The scoring systems of the Cannes Official Film Daily and North American media reviews might seem similar at first glance, but there are two fundamental differences.
First, the scoring system is out of four points.
If a critic hasn't seen the film, they can abstain from scoring. If they really disliked it, they can give it a zero. In North American media reviews, it's rare to see such extreme ratings.
Second, the sample size of reviews.
The Cannes Official Film Daily only includes ten media outlets, while North American media reviews have at least twenty, often up to thirty.
This difference in sample size means that the Official Film Daily leans more towards minority opinions.
Of course, this mirrors the main competition jury system—both favor a smaller panel of judges, which often leads to controversy.
The highest score in the Official Film Daily doesn't necessarily reflect the jury's opinion. Likewise, the jury's choices don't always align with the general public's views. Throughout the history of the Cannes Film Festival, numerous controversies have arisen due to the discrepancies between the Official Film Daily scores and the jury's final awards.
The 1960 Cannes Film Festival was a legendary showdown.
Federico Fellini, Michelangelo Antonioni, Nicholas Ray, Vincente Minnelli, Carlos Saura, Luis Buñuel, Ingmar Bergman, and Jacques Becker were all in attendance. Even a fresh-faced Jean-Luc Godard, who had just transitioned from film critic to director, couldn't make a significant mark there.
The scene at Cannes that year was nothing short of spectacular.
In the Official Film Daily, Michelangelo Antonioni's "L'Avventura" was a clear favorite, garnering praise from the professional media of the time.
However, at the film's premiere in the Lumière Hall, the audience protested less than ten minutes into the screening.
"Ridiculous! We don't understand anything!"
There were boos and whistles, and some even angrily shook their fists at the screen.
Actress Nelly Kaplan and writer Marguerite Duras were present at the screening. Both stood up, urging the audience to be quiet.
Kaplan shouted, "Shut up! This is a masterpiece. Let us finish watching it."
A male audience member stood up and snarled back, "Shut up, you fool!"
Kaplan, furious, stood up and fearlessly walked toward the man, aiming a kick at his groin.
The scene turned into chaos.
"L'Avventura" lead actress Monica Vitti, then a newcomer, cried in shame and anger on Antonioni's shoulder.
To everyone's surprise, the controversy surrounding "L'Avventura" had barely subsided when another wave of uproar hit, this time brought on by "La Dolce Vita."
This film, depicting post-war life in Italy, was condemned by audiences as "a vile, obscene film." After the screening, they pointed fingers at the director and jury members, hurling insults, calling it a morally depraved work.
In fact, the jury members themselves weren't fond of it.
However, Cannes jury president Georges Simenon held a different view. The world-renowned detective novelist believed that the Palme d'Or should go to "La Dolce Vita." When other jury members protested, Simenon stood his ground.
"If you don't choose 'La Dolce Vita,' I'm leaving for Switzerland right now."
In the end:
"La Dolce Vita" won the Palme d'Or, and "L'Avventura" received the Jury Prize.
Of course, time is the ultimate judge. Both "La Dolce Vita" and "L'Avventura" became classics in film history. Other films that year, such as "The Virgin Spring," "Le Trou," "A Chinese Ghost Story," and "The Savage Eye," also withstood the test of time.
That year's Cannes was just one example, revealing the festival's stance. They endorse and even encourage controversy.
Truth becomes clearer through debate, and the same goes for art. The collision and intertwining of differing opinions are the proper ways to scrutinize art. There is no correct answer.
Therefore, the Cannes Film Festival welcomes all opinions, whether from the jury, the Official Film Daily, film critics, or movie lovers, even if each group's views may differ drastically.
This is the allure of the film festival.
Just now, Eric discovered the latest issue of the Official Film Daily in the hotel lobby.
Hot off the press, the "Elephant" score should already be out.
Instantly, all eyes were on him.
Last night, "Elephant" received a twelve-minute standing ovation after its screening, creating a buzz throughout Cannes. Naturally, the anticipation soared to new heights.
Now, as Eric pulled out the Official Film Daily, everyone's eyes eagerly turned toward him, hearts pounding with excitement.
Even Alex was no exception.
"Ahem." Alex cleared his throat. "So, what's the verdict?"
Eric scratched his head. "I can't understand it. It's all in French. I don't know where to look."
A chorus of boos erupted around him.
Alex almost choked on his own saliva.
All eyes then turned to Anson.
Anson was calmly... eating a croissant, savoring each bite.
Eric asked, "Anson, aren't you nervous?"
Anson took a sip of hot cocoa, looking content. "Nervous? Of course, I am. It's like I have butterflies fluttering in my stomach."
Eric rolled his eyes. "Yeah, right."
Anson chuckled. "I'm serious. I'm just trying to stay calm. One of my favorite directors, Wim Wenders, once shared his festival experience."
"There's no need to take those reviews too seriously. If they praise your film as a masterpiece, don't think you've won the world; if they criticize it harshly, don't doubt yourself either."
"It's not easy, but the truth is, the soul of a film festival isn't the critics—it's the audience."
Wim Wenders, a German director, has won multiple awards at Cannes: the Palme d'Or for "Paris, Texas," Best Director for "Wings of Desire," and the Jury Prize for "Faraway, So Close!" He has also faced harsh criticism and even rejection from Cannes.
Though it's difficult, Anson has been trying to adjust his mindset.
More than seeing himself as an actor in a competition entry, he views himself as an audience member.
After all, his role in "Elephant" isn't significant. The real protagonist is Gus Van Sant.
So whether it's praise or criticism, Anson remains composed.
Of course, understanding is one thing; the actual situation is another.
Anson couldn't help but feel a bit nervous. Seeing the skeptical looks on Alex and Eric's faces, he burst into laughter and didn't bother explaining further.
"With the Official Film Daily, you don't need to read the text. Just look at the numbers. Anyone can understand them. So, let me see our score."
Who knows if this time, the Official Film Daily will align with the premiere audience?