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The Monitor is a passage of the week dedicated to everything that happens in the WIRED world of Culture, from movies to memes, TV to Twitter.
This time last year, Tabitha Jackson was preparing to lead her first Sundance Film Festival – also preparing to lead the first Sundance event to take place amid a global epidemic. As a result of Covid-19 disease, the 2021 festival took place online entirely, every video, as well as filmmakers Q & As and panels, are shown online. At that time, Jackson told me, was an experiment, not necessarily a celebration of the festival, but an “opportunity to gather evidence of what we would like to see.” Earlier this month, he used the course. Among the plans for the 2022 hybrid festival, Omicron cases spiked. Sundance will be going well again.
This time, however, Jackson and his companions were ready. Having celebrated the festival online last year, she knew what to do. And in preparing for this year’s festival as a mixed event, he found many ways to change the move that already existed. When the event started last night, it was unchanged. For next week, videos will be available online, Q & As will take place via Zoom, and attendees will be able to chat in The Spaceship, almost – trying to call it a “metaverse-ian,” but no – chat space after screening. (Yes, you can go to VR .) “The saving grace was the online platform,” says Jackson, referring to the late pivot of the game.
International events have been marred by riots – concerts, conventions, and demonstrations, Broadway Productions. But during the video festivals, the environment of the companies in which they were a part was changing drastically even before the coronavirus. It used to be that the movie festival showcased thousands of independent films and studios, bought the best ones, and released them worldwide. In the exhibition space. In 2016, that began to change. Suddenly, Netflix and Amazon began to appear with their seemingly endless bank accounts. They can take their favorite festivals for granted and put them on their show games. Either he releases them in a number of prestigious venues, or he may wish to qualify for the Academy Award. Now that the videos shown at the festivities can end up on the opening weekend on your iPhone, does it not matter if the festivities that started them took place on several laptops?
Yes, and no. Yes, the relationship between the audience and the film is changing — people are now free to use multiplexes and home theaters alternately. But in the same way, there are relationships between filmmakers and people who ruin their work. Directors like Denis Villeneuve and Christopher Nolan can, rightly, say clearly that their films will be seen in movie theaters, but the filmmakers are far from indie directors who just want their films to be seen. everyone. Festivities offer a way to do that, but what they lose when the festival is online is the opportunity to see how people react in real-time to hear the room.
Shari Frilot thinks about this a lot. He has been supporting the Sundance’s New Frontier program for 15 years and has seen it change from a number of events and actual projects to a major part of the festival. The spaceship exists mainly because it wanted people to have a platform, regardless of the type of festival – it was only very helpful once the event went online. He also says that when a video is shown, filmmakers often misunderstand the audience, going beyond a few comments and perhaps some facts. As a result, for her, the conversations that take place at video games are important, even when she’s online. He says: “We set up a room, a platform with many people to sit down to talk about these films. “If it weren’t for the closure, we wouldn’t have found this very important thing to keep up with online movies.”
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