When we arrived at the hotel room, Gans and his group were still asking about "The Pentium Age".

It can be said that these guys are very interested in this movie.

"Boss, the name of this movie is so good. It's loud and exciting. But there's only more than a month left, so you have to hurry up." Gans personally poured me a cup of coffee and said with a flattering smile.

"Time is really tight, but I will write the script in the past few days." I leaned against the sofa and murmured to myself: "It seems that I have to stay up late these days again."

"Boss, if you are busy, just mobilize a few people from the company to help you, won't it be enough." Gans looked at me and grinned at me.

"Collection of people? Who can I mobilize?" I immediately shook my head and said helplessly: "Griffiths and Dunar are now filming key movies. Stenberg and Victor Fleming are shooting TVs. Frahadi's documentary is now half of it. Visconti is now acting in vain. Murnau and Stiller are now going to Cannes. The only ones left to help are probably Bresson."

I usually feel that there are quite a lot of people at hand in the company, but once I get busy, I feel very short of it.

"How is Gans, Murnau and Stiller going to Cannes? Didn't they say they would report the situation as soon as they got there?" I suddenly remembered that today is the opening day of the Cannes International Film Festival.

As representatives of DreamWorks, the movies that Muno and Stiller brought were "The Cinema of Paradise" filmed at the end of last year. This is also the only movie representing Hollywood's battle in Cannes.

The Cannes National Film Festival was officially started in November. As the first film festival in the country, there was no experience in various activities. So I just felt the stones and crossed the river. Therefore, it is inevitable that some mistakes will occur in the organization process.

In Europe, the French are those casual people. Compared with the rigorous and highly disciplined Germans, it is normal for many problems to plan major events.

However, although this international film festival has been experienced in one kind or another, the film industry in various countries still attaches great importance to this film festival and is very enthusiastic about participating. Not only are the filmmakers from those countries that have received invitations in advance and actively plan. Even those countries that have not received invitations have organized people from their own film industry to actively participate.

Therefore, before the Cannes Film Festival officially began, it became a grand event in the world film industry.

Filmmakers from all over the world regard film festivals as a place for gatherings. Here, people can learn from each other's advanced experiences and learn from different cultures of each other's countries. At the same time, film festivals have also played a huge role in the expansion of the film market in various countries and the increase in the popularity of films. Therefore, the film industry and ordinary people in European countries and other countries have a good impression of this film industry.

Especially Europeans. Although this international film festival is held by French people, Europeans still regard this film festival as a European film festival. Many European newspapers have long been around for a long time. The Cannes International Film Festival and the American Harvey Awards were compared with each other, and they shouted: "Americans have the Harvey Awards, and we have the Cannes Film Festival!"

The rise of Hollywood in the United States has led to the center of world films starting from Europe to the United States. This transformation process has made Europeans who have always had a strong sense of self-esteem unable to accept it. In their minds, the United States is a country with no history or culture. Movies were invented by Europeans, but Americans came from behind, which made them feel uncomfortable.

Especially after the establishment of the Harvey Award, it became the highest achievement of representative films in the world. Even European countries had to take their own movies to Hollywood to participate in the selection of the best foreign-language films, which made Europeans very embarrassed.

The establishment of the Cannes Film Festival has found a favorable weapon for Europeans to protect their face, so they naturally spared no effort to support and welcome the film festival.

However, Europeans welcomed it. Europeans cared about it. The American film industry was extremely cold towards the Cannes Film Festival.

In the eyes of Hollywood, although European film festivals have always been related to Hollywood and have learned from each other's achievements, Hollywood filmmakers have always been very proud to believe that the center of the film is in Hollywood, the highest achievement of the film is in Hollywood, and the Hollywood Harvey Awards are the highest honor of the film.

Europeans actually tinkered with a film festival and even created the Palme d'Or. This is somewhat unacceptable to Hollywood filmmakers. They only accepted the Harvey Award, and other awards seemed meaningless in their opinion.

It is precisely because of this pride or arrogance that the Cannes Film Festival is always invisible during the vigorous preparations.

Except DreamWorks.

As the founder and one of the initiators of this international film festival, I attach great importance to Cannes Film. Dreamworks' European branch and France's Gaomeng Film Company played a huge role in the preparations for the Cannes Film Festival and were highly welcomed and recognized by European film colleagues.

This time, Munau and Stiller took "Cinema Paradise" to participate in the selection in the name of DreamWorks, which also shows the respect DreamWorks Film Company has for this film festival.

"Cinema Paradise" is the first color movie, and it was also the Harvey Award-winning film that year. Such a movie was participated in the election, which also made those Europeans think that DreamWorks really gave them face.

In this way, both sides are naturally polite to each other.

Since Munau and Stiller left, I have been worried about this.

What I am worried about is not whether this movie will win the Palme d'Or, but whether the Cannes National Film Festival will be a complete success.

In any case, the establishment of the Cannes International Film Festival will play a huge role in the development of European films, and will also play a huge role in the development of world films and the mutual exchanges between world films.

If its first session achieved a complete success, then I would have done a good thing, a good thing with immeasurable merits. But if it is not done satisfactorily or is broken, it will inevitably have an adverse impact on the development of European films.

When Gans laughed when he heard me ask about the Cannes International Film Festival.

He took out a stack of paper from his bag and handed it to me: "Boss, all these materials were sent back by Munau and Stiller. I was about to hand them over to you."

After taking the stack of paper, I immediately turned page by page and started to study it carefully.

I don’t know if I don’t look at it. After a glance, my eyes could no longer be taken away from these materials.

Spectacular!

I really can't find a more appropriate way to describe the number and quality of filmmakers in the Cannes International Film Festival this time and various countries.

After seeing these participating movies and filmmakers in the information, my original concerns about the Cannes International Film Festival have disappeared.

At the first Cannes International Film Festival, there were about 500 movies participating and were divided into 8 units to compete fairly. Many of them were famous movies in history, and many of them participated in the filmmakers were famous movie masters.

Among the selected movies in Germany, there are two movies.

The first one is "Waterloo" directed by Carl Gruner. The name shows what the film was filmed. In Europe, since Abel Gurney's "Napoleon" achieved great success and won world reputation, the historical films of big productions have been popular in Europe. The movie "Waterloo" is the first time Carl Gruner directed such a huge scene. Unlike Gurney, he shows Napoleon's bumpy second half of his life.

The ups and downs of history, coupled with the extraordinary films of Karl Gruner, made the film a huge success in Germany in 1929.

In addition to Carl Grunadi's "Waterloo", there is another German movie that is very eye-catching.

This movie is Fritz Lang's "Chang'e in the Moon". The reason why this movie brings me a look is first because this movie is a masterpiece. Another reason is that Fritz Lang is now the director of Warner Films. This "Chang'e in the Moon" was the filming work before he joined Warner Films. It is reasonable to be launched as a German film, but because of Fritz Lang's special relationship now, this movie naturally seems a bit unusual.

Among Spanish movies, the most attractive one is the movie "Evil Village" directed by Florian Rey. In Portugal, which is adjacent to Spain, the selected movie is "Crazy Dance" directed by Bloom de Castro. These two movies represent the highest levels of Spain and Portugal respectively, but compared with the excellent movies of other countries, the movies of these two countries seem a bit inferior.

The British also chose many movies. Two movies were very good.

The first one is Fred Paul's "Lucky of the Sea Boat". This movie has a strong realistic style.

In the second movie, when I saw its name, I was shocked.

"Floating Net Fishing Boat"! Its director is Grierson, the most popular man!

In history, there is only one person who can compare with the father of documentaries, Robert Flahady, and that is Grielson!

And this "Floating Net Fishing Boat" is one of Grierson's representative works!

Such an excellent documentary actually participated in this International Film Festival, which is really a pleasure.

As a country with complex relations with the French, Italy also selected movies to participate, but they seemed to have little enthusiasm for the film festival held by the French. There were only three Italian movies participating in the film, and only "The Sun" directed by Brassati is quite famous.

Italians never look down on the French, especially in movies, which can be seen from their enthusiasm for participating in the Cannes Film Festival this time.

There are also films in Poland, among which, Leydes's "Daily and Daily" is very popular, and one of the reasons why this movie is praised is because the movie has a "strong Dreamworks School" style.

Maybe when people watch Polish movies, or when Polish moviegoers are shooting movies, they will think of my Polish background.

In addition to Poland, Sweden also has impressive movies.

Since the invention of movies, Sweden has been a major film country. Although geographically speaking, Sweden is a marginal area with a pitiful population, it has always been known for producing movie celebrities. Not to mention the rest, Garbo, Stiller, and Sjostram have now become representatives of Swedish filmmakers. In Hollywood, Swedes account for a considerable proportion, and the typical Swedish style they brought has also brought great contributions to the development of Hollywood films.

In recent years, the development of film in Sweden has shown a downward trend. The outflow of talents has become increasingly serious. Many Swedish filmmakers are unwilling to stay in Sweden to work. Some of them have gone to countries like France, Germany, and Italy, and more have come to the United States and Hollywood.

The outflow of talents has made Swedish films face an embarrassing state of no successors, and the financial and geographical restrictions have also made this former film power increasingly sink. In the eyes of world filmmakers, Sweden, this Nordic country, still has a place in the film field and cannot be shaken.

In the first Cannes International Film Festival, Swedish director Gustav Etgren's "The Pretendive Duran" is a film that previously caused a great response in Sweden and Europe. This film has attracted people's attention when it was filmed.

However, compared with Sweden, I was a little surprised that the Soviet Union actually filmed the team participating this time. Moreover, the Soviet filmmakers were not only those from the Montage School, but also others who had different understandings of movies, and the lineup was very large.

"The General Route" directed by Eisenstein has attracted much attention. In the eyes of Europeans, this movie of young people who have made profound research on montage is very mysterious and full of vitality.

Curryshov's work "Happy Canary" also appeared on the list. As the two flag bearers of the Montage School, Esensta and Curryshov are the hopes of Soviet films.

In addition to the two of them, the film "Arsenal" directed by Du Fu Renke will also enter the competition unit to participate in the selection.

Unlike the Montage School, Du Fu Renke belongs to the alternative among Soviet filmmakers. His films have a strong poetic expression and unique style. European filmmakers pay more attention to his electric chair than Eisenstein and Curryshoff.

However, among Soviet directors, the one who attracted my attention the most was a young man.

Vertov! The founder of the movie Eyes, the movie he brought was the immortal masterpiece "The Man with a Camera" that was worshipped by countless people in later generations!

This Soviet lineup, both from filmmakers and film works, is regarded as a luxurious lineup of Soviet films.

In addition to European countries, filmmakers from other parts of the world also actively participated.

Many filmmakers have selected their own masterpieces in Africa, Asia, America, etc.

Brazilian director Antonio Margus' "Isola" won people's attention because of the criticism of the reality of the movie.

However, compared with Brazilian movies, electricity from two Asian countries has attracted more attention.

There are three movies in Japan that participated in the competition this time.

Because of the operation of Bala, the jury of the Cannes International Film Festival screened Japanese films in advance.

In the Japanese film industry, such as the Hawks and Dogs Daily Active films that serve Japanese militarism, they have not been qualified to enter the film festival.

The Japanese movies that entered the film festival are all movies from Songzhu Film Company, or movies with very bright content.

As a first-class director of Matsutake Film Company, Daisuke Ito’s new work "Slaying the Man and the Horse Sword" brought by Daisuke Ito in history, this movie is its representative work of Daisuke Ito, with strong artistic skills.

In addition to Ito Daisuke, Kenji Mizuguchi also brought his new movie "Urban Symphony".

As two strong players of the Matsutake Film Company, Ito Daisuke and Mizuguchi Kenji are now in a growing position and reputation in the Japanese film industry. Together with Yasujiro Ozu, they are known as the "Three Pioneers of Matsutake".

Under my instructions, under the direct management of Nico Powers, Songzhu Film Company's film stands firmly on the opposite side of militarism, declares war on militarism with the camera in its hand, and has won a huge victory.

Since DreamWorks raised funds for Songzhu Film Company, Songzhu Film Company has grown in scale and become more and more famous. The Japanese film industry has also developed from the dominant position of Japanese livelihood, to the current situation where Japanese livelihood and Songzhu are co-ordinated.

With the movie, Songzhu has won a lot of support from the Japanese people and has been respected and praised by people. It is precisely because of this that Japanese militarism dare not attack Songzhu.

In addition to Ito Daisuke and Kenji Mizuguchi, another Japanese filmmaker, represents the other work of "The Love of the Heart".

Born in 1905, Mikio Narase. In history, he is one of the masters of several Japanese filmmakers who have been the world's workers. His movies are the most depressing, calm and darkest among all Japanese filmmakers. His movies reflect the inescapable torture, pain, and despair. In Mikio Narase's eyes, life is completely drifting with the flow and the hardship of fate. For him, a filmmaker has to aim the camera at these, aim at the sufferings in the world, cry out and let people realize it.

Such a director is often full of protagonists who are firm and persistent in their character and do not surrender to fate, so his movies are also called the final film.

He was the top three in early Japanese films. However, at this time, his tenth was a new Japanese film star. After making several movies, he began to attract people's attention. His movies went out of Japan to participate in international competitions. This was the first time for Mikio Narise.

Asian local films have always been unique in their culture, and this charm is an important factor that attracts filmmakers from many other countries.
To be continued...