<span>Almost</span><span> every major global cultural event was torpedoed </span><span>by the coronavirus pandemic last year, but it felt like film festivals suffered more than most. Everything that typifies these celebratory cinematic gatherings – community, coming together, crowds – was deemed dangerous during a public health crisis, so </span><span>movies had to take a back seat.</span> <span>But necessity, as they say, is the mother of invention. And the film industry fought back – whether it was staging a socially </span><span>distanced festival as Venice managed to, or offering up hybrid </span><span>events,</span><span> as seen in Toronto, New York and London.</span> <span>This year, the film festival season is set to kick off with a virtual Sundance,</span><span> Utah's nod to independent cinema that's launched the careers of the Coen Brothers, Steven Soderbergh and Quentin Tarantino among many others. Online Q&As and</span><span> targeted events are planned, but it remains to be seen how the industry will cope without the on-the-ground audience buzz that festivals always bring. </span> <span>Here, </span><span>we outline the current plans </span><span>major film festivals have for the </span><span>year</span><span>, what to expect and what films you might be able to see.</span> <span>"There is no Sundance without our community," announced Robert Redford, the Sundance Institute </span><span>founder and </span><span>president, recently. And like so many, the Sundance Film Festival is going</span><span> virtual this year, with online premieres available to the public in the US</span><span> and some international territories, as well as in-person screenings in art house </span><span>venues in the U</span><span>S</span><span>, where public safety allows. </span> <span>The good news is, Sundance has had almost a year to prepare for this event</span><span>, meaning it should run smoothly. The selection may have been slimmed down, but with 71 features from 29 </span><span>countries, you'll hardly notice.</span> <span>As ever, the line-up is eye-catching</span><span>. It features Nicolas Cage's</span><span> criminal / supernatural tale </span><span><em>Prisoners of the Ghostland</em></span><span>, as well as </span><span><em>Passing</em></span><span>, an adaptation of Nella Larsen's novel of the same name about two African-American women (starring Tessa Thompson and Ruth Negga). It has </span><span>actress Rebecca Hall stepping </span><span>behind the camera for the first time</span><span>. </span> <span><em>A Glitch in the Matrix</em></span><span>, a documentary by </span><span><em>Room 237</em></span><span>'s Rodney Ascher, </span><span>about people who believe the world around them is not real, is also on the roster. Another addition is </span><span><em>Coda</em></span><span>, </span><span>which stands for </span><span>Child of Deaf Adults,</span><span>casts real-life deaf actors. The film is directed by Sian Heder, who made 2016's </span><span><em>Tallulah</em></span><span>. </span><span> </span><br/> <span><em>Land</em></span><span>, a two-hander set to the stark backdrop of the American wilderness, directed by and starring Robin Wright, will also premiere</span><span>.</span> <span>For as long as possible, the </span><span>Berlinale</span><span> held out hope that its </span><span>coming 71st </span><span>annual event could be staged physically. Rising Covid-19 infections in Germany now means that's not possible, but rather than cancel, the festival will unfold in two stages. </span> <span>Firstly, in March, the programme will be presented to the industry, with buyers allowed to view films in a virtual European Film Market. A jury will also award prizes to the competition entries (including the newly modified performance awards, which will be gender neutral). In June</span><span>, the winners will be presented to the public. </span> <span>The films on show have yet to be announced – they will come in February – but given the postponements and delays of last year</span><span>, you can expect a rich selection. </span> <span>The Berlinale competition line-up is usually geared towards world cinema – last year Iranian film </span><span><em>There Is No Evil</em></span><span> by Mohammad Rasoulof took the coveted Golden Bear. But don't bet against a glossy film or two making an appearance. Perhaps British filmmaker Edgar Wright's 1960s-set horror </span><span><em>Last Night in Soho</em></span><span>, starring </span><span><em>The Queen's Gambit</em></span><span><em> </em></span><span>actress Anya Taylor-Joy, which is currently scheduled for an April release</span><span>.</span> <span>Last year, the world's most prestigious film festival was cancelled for the first time since 1968, at which time the event was brought to a halt by directors sympathising with the student and labour strikes across Paris. With the idea of going online rejected, </span><span>last year's official selection was announced belatedly in June and there was even a three-day showcase of films at the Cannes Palais in October. </span> <span>This time, the festival has put contingency plans in place</span><span>, working with local authorities to consider three separate blocks across June and July should it still not be possible to hold the festival in May.</span> <span>Although nothing official has been announced, seemingly several of the films selected for 2020 have been held over for this </span><span>year. Among them, Paul Verhoeven's </span><span><em>Benedetta</em></span><span>, his first film since 2016's Oscar-nominated </span><span><em>Elle</em></span><span>. The story of two 17th-century nuns – starring Virginie Efira – is seemingly guaranteed a competition berth whenever Cannes finally gets under way, as is </span><span>Wes Anderson's </span><span><em>The French Dispatch</em></span><span>, which was set to open Cannes 2020. Since then, studio backer</span><span> Disney moved its release date to October, before it disappeared off the schedules – presumably to re</span><span>appear for Cannes. </span> <span>After all, where else is a Paris-set </span><span>"love letter to journalists" going to make its bow, but at France's premiere film festival?</span> <span>A festival that was once mocked for screenings that ran late and poor organisation, the Venice Film Festival truly stepped up to the plate in 2020. Rigorous temperature checks, mandatory face-mask wearing and hand-saniti</span><span>ser stations wherever you looked kept Covid-19 at bay – helped by the fact the festival area on the Lido was</span><span> tightly controlled by security. You woke up with a high temperature, you weren't getting in. </span> <span>After the success of that event</span><span>, which </span><span>ended with</span><span> the acclaimed </span><span><em>Nomadland</em></span><span> </span><span>winning the Golden Lion, the plan is to once more stage an in-person festival in Venice – for both the industry and the public.</span> <span>What films will play there is pure speculation. Last year</span><span> there were fewer blockbusters and hardly any stars, as was necessary, </span><span>and those who did show up </span><span>found the red carpet was shielded from view for safety measures</span><span>. But </span><span>this year could offer a glut of glittering A-listers, as long as they're allowed to travel. </span> <span>One movie that could well be in contention is Paul Thomas Anderson's latest, </span><span><em>Soggy Bottom</em></span><span>. Anderson has form in Venice (he bowed </span><span><em>The Master</em></span><span> there) and this 1970s high-school set tale starring Cooper Hoffman, son of Anderson's late regular actor Philip Seymour Hoffman, looks like a delicious prospect.</span>