Contrary to the nearly ironclad custom that sees competition entries filtering
through to French cinema screens in the months following the festival (with each one, no matter how lukewarm its critical reception may have been, invariably touted by its promotional campaign as «la sensation de Cannes»), Netflix supremo Ted Sarandos brazenly declared his company's impatience with the requisite three years for his productions to make their plodding way from
theatrical distribution, to DVD, premium cable and even free - to - air television before being allowed to air on the platform that had funded them in the first place.