Out back from the main palais stands a well-constructed tent, the so-called salle du Soixentieme that hides the glamour that occupies the red carpet rise on the other side of the building. However, given that Toronto’s movie theatres aren’t set to open until this weekend, I refuse to allow the pleasure of simply stepping into a cinema be dampened by other logistical nonsense.
It helps, perhaps, that there are indeed far fewer people here vying to get into screenings (at least half the number of 2019), yet it still feels more unnerving than usual. This is a new mode for Cannes in many ways, with flawed ticketing systems undercutting the most catholic of press card systems, where patrons who for decades would enter first are trumped by local bloggers with better internet connections.
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