The Quebec Cinema Rendez-vous (RVQC) will be screening films in accelerated format to adapt to the viewing habits of Generation Z. The first film on the lineup, “Amour apocalypse” by Anne Émond, a 1 hour and 40 minutes film premiered last year at the Cannes Festival, will be shown in a condensed 66-minute version thanks to the “1.5x speed” function, popular on platforms like YouTube.
Published yesterday at 7:30 p.m., this initiative called “The Shortest Feature Films” will allow viewers at the April 25th screening of “Amour apocalypse” at the Quebec cinema to save 34 precious minutes that can be spent watching TikTok videos of AI-created dancing babies. This trend aims to attract a younger audience as half of 18 to 34-year-olds prefer watching videos in an accelerated format, according to recent studies.
While some may find this adjustment appealing and in line with modern viewing habits, others question whether it compromises the integrity of the filmmaker’s vision. Film enthusiasts may be particularly concerned about losing the nuances and subtleties of a complex bilingual tragicomedy such as “Amour apocalypse” due to accelerated viewing.
Filmmaker Anne Émond, who acknowledges the reality of young audiences watching content in rapid succession on their devices, will still present the original version of the film alongside the accelerated screening. Discussions led by Mounir Kaddouri and Ariane Brunet will follow the screening to delve deeper into the impact of this experimental viewing approach.
Critics and traditionalists argue that adapting cinema to fit the fast-paced online consumption habits of the younger generation risks diluting the art form and undermining the essence of filmmaking as an art of intention, subtlety, and nuance. They caution against sacrificing the artistry of Quebec cinema for the sake of appealing to a wider audience.
Ultimately, the debate around presenting films in an accelerated format highlights the ongoing challenge of bridging the gap between traditional cinematic experiences and evolving viewer preferences in the digital age. Anne Émond’s acceptance of this experimental screening reflects a willingness to explore new approaches and engage with young audiences, even if it means reconsidering the traditional norms of film consumption.
