901-905

*Chapter 901: Shocking the Audience*

"Oh, thank you."

Anson's response left the press conference room filled with question marks—

Thank you? For what?

Anson looked completely serious.

"This might be the first time I've been considered a professional actor. It's a brand new experience."

A bit of self-mockery as a "pretty face."

Ha-ha!

Light chuckles spread across the room.

"I mean, I wouldn't call myself a professional actor either."

"Not long ago, I was just like Alex and Eric—no different. I've just had a bit more filming experience, but that doesn't make me a professional."

"Trust me, I want to prove that I'm a professional actor, but it looks like I'll still need to keep proving myself."

Ha-ha-ha!

"That's why working on this movie was full of unknowns and fun."

"We tried to present a natural and authentic state. About 20% was scripted, and the rest was improvised to capture the daily lives of high school students."

"I think Alex and Eric did a fantastic job..."

As he spoke, Anson turned to look beside him.

In response, Alex was desperately winking at Anson, while Eric hid his hands under the table, waving them frantically like a duck paddling underwater, refusing to be drawn into the spotlight.

"..."

Anson paused for a moment. "But it seems they're not willing to take the credit, so let's just say the entire movie was all my doing."

Ha-ha-ha!

Not only did the reporters laugh, but Gus also chuckled. However, Alex and Eric both let out long sighs of relief, finally able to relax a bit.

"Anson, how do you view this character?"

"Anson, how do you interpret the message Gus is trying to convey through the movie?"

"Anson, what made you choose this project suddenly?"

"Anson, how was filming 'Elephant' different from your previous work?"

"Anson, what do you think is the significance of your character in the story?"

"Anson, how do you feel about coming to Cannes for the first time?"

One after another.

The questions revolved entirely around Anson, turning the movie press conference into an Anson press conference. Anson felt like he was being put on trial in front of three different judges—

Is this normal?

Even questions that weren't directly related to Anson were habitually thrown his way.

"Anson, what do you think happened to Alex in the movie? How did this incident occur?"

Anson paused. Without saying much, he turned to look at Alex. "Alex, what do you think happened to Alex in the movie?"

Alex: ???

He had been sitting quietly the whole time, attentively listening to Anson's Q&A with the media, when suddenly, without warning, he was dragged into the storm.

Eric, on the other hand, stiffened against the back of his chair, trying his best to go unnoticed, wishing he could disappear like an ostrich.

Alex furiously winked at Anson.

Not being a mind reader, Anson looked back at Alex, utterly confused.

Taking a deep breath, Alex leaned slightly toward Anson and whispered, "I don't know either."

Anson's lips curved upward slightly, while Alex gave him an embarrassed glance.

Anson turned to the reporter, "Alex doesn't know either."

Alex: ...

Staring at Anson, Alex was on the verge of tears.

Eric couldn't hold back, quickly lowering his head and chuckling quietly.

Anson continued, "I mean, isn't that the director's intention? At least, that's how I see it."

"No one knows what happened. No one knows why it happened—not even Alex and Eric. That pent-up anger inside them just erupted without warning or reason."

"One day, the elephant that had been quietly living in the room became enraged, and things unfolded as they did."

"Of course, we can condemn the perpetrators, and there's no need to justify Alex and Eric's actions; but at the same time, we can ask why."

"Why?"

"Because only by truly understanding the cause can we prevent similar tragedies from happening again. This isn't the first time or the second time, so how can we ensure it's the last?"

"Rather than us providing the answers, why not let the audience answer that question?"

"That's the power of cinema, and also society's responsibility."

"So, here's a question: Why did the elephant get angry?"

Buzzing—buzzing—

A wave of murmurs filled the press conference room, impossible to stop.

Generally, when a director makes a movie, they aim to guide the audience toward a conclusion, using their camera and imagery to express their viewpoint. Many films end up becoming didactic, a form of preaching a specific value system.

Because art is fundamentally a form of expression.

In other words, films are expected to both pose questions and provide answers.

However, "Elephant" does not.

Gus didn’t ask a question or provide an answer. There was no beginning or end, just a snippet captured and presented—a mere fragment with no resolution, abruptly thrown in front of the audience.

Moreover, Anson further complicated things by throwing the question back at the audience when the journalists asked.

This...something feels off. Is this really okay?

As the journalists exchanged bewildered glances, their minds were sent into overdrive.

Alex was dumbfounded: What? There's actually this kind of approach?

By the time the press conference after the screening ended, the discussion was just beginning—

Something no one had anticipated.

There was hope to see Anson, the "pretty face," exposed without the comedic distractions of commercial films or the mutual flattery of feel-good projects. At a film festival, he would need to show his true artistic depth.

This depth can't be faked by just listing a few directors or classic films. It has to reflect a genuine understanding of cinema and art, something that can be exposed with just a few words.

No way to hide it.

Just as last year when Anson’s involvement in "Elephant" was announced, and it was met with ridicule. "The intentions are obvious," they said, comparing it to someone unsuccessfully imitating others and becoming a laughingstock. The idea of a "pretty face" trying to change his image through an independent art film was seen as a farce.

But now?

Who's the real joke?

Those who were eager to laugh at Anson realized they were the clowns. Those who aimed to challenge him were left with homework instead. Their stirred thoughts made them look especially foolish.

They couldn't corner Anson. Instead, his responses continually amazed them. From addressing the questions about his fashion to leaving the movie's ambiguity open to the audience, this young man's thoughts on cinema left a profound impression.

Clearly, the "pretty face" wasn't just that. The clown wasn't the clown. Much like the shock and impact of "Elephant" being shortlisted for the Cannes Film Festival's main competition, Anson's evolving image as an actor was shattering stereotypes.

So, what's going on here?

And so—

The buzz grew louder.

Cannes Film Festival's night was just beginning.

Discussions about the movie, about Anson, about the so-called "pretty face"—it was going to be a long night.

*Chapter 902: Official Start*

"Anson, Anson..."

Eric rushed into the hotel room in a hurry, only to notice a beat later that the room was bustling with people coming and going. It wasn't just makeup artists and stylists; the room was filled with the shooting crew and interview teams. The large hotel room felt like Times Square.

No wonder the hotel room door wasn't closed.

His words got stuck in his throat. Eric completely forgot his purpose, standing there dumbfounded, watching the scene of chaos in front of him. It was even busier than the preparations for yesterday's movie premiere.

Who am I, where am I, and what am I doing?

"Hey, Eric."

Right in front of him was Edgar.

Edgar and Eve had arrived in Cannes two days earlier, immediately diving into work. The Cannes Film Festival was a crucial opportunity, and both had their tasks. There was no time to rest, not even to adjust to the time difference.

Yesterday, the movie premiered. That was just the first step.

The real promotion, marketing, and strategic planning were set to begin in full swing today.

Eric and Alex didn't have agents; they were simply tagging along with Anson to gain some experience. Edgar had taken on all the big and small tasks since it was just an extension of his work for Anson. Adding two more people to the mix didn't increase the workload much.

"I was just about to send Noah to get you. You came at the perfect time. Sit down and get your makeup done. The clothes and outfits are all on the garment rack."

"What about breakfast?"

"We're tight on time and can't have a full meal. Sandwiches? Croissants? Cereal? Coffee? Anything special you need?"

Words poured out like a storm.

Eric was in a daze, unable to keep up. He plopped down on the sofa in confusion, looking like a lost child.

Glancing around, Eric saw Alex getting his makeup done with his eyes closed. He lowered his voice, "What's going on?"

Alex replied, "Interviews. Didn't we talk about this yesterday?"

Eric froze. Yes, they did mention it last night. There was a full day of interviews today. But he hadn't grasped the concept. He thought it would be a laid-back session on the beach, sipping cocktails while Anson was the focus, and they could sunbathe on the side.

So what was this scene in front of him?

This was the real highlight of the Cannes Film Festival. Thousands of media outlets from around the world flock to Cannes, rushing in for interviews once the movie premieres.

For the film, this was an excellent promotional opportunity. No event or ceremony could match this level of exposure. It was also the best chance for art films to find a distributor.

Cannes is the largest distribution market in Europe. It draws the most distributors and the most media. With such high exposure and so many different distributors, art films often find the right buyers.

If they can't find success at Cannes, they can go on to other film festivals, but the chances will dwindle.

Because of this, every movie has a wave of interviews after its premiere. This is when the film crew is at their busiest.

There are two types of interviews.

One-on-one interviews and roundtable group interviews.

The former is often an in-depth one-on-one conversation, while the latter involves five or even ten media outlets taking turns interviewing the cast. It's common to face a hundred media outlets in one day. For popular film crews, it’s not unusual to spend two days facing two or three hundred interviews.

This means directors and actors have to answer the same questions repeatedly, leading to more perfunctory and brief responses over time.

It's not that directors and actors aren't dedicated; it's just the inevitable result of high exhaustion over a short period.

To handle this, the film crew tries to divide the interview workload among everyone. Directors and actors all join in, which is why Edgar needed Alex and Eric to help out.

The media, on their end, try to be early. The sooner they conduct their interviews, the better—before the directors and actors are worn out.

Today is a full day of media bombardment. From the early morning, Edgar, Eve, and Noah have been busy non-stop. By the time Anson and the others arrived at the Majestic Barrière Hotel in Cannes, the preparations were almost complete.

It took Eric a whole beat to realize that today's interviews might not be what he had imagined. He swallowed hard—his throat felt dry.

He looked over at Alex, who seemed a bit excited. Eric didn't understand, so he gave him a puzzled look.

Alex said, "If not now, when else will we have the chance to experience this kind of adventure?"

Eric: ???

"Not all adventures are the same. Some are like fairy tales, and some are life-threatening. Are you sure you can handle today's adventure?"

Pat, pat.

Eric felt a light tap on his shoulder. He awkwardly turned around and saw Anson drifting by with a croissant in his hand.

"Relax. Just be yourself, like when we're on set. These media folks aren't monsters. They won't eat you alive."

Eric: Easy for you to say.

Anson seemed to read Eric's mind, speaking in an even tone, "So what if you don't do well?"

Eric: ?

"But wouldn't that be bad for the movie's promotion?" Eric expressed his concern.

Anson found a spot to sit down. "The movie's reputation doesn't depend on this. The festival audience has their own judgment, which is the charm of the film festival."

Alex nodded repeatedly, "Exactly."

Before the premiere yesterday, the two had switched roles.

Eric took a deep breath, regaining some calm, then suddenly remembered, "Ah, I almost forgot! I saw this in the hotel lobby just now!"

This was why Eric had rushed into the hotel room—

The festival journal.

In North America, after a movie is released, people look at the critical consensus. Various media outlets provide reviews for the audience's reference.

At Cannes, they look at the official festival journal.

Each year, Cannes invites various professional media outlets worldwide to rate the films in the official competition section. Each media outlet sends a professional critic to give scores, focusing solely on the main competition films. Other sections are included in a general festival journal, also by invitation.

This year, the ten media outlets in the official festival journal came from Denmark, Germany, Canada, Belgium, France, Italy, Estonia, Spain, Mexico, and the UK—all professional film critics.

This official festival journal is slightly different from the North American critical consensus. It only provides ratings, not written reviews. For in-depth critiques, one needs to look at other publications, such as the general festival journal, "Cahiers du Cinéma," the Latin American critics' journal, and others.

The scoring system varies slightly, but the fundamental differences lie elsewhere.

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Chapter 903: Clarity Through Debate

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?

*Chapter 904: Failing to Pass*

Who knows if the opinions of the official festival journal will match those at the premiere?

The answer…is no.

"Elephant," 2.1 out of 4.

Out of a maximum of four points, "Elephant" received a mere 2.1 in the official journal's overall rating.

This…

The good news is that all nine critics submitted their evaluations immediately, which indicates high interest. Thanks to Anson's presence, "Elephant" attracted every critic to the Lumière Hall for the premiere. This is the only film so far with ratings from all nine critics.

The bad news is that 2.1 points, when converted, is considered a failing score.

Looking at the breakdown, there was one four, three threes, two twos, and four ones. Overall, four positive ratings and six negative ones, with the ones leading the pack. It's clear that this is a controversial film.

Upon seeing the scores, the initial tension and anxiety slowly faded away, and Anson became completely calm.

From the beginning, Anson knew that "Elephant" was a controversial film. Its themes and techniques were bound to provoke strong reactions.

So, this journal confirmed that.

This is a good thing.

Controversy and discussion mean that Gus's goal of challenging the audience has been achieved.

Currently, five films have premiered at the Cannes Film Festival, and the ratings are generally low.

The debut film "At Five in the Afternoon" by 24-year-old Iranian director Samira Makhmalbaf is temporarily at the top with 2.5 points.

French director François Ozon's much-anticipated "Swimming Pool" did not meet expectations either, scoring 2.4 points.

"Elephant" is currently in third place.

Not the best, but not at the bottom either. All the films hover around the passing mark, indicating that the difference between them might only be a matter of a few critics' opinions. The overall variation in ratings isn't drastic.

Anson looked up and announced the score, "2.1."

He didn't try to create suspense; he just said it straightforwardly, revealing the result without warning, leaving everyone momentarily stunned.

Including Edgar.

Before they could even brace themselves, Anson revealed the score. For a moment, it was confusing. Was this a positive score or a negative one?

Everyone was in the same boat.

Eric looked at Anson, "Is that a good score?"

Anson shrugged slightly, "Out of four."

"Oh." Eric nodded, finally reacting a beat late—

2.1 out of 4?

Uh.

Something seems off.

Unlike Anson, the others were not mentally prepared for this.

Is this for real?

Yesterday's premiere at the Lumière Hall, followed by the press conference, was met with thunderous applause and enthusiasm. The madness was still vivid in everyone's minds, even in their dreams last night.

And this is the result?

The stark contrast was like falling from heaven to hell. They had been eagerly awaiting glowing praise, only to be thrown into the cold. No one saw this coming.

Edgar was taken aback. "Anson, did you look at the wrong column?"

"Haha." Anson burst into laughter and handed the journal over for them to see.

Edgar paused his busy schedule and rushed to Anson’s side, grabbing the journal. The others crowded around, craning their necks to look at the page.

"Elephant"...2.1 points.

Despite the chaos, Anson hadn’t made a mistake. The score was correct.

Just 2.1 points.

Edgar's mind was racing. He could already foresee the media and online reactions. Countless thoughts swarmed his mind.

"How could this be..."

"What happened? Yesterday..."

"Even if there's a gap..."

Murmurs filled the room as people exchanged glances, unsure of what to say. The hesitance, the sidelong glances, the unspoken words—these were far more telling and damaging than direct criticism.

Shock and confusion spread like ripples throughout the room.

Edgar quickly regained his composure and grasped the situation—

This is Cannes, full of unpredictability. The official journal's rating upended their expectations, but it also meant they had more work to do.

Edgar tossed the journal back onto the table and hurried to find Eve.

They needed to change their strategy and set the narrative before public opinion went into a frenzy. A high score from the official journal would have been ideal, but the current score didn’t spell disaster.

The reason was simple: controversy. This is what "Elephant" aimed to present. The film is a mirror, reflecting the soul of every viewer.

Whether they liked or hated it, feared it, or were excited by it, what audiences saw was not Gus's perspective but their own views on violence, film, and art.

Just as someone with a dark mind will always see dirt and filth.

So, the contrast between the Lumière Hall's reaction and the official journal’s review actually indicated the film's success—

Not a unanimous opinion but a "Hamlet" seen differently by each viewer. "Elephant" perfectly showcased the director's creative intent.

In a split second, Edgar had found a breakthrough. Now, they needed to reach Eve. They had to sow this idea into public discourse before it took a definitive shape.

Water it, fertilize it, and wait for it to take root.

Without wasting time, Edgar got to work.

Meanwhile, as Cannes awoke to a new day, Emmanuel was just getting up, yawning. Last night had been another busy one, but that's always the case during the festival—everyone running on little sleep, constantly busy.

Today was no different. Emmanuel didn't even have time to sit down for a cup of coffee. In Europe, and especially in France, it's frowned upon to drink coffee on the go, like with Starbucks paper cups.

Here, the belief holds that convenience should not come at the cost of cultural traditions.

So, coffee must be enjoyed in a café, served in a proper cup.

Yawning, Emmanuel headed toward the newsstand, where a crowd of journalists had already gathered.

He joined them—

The official journal is free and updated daily.

Emmanuel grabbed a copy, scanned it quickly, and froze.

Wait, what?

*Chapter 905: Controversy Takes Flight*

Immanuel: Huh, what?

He was stunned, his steps involuntarily coming to a halt.

Now, Immanuel finally understood what was happening in front of him.

Usually, the mornings at film festivals are busy and noisy. The premieres and subsequent screenings run from morning to night, and reporters are practically running, with no time to stop—convenience store sandwiches are their closest companions.

But now?

Journalists holding official festival publications were stopping in small groups, some seriously reading as if doubting their own eyes, others looking around, seemingly searching for someone to talk to, while some wore expressions of bewildered amusement, hands on their hips, sighing deeply. A small slice of the scene revealed the turbulence beneath the surface.

A moment ago, Immanuel hadn't noticed anything unusual, only catching a glimpse that left him a bit puzzled. He hadn't had time to think before he, too, stopped in his tracks.

He looked at the rating, then looked again.

Both absurd and shocked, stunned and surprised.

His first thought was:

Did some critics check the wrong box on the rating sheet?

Such things are rare but do happen. When critics submit their ratings, they might make a mistake, like filling out an answer sheet incorrectly, causing a chain of errors in the final tally.

Otherwise…how could this be?

2.1 points?

How could it be just 2.1? Is there some misunderstanding here?

When he looked up again, Immanuel saw the confused looks of several colleagues, their eyes meeting in bewilderment, struggling to find the right words.

The shock and impact were no less than what the cast and crew experienced.

Has such a situation ever occurred in Cannes before?

A premiere received thunderous applause, but the official publication was dismal?

Well…it might not be the first time. It’s not a common occurrence, but it’s not unheard of either.

After all, the official publication is also like a small jury—a small group’s opinion.

But why?

Immanuel was a photojournalist, busy on the red carpet yesterday, so she didn’t have the chance to see "Elephant" firsthand or attend the post-screening press conference. However, rumors from colleagues were rampant. On her way to the Palais des Festivals, she heard a lot. "Elephant" was definitely the talk of the town.

Since she hadn't seen the film, she didn’t have any preconceived notions.

This allowed Immanuel to regain her composure quickly after the initial shock.

While hurrying to the Palais des Festivals to prepare for a full day of work, she carefully read the first wave of reviews for "Elephant."

Like the official publication rating, the reviews were equally divisive.

The highest score was four stars.

0.5 stars: "A heap of meaningless images pieced together in a void of formalism. Even the emptiness is not well-executed."

4 stars: "Simple, effective, astonishing. I've never been fond of Gus Van Sant's recent attempts at imagery, which seemed like self-indulgent whining. But 'Elephant' is an undeniably brilliant attempt. Perfect."

1 star: "The film itself is a failed excuse—clumsy, shallow, arrogant, and crude. Gus Van Sant's imagery is utterly devoid of charm."

4 stars: "The film is captivating, the effect stunning, although not entirely realistic—none of the characters carry a cell phone. Still, it opens a gateway between reality and fiction, pinning the audience to their seats."

1.5 stars: "A malicious, crude, meaningless consumption of suffering. Gus Van Sant is opportunistic without trying to process or express anything. Apart from exploiting people's anger and empathy, the film has no value."

4 stars: "Simple yet real. This makes the school shootings in real life look terrifying and insane while also being painfully vivid. It reminds us once again that movies are much more than just movies—they show us what the power of imagery can convey."

1 star: "Is the film terrible? Not really as bad as the NRA, which shamelessly held its annual conference near the Columbine High School after the incident. Gus Van Sant's hands aren’t covered in blood, but he is still exploiting the issue, sharing 'blood-soaked buns.'"

Praise and criticism flew together, with heated, confrontational discussions continuing beyond the film itself, sparking a storm of debate.

Either you love it or hate it. This extreme tug-of-war of opinions pushed "Elephant" to the peak of controversy, igniting Cannes in full.

Immanuel's heart pounded wildly. She couldn't tell whether this was good or bad.

After all, this is Cannes, a place that has always welcomed and even embraced controversy. Unlike "Spider-Man" or "Catch Me If You Can," "Elephant" stood at the eye of the storm, sparking widespread discussion—or rather, debate.

When Immanuel arrived at the Palais des Festivals, the scene was particularly chaotic.

Everyone was talking about "Elephant," literally.

Especially after experiencing the thunderous applause in the Lumière Hall after the premiere, waking up the next morning, a variety of opinions erupted like a volcano, flooding this coastal town.

Immanuel felt a bit panicked, wondering if she was the last person in Cannes who hadn’t seen "Elephant."

...No way, right?

"I think it's a masterpiece..."

"How could it be? It’s just pretending to be a documentary, reenacting the event without doing anything else. Even a middle school student could do that."

"No, no, no. The calmness is only on the surface. It looks simple, but the film has been laying the groundwork from the beginning. People’s indifference to violence is like the elephant in the room..."

The world was abuzz.

Sitting in the café, Roger Ebert quietly watched the commotion. His laptop screen in front of him, the cursor blinked.

A typical Cannes morning, ordinary yet extraordinary.

In North America, films are released every week, but attention usually focuses on one or two works, allowing critics to finish their work on time and add fuel to the media's fire.

But in Cannes, five, six, seven, or eight films premiere daily for ten straight days. Even without eating, drinking, or sleeping, you can’t watch them all. The critics can’t keep up with writing their reviews immediately.

Every day is overtime—a painful pleasure.

Every film festival takes a toll, leaving you utterly exhausted, swearing you won’t do it again. But when the next festival rolls around, you’re back, planning your viewing schedule.

Roger Ebert was no exception. Even as one of North America's top critics, he struggled with this yearly dilemma.

But when you're in it, you can't help but be glad you're there.

Otherwise, wouldn't you miss "Elephant"?

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