As for several directors who are interested in the final prize competition, Lehman is really the best example of adapting to the situation.

Lehman felt that he had taken it once, so how could he get the wrestle with others?

Therefore, waiting for the results calmly is a more comfortable way, at least is there any compensation?

But before this, there are a few things to consider clearly.

Lehman sat on the office chair in the venue, holding the scheduled report to ponder.

The non-competition arrangement is as unfair as the main competition.

In his hands, some movies can be screened once a day, while others can only have a chance once every four or five days.

As we all know, the more audience the louder the voice, the greater the voice, at least the greater the amount you can get. Therefore, the number of shifts is really important.

Then, I thought about "Tao Tian" and "Old Nowhere to Belong".

Lehman roughly divided into several levels according to the film list.

One category is works such as "The Wind Blows the Wheel Waves", "Return", and "Frandler" that have both connections and selection of materials, and have the greatest chance of winning the grand prize;

One category is a slightly worse work such as "Legend of the South", "Fast Food Country", and "Glorious Years", but the queue is considered a high-end work;

Finally, there are running works selected by various regions for differentiation, such as "Family Friends", "The Lantern in Dusk", and "The Youth in March", and the chances of winning are slim.

After the options are out, Lehman crossed out the last type of movies first.

If the jury or organizing committee is not nervous, it will not award awards to such movies, because there is no advantage of comparing each other, and the scene cannot be suppressed.

According to Lehman's division, "Tower of Heaven" should be in the second category.

Among them, "Family Friends" is directed by Italian director Paul Sorrentino. His style is a postmodern "small narrative". He likes to shoot trivial characters everyday. The film footage has a Baroque traditional picture texture and is very competitive. But it is precisely because of the emphasis on the camera and ignoring the plot tension. His films have almost no complete storyline, and are always in a state of disassembly and intertwined and parallel. It is very different from the path of "Tower of Heaven", and the direction of winning does not overlap;

Needless to say, "The Lantern in the Dusk", director Aki Korismaki is a Finnish, and the film is also the ending chapter of the "Finnish Trilogy", and the overall style is relatively gloomy.

In other words, this director is best at gloomy style, but the movie is very short, the main content is less than 70 minutes, and it depicts a lonely and desperate life trajectory of a deceived person. It looks very depressing, and it is also the cruel and real tragedy that most viewers don’t like. It’s too cold and the subject matter is not novel. The chance of winning is quite small;

Then there is "March Youth" - the competitiveness is not very strong. Director Paidro Costa is a Portuguese, and Portuguese movies have always been not very popular internationally. The plot of the key movies is also very plain, and the theme does not conform to the trend, which is even lower than the above two.

Therefore, "Tower of Heaven" is quite outstanding in the second waiting camp.

Then "The Old Nothing" basically awarded a grand prize, and there is nothing to say. After all, the Cannes Film Festival is the official French film festival. In addition to Lehmann, several French filmmakers have been selected, and the meaning of support is obvious to all.

Anyway, it would be strange if every Cannes Film Festival is held without French works being selected...

In the first echelon, in addition to the most competitive "Return" and "Wind Blowing the Wheel", there is also "Glorious Years" that cannot be ignored. Director John Paulman is also an international director. What he is best at telling exciting stories in a gorgeous image style.

In other words, this person is very distinctive in both plot and camera. As early as 1970, he won the Best Director of Cannes with his film "The Last Leo".

"Glorious Years" is also one of the must-see comedy films. The director recalls some things from his childhood - John Paulman's self-indulgent work.

In the chaotic war years, wars are everywhere, but children can always find the source of happiness in the life that adults think is miserable.

Sister's socks, German jam, sneaking to see girls taking a bath and catching big fish in the river...

This film is definitely the style of everyone. Compared with "The Wind Blows the Wheel", the way it takes is to look at war in a relaxed tone, and even jokes that the school building was bombed and collapsed, and the children shouted happily that there was no need to go to school. It was full of humor, but it also told exactly that history.

After analyzing all competitors, another problem is about theater screenings.

——In another four days, "The Old Nothing to Belongs" will be launched into North American theaters.

In this regard, Landie Film has transferred about 1,750 screens to allocate about 1,750, which is quite good. After all, this time it is an independent release.

Of course, Lehman is more concerned about the audience market and the pressure of "Da Vinci Code".

During the entire end of May, the current box office champion was "The Da Vinci Code" released not long ago. It won 77 million in North America in the first weekend, and its reputation was rarely boycotted by religious people, thus declining.

After typing out the promotional slogan "Everyone has a password in his heart", the impressions of various places are quite complicated.

The mainstream Canadian commentary said that it was too dependent on the original work, and Tom Hanks' imitation scholar hairstyle was too ugly; while Britain joked that it was the best ridicule of Catholicism; the United States said that the movie was good, but it could not cause a sensation around the world, and the regional cultural restrictions were too high.

But for North American audiences, except for Catholics, everyone is willing to support "The Da Vinci Code" because the film is of excellent quality and can meet the spiritual needs of watching the movie, that's all.

The hot sale of this film once again proves that the more controversial the more people boycott it, it may not necessarily fail.

Even the film's first-day release in Italy directly broke the film history record.

Subsequently, the week ended, and the total global box office of 224 million US dollars was enough to prove the top-notch potential of "Da Vinci Code".

In this week's North American rankings, in addition to the number one "Da Vinci Code", the animation movie "Outside the Fence", with revenue of 37.28 million. It is also worth mentioning that the low-cost horror movie "Don't Look at the Essence" produced by Lions Gate, ranked sixth with US$4.35 million.

What's more interesting is that this time, American film critics have a very unified opinion. It is generally believed that "The Da Vinci Code" is a suspense film that gives people surprises and entertainment. Of course, Tom Hanks' performance was his slowest.

The box office reputation that was quite successful in the first week basically announced that the subsequent box office trend would not collapse.

"The Old Nothing to Belongs" can certainly compete with "The Da Vinci Code" for the market in the second half of the period, and it is under great pressure.

Leman thought, if you first hype the reputation in Cannes, you might be able to seize a wave of popularity, otherwise, it would all depend on the long-term trend... and the total results will definitely not be comparable.

This is also the only place where "Old Nowhere to Belong" can make its efforts. It is too difficult to compare with other ones. Even though Lehmann has saved up a not-so-bad internal reputation among audiences, it is still much worse than "Da Vinci Code"'s first-line masterpiece in the rising period.

Haven't you seen that the senior executives in Colombia are already laughing so hard that this achievement is their most popular since "Spider-Man", and it can also produce sequels, which is a series of works.

If you want to participate in such a box office melee, you will definitely be overwhelmed if you don’t start by making the momentum.

Lehman is still very clear about this.

Of course, the production cost of "Old Nothing to Belongs" is not high after all, and the risk of not being able to recover the money is still extremely small.

——If it is based on the winner, it has already made a profit by ensuring the capital, but the geographical factors of "Old Nothing to Belong" are greater. The overseas market is narrower than "Da Vinci Code". If you can only rely on the North American market to make a comeback, you will have to fight.

The most golden period of the summer season must have nothing to do with fireflies, but relying on the market strength on the eve to get into the prime time of the summer season, you can get some soup even if you work hard. This is why "Old Nothing to Belongs" will be set on May 24th.
Chapter completed!