LFS took to Cannes once again this year, returning to the festival where two years ago alumnus Simon Mesa Sota took the Palme d’Or for his graduation film Leidi. As well as hosting a breakfast with thought leaders in the post-production industry, exploring ways the film school can best prepare graduates for new workflows and emerging forms and formats, we spent much of our time promoting the work of our students to producers, commissioners and sales agents, all on the lookout for new talent. LFS films continue to impress as accomplished and visionary pieces, demonstrating the depth of talent in our students.
Before this week’s terrible events in Manchester, talk at the festival had centred on the fiery debate around Netflix’s growing presence in the film world. After the botched press screening of Okja saw audiences booing the streaming giant’s logo (even before it became clear the film was also in the wrong aspect ratio), I witnessed the opposite reaction at an early-morning screening of Noah Baumbach’s excellent The Meyerowitz Stories (New and Selected), where a knowing Grand Théâtre Lumière audience cheered the familiar ‘buh-bum’ logo at the outset.
Forms and formats preoccupy us here at LFS, with lively debates always raging around the importance of celluloid versus digital, and the place of cinema in an ever-expanding content landscape. Our approach has always been to produce first class visual storytellers, with a cinematic eye and a flexibility to adapt to the medium at hand.