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on audiovisual translation, subtitling, and the French & American film industries

Un mariage pas très gai

The most exciting news coming out of Cannes this year was on police blotters despite the hullaballo that reigned down when the Palmaires were announced (and after apparently, from the author of the graphic novel which sparked the film.)  Though Cannes endorses artistic achievement and little else, in film, excellence and success can be mutually exclusive, and they rarely translate fluidly and identically, especially from France to the US.

That no major film with LGBT content has ever screened till now is unsurprising, as Spike Lee, flashing back to 1989, might have been one of the first filmmakers of any African descent to screen in competition.  This disconnect between popular media and social issues can also explain the domestic umbrage about the “foreign” laurels flung on the film, revealing the true colors of the anti-marriage crowd.

Unlike the American right which smartly realized that social progress is a one-way street, the French extreme-right, seems to be going after something it can gallantly lose merely to gain attention.  Would that this political contortionism could work to make real LGBT stories successfully visible to more people.

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