| Summary: | For the last few years, online film festivals have flourished. These events offer, through a website, the download of programmed films. This — unexpected — development of the world of festivals in the field of new technologies gives a tremendous boost to the circulation of cinematographic works; but at the same time, the “cyber festival fan” involves one individual, alone in front of his machine, even though, historically speaking, festivals have clearly adopted positions in favour of a collective, convivial, reception of works. The purpose of this article is to question this change, to evaluate online festivals' ability to remain a structuring element for an online community, virtual, therefore fluctuating. How should we rethink the festivals’ role of mediator in this context of accelerated and exacerbated circulation of works resulting from their advent on the Web?
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