The Cannes applauding minutes now determine film quality. It makes no sense.

Six minutes, nine minutes, twelve minutes, twenty minutes! During the Cannes Film Festival, the ovations for films are the new 10.

Both the booing that are unavoidable and the ovations that have been standing for a long time at the end of each film at Cannes are not precisely new. As with the starlettes on the croisette or the press conferences with humorous pronouncements, they are the most folkloric aspect of the festival, and their roots can be traced back several decades. The Hollywood Reporter recalls how a picture that was considered to be a true masterpiece, such as Richard Fleischer’s “Criminal Impulse,” boasted about it in its promotion in the United States in the year 1959: “The film that received a 15-minute ovation at the Cannes Festival!”

Applause is also given to the vintage works. In spite of the fact that fifteen minutes may appear to be a considerable amount of time, it is not uncommon for the most acclaimed films to receive ovations of that scale or even more at the Cannes Film Festival. When they receive them, of course: Steven Spielberg recalls that his film “ET the Extraterrestrial” earned a six and a half minute ovation in 1982. Even though he was only in the beginning stages of his career, Spielberg felt this to be an outstanding achievement. Once he arrived back in Hollywood, the media had already begun discussing the twenty minutes that had passed.

The record for the ovation. Over the past few years, it has been increasingly common for there to be no film that does not receive a subsequent marathon ovation. The press and the producers were responsible for embellishing the advertising of the film with the minutes of the applause that was received. This was the case not too many years ago, when an ovation that lasted for more than ten minutes was considered to be noteworthy for its length. ‘Pan’s Labyrinth’ by Guillermo del Toro, for instance, earned an agonizing 22-minute ovation, which is at the time the longest in living memory. However, in this day and age of social media and impact headlines, the final applause has become an integral component of the premieres.

Negative is the way the applause meter operates. When it comes to a piece of information that is reduced to the most exact object in the universe (an exact numerical figure), the fact that there is no obvious way to measure the applause for a film is a peculiar thing to consider. It is not entirely apparent if the counting begins when people begin applauding or when the lights turn on, which is the actual time when the ovation begins. Do you think it would be appropriate for people to stop applauding in order to listen to words made by the director, who might or might not be provided with a microphone to speak? And would it be considered cheating if someone encouraged the applause to be extended for a longer period of time? The following is an example of what Nicolas Cage did at a midnight screening of “The Surfer,” which was to encourage people to continue.

The stars are taken into consideration. It should be taken into consideration that journalists are not prohibited from attending the Cannes Film Festival; however, it is important to note that producers and distributors are also present at the screenings. These individuals are obviously interested in the applause being extended, and fans are also able to extend their displays of enthusiasm for a star beyond what is considered to be acceptable. There will be more applause at a showing with Hollywood stars than there will be at a screening of a wonderful but unknown Thai picture. This is due to the fact that people are like that.

Seven minutes before eleven o’clock. The impressions of the identical duration of the applause are brought into question as a result of this. For instance, according to Deadline, the musical “Emilia Pérez,” which is performed in Spanish and features Zoe Saldaña and Selena Gómez, has earned the longest ovation to yet, which is more than eleven minutes. Variety, on the other hand, discusses nine minutes. The discrepancy lies in the fact that the minute count was disrupted on account of the fact that director Jacques Audiard halted the applause in order to speak, and then it resumed for a period of two minutes. Anarchy. Cannes is nothing but a chaotic place.

Each and every story of a premiere at Cannes concludes with the phrase “There was a seven-minute standing ovation.” Could this be a case of Hollywood insiders kissing each other? This seems to be the case with movies that are either well-liked, received mixed reviews, or even received negative reviews. When I noticed that Megalopolis was saying something along the lines of “Many people walked out,” I was just reminded of this. It was despised by many. There is a lot of criticism in the reviews. the seven-minute ovation” So what?

Cannes is the only place where the length of standing ovations at high-wattage premieres is meticulously recorded and analyzed in greater detail than in any other place. A jubilant eight-minute standing ovation was one of the accolades bestowed upon a film. Is it possible that the audience only stood for a span of four or five minutes?

Over the course of just a few minutes after its debut, how did such an improbable statistic manage to spread like wildfire around the globe? Why is everyone standing for such a lengthy period of time? Who doesn’t have fatigue in their hands?

Cannes has been known for its exuberant shows of enthusiasm, which have become a trademark of the festival. However, these displays may also be seen as a marketing gimmick for films that are trying to resonate beyond the Croisette. If Cannes, the largest and most prestigious film festival in the world, is a symbol of cinematic excess, then the thunderous standing ovations presented at the festival can appear to be the festival’s greatest overindulgence. Is there no one who requires a bathroom break?

The manner in which the spectacle of Cannes transforms and distorts standing ovations is, however, something that is not widely appreciated. When the crowd rises when the credits roll in the Grand Theatre Lumière, which is the largest screen in Cannes, they are not simply standing and applauding the film that they have just had the opportunity to consume.

Immediately following the conclusion of a film, a cameraman rushes in and begins photographing the director of the film as well as the members of the cast who are seated in the middle of the auditorium. During the time when the camera is putting each significant actor in close-up, the video is being played live on the screen for everyone inside. The camera is doing this really patiently. Applause is not simply for the film itself; it is also for each individual actor or actress.

During the recent premiere of “Indiana Jones and the Dial of Destiny” in Cannes, the camera provided Mads Mikkelsen, Phoebe Waller-Bridge, Ethann Isidore, Harrison Ford, and director James Mangold with their own individual moments to bask in the adulation of the audience. After everything was said and done, the standing ovation was timed at five minutes by trade newspapers, which have reporters present inside the theater to keep track of the duration. According to Variety, the reception was described as “lukewarm.”

It’s possible that inflation is such a scourge that it’s even having an effect on standing O’s. A standing ovation that lasts for five minutes would be considered a dream response in the majority of countries throughout the world. Rumor has it that the temperature in Cannes is as low as a day-old cup of coffee.

Indeed, there was a wide range of opinions regarding “Dial of Destiny.” However, it is also likely that the audience, or the actors in the film, had reached their limit after watching a video that lasted for 142 minutes and was followed by a tribute to Ford that received a lot of applause. It was the next day that Ford, who was obviously distraught, described the encounter as “indescribable.”

“It is impossible to fathom the warmth of this place, the sense of community, and the feeling of being welcomed,” stated Ford. “And it gives me a comfortable feeling.”

The length of time that a standing ovation lasts is largely determined by whether the actors in the film are trying to drag it out or are trying to please the camera. At the premiere of Martin Scorsese’s “Flowers of the Killer Moon,” after the film’s extensive cast had received their close-ups, Leonardo DiCaprio and other actors in the film continued to applaud, even after the majority of the audience had ceased doing so. Following that, members of the Osage tribe injected further vitality into the applause by doing loud, joyous whooping.

The song “Flowers of the Killer Moon” was ultimately called for nine minutes, which was sufficient to represent a high point for the festival that took place this year. The historical epic directed by Scorsese garnered the kind of headlines that every film hopes to receive from Cannes. When it comes to movies, there are no occasions for a second opportunity for a first impression.

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