Then, in LA, the festival was redesigned to be half-foreign, half-American (exact nature of the decision is not known, but it suggests some lack of confidence on the part of the American Cinematheque in retaining audience size based on attendance results in the earlier fetivals).
This festival was stopped in the middle due to the shutdown of theaters in California just ahead of the "Ides of March."
The weekend festivals (Austin, Boston, Detroit) should be relatively easy to reschedule once a framework exists for such events. The lengthier shows (Chicago and DC) would likely have to be shorter in scope than in previous years. This works against the apparent impetus of the international noir idea, which was to re-establish primacy in this area (in addition, of course, to providing some interesting films for FNF fans to view). Truncated international shows in Chicago and DC don't quite accomplish the goal, but given likely attendance realities it is unlikely that they'd want to run two consecutive years of international noir.
Thus logistics are tricky under these circumstances. If the FNF cannot complete any of its original post-LA schedule, they are faced with having launched an international noir festival that played out in two key markets that have been the launch points for their yearly theme. It's possible to simply start up a new series for NC 19 SF, run it in Seattle, and then do a total mashup in LA where the back end of the planned festival in 2020 leads things off (it was heavily American noir in content anyway, per how it was scheduled) and then pick up on a portion of the the theme used for SF and Seattle. They could then revert to the international noir concept for the five post-LA festivals should these wind up being canceled outright in 2020.
Random luck leaves MCP in a more credible position to continue its programming in the latter half of Fall 2020, with items originally scheduled for the spring (April-May-June) still possible to play in September-December in San Francisco. Our show in LA could be restructured from a "consecutive days" festival to one that uses matinees and evenings to spread itself out over 2-3 weeks, thus making it possible for fans to attend with less perceived risk.
The big gotcha for us is the ability of either venue to survive a protracted closure. The Cinematheque seems to have the wherewithal to belt-tighten and hold out for a long time; the situation for the Roxie is a good bit murkier.
We'll know more about this in 4-6 weeks when the consequences from the hasty re-opening in red states become more clearly understood, and if in blue states it is still possible to implement more reasonable phase-ins toward re-opening that would support the return of movie theaters in the fall.