It’d be a real sin if some of the still undistributed Cannes titles were never to be seen by American audiences, alas, such is the state of cinema right now, there is no market for deeply attuned works of art. It’s not like I liked all of these orphaned titles either, but they have prestige behind them, they were chosen for competition at the most important film festival on earth.
So what gives? I’ll tell you what gives, it’s the fact that the market in America for foreign arthouse is diminishing by the day, even when the population is growing. It’s all part of the mouse house’s mass-cultural warfare against art, they want people to grow uncultured, to view “Toy Story 4” and “The Avengers” as the hippest and most important artistry available in theaters (dig those effects, man. Yeah, right. If in Europe there is still a taste for arthouse cinema, for the time being, it’s all but evaporated into the small screen stateside.
Regardless, and back to these undistributed titles, I have already praised the virtues of “Bacurau,” “Young Ahmed” “Sibyl,” and even “Mektoub My Love: Intermezzo,” but I will even admit that stuff I was mixed on such as “Little Joe,” “The Wild Goose Lake” and “Sorry We Missed You” all deserve to be widely seen — these are films that can spark rich debate among cinephiles. But will they ever come to a local theater near you?