Democratic License by Edward Drobinski - HTML preview

Page 133

Setting aside all the necessary caveats about art and artists, Roman Polanski’s “The Palace” throws a greater fact into stark relief. For all the digital ink we spill, journalists and critics are more often than not responsive to wider industry forces, and in Polanski’s case, as in the wider European industry, something has definitely shifted.

You could even the place the specific date to February 28, 2020; the night Polanski’s Venice Grand Jury Prize winner, “An Officer and a Spy,” won best director at France’s Cesar awards, prompting boos, a few notable walkouts, and a clash between

Democratic License