Jonathan Romney

Some people – and this is very evident in Cannes – like to think of the cinema as a church. But the church can be a cathedral, as in the case of Terence Malick’s hyperbolic cosmological statement The Tree of Life, or it can be an austere, draughty chapel with hard benches, which is what you get with Bruno Dumont. I’m more of the Dumont persuasion, personally, although I couldn’t help gasping in awe at much of the Malick film, just as it may be hard not to gasp at a church organ being played extremely loud.

Pious as it’s tempting to be about Cannes, the European shrine of world cinema, you just have to look around to be reminded that this is a town for sale. The front of the Hotel Carlton is decked with lavish advertising for forthcoming Hollywood product such as Cars 2, Cowboys and Aliens and the next Transformers sequel. The lawn of another hotel, the Grand – formerly the town’s one oasis of green open space – is covered with gleaming white pavilions emblazoned with the logos of Grey Goose and Audi. Yet cinephiles continue to persuade themselves that we come to Cannes to prostrate ourselves at the altar of le septième art at its most rarefied. Moviegoing here is attended by something close to religious belief. French critics will talk of waiting for ‘des révélations’; we’re all after cinematic miracles, hoping for a film that will either shine from the screen or, at least, change some of the rules and sweep away some of our preconceptions.

When the Lumière brothers filmed workers leaving a factory in 1895, one assumes their subjects were clocking off at 5 p.m. – but it would be nice to know for sure. If the Lumières had thought to include a timepiece somewhere in the frame, Christian Marclay could have used it in his new video work The Clock (showing till 13 November at White Cube Mason’s Yard).