With over two decades of experience in the film industry, Jeune sheds light on his role and the intricate process of selecting films for the renowned festival.
In the intricate tapestry of the Cannes Film Festival, Christian Jeune stands as a pivotal force, orchestrating the behind-the-scenes magic that culminates on the illustrious Croisette. As the Director of the Film Department, his role extends far beyond the glitz and glamour, encompassing the delicate art of film selection and the cultivation of emerging talents. Every year, he embarks on a journey across Asia, notably in China, Japan, South Korea, and India, in search of the next big masterpiece to grace the Cannes screens.
In an exclusive interview with The Sunday Guardian, Christian Jeune shares his insights on the evolving film festival landscape in India, the opportunities Cannes offers to emerging filmmakers, as he notes the increasing importance of festivals catering to local audiences, bringing diverse themes to the forefront instead of solely focusing on world premieres, and the long absence of Indian films in the Main Competition. With over two decades of experience in the film industry, Jeune sheds light on his role and the intricate process of selecting films for the renowned festival.
As a seasoned traveler to film festivals worldwide, Jeune acknowledges the growing momentum in India’s festival scene. Jeune finds India to be a fertile ground for filmmaking and encourages the industry to expand and attract foreign participants, including festival programmers, sales agents, and distributors. “It’s heartening to see festivals catering to the local audiences. I think it’s the right thing to bring the best themes to a local audience instead of only trying to have world premieres. It is a very sensible thing to do because otherwise you can end up losing a lot,” Jeune reflects.
He sees India as a promising destination for filmmakers to explore and emphasizes the potential for further development in the industry. Jeune’s observations echo a sentiment shared by many in the global film community, recognizing India as a powerhouse of creativity and storytelling.
When it comes to nurturing new voices, Cannes provides multiple avenues beyond the renowned Un Certain Regard section. Jeune highlights the La Cinéfondation residence, the short film competition, and student films as platforms dedicated to discovering and supporting emerging talents. In addition to these, Cannes hosts independent sections like Directors’ Fortnight and Critics’ Week, each designed to showcase first and second feature films by directors from around the world.
While the Fortnight focuses on discovering new talent, Critics’ Week aims to support and highlight emerging voices. Jeune emphasizes the importance of these sections, acknowledging the energy and dedication often seen in first-time filmmakers. He also mentions the prestigious Camera d’Or, which recognizes the best first filmmaker across all festival sections, providing a significant platform for recognition.
Addressing a historical aspect, the conversation turns to the absence of Indian films in the Cannes Film Festival’s Main Competition. Jeune acknowledges that while India has been present at Cannes in various capacities, the Main Competition remains elusive for Indian filmmakers. He dismisses any notion of bias against India and points out that the selection process is a complex one without quotas for countries.
“The fact is that India has been very much present at Cannes, and sometimes we have got films for the Midnight Screening, Directors’ Fortnight, Critics’ Week as well as short films. So, yes, still India has been missing the Main Competition, and do I have an answer? No. Every year, it’s a question of selection,” Jeune explains. He reinforces that the absence is not a deliberate choice but rather a result of the yearly selection process, expressing optimism that it will eventually happen.
As the Head of the Film Department, Christian Jeune plays a pivotal role in the pre-selection process and overseeing the selected films. He describes his duties as collective work within the festival, working closely with the artistic director as his deputy. “My title is Director of the Film Department, meaning I am in charge of the pre-selection process, to have all the films selected and pre-selected. And, once the films are selected, I take care of them also. It’s all collective work; it’s a festival, and so we do everything. I am deputy to the artistic director, so I am closely working with him as well,” Jeune elaborates.
In the intricate functioning of the Cannes Film Festival, Christian Jeune’s role is akin to a master weaver, ensuring each thread contributes to the grandeur of the cinematic experience. His dedication to discovering new voices and promoting diverse storytelling reflects the festival’s commitment to fostering creativity on a global scale.
Christian Jeune’s insights offer a glimpse into the dynamic intersection of global cinema and the vibrant landscape of Indian filmmaking. As India continues to assert its presence on the world stage, collaborations with festivals like Cannes become increasingly vital.
Jeune’s optimism for the future, coupled with his appreciation for India’s cinematic potential, paints a promising picture for the continued growth of the film industry on both local and international fronts. In the ever-evolving tapestry of cinema, the threads of India and Cannes weave together, creating a narrative that transcends borders and celebrates the universal language of storytelling.