Orson Welles last movie, The other side of the wind, is among those caught in a sweep between Netflix and the Cannes Film Festival
Throughout its decorated and complicated career, Orson Welles was no stranger to studio disputes, colliding with producers under film production such as Touch of Evil, Don Quixote, and Midnight watches. When Netflix said Wednesday that it would draw five of the films it planned to focus on next month's Cannes Film Festival, it appeared that the pattern had even been doges Welles's unfinished posthumous opus the other side of the wind. The film's premier was the most emotional accident in the ongoing feud between streaming service and festival organizers, who have intertwined filmmakers and artists.
Among those caught in a cross-fire, Welles daughter Beatrice, who asked the CEO to rethink his plan to pull out his father's last movie from the show.
"I was very upset and worried about reading commercial issues about the conflict with the Cannes Film Festival," said Beatrice in an email sent to Sarandos on Sunday, of which parts were made to Vanity Fair. "I have to talk to my father."
Netflix has financed after-production on The other side of the wind, and planned to premiere the film in Cannes before its release on the streaming platform in the fall. But the studio decided to retire from Cannes after the festival announced new rules that disqualify streaming service movies from appearing in a competition there. The film that Welles shot in the 1970s tells the story of a director played by John Huston, who returns to Hollywood after years in Europe, with what he hopes will be a recurring movie
In e -post, Beatrice listed disturbing professional experiences her dad had with studios and manufacturers during her career.
"I saw how the big production companies destroyed their lives, their work and thus a little bit of the man whom I loved so much," wrote Beatrice. "I would hate to see Netflix being one of these companies."
In his appeal, Beatrice also noted how Cannes had supported his father's career, inter alia giving him the predecessor of Palme d'Or in 1952 for his adaptation of Othello and awarded him the best actor 1959 for his performance in compulsion.
"Please rethink and let my father's work be the film that bridges the gap between Netflix and Cannes," Sa Beatrice said.
Cannes series is scheduled to be announced on Thursday in France. In addition to Welles's film, Netflix also took out Alfonso Cuarons Rome, Paul Greengrasss Norway, Jeremy Saulniers Hold the Dark, and Morgan Nevilles ] documentary, They will love me when I'm dead, about Welles.
Sarandos responded to Beatrice Welles e-mail, but finally went through the plan to retreat from the festival, according to a source familiar with the exchange.
In an interview with Variety published Wednesday, Sarando defended the decision. "We want our films to be on track with all other filmmakers," he said. "There is a risk to us in this way and our movies and filmmakers are treated disrespectfully at the festival. They have put the tone. I do not think it would be great for us to be there." Vanity Fair has
Beatrice also sent an email to Cannes Director Thierry Frémaux, who replied, called The other side of the wind "an extraordinary movie. Much more than a historical film. A message from Orson Welles to the world of cinema today. "
One of the film's producers, Filip Jan Rymsza, also gave a statement on the film's publication page. "What is sad and difficult to correct is that everyone loses in this decision, Cannes, Netflix, film lovers and all of us who have worked so hard on this historical endeavor," wrote Rymsza. "No other festival premiere will compete with what Cannes intended for the movies. Their location and reception will only live in our collective imagination. Granted, I'm in conflict with my feelings. There would not be The other side of the wind without Netflix, but it does not reduce my disappointment and the heart. "