Basically, this film is a hymn to the humble, the forgotten ones, the "drudges of glory" - penniless actors, exhausted journalists, ruined producers, overworked press agents, film fans, people who get up at seven in the morning to see films from around the world, those who never get passes to enter the theatres, those who hang out all night on the Croisette to see a star on the town and then who, failing that, seize the opportunity tosleep around. A hymn to the true madness of the Cannes Festival, its baroque, pathetic and cruelmadness. Its French madness. "Les Marches duPalais" shows a different "Cannes" from the one seen by the Americans, "foreigners" or TV channels that claim to represent and embody it. Here, it is seen by the French: ordinary French people. By us. So, basically, maybe "Les Marches du Palais" is no more than that. It's us!
How can I talk about "Les Marches du Palais" and its screening in Cannes?, Through film and theatre, I have attempted to relate the unfortunate experience of the film "Molière" in Cannes in 1977, twenty years ago, from the viewpoint of the most humble, modest and pathetic character: the actor. Not the star, the actor. (...) I have nothing to do with all that, nothing at all. I don't even act on film. I'm a stage actor. That's my trade and my passion. But, since I love the cinema in a different, more secretive but furious, obsessive and contradictory way, I've worked for the cinema with the help and support of Bernard Dartigues. Like a vice. This is an outlandish and borderline form of cinema with a terrible reputation. Worse than porn movies, war reports or Nazi documents, worse than advertising: filmed theatre. But there again, that doesn't matter since what I'm dealing with here isn't theatre but filmed cinema: the Cannes Festival. (Philippe Caubère)