[Here is Cannes] 75th Cannes Film Festival Ticketing Crash and Overhype? Misunderstandings and Truths

75th Cannes Film Festival On-site
Online System Inconvenience? Premature Excitement?
Rampant 'Rumors'
We Deliver the Truth Properly

[Image source=Reuters Yonhap News]

[Cannes (France) = Asia Economy Reporter Lee Isul] The Cannes Film Festival has drawn its 75th curtain. Having opened on the 17th, it is now nearing its closing. Our publication has covered the festival on-site for three consecutive years before and after the pandemic. Even the traditionally conservative Cannes is changing. Since last year, it has introduced online ticketing and relaxed red carpet dress codes, among other changes.

This year, many Korean films received invitations from the Cannes Film Festival. In the competition section, director Park Chan-wook's "Decision to Leave" and director Hirokazu Koreeda's "Broker" were selected, while Lee Jung-jae's directorial debut "Hunt" was invited to the non-competition Midnight Screening section. Lee Jung-jae, who rose to global stardom last year with "Squid Game," became a surprise star at Cannes, heating up the early days of the festival. He was also nominated for the Golden Camera Award, which recognizes new directors in all categories. Additionally, "Next Sohee" (directed by Jung Joo-ri) was selected as the closing film of the Critics' Week, and Heo Moon-young, executive director of the Busan International Film Festival, served as a jury member for Critics' Week. Director Moon Su-jin's "Callus" became the first Korean animation to enter the short film competition section.

Domestic media covering the Cannes Film Festival are also busy. In 2018, when "Parasite" was invited for the Palme d'Or, about 30 media outlets covered the event on-site, but this year, nearly 40 media outlets are actively covering Cannes.

Various stories circulate around Cannes. Based on on-site reporting, we have summarized misunderstandings and truths surrounding the Cannes Film Festival.

Online Ticketing System: Chaos? Confusion? NO

Due to the pandemic, the 74th Cannes Film Festival last year introduced an online ticketing system. All screenings, including premiere screenings held at the Lumi?re Theater and press screenings, are now booked online. Previously, according to Cannes Film Festival regulations, badges were assigned by journalist rank, and entry was based on badge level. Even if a journalist arrived first, those with higher-level badges entered first.

For journalists who experienced this, the current online ticketing system is a new world. Of course, popular films sparked a "rapid click" battle. Last year, ticket sales opened several days in advance, but this year, they open one day before the screening. Popular films sold out at the speed of light last year as well. For example, "Emergency Declaration," invited to the non-competition section, sold out both the premiere and press screenings.

Because ticket sales open one day prior, premiere tickets for popular films sell out in less than five minutes. Journalists trying to access the site simultaneously at opening time caused the site to crash temporarily. However, the famously relaxed Cannes Film Festival anticipated this and quickly fixed the system, restoring normal operation within a day.

Journalists on-site express high satisfaction. If they succeed in online booking quickly, they can avoid the hassle of standing in the scorching sun for hours before the film starts. It's like the "caste system" of Cannes?no more humiliation due to badges. Of course, even if tickets are not secured online, last-minute tickets can be obtained on-site. Ticket office visits remain busy for this reason.

Has the Status of Korean Films Improved? YES

The attitude of the Cannes Film Festival toward Korean films and filmmakers shows this. Director Park Chan-wook, who won the Jury Grand Prize in 2004 for "Oldboy," the Jury Prize in 2009 for "Thirst," and was invited to the competition section in 2016 with "The Handmaiden," has played a decisive role in introducing Korean cinema to Cannes with his fourth competition entry, "Decision to Leave." Cannes, well aware of this, welcomed his new work with great respect.

"Broker" is no different. The names of Hirokazu Koreeda and Song Kang-ho alone were enough. Director Hirokazu Koreeda was invited eight times in total, six times in competition, including the 54th Cannes Film Festival in 2001 with "Distance," "Nobody Knows" (2004, competition), "Air Doll" (2009, Un Certain Regard), the Jury Prize-winning "Like Father, Like Son" (2013, competition), "Our Little Sister" (2015, competition), "After the Storm" (2016, Un Certain Regard), and the Palme d'Or-winning "Shoplifters" (2018, competition).

Starting with "The Host" (2006), followed by "Secret Sunshine" (2007), "The Good, the Bad, the Weird" (2008), "Thirst" (2009), "Parasite" (2019), "Emergency Declaration" (2021), and now "Broker," Song Kang-ho has been invited to Cannes seven times. He also served as a jury member for the competition section at last year's 74th Cannes Film Festival.

At the premiere screening of "Broker" on the 26th, Cannes warmly welcomed Song Kang-ho and director Hirokazu Koreeda. Cameras continuously focused on the two, and festival president Thierry Fr?maux greeted their film with bigger and longer applause than ever before.

There were even instances where people recognized actor Lee Jung-jae on the street and requested photos. Fans reportedly followed him uninvited to a restaurant where he was dining. The three Korean films screened at the Lumi?re Theater attracted packed audiences, maintaining intense interest throughout the festival.

Are Korean Films Selling Well in Overseas Markets? YES

The changed status was also evident in the market. A market official we met said, "Korean films seem to be receiving significant attention this year," adding, "Films by famous actors and directors had already been partially sold before the market opened, and deals were finalized on-site. During the two pandemic years, Korean content became mainstream in the industry, and changes are noticeable in this year's film market."

Another market official said, "We achieved very satisfactory results in both the number of contracts signed and total contract amounts," adding, "We are satisfied to the extent that we can say all prepared content was sold."

Some works reportedly achieved higher sales by being sold simultaneously to theaters and over-the-top (OTT) streaming services.

CJ pre-sold "Broker" to 171 countries and "Decision to Leave" to 192 countries. Park Jung-min, head of overseas distribution at the Film Business Division, stated, "'Broker' saw active sales across Asia, Europe, and North America," and "'Decision to Leave' was sold at one of the highest prices among films for which CJ ENM handled overseas sales."

Cannes (France) = Reporter Lee Isul