Fremaux Out of the French Oscar Submission Committee

This is a bit of a game changer if you follow the race for the Best International Oscar.

Cannes boss Thierry Fremaux is no longer going to be part of the French committee that decides which film to submit for Oscar contention in the International Film category.

This decision seems to stem from Fremaux’s committee choosing Julia Ducournau’s “Titane” over Audrey Diwan’s “Happening.” Ducournau won the Palme d’Or and Diwan won the Golden Lion at Venice. There was controversy over Fremaux’s group choosing the Cannes winner over the Venice winner. Conflict of interest?

I liked both movies, but Diwan’s was the more Oscar-baity film. In hindsight, choosing the more polarizing “Titane” was probably the wrong decision to make.

It doesn’t help that this year’s crop of Cannes movies heralding from France weren’t good at all. The 2022 crop had Arnaud Desplechin’s “Brother and Sister,” Leonor Seraille’s “Mother and Son,” and Valeri Bruno Tedeschi’s “Forever Young” — all three titles received mixed reviews.

The sidebars didn’t fare any better, French-wise at least. At the Quinzaine, Lea Mysius’ “The Five Devils,” and Alice Wincour’s “Paris Memories” were panned. Only Mia Hansen-Love’s “One Fine Morning” received good reviews from US critics, the French were a little more lukewarm towards that film.

Curiously, the best-reviewed French film at Cannes was Dominik Moll’s “La Nuit Du 12,” which played out of c”competition. I’m kicking myself for missing that one. I was at the premiere for Moll’s film, but projection had to be halted for a good 10 minutes after the audience jeered at a technical glitch on-screen (no subtitles!)

Now, it’s on to Venice where Fremaux rejects Alice Diop’s “Saint Omer,” and Rebecca Zlotowski’s “Other People’s Children” will be competing for the Golden Lion. If any of these films turns out to win top honors at Venice, it’ll be quite embarrassing for Cannes.

From my understanding, Diwan’s “Happening” was submitted for Cannes last year and not accepted. The film had entered post-production in January of 2021 with the aim of being submitted for Cannes 2021.