Last year, as the major fall film festivals took place around the world, it was hard to make out the sound of audience applause. It wasn’t an attendance issue or that booing was heard instead (that’s solely a Cannes response), it was that, for many, hands were too busy wringing to find time to clap.
The trifecta of Venice, Telluride and Toronto was once seen as an inescapable fixture on a film’s road to the Oscars. Best picture winners such as 12 Years a Slave, Spotlight, Birdman, Moonlight, The Shape of Water and Green Book all rose within that circuit and cemented their reception at festivals and world premieres and often felt judged for awards potential over quality. But over the past few years, as the Academy has changed and diversified its voting body and as the industry has changed in so many other ways, something has shifted. Winning films have come from Cannes, Sundance, SXSW and, most shockingly, no festival at all …
