seeing a transatlantic
profile divorce. Berlin quietly hosted
slot. Still again, no U.S. buyer has bitten.
schism between film festivals over how
Casey Affleck’s directorial debut Light
to handle these acclaimed artists, each
of My Life earlier this year—San Sebas-
latest crucible moment. In a bruising
of whom have very different backstories.
tián is the only other major festival due
market for authored indie films, #MeToo
to host it (though Affleck stars in the
question marks can be enough to
TIFF-bound The Friend).
frighten off potential suitors. But there
Despite Toronto having programmed Parker’s The Birth of a Nation in 2016, his new movie American Skin, about police
There are no easy answers in film’s
But as Venice walks back into the
are still those out there willing to take a
violence and racism in America, will
eye of the storm, the North American
risk on the art and—whisper it—even on
debut at Venice. Festival chief Alberto
festivals like Sundance and Toronto
the artist. ★
32
R EX/SHUT T ERSTO CK
Not this year.
D E A D L I N E .C O M / AWA R D S L I N E
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