I can't wait to read what critics from around the world think about their hotel room, the color of their accreditation badge, the waiting time before the projection, the elitism of art films that lost touch with the mainstream entertainment-consumers, the lameness of the selection (so much worse than what they usually review every week on their domestic distribution market!), the length of the standing ovations, the number of screenings they walked out of, the made up controversies, the irrelevance of the palmarès, the trivia about the stars' little whims, the wildness of the yacht parties...
...anything to fill the void of film culture, the absence of criticism, and the blindness of viewers who ignore what to look at on the screen.
Abbas Kiarostami, Apichatpong Weerasethakul, Jia Zhang-Ke, Takeshi Kitano, Hong Sangsoo, Lee Chang-dong, Manoel de Oliveira, Mahamat-Saleh HAROUN, IM Sangsoo, Wang Xiaoshuaï, Lodge Kerrigan, Cristi Puiu, Pablo Trapero, Christoffer Boe, Frederick Wiseman... more all the potential discoveries in the debut films.
This sounds like a good sample of the filmmakers creating the best cinema at the moment.
Not just this year (or this quarter, since Berlin and Venice take the other seasons of the year). Not a grandiloquent statement about the cinema of a decade, or the future of cinema. Not a comprehensive survey of the totality of the best films of 2010. Not a flawless selection without disappointments.
A festival is a showcase of great cinema, a good glimpse at the cream of the crop. You won't see that many films with excellence brought together anywhere else... and if you still feel like whining about something, you probably don't know what art means in cinema.