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CANNES
DA I LY
№7
M AY
22, 2012
THR.COM/CANNES
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5/16/12 12:19 PM
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NetJets D2_051712.indd 1
5/15/12 3:22 PM
M AY 2 2 , 2 0 1 2
BREAKING
NEWS
Zurich Film Festival
Launches Market
Video Diary With
Director Peter Berg
U.K .’s Pulse Films
Opens U.S. Offices
S E E T H R . C O M /C A N N E S
FOR FULL STORIES
Everett to
Helm Wilde
Biopic
R
CANNES
№7
ABOUT TOWN
By Scott Roxborough
UPERT EVERETT WILL
C O N T I N U E D O N PAG E 1 0
RCR Media
Backs Roads
A
By Pamela McClintock
DRIAN LYNE HAS
found financing for
his long-gestating bigscreen adaptation of
Back Roads.
RCR Media Group is
coming aboard to back
the steamy thriller, based
on the best-selling book by
Tawni O’Dell.
Ashok Amritraj’s Hyde
Park Entertainment is handling foreign rights. While
C O N T I N U E D O N PAG E 1 0
Director Roman
Polanski and actress
Nastassja Kinski arrive
for the screening of You
Ain’t Seen Nothing Yet!
Cannes Lineup Sparks Oscar Chatter
F
Cotillard and Haneke head the list of possible contenders By Gregg Kilday
But last year’s Cannes lineup
was a notable exception, introducing the eventual best picture
Oscar winner The Artist as well as
best picture nominees Midnight
in Paris and The Tree of Life. And
so awards antennae are up.
As soon as Rust & Bone
screened May 17, its fans tossed
its hat into the ring. Audiard’s
film traces a love affair between
two damaged people: Cotillard
plays a trainer at a Marineland
who loses her legs to a rogue
orca, and Belgian actor Matthias
Schoenaerts is a down-on-hisluck boxer. Cotillard, already an
Oscar winner for La vie en rose,
turns the sort of unvarnished,
honest performance — look ma,
no make up! — that often results
ORGET THE SPECULATION
about who’s going to win
the Palme d’Or. This year,
the bloggerati are already
debating which films in the
festival have a shot at an Oscar.
They’ve proclaimed Michael
Haneke’s Amour the near-certain
winner in the best foreign-language film category and ordered
the Academy to reserve a spot in
the best actress race for Marion
Cotillard’s affecting work in
Jacques Audiard’s Rust & Bone.
Of course, it’s a long way from
the red-carpeted steps of the Palais to the Academy Awards, and
most years, movies that cause a
stir in Cannes in May are mere
afterthoughts by the time the
Oscars roll around in February.
in Oscar attention.
“Marion Cotillard excels,”
tweeted Toronto critic Peter
Howell, “Oscar honors possible.”
David Poland of moviecitynews.
com tweeted, “Cotillard
and the screenplay will be
Oscar nominated.”
The critics were even more
effusive when Amour arrived
May 20. Oscar-ologist Sasha
Stone blogged the film “is probably headed straight for Oscar’s
foreign-language race, where it
will likely win.”
“I’m not going to jinx it by
talking about any of that,” said
Michael Barker, co-head of
Sony Pictures Classics, which
has both films for U.S. release.
C O N T I N U E D O N PA G E 1 0
VALERY HACHE/AFP/GETTYIMAGES
make his directorial
debut with The Happy
Prince, a comedic biopic on
Oscar Wilde that will star Everett as the legendary Irish writer
and playwright and Colin Firth
as his friend and confidant
Reginald “Reggie” Turner.
The project re-teams Everett
and Firth, who appeared in the
Oscar Wilde adaptation An
Ideal Husband (1999). The casting of The King’s Speech Oscar
winner in Everett’s directorial
debut will come as a surprise
to many, given the alleged,
but widely reported, personal
animosity between the two
1
S C R I P T
T O
S C R E E N
day7_news1-2-8-10.indd 1
5/21/12 9:25 PM
the REPORT
Berg’s Survivor Sells Out
The director is in Cannes
to reassure foreign
buyers the military pic
doesn’t choose sides
caption
A
F
ORESIGHT UNLIMITED
has virtually sold out of
Peter Berg’s U.S. Navy
Seals action-drama Lone Survivor, starring Mark Wahlberg,
Taylor Kitsch and Ben Foster.
The film is a passion project
for Berg, who was in Cannes on
Friday and Saturday to meet
with foreign buyers just as his
tentpole Battleship was opening
in the U.S. The film’s weak
domestic debut hardly dimmed
interest in Lone Survivor, based
on the non-fiction book by
Navy SEAL Marcus Luttrell.
Foresight’s Mark Damon said
all but four territories, including
Australia, Germany and Benelux, have been sold (Foresight
has done equally as well with
Gerard Butler starrer Motor
City, from director
Albert Hughes).
“There were some
questions about the
subject matter, and
Peter’s coming here
was not just that of
a director who’s had
Wahlberg
Kitsch
enormous success. It was his
passion for the project. This
isn’t a standard AmericanIraqi-Afghanistan kind of
picture,” said Damon, who is
enjoying another boom market.
“It may seem presumptuous
to compare it to Apocalypse
Now, Deer Hunter or Platoon,
but [ Berg says] that what
made those pictures so special
was the human element. That’s
what he plans to do with this,”
Damon continued.
Lone Survivor chronicles the
failed June 28, 2005, mission
“Operation Red Wings,” in
which four members of SEAL
Team 10 were tasked to capture
or kill Taliban leader Ahmad
Shah. But when their mission is
compromised, the outnumbered
SEALs must fight off the Taliban
and navigate treacherous mountain terrain as they try to survive.
Berg, who wrote the adapted
script for the $48 million
pic, told THR in an exclusive
interview that he wanted to
personally assure foreign
distributors that Lone Survivor
isn’t pro-American.
“I’ve never gotten a script
that’s gotten such intense
interest. People know I love to
shoot action and that I’m not
afraid of emotion,” Berg said.
“It is a remarkable character
study and I wanted the foreign
buyers to understand that this
was just as important to me as
an action movie.” THR
Online VOD Movie Outfit MUBI to
Launch In Scandinavia
O
AngelWorld
Backs Deep
Blue Sea
The Nordisk Film & TV Fund will back MUBI’s promotion of
Scandinavian cinema worldwide By Scott Roxborough
NLINE VOD MOVIE SITE MUBI IS SET TO
roll out in Scandinavian this summer,
with a launch in Norway July 17th followed by bows in Sweden and Denmark shortly
afterwards. The move follows MUBI’s launch in
Turkey two months ago.
“Our territorial focus is shifting,” said MUBI
boss Efe Cakarel speaking at a press breakfast
in Cannes Monday. “The U.S. market is taken,
with Netflix and Hulu dominating everything but
internationally there are several opportunities.
We see Turkey and Scandinavia as our two most
interesting markets, when we look at the tech and
social-media savyness of the audiences there.”
The Scandinavian versions of MUBI will
be similar to its Turkish operation: a localized, subscription-based model with a limited
selection of films and a very low point of entry.
Subscriptions for the Scandinavia operation will
be in the range of $5-$6 a month for 30 films.
“We will start with 30 films and each day we
will add a film and take one away,” Cakarel said.
MUBI has also signed a deal with Scandinavian production and marketing body Nordisk
Film & TV Fond which will see Nordisk put
up 1 Million Danish Crowns (around $170,000)
towards the promotion and marketing of Scandinavian films on MUBI’s site worldwide.
The promotion program will kick off in July and
run till the end of the year, after which Nordisk
will assess it and decide whether it should
be extended.
Separately, Cakarel said MUBI is close to
signing licensing deals with two major studios
to supply higher-profile films to his art-house
heavy service. THR
NGELWORLD
Entertainment will
finance and produce the Jessica Biel-Chloe
Moretz-Jeffrey Dean Morgan
starrer The Devil in the Deep
Blue Sea, with Justin Timberlake set to compose the
movie’s soundtrack and serve
as music supervisor.
Bill Purple will direct from a
script he co-wrote with Robbie
Pickering. Biel will produce
with Michelle Purple under
their Iron Ocean Films banner
alongside Preferred Content’s
Ross M. Dinerstein and AngelWorld’s Darby Angel.
AngelWorld has burst
on the scene at this year’s
Cannes, announcing a new
$150 million equity fund that
will finance six films. Deep
Blue Sea is the second of the
titles announced after The
Big Shoe, directed by Steven
Shainberg and starring Jim
Sturgess and Susan Sarandon.
Purple is set to start shooting
this fall. CAA, which represents
Pickering and AngelWorld, set
up financing for the film and
will represent North American
distribution rights.
Set in New Orleans, Deep
Blue Sea follows Henry (Dean
Morgan), a grieving widower
who recently lost his wife
(Biel) in a tragic car accident,
as he finds refuge by helping
a wisecracking young girl
(Moretz) fulfill her dream
of building a raft and sailing
across the Atlantic Ocean.
“This project is a perfect fit
for AngelWorld with its gripping script, stellar cast and
talented production team,”
Angel said. “We’re thrilled
to add it to our expanding
slate of investments in quality
independent films.”
AngelWorld’s $150 million fund resulted from a
strategic alliance with Glenn
Myles’ First Wall Street
global merchant bank.
Biel is represented by CAA,
while Moretz and Timberlake
are represented by WME. THR
2
5/21/12 9:12 PM
FILMS
OF THE
DAY
BETA CINEMA
AT CANNES 2012
LOST IN SIBERIA
An exotic dropout comedy with grandiose actors.
(CINEMA)
DIRECTOR
CAST
Ralf Huettner (VINCENT WANTS TO SEA)
Joachim Król, Katja Riemann, Armin Rohde, Julya Men,
Vladimir Burlakow
SCREENING
TODAY | May 22nd | 10:00 a.m. | Olympia 7
MARKET PREMIERE
BLISS
A strong film…a deeply moving story.
(ZDF HEUTE JOURNAL)
DIRECTOR
Doris Dörrie (CHERRY BLOSSOMS)
CAST
Alba Rohrwacher, Vinzenz Kiefer, Matthias Brandt,
Oliver Nägele, Maren Kroymann, Christina Große
SCREENING
TODAY | May 22nd | 1:30 p.m. | Arcades 3
MERCY
Elevated to bigscreen status by the sheer level of craft
on display. (VARIETY)
DIRECTOR
CAST
Matthias Glasner (THE FREE WILL, THIS IS LOVE)
Jürgen Vogel, Birgit Minichmayr, Henry Stange
SCREENING
TOMORROW | May 23rd | 9:30 a.m. | Riviera 3
COME ON, LET´S FIND A TREASURE
3D
3D animation based on Janosch’s bestselling book
published in 47 languages.
DIRECTOR
Irina Probost
SCREENING
TODAY | May 22nd | 2:00 p.m. | Olympia 6
MARKET PREMIERE
CANNES OFFICE Grand Hotel Cannes, bâtiment le Goeland (ground floor), right hand side to the Grand Hotel entrance, +33 (0)4 9399 5580
HEAD OFFICE Gruenwalder Weg 28d / D-82041 Oberhaching / Phone +49 89 673469 - 828 / [email protected] / www.betacinema.com
Beta Cinema D7_052212.indd 1
5/8/12 11:56 AM
the RepoRt
Cronenbergs Keep It Light in Cannes
Their work may be dark,
but David and son
Brandon had the crowd
in stitches at lively Q&A
session By Stuart Kemp
T
he Festival de cannes
may have accidentally
birthed the next great
comedic double act: The
Cronenbergs. Or perhaps
Dave and Bran.
Filmmakers David and
Brandon Cronenberg played
out a humorous double act as
they talked about being the
first father and son team to
bring movies to the festival at
the same time in the French
event’s storied history.
The elder Cronenberg,
whose Cosmopolis screens in
Competition later this week,
acted the fatherly fool while
Brandon, whose Un Certain
Regard entry Antiviral has
unspooled, did laconic.
The conversation between
the two, moderated by Toronto
International Film Festival
artistic director Cameron Bailey, opened the door for
the jokes early.
Asked what it felt like for the
pair to both have a film showing
at the Festival de Cannes, it went
David and Brandon Cronenberg
discussed being the first father
and son team to have films in the
Cannes lineup simultaneously.
how he had “probably” deliberately avoided filmmaking for a
while, largely “because people
approached me with all sorts
of preconceptions” because of
his father, “and that was sort
of obnoxious.”
But eventually, around the
age of 24, “Bran,” as David
Cronenberg calls him, decided
to make a film because it provided the perfect place to collect
the various art forms he enjoys
— writing, visual art and the
technical discipline required to
produce things — in one place.
But it was the father-andson dynamic that constantly
provided the laughs.
When asked if they had
to David, who batted it back
to Brandon who went back to
David, forcing the senior member of the panel to come up with
something. “It is pretty great to
see Brandon going up the red
carpet,” Cronenberg said. “I said
to people it took me 20 years to
get to Cannes and look, here he
is with his first film. It was very
touching and terrific.”
With impeccable timing,
Brandon then deadpanned:
“It was all really adorable and
quite emotional.”
It set the tone for a packed
event organized by Telefilm
Canada entitled “Master & Son:
The Cronenbergs at Cannes.”
Cronenberg junior explained
Kaas Joins Cast of Lost Causes
Project is the first feature in a four-film franchise based on the
Scandi bestseller by Jussi Adler-Olsen By Scott Roxborough
D
anish actor nikolaj lie kaas
will play the lead in The Keeper
of Lost Causes, the first film in a
planned four-feature crime franchise
based on the so-called Department Q bestsellers by author Jussi Adler-Olsen.
Lie Kaas will play police detective Carl
Morck. Together with his partner, Morck
gets involved in a five-year-old cold case
involving a missing woman. Their investigation leads them on a journey across
Scandinavia, as they track down a psychopathic killer.
A box-office champ at home, where his
credits include local blockbuster A Funny
Man (2011), Lie Kaas is also a known commodity in Hollywood, with supporting
roles in features such as The Whistleblower
(2010) and Angels and Demons (2009).
Mikkel Norgaard (Clown — The Movie)
has signed on to direct The Keeper of Lost
Causes from a script by Nikolaj Arcel, who
penned the script to the original Swedish The
Girl With the Dragon Tattoo and wrote and
directed A Royal Affair, which won the best
screenplay and best actor nods at the Berlin
International Film Festival in February.
TrustNordisk is pre-selling the film in
Cannes and has already signed deals with
NFP in Germany and Frenetic Films in
Switzerland for all four titles in the Department Q franchise. Denmark’s Nordisk Film
will distribute The Keeper of Lost Causes
locally.
Louise Vesth, who credits include Lars
von Trier’s Melancholia, will produce Lost
Causes for Zentropa Entertainments20 in
cooperation with Danish broadcaster TV2
and Germany’s ZDF/ZDF Enterprises.
Shooting is set to begin this October. thr
watched films together, Brandon said he couldn’t really
remember. His father dove in
to assist him, reminding him
they had watched the 1980
spoof Airplane! together. “He
didn’t laugh, though,” said
Cronenberg senior, pausing
before adding “which I thought
was ... interesting.”
So had Brandon taken any
inspiration from his father’s
oeuvre? “I don’t think he’s seen
any of my movies,” Cronenberg said. Brandon corrected
him immediately. “I think I
watched (1979’s) Fast Company
once,” he said. “Which is about
drag racing.”
Said David: “Not my usual
kind of movie, but one I am
very proud of.”
Asked if his father had offered
script notes for what became
his big-screen debut, Brandon
said, “I kept shoving the script
under his bedroom door, but he
wouldn’t take it.”
“We’ll talk about that later,”
David said, adopting a faux
stern manner.
David, once again drawing
laughs, admitted most of his
fatherly decisions came down
to little more than “lazy
parenting.” thr
Ad Vitam Inks
Deal for Lovely
I
By Stuart Kemp
ndian director ashim ahluwalia’s
movie debut, Miss Lovely, set to take
its world premiere in Un Certain
Regard, has inked a French distribution
deal with Ad Vitam.
The label snapped up Ahluwalia’s film
from Fortissimo Film Sales.
Ad Vitam’s Gregory Gajos described
Ahluwalia’s film as repping “the new
wave of Indian cinema.”
Ahluwalia, who previously directed
the documentary John and Jane,
produced Miss Lovely under the Future
East banner along with Shumona Goel,
Sanjay Shah and Pinaki Chatterjee.
The movie stars Nawazuddin
Siddiqui, Niharika Singh (former Miss
India) and Anil George and is set against
the seedy backdrop of Bombay’s C-level
movie business of the 1980s. thr
4
day7_news4-5.indd 1
5/21/12 8:34 PM
Williams
to Helm
Sobibor
The 2012 Cannes Poster Awards
THR pays tribute to the most amusing
and over-the-top promotional materials
from the festival’s market
By Scott Roxborough
and Stuart Kemp
b
G
ritish director
Paul Andrew Williams,
currently in post-production on the comic drama
A Song For Marion, will turn
serious for his next project,
the concentration camp
drama Sobibor.
The project, for which Williams will also pen the script,
is based on the true story
of the only recorded escape
from a concentration camp.
In October 14, 1943,
around half of the 600
prisoners in the Sobibor
extermination camp in Nazioccupied Poland revolted
against their guards and
escaped. The story was the
basis for the 1987 film Escape
from Sobibor which starred
Rutger Hauer and Alan
Arkin. Sobibor was back in
the headlines recently after
a German court last year
sentenced John Demjanjuk
for complicity in the murder
of more than 28,000 Jews at
the camp. Demjanjuk, who
died in March this year while
waiting appeal, is likely to
be the last man convicted of
Nazi war crimes.
Song for Marion producers
Steel Mill in the U.K. and
Egoli Tossell in Germany
will co-produce Sobibor,
which will be Williams’ next
project. Steel Mill and Egoli
Tossell also teamed up on
Filth, Jon S. Baird’s adaptation of the Irvine Welsh novel
about a junkie Scottish cop,
which stars James McAvoy,
and Imogen Poots and which
Sierra/Affinity is selling at
Cannes’ Marche du Film.
Egoli Tossell parent
company, Film House
Germany, will act as an equity
financier in Sobibor. thr
THR .com
To download a PDF of the
The Hollywood Reporter’s
Cannes Film Festival,
go to:THR.com/Cannes.
FilmNation
Nabs
The Rover
besT iNTer-diMeNsioNAl
NAzi ePiC
besT fAir-use eXPloiTATioN
3 Musketeers
the 25th reich
Who needs Athos, Porthos and
Whatshisface when you’ve got
Hoodie Couple and BaggyCrotch Girl? D’Artagnan is no
longer interested in joining the
Three Musketeers (they’re so
1840s). Instead, he’s down with
a new crew: the Three Musketeens. They’re way cooler. They
live in the big city, have guns
that (apparently) shoot fire, and
F-16s got their backs, yo! Suck
on that, Alexandre Dumbass!
World War II what? Sure, the
Nazis were, you know, awful.
But guess what’s worse? Having to fight the Third Reich
and intergalactic powers
throughout 25 dimensions.
That’s the undertaking of
five brave men as they use
their Allied power to fight off
Hitler, Himmler and Xenon,
the evil alien leader of planet
Nazlandia. The invasion of
Normandy was a cakewalk
compared to this.
besT ATTeMPT AT reMAiNiNG
CoMPleTelY vAGue
besT foreClosure ePiC.
wiTh CATs. ever.
(Un) Wanted
What’s this movie about?
Here’s our best guess. This kid
is pissed because he’s got a lot
of stuff he no longer wants:
a Jesus prayer card, a blownout photo, a spaceship with a
polar bear on it, a razor blade,
an Eiffel Tower keychain and a
passport. He can’t just throw
them away, and the Goodwill
is already closed! Our second
best guess: He’s possessed by
a demon.
3 Cats and a Man
Want to buy a house from
this man? Why not? Cats love
him! Just look at the grinning
feline hanging out on his back.
That, or it’s attached to him
like Kuato was attached to
that guy in Total Recall. Who
wouldn’t want to buy a house
from a guy who has a cat fused
to his body? It’s freakish yet
adorable! We’re sold.
len Basner’s Film-
Nation Entertainment has acquired the
majority of worldwide rights
to The Rover, from Animal
Kingdom writer-director
David Michod.
The filmmaker’s script is
based on a story he conceived with fellow Aussie Joel
Edgerton (The Great Gatsby).
Michod is set to begin shooting in Australia late this year,
with Robert Pattinson and
Guy Pearce in negotiations
to star.
FilmNation acquired the
rights from David Linde’s
Lava Bear Films and Liz
Watts’ Porchlight Films. Tony
Metzger, president of Lava
Bear, will oversee the production for the company. The
film also will be produced in
association with Blue Tongue
Films, the directors collective
of which Michod is a member.
The Rover is set in the Australian desert in the dangerous and dysfunctional near
future. The lead character
Eric sets off to track down
the gang of criminals who
stole his car and is forced to
enlist the help of Reynolds,
the naive simpleton of the
gang left behind in the bloody
chaos of the gang’s most
recent escape.
“I loved Animal Kingdom
and am thrilled to collaborte
with such an exciting talent as
David Michod. The film represents another big step for
FilmNation as we continue
to invest in high caliber films.
The Rover is going to be one
kick-ass flick,” said Basner.
FilmNation will represent
U.S. rights with UTA
Independent Film Group.
Territories excluded in the
FilmNation deal are the U.K.,
Latin America, Australia and
New Zealand, Benelux,
Scandinavia, Greece,
Indonesia, the Middle East,
Poland, Croatia/Slovenia,
Romania/Bulgary/Hungary,
Serbia and Turkey. thr
5
day7_news4-5.indd 2
5/21/12 9:00 PM
Close up on Canadian TalenT
aT Cannes / Pleins feux sur
le talent canadien à cannes
FesTival de Cannes
1
2
3
4
4
5
Canada pavilion /
Pavillon du canada
3
sélection officielle - Compétition
Cosmopolis
4
2
sélection officielle Compétition courts métrages
Herd leader /
chef de meute
Chloé Robichaud
La Boîte à Fanny / Les Films de la meute
Sales / Ventes Locomotion films
23/05 11:00 Salle Bazin * **
26/05 11:00 Salle Debussy **
26/05 15:00 Salle Buñuel **
Telefilms_Cannes D7_052212.indd 1
Sales / Ventes TF1 International
Sales / Ventes Films Boutique
19/05 14:00 Salle Debussy
20/05 20:00 Salle Bazin
20/05
20/05
20/05
21/05
21/05
22/05
22/05
23/05
sélection officielle un Certain Regard
19/05 13:00 Salle Bazin
5
Hors les murs
David Lambert
Boréal Films / Frakas Productions /
Productions Balthazar
Sales / Ventes MK2 Diffusion
Grand Théâtre Lumière
Salle du Soixantième
semaine de la critique
Brandon Cronenberg
Rhombus Media
Xavier Dolan
Lyla Films / MK2
Sales / Ventes Kinology
08:30
13:00
19:30
14:30
6
laurence anyways
David Cronenberg
Prospero Pictures / Alfama Films
25/05
25/05
25/05
26/05
sélection officielle un Certain Regard
7
antiviral
T 04 92 59 00 02
Village International, N° 123
1
6
Quinzaine des réalisateurs
With Jeff /
avec Jeff, à moto
7
11:30
17:30
22:00
08:30
14:00
11:30
16:00
13:30
Espace Miramar * **
Espace Miramar **
Espace Miramar **
Espace Miramar **
La Licorne **
Arcades 3 **
Studio 13 **
Lérins 1 **
Cannes Junior
le Magasin des suicides
Patrice Leconte
Diabolo Films / La Petite Reine /
Entre Chien et Loup / Caramel Films
Sales / Ventes
Wild bunch distribution
24/05 14:30 Salle du Soixantième
Marie-Ève Juste
Voyous films
Sales / Ventes Les Films du 3 mars
23/05 16:30 Théâtre Croisette **
25/05 22:00 Studio 13 **
5/14/12 11:04 AM
peRspeCTive Canada / MaRCHé du FilM
peRspeCTive Canada / MaRCHé du FilM
8
8
9
10
11
13
13 eerie Canada
perspective
Lowell
Dean
13 eerie
12
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14
15
11
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perspective Canada
Charlie
Zone
perspective
Canada
Michael
Melski
Charlie Zone
dead
Before
dawn 3d
perspective
Canada
April
Mullen
dead Before dawn 3d
WANGO Films
April Mullen
Sales
/ Ventes
WANGO
Films VMI Worldwide
Sales / 11:30
Ventes
VMI Worldwide
18/05
Arcades
3
20/05 15:30 Arcades 3
18/05 11:30 Arcades 3
20/05 15:30 Arcades 3
Telefilms_Cannes D7_052212-2.indd 1
perspective Canada
KarakaraCanada
perspective
Claude
Gagnon
Karakara
14
14
Zuno Films / Kukuru Vision
Claude Gagnon
Sales
/ Ventes
Kukuru
Vision
Zuno Films
/ Kukuru
Vision
12
12
perspective Canada
Replicas Canada
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Jeremy
Regimbal
Replicas
Sepia Films / The Lab Films
Jeremy Regimbal
Sales
/ Ventes
Celluloid
Nightmares
Sepia Films
/ The
Lab Films
Sales / 20:30
Ventes
Celluloid
Nightmares
20/05
Palais
K
22/05 20:00 Palais J
20/05 20:30 Palais K
22/05 20:00 Palais J
13
13
perspective Canada
The
last Will
perspective
Canada
and
The Testament
last Will of
Rosalind
leigh of
and Testament
Rodrigo
Gudiño
Rosalind leigh
Rue Morgue Cinema /
Rodrigo Gudiño
Someone
at the Door Productions
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Sales
/ Ventes
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Cinema
Someone
at the Door
Productions
Sales / 11:30
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Cinema
19/05
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1
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perspective Canada
War Witch
/ rebelle
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Kim
Nguyen
War
Witch / rebelle
Item 7 / Shen Studios
Kim Nguyen
Sales
Films Distribution
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Sales / 11:30
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Kukuru
22/05
Palais
H **Vision
23/05 16:00 Palais I **
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Sales / 17:30
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Myriad
21/05
Lérins
1 Pictures
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10
9
13
perspective Canada
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8
11
Redemption Pictures
Michael Melski
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Pictures
10
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19/05
12:00
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9
8
Sales / 09:30
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Films Distribution
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3 **
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15
15
Canada :
noT
sHoRT
Canada
: on TalenT /
talent
tout
court
noT sHoRT
on
TalenT /
A program of 25 new short films
talent
tout
court
curated by Danny Lennon /
A program
of 25de
new
films
Un
programme
25 short
nouveaux
curatedmétrages
by Dannyconçu
Lennon
courts
par/
Un
programme
Danny
Lennon de 25 nouveaux
courts métrages conçu par
Danny Lennon
22/05
11:30 Palais F **
23/05 13:30 Palais F **
22/05 11:30 Palais F **
23/05 13:30 Palais F **
Get the info and
see the trailers /
Get
infoetand
Plus the
d’infos
see
the trailers /
bandes-annonces
Plus d’infos et
canada-cannes2012.ca
bandes-annonces
canada-cannes2012.ca
* Press screening / Projection de presse
** English subtitles / s.-t. anglais
* Press screening / Projection de presse
** English subtitles / s.-t. anglais
5/20/12 8:09 AM
the REPORT
Fassbinder Back on Big Screen
German director
Kreuzpaintner will helm
pic about colorful
arthouse legend
I
By Gregg Kilday
By Scott Roxborough
M
ARCO KREUZPAINTNER
will take on the wild
life and young death of
German director and Cannes
Film Festival veteran Rainer
Werner Fassbinder in his new
film, Rainer.
Fassbinder shot 44 films
in just 16 years before dying
of a drug overdose, at 37. He
brought two films to Cannes
Competition: Fear Eats The Soul
(1974) and Despair (1978). He
remains one of the most influential directors of his generation, particularly in France.
Speaking to THR in Cannes,
Kreuzpaintner said his film
Rainer would not be a biopic
but more a “melodrama in
Fassbinder’s style. It will be a
homage to his movies,” Kreuzpaintner explained. “But we
want to show the real Fassbinder, with all the dirt, drugs
and excess.”
The German director, whose
credits include Summer Storm
(2004), the Kevin Kline-starrer
Trade (2007) and Krabat
(2008), is currently casting the
lead for Rainer and hopes to
Rainer Werner Fassbinder, right, pictured with producer
Barbet Schroeder in Cannes on May 12, 1979 during the 32nd International
Film Festival, where they present Fassbinder’s The Third Generation.
love and found only conditional
love, with people taking advantage of him or he of them;
of his immense professional
success and his tremendous
personal failure.”
Anatol Nitschke of Berlinbased deutschfilm will produce
the $7.5 million feature
together with Rezo Films in
France. Iris Group of Luxembourg is also on board as a coproducer. Germany’s Senator
Film, a partner in deutschfilm,
will release Rainer in Germanspeaking Europe. Rezo will bow
the film in France and is selling
the project worldwide at the
market in Cannes. THR
begin shooting mid-April 2013.
Kreuzpaintner said he was not
looking for “a Fassbinder lookalike or A-list star” but rather a
character actor who can depict
the “emotional truth” of the
legendary director. The film’s
script, which Kreuzpaintner is
co-writing with Gerrit Hermans, will show Fassbinder
both at the beginning and end
of his career and will require
the lead actor to go through a
Raging Bull-style weight gain to
depict the older Fassbinder.
“The story of the movie
is basically how, all his life,
Rainer Werner Fassbinder was
searching for unconditional
Russia Cinema Fund Opens L.A. Office
The state-backed fund aims to co-finance co-productions and support
international shoots in Russia By Scott Roxborough
R
Lynch Joins
Roth’s Grace
USSIA, ONE OF THE WORLD’S FASTEST growing film markets, is pushing beyond
its national borders. At an event Monday in Cannes, the Russian Cinema Fund
announced several new initiatives, including
the opening of an office in Los Angeles to help
make it easier for international producers to
work in the country.
The Russian Cinema Fund, which plans to
spend around $10million-$15 million supporting
Russian international co-productions in the coming year, also announced a new agreement with
the Kazakhstan Producers Guild, that will see
the two countries pool resources to co-finance
and co-produce feature films.
Russia, whose local theatrical market is worth
more than $1 billion annually, is looking to
co-productions to bolster its domestic industry. While made-in-Russia movies enjoyed a 25
percent share of the local market just five years
ago, Hollywood now dominates and Russian
films account for a 13 percent share.
Elena Romanova, head of the international
department at the Cinema Fund, said the Russian industry has much to learn from the U.S.
“The greatest movies are done in Hollywood,
and we are trying to learn from how they do
things,” she said.
In addition to studying U.S. production
methods — the Cinema Fund has entered into an
agreement with L.A.-based Hive Studios, which,
in part, will involve the promotion of completion
bond schemes for Russia productions — the
Russian government will begin sponsoring
internships for Russian acting talents to spend
three to six months in L.A., meeting with top
agencies and running the gauntlet of the Hollywood casting machine. THR
F TIM ROTH CAN SNEAK
away from his duties as
head of the Un Certain
Regard jury, he’s likely to be
found huddling with director Jennifer
Lynch, since
he’s been tapped
to star in his
next project A
Lynch
Fall From Grace,
which is looking to begin
filming this summer in St.
Louis, Mo.
Roth is to play a homicide
detective on the trail of a
serial killer. “It’s about a lot
of dark, taboo issues, but
it’s really a drama about
wounds,” says Lynch, who’s
scheduled to be joined by
Roth, schedule permitting,
for a Wednesday panel at the
American Pavilion.
Eric Wilkinson has written the screenplay and will
produce the project with his
Apothecary Films partner
David Michaels. THR
eOne Inks
Inch’Allah Deals
A
By Stuart Kemp
NAIS BARBEAU-
Lavalette’s Inch’Allah,
the third film in the
Middle Eastern-set trilogy of
films that follows Incendies and
Monsieur Lazhar, is proving
popular with buyers.
Inch’Allah tells the story
of a young Canadian doctor
(Evelyne Brochu, Cafe de Flore)
working in the West Bank,
trying to build bridges amidst
the conflict but inevitably being
drawn into a cycle of violence.
Billed as a gripping
drama, the movie makes its
market debut at the Market,
with eOne Film International, the international sales
division of Canada’s Entertainment One, selling.
eOne has inked deal
memos with Cineart (Benelux), Lusomundo (Portugal), Golem (Spain), Agora
(Switzerland) and Front Row
in the Middle East. THR
8
5/21/12 8:44 PM
108Prod_Day7.indd 1
5/21/12 1:41 PM
the REPORT
French actress Isabelle Huppert, center, and the director and the rest of the cast
brave the rain for the premiere of Hong Sangsoo’s in Competition entry In Another Country.
Back Roads
C O NTINUE D FRO M 1
Hyde Park isn’t selling the
film at the Marche du Film in
Cannes, the project is included
in their materials. Back Roads
also is touted on RCR’s website.
Paradigm’s independent
film group represents RCR and
arranged financing with producers Michael Ohoven, Dan
Spilo and Rui Costa Reis. Eliad
Jospehson and Ricardo Costa
Reis are executive producing.
Back Roads will return Lyne
to the director’s chair for the
first time since Unfaithful in
2002. Lyne — the filmmaker
behind hits including Fatal
Attraction, Indecent Proposal
and Flashdance — has been
pursuing Back Roads for several
years, but the project could
never get off the ground.
Set in Pennsylvania’s mining
country, Back Roads tells the
story of 20-year-old Harley
Altmyer, who has to care for his
three sisters after his mother is
convicted of killing his abusive
father. He commences a sultry
affair with a married mother of
two, but soon becomes the lead
Oscars
C O NTINUE D FRO M 1
If either film is going to figure in the foreign-language race, it will first have to be nominated by
a host country. While Rust would have to get the
nod from France, Amour could be nominated by
either France or Austria since although it’s performed by French actors Jean-Louis Trintignant
and the sublime Emmanuelle Riva, the principal
filmmakers are Austrian. SPC, however, does
plan to release both films stateside by the
end of the year, so whether or not they
are submitted for foreign-language
consideration, they will be eligible in
other categories.
If anything, distributors are
playing down all the premature
Oscar talk rather than encouraging it. When the Weinstein
Co. swooped in and grabbed
U.S. rights to The Sapphires, the
based-on-a-true-story account
of an Australian Aboriginal girl group that toured
Vietnam in the ‘60s, it looked
Cotillard
suspect in a murder.
Andrew Garfield was previously attached to star in the
movie but fell off to his commitments to the Spiderman franchise. Insiders say a number
of high profile actresses are
interested in joining the cast.
RCR’s slate also includes
2012 Sundance entry For Ellen
and writer-director Todd
Robinson’s Phantom, starring
Ed Harris, David Duchovny
and William Fichtner. The film
has been in Cannes this year
screening for foreign buyers.
Lyne is repped by WME. THR
as if history might be repeating itself, since TWC
picked up The Artist right before its Cannes debut
last year. But as he hosted a party for the movie
Monday night, TWC co-chairman Harvey Weinstein insisted that the feel-good movie isn’t part
of some bigger awards calculation. “It’s a modest
movie,” he said. “I just think it’s fun and smart.
Anything beyond that is a mitzvah.”
There also are plenty of other titles stirring up discussion. Wes Anderson’s whimsical
look at young love, Moonrise Kingdom, commanded the opening night slot, just as Woody
Allen’s Midnight in Paris did last year. Cannes
also rolled out its red carpet for Lawless, the
prohibition-era drama directed by John Hillcoat, starring Tom Hardy, Shia LaBeouf and
Jason Clarke as three brothers violently defending their turf. The question is whether that
movie should be classified as solid genre
fare — or something more.
And then there are all the movies yet to
screen — Andrew Dominik’s Killing Them
Softly, Lee Daniels’ The Paperboy, Walter
Salles’ On the Road, Jeff Nichols’ Mud. So
don’t hand out those Oscars just yet. There’s
plenty more hopefuls yet to come. THR
Everett
CON TI N UED F RO M 1
acclaimed British actors.
Everett will pen the script
to The Happy Prince, which
will look at Wilde’s final
days. The project is described
as being a mix of the comic
and tragic as the aging Wilde
reflects on his life and career.
The author of the novel
The Picture of Dorian Grey
and plays including “An Ideal
Husband” and “Salome,’
Wilde was one of the most
acclaimed writers of his
time. But at the height of his
success — in 1895 while his
masterpiece The Importance
of Being Earnest was still on
stage in London — he was
arrested and tried for gross
indecency for
having sex with
other men. He
served two years
of hard labor in
Everett
prison and died
penniless in
Paris, aged 46. In
the film, Wilde
looks back on the
triumphs and the
Firth
disasters of his
life with his characteristic dry
wit and black humor.
There have been several
films on Wilde’s tumultuous
personal and professional
life, the most famous of
which was Brian Gilbert’s
Oscar Wilde (1997) which
starred Stephen Fry as Wilde
and Jude Law as his lover,
Lord Alfred Douglas.
Emily Watson, Tom Wilkinson and Edward Fox are also
attached to star in The Happy
Prince. Shooting is planned for
Summer 2013. Beta Cinema
has picked up world sales
rights to the project and is preselling it at Marche du Film.
Behind the camera, Germany’s cine plus and Bavaria
Pictures, Brit production company Robert Fox and Bavaria
Media Italia will produce The
Happy Prince. Cinematographer Martin Ruhe (Control)
will lens the film while Christoph Kanter, who worked on
Palme d’Or winner The White
Ribbon, will handle production
design. Concorde will release
the film in Germany. THR
LOIC VENANCE/AFP/GETTYIMAGES
ABOUT TOWN
10
5/21/12 9:20 PM
Lucas Film D7_052212.indd 1
5/18/12 4:56 PM
ABOUT TOWN
Busan Mayor Hur nam-sick, Korean
minister for Arts, Culture and Carrier Choi
nam-sick and former Busan Film Festival
director Kim Dong-ho attend the Sake
Night Korean Party at La Plage de Vegaluna.
ANDREAS RENTZ/GETTY IMAGES; ; GARETH CATTERMOLE/GETTY IMAGES; IAN GAVAN/GETTY IMAGES; GARETH CAT; PASCAL LE SEGRETAIN/GETTY
IMAGES TERMOLE/GETTY IMAGES; ANDREW H. WALKER/GETTY IMAGES; VITTORIO ZUNINO CELOTTO/GETTY IMAGES
Elefante Blanco
star Jeremie
Renier gets
some air at
the photocall
for Argentine
director Pablo
Trapero’s Un
Certain Regard
entry.
Rocker-turned-actor Pete Doherty,
Karole Rocher and Lily Cole attend
the gala premiere of Sylvie Verheyde’s
Confession Of A Child Of The Century.
caption
Irish actor Chris
O’Dowd proudly
displays his colorful
chassuers at the
Caption
premiere of director
Wayne Blair’s Out of
Competition entry
caption
The Sapphires.
Caption
Steven Richard and
Gerard Butler share
a laugh at Butler’s
Cocktail Reception
for Foresight
Unlimited’s market
title Motor City.
12
day7_abouttown.indd 1
5/21/12 5:55 PM
The stars of Pablo Larrain’s Director’s
Fortnight entry No —Juan De Dios Larrain, Gael Garcia Bernal, Pablo Larrain
and Alfredo Castro — attend the gala
premiere of Michael Haneke’s Competition title Amour.
Songstress Lana Del Rey,
who has been seen shopping
around Cannes, attended the
opening night screening of
Moonrise Kingdom.
RAMBLING REPORTER
CANNES’ MUSIC SCENE
Eve Mavrakis and
Ewan McGregor
attend Cannes’
65th Anniversary
Party at the Agora.
Move over, Kanye West. You’re
not the only act in town. Reports
started swirling earlier this week
that the Queen B — Beyonce herself
— would be coming to Cannes to
join West’s May 23 performance
(the not-so-secret secret concert
will be combined with the debut of
West’s short film/art installation).
Fest-goers are also buzzing about
the possibility of an impromptu
Coldplay concert before the week
is out. While these reports were
unconfirmed as of presstime and
whether they actually happen
remains to be seen, it is true that
soulful rocker Lana Del Rey has
been spotted festival party-hopping
and may be lending her pipes to one
of the many Chopard-sponsored
events. It’s common knowledge that
music royalty Janet Jackson will be
at this year’s amFAR annual Cinema
Against AIDS gala Cannes event at
the Hotel du Cap on May 24 — but
it’s unclear whether she’ll perform.
And as of presstime, R&B artist Kelis
was confirmed to perform at the
Abu Dhabi event on May 21 on the
beach — rain or shine.
Cannes, when director Paul Haggis
tried to sweeten the deal of an existing item (a Golden Globes weekend
in LA) by adding a date with Butler.
“I’m done with Paul auctioning me
off,” he joked of the impromptu gag,
which ended when a guest purchased the item — but requested it
sans Butler. “I’ve auctioned off tea
with me before, but this was a first.”
The actor also hopes to squeeze in a
few films, including John Hillcoat’s
Lawless (“Tom Hardy is a good
friend of mine,” he said) and Lee
Daniels’ The Paperboy. “I’m a huge
Lee Daniels fan,” Butler told THR. In
fact, the actor revealed that he was
even toying with the idea of joining
the director’s star-studded Paperboy
cast. “I was talking to Lee about a
role in that film,” he said. But Butler
already has a full plate, including
training to prep for the political action flick that will begin filming this
fall, so he says he’s taking it easy this
time on the French Riviera. “You either have to stay in every other night
and drink tea or go away somewhere
immediately after,” he said of his
festival experience.
Is Beyonce coming to
Cannes to perform
with Kanye West?
BERG’S FRENCH CONNECTION
Director Peter Berg has a soft spot
for the French. When U.S. film
critics largely panned his 1998 dark
comedy Very Bad Things (which
was Berg’s feature directorial
debut), it was the French moviegoers and film critics who helped lift
him out of his funk. “Right when
I was at my lowest, the movie
came out in France,” the Battleship
director reveals. “And France really
embraced it; it was a big hit here.
They brought me out and made a
big fuss over it and me.” He even
admits to feeling scorned by some
of his so-called “friends” in the U.S.
film critic circle: “The French film
intelligentsia will always be near
and dear to my heart. They really
picked me up.” While this is Berg’s
first trip to the festival, the veteran
director admits that it’s hard to
not get swept up in the magic of
Cannes. “I can’t help but get caught
up,” he says. “It’s very glamorous
and everybody looks so great. I love
Europe. And I think it’s actually kind
of touching to me how much the
French love films.” THR
BUTLER: FULLY LOADED
Jessica Mauboy
attends the
photocall for
The Sapphires.
While in Cannes to promote his two
upcoming projects White House
Taken (which Avi Lerner’s Millennium Films recently acquired) and
Motor City, Gerard Butler is hoping
to squeeze in some time to enjoy the
festival. The Scottish actor already
made a few headlines on May 18
at Sean Penn’s Haiti: Carnival in
Director Peter Berg has a
soft spot for the French.
13
day7_abouttown.indd 2
5/21/12 6:09 PM
FASH TRACK
Cannes Go over the Top
on monday night, we saw three
newcomers to Cannes 65, and each wore
something that broke the mold of the chiffon or the chiffon and beaded evening gown
look. European actress Asia Argento, star of
Dario Argento’s Dracula 3D, went for South
of France goth in her Givenchy couture.
Seems she’s the European Rooney Mara.
This dress is mostly black suede studded
Dress
du Jour
Just when you think Diane Kruger’s Cannes wardrobe
can’t get any better — voila!! at the premiere of
Amour, she donned a rose gold strapless molten Vivienne Westwood draped down with a built-in corset.
C’est magnifique. The same dress in silver is actually
being sold on netaporter.com for about $2,500.
From left: erin Wasson in antonio berardi, asia argento
in Riccardo Tisci, Cheryl Cole in Stephane Rolland.
WHaT To buy, WeaR anD KnoW noW By Merle Ginsberg
patchwork with long sleeves — perfect for
the nasty, rainy, intrusive weather — but
the midsection is wrapped alligator skin.
And the back is all open. This has got to
be one of Riccardo Tisci’s weirdest dresses
ever. Cheryl Cole wowed the Palais crowd
for Amour in a Stephane Rolland couture
gown — she wore the French couturier
Cannes last year as well. This white
jersey hot number ombres into a long red
feather train. Model Erin Wasson showed
up at the Amour premiere in another red
and pale dress, this one with a severe assymetrical hemline by Antonio Berardi for
his spring 2012 collection. It’s actually a
very pale shade of blue with ruby leather
petals sewn on. Leave it to a model to pull
out the stops.
he has some great tips on hair preservation and conservation for laypeople: The
best color comes from well-treated hair.
Use vegetable oil — not mineral oil — as a
hair treatment once a week; vegetable oil
goes in the hair. Use a hair conditioning
mask, also once a week. Use nonsulphate
shampoo, at best twice a week — not
more. And he has a great tip for men, too:
When coloring gray on your own, don’t
make the color too dark; it looks fake. And
leave some gray at the temples — in other
words, keep some pepper in the salt. “This
makes men look sexy,” he advises.
How to Get That Big Screen Glow
Juror Kruger and Rust & Bone star
Marion Cotillard have been the belles of the
Cannes ball this year with their flawless
faces showing up on red carpets everyThe Haircolor of Money
where. So what’s their beauty secret?
CHRiSTopHE RoBin is one of the most
Both actresses are fans of organic French
famous haircolorists in Europe; he
beauty line Les Douces Angevines.
started doing haircolor at age 17 in Paris
Kruger loves the Aube d’été luminous day
and wound up inventing the famed hair
fluid that includes jojoba, calendula,
painting method known as “balliage.” He
musk rose and ylang ylang among other
has a major salon in the Hotel Meurice in
exotic all-natural ingredients. Jennifer
Paris, develops many haircolor products
Garner is also an Aube d’été devotee.
for L’Oreal and colored hair for Diane
Cotillard uses several
Kruger and Tilda Swinton
products but prefers Lia
before he got to Cannes this
eye serum, a mix of 26
year. “One in two women
different plants like Japado their color at home,” he
nese green tea, black cumin
explained on the terrace of
seed oil and jasmine. She
the Martinez. “That’s why I
may be having sleepless
created “Ombre” for L’Oreal,
nights as both a new mom
so women in Europe can do
and a regular on the Cannes
that look of having lighter
party circuit, but Cotillard
hair at the ends. Next year, it
certainly doesn’t show it
will come out in America.”
Haircolorist Christophe Robin
thanks to Lia’s anti-undereye
Robin penned a major book
colored Diane Kruger and Tilda
circle magic. thr
for professional colorists, and
Swinton prior to Cannes.
14
day7_fashtrack.indd 1
5/21/12 7:00 PM
AUSTRIA CONSTANZE SCHUMANN
ALLEGRO FILM
UNITED KINGDOM TRACY
O’RIORDAN MOONSPUN FILMS
BULGARIA STEPHAN KOMANDAREV
ARGO FILM
ROMANIA MONICA
LAZUREAN-GORGAN 4 PROOF FILM
at the Cannes International Film Festival 2012
CROATIA SINIŠA JURIČIĆ
NUKLEUS FILM
© Lena Paaske
DENMARK SIGNE LEICK JENSEN
TOOLBOX FILM
FYR OF MACEDONIA ROBERT NASKOV
KINO OKO PRODUCTION
SWITZERLAND DAVID EPINEY
ALINA FILM
GREECE ALEXANDRA BOUSSIOU
WRONG MEN
ICELAND ARNAR KNÚTSSON
FILMUS PRODUCTIONS
FINLAND LIISA PENTTILÄ
EDITH FILM
LITHUANIA DONATAS ŽVALIONIS
MEED FILMS
NORWAY BREDE HOVLAND
MOTLYS AS
THE NETHERLANDS TRENT
NFI PRODUCTIONS
SWEDEN SANDRA HARMS
SONET FILM
ITALY ALESSANDRO BORRELLI
LA SARRAZ PICTURES
CZECH REPUBLIC ONDŘEJ ZIMA
EVOLUTION FILMS
POLAND MARTA LARYSSA
PLUCIŃSKA FEDERICO FILM
FRANCE HÉLÈNE CASES
LIONCEAU FILMS
GEORGIA VLADIMER KATCHARAVA
20 STEPS PRODUCTIONS
IRELAND MORGAN BUSHE
FASTNET FILMS
GERMANY NICOLE GERHARDS
NIKO FILM
© Shahab Salehi
DENMARK SIGNE LEICK JENSEN TOOLBOX FILM ITALY ALESSANDRO BORRELLI LA SARRAZ PICTURES ICELAND ARNAR KNÚTSSON FILMUS PRODUCTIONS
NORWAY BREDE HOVLAND MOTLYS HUNGARY JUDIT STALTER LAOKOON FILMGROUP CROATIA SINIŠA JURIČIĆ NUKLEUS FILM GREECE ALEXANDRA BOUSSIOU WRONG MEN
SLOVENIA ALEŠ PAVLIN
PERFO D.O.O.
SPAIN DAVID MATAMOROS
ZENTROPA SPAIN
HUNGARY JUDIT STALTER
LAOKOON FILMGROUP
GERMANY NICOLE GERHARDS NIKO FILM IRELAND MORGAN BUSHE FASTNET FILMS FRANCE HÉLÈNE CASES LIONCEAU FILMS
POLAND MARTA LARYSSA PLUCIŃSKA FEDERICO FILM SPAIN DAVID MATAMOROS ZENTROPA SPAIN GEORGIA VLADIMER KATCHARAVA 20 STEPS PRODUCTIONS
BULGARIA STEPHAN KOMANDAREV ARGO FILM SWEDEN SANDRA HARMS SONET FILM SLOVENIA ALEŠ PAVLIN PERFO
FYR OF MACEDONIA ROBERT NASKOV KINO OKO PRODUCTION ROMANIA MONICA LAZUREANGORGAN 4 PROOF FILM CZECH REPUBLIC ONDŘEJ ZIMA EVOLUTION FILMS
UNITED KINGDOM TRACY O’RIORDAN MOONSPUN FILMS THE NETHERLANDS TRENT NFI PRODUCTIONS SWITZERLAND DAVID EPINEY ALINA FILM
LITHUANIA DONATAS ŽVALIONIS MEED FILMS AUSTRIA CONSTANZE SCHUMANN ALLEGRO FILM FINLAND LIISA PENTTILÄ EDITH FILM
participating EFP members
Austrian Film Commission, Baltic Films, British Council, Bulgarian National Film Center, Croatian Audiovisual Centre,
Czech Film Center, Danish Film Institute, EYE Film Institute Netherlands, Finnish Film Foundation, Georgian National Film Centre, German Films, Greek Film Centre,
ICAA / Spain, Icelandic Film Centre, Irish Film Board, Luce Cinecittà/Italy, Macedonian Film Fund, Magyar Filmunió/Hungarian National Film Fund, Norwegian Film Institute,
Polish Film Institute, Romanian Film Promotion, Slovenian Film Centre, Swedish Film Institute, Swiss Films, Unifrance Films
with the support of the EU MEDIA Programme
EFP is supported by
www.efp-online.com
project partners
European Film Promotion in Cannes +49 160 440 9595, in Hamburg/Germany Friedensallee 14 – 16 [email protected] www.efp-online.com
European Film Promotions D3_051812.indd 1
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Director Q&A
What should audiences expect
from the film?
I think that it’s a thriller that
studies sex and race and the
coming of age of a boy to
manhood.
Lee Daniels
The helmer talks about his Competition entry
The Paperboy, why Zac Efron and is ‘hungry’ and how
Cannes is an out-of-body experience By Gregg Kilday
L
ee Daniels is a Cannes
veteran who has steadily
worked his way up
through the festival’s hierarchy. The Woodsman, which
he produced, played Directors’ Fortnight in 2004.
Precious, which he directed,
was featured in Un Certain
Regard in 2009. And this
year, Daniels graduates to the
Competition with his newest film, The Paperboy, which
receives its gala priemere on
Thursday. An adaptation of
the 1995 novel by Pete Dexter,
the film is set in 1960s South
Florida, where a young man
(Zac Efron) witnesses a series
of events while his journalist older brother (Matthew
McConaughey) is recruited by
a death-row groupie (Nicole
Kidman) to prove that a man
convicted of murder (John
Cusack) is innocent. Daniels
spoke with THR about finally
returning to work after the
whirlwind that surrounded
the release of Precious, how he
assembled a cast and what it
means to him to be summoned
to walk the red carpet.
After Precious, you spent several
years pursuing a movie called
Selma, about the famous Civil
Rights march. How did The
Paperboy become your next
movie instead?
I did. We got right to the altar,
and the bride ran away. We
had the money, but I needed
more money. Looking at it in
hindsight now, I should have
figured out a way [to make
Selma]. I think oftentimes
filmmakers make that mistake.
I know I did. You don’t realize
the gift that you have making films. It’s so rare that you
have the opportunity to do
it. But it brought Paperboy
into my lap. I had had the
book, Pete’s book. I’d gotten
it around the same time I’d
gotten Precious, actually Push,
by Sapphire. I enjoyed both
of them very much. They are
the types of books that are
on my bed stand. When I got
some money from investors, I
had the choice and I decided
to do Precious. After Precious,
there were several movies
that were floating around —
Nights of Cabiria, Miss Saigon.
Being courted by so many
people because of the hype of
Precious, you lose a sense of
focus. But after the fairy dust
settled and reality kicked back
in, I became an unemployed
director. I went back to what
I knew, which was my passion
for Paperboy.
Pete Dexter adapted his own
novel, something that novelists
aren’t always comfortable doing.
How did you work with him?
There was always Pete Dexter’s
screenplay. Pedro Almodovar
[who at one point was planning
to direct the film] had written
a draft also. But Pete’s was sort
of the one I based my spin on.
He wrote a script and I sort
of rewrote, added on to what
he wrote. He did a great job. I
had my own take on it. I had
a very specific take on race.
Look, I had just left Selma, so I
had that race issue in the ’60s
bubbling up in me, waiting to
explode. And I took a lot of
that and laced it throughout
Paperboy, which added another
element to the story.
You’ve got a very high-profile cast.
How did it come about?
Casting was a circus. It was
crazy. We kept losing actors
because we kept pushing the
start date. We started out with
one cast and ended up with
another. We started out with
Tobey Maguire and Sofia Vergara and Bradley Cooper and we
ended up with Zac Efron and
Matthew McConaughey and
Nicole Kidman. Crazy. I think
the universe plays it exactly as
it’s supposed to. I couldn’t be
prouder of each of the actors in
the film. They serviced Pete’s
characters magnificently.
Zac Efron is the relative
newcomer in the cast. How did
he hold his own?
Vital S tats
Nationality American
Born December 24, 1959
Festival entry The Paperboy
(In Competition)
Filmography Monster’s Ball,
producer, 2001; The Woodsman,
producer, 2004; Shadowboxer,
2005; Precious, 2009.
Notable awards Artistic
Achievement Award, Chicago Film
Festival, 2009; Precious: Best
director, best feature, The Spirit
Awards; the PGA Stanley Kramer
Award; The Grand Jury Prize,
the Sundance Film Festival,
2009 and 2010
Zac Efron, he is hungry. That
is the best way to describe Zac.
He is hungry and eager. He
really gave it to me, man. He
brought it home for me.
How did the invitation to come
to Cannes come about?
They kept asking. I wasn’t
even done. We were about six
months pregnant with the
film. It was almost there, but
it wasn’t quite there yet. But
the producers were like, “We’ve
got to go to Cannes, we’ve got
to commit to Cannes.” For me,
I don’t do movies for festivals.
I like to wait until the movie
is finished and then figure out
where the film is supposed to
be placed. Cannes felt a little
early. But I had no say because
I don’t own this film like I did
with my others. I was a director
for hire. But it all worked out
for the good.
You’ve been to Cannes many
times before, both in the festival
sidebars and last year selling
rights to The Paperboy. What’s it
mean for you to finally be in the
Competition?
This one is an out-of-body
experience because it’s in
Competition. It sounds corny
to say it, but I’m humbled.
That’s the only way to describe
it, but I’m still sort of in shock
and humbled that I’m in the
Competition.
You’ve already lined up your next
film, The Butler, about Eugene
Allen, who had a long career
as the White House’s butler. IM
Global is selling it here. How’s the
film going?
I’m prepping it. I’ve been
writing, writing, writing, trying
to make the script work
because I’m not going to have
another Selma experience. I’m
trying to adapt the script to the
budget, so I’ve been in that
world, working on the screenplay. I went three years not
working after Precious, nothing
really coming together. It took
a minute to put Paperboy
together. I was going to take a
break, but I thought, “No, no,
no, I’ve got to take work while I
can get it.” So I’m thrilled to be
working again. We start
shooting in mid-July. Back to
New Orleans. thr
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Executive suite
Co-Chairmen, Red Granite Pictures
Riza Aziz and
Joey McFarland
The dynamic duo discuss working with Scorsese,
partnering with DiCaprio and the meaning behind
their colorful company name By Pamela McClintock
Red Granite went quiet after
its debut in Cannes. What has
the company been doing the
past 12 months?
JM Riza decided to form Red
Granite in late 2010. In 2011,
we focused on building our
infrastructure and our upcoming
slate. We are now prepping Wolf
of Wall Street and it starts shooting in August in New York. Our
first movie was a much smaller
film, Friends With Kids. And we
recently announced we want to
make The Unpleasant Profession of
Jonathan Hoag with Alex Proyas.
AR We couldn’t move on Wolf
until Marty was done with Hugo.
We bided our time and we waited
for him. I think it was time well
spent, versus rushing things.
Are you selling Wolf to foreign
distributors at Cannes? Or are you
trying to see if a studio will buy
rights to the world?
JM No, that won’t happen. We
are going to sell foreign territories, but not yet. Domestically,
we’re talking to Paramount,
whom Marty has had a long relationship with. Warner Bros. has
expressed a lot of interest as well.
It’s a good problem to have.
Hugo went substantially over
budget. How will you make sure
that doesn’t happen with Wolf?
JM There’s no comparison
between the two projects. We’re
not over the finish line yet, but I
like to think we’re blessed with
having Marty in his own back
yard and in his comfort zone. I
am very confident that Marty
is ready to make a statement to
the film community that he is
not an out-of-control filmmaker.
We support his creative vision
100 percent and he understands
our economics. We’ve talked
candidly about this with him and
don’t see any red flags.
How did the project come about?
JM Riza and Leo were friends,
and we knew we wanted to work
with him. Wolf is his favorite project, but he was never able to get it
going, so we tackled the bear.
Is Wolf, about a young New York
stockbroker swept up in a large
securities fraud case and based on
Jordan Belfort’s autobiography, a
heavy drama?
RA No, and our recent decision
to cast Jonah Hill was a good way
of countering that notion. It’s a
trippy, out-of-control story.
Do you have any plans for how big
you want your operation to be?
RA We’d like to make three to five
films a year, with one tentpole
and two or three films with more
modest budgets in the $20 million to $40 million range.
How much money are you
backed by?
JM We do not talk about that.
Aziz, left, and McFarland,
pictured in their West Hollywood
office, are in Cannes with two
projects, including Out of the
Furnace starring Christian Bale.
RA I will say that I have money
invested in the company. It shows
that I have skin in the game and
am committed from a financial
point of view. We also have a
group of investors, mainly from
the Middle East and Asia.
What does your father think of
your new venture?
RA I have leeway, but he likes
to know that the projects we do
have pedigree.
How did you convince Danny,
Christian and Joe to leave
Millennium?
JM They were ready for a change.
Riza had a small party with a lot
of notables and we were talking
about different ideas and it
evolved into something much
bigger. Danny and Christian run
foreign sales, and Joe is president of production.
What is Red Granite selling in
Cannes this year?
JM Out of the Furnace, a film we
are co-financing with Relativity
that Leo’s Appian Way is producing. We want to do more business
with Leo. The movie stars Christian Bale, Zoe Saldana, Casey
Affleck and Forest Whitaker.
We also are selling A Case of You,
starring Justin Long.
Riza, you come from a political
dynasty. How did you get from
Malaysia to Hollywood?
RA My background is in finance
and I was in London for close to
10 years. I took a sabbatical from
all the chaos that was happening
in 2008 and decided to travel
the world. I came to the U.S. and
was offered the opportunity to
get involved in a lot of different
things business-wise, and one of
them was to be involved in a film
with some friends. From that
one project, more kept coming in, so we decided to have a
company. We began building the
team and I brought Joey in at an
early stage.
How did you two meet?
JM My father is the prime minister of Kentucky. No, we met
through friends. I have a finance
background, and I’ve been in and
out of the film industry in L.A.
and New York for a long time.
How did you come up with the
name Red Granite?
RA In Malaysia, granite symbolizes solidarity and dependability. You add red — which is
the Asian color of prosperity
— to the whole equation and
you got a winner. It also sounds
pretty catchy. thr
Riza Aziz (in blue sweater) & Joey McFarland (in black jacket) of Red Granite
Photographed on May 4th at Red Granite’s office in Hollywood
R
ed Granite launched
in Cannes last year with
one of the hottest parties in
years, not to mention news that
Leonardo DiCaprio is starring
in the financing, production and
sales company’s $100 million
Wolf of Wall Street, Martin Scorsese’s next film.
Red Granite was formed by
Riza Aziz — the 35-year-old son
of Malaysian Prime Minster Tun
Abdul Razak and among the
new generation of film financiers
flocking to Hollywood — and
Joey McFarland, 40. The duo
also made headlines when stealing veteran sales agents Danny
Dimbort and Christian Mercuri
and production executive Joe
Gatta from Nu Image/Millennium. In one of the few interviews they’ve given, Aziz and
McFarland, both with a background in finance, spoke with
THR about how they’ve spent the
last year, their plans for the company and their determination to
stay on budget with Wolf.
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Reviews
You Ain’t Seen Nothin’ Yet
T
Alain Resnais’ Competition entry follows a group of actors who reunite
for a performance of Eurydice By Todd McCarthy
he confluence of theater,
memory and real life for a group of
actors in an explicitly artificial world
sparks rarefied aesthetic pleasures, up to
a point, in You Ain’t Seen Nothin’ Yet. Its
contracted, slangy English title specifically insisted upon by the director himself,
this reflection on the past, love and death
through the prism of layers of theatrical
endeavor is both serious and frisky, engaging
on a refined level but frustratingly limited
in its complexity and depth. Alain Resnais’
latest will appeal most to devoted fans but
doesn’t approach the delirious heights of his
previous feature, Wild Grass, in 2009.
Resnais and his screenwriters Laurent
Herbiet and Alex Reval have used two
works by the eminent late French playwright Jean Anouilh, Eurydice and Cher
Antoine ou l’amour rate, to provide a frame
through which to assess the enduring viability of the themes stemming from Greek
mythology and well as their emotional
meaning in the lives of multiple actors who
have performed the drama of a love story,
that of Eurydice and Orpheus, that bridges
the worlds of life and death.
Contriving the setup required to assemble the diverse thespians together brings
out Resnais’ customary playfulness, just
as it recalls his long devotion to the theater and the form’s useful array of artifice.
In a beguiling opening interlude, roughly
a dozen actors receive identical phone
calls informing them that their famous
theater director, Antoine d’Anthac, has
died and requesting that they journey to
his country home for a reading of his will
and funeral service.
As the actors — all playing themselves — arrive, they are welcomed by the
deceased’s elegant manservant Marcellin
(Andrzej Seweryn) onto what is selfevidently a set of a large room strewn with
black sofas. They are assembled, explains
Marcellin, to watch video footage of a
provincial theater company’s proposed
staging of d’Anthac’s play Eurydice (actually Anouilh’s) to decide whether it holds
up and if the estate should grant permission for its performance.
This fanciful setup establshes the terms
under which Resnais’ entire film must
be watched and even among viewers of
specialized and foreign films, quite a few
won’t be keen to embrace this intellectual conceit involving literary time travel
between French theater and Greek myth
(the fact that Anouilh’s play was written
in 1942, during the Nazi occupation of
France, and had special meaning within
Sabine Azema and Pierre
Arditi play themselves,
as does the film’s cast.
that context is ignored).
The video, which Resnais engaged
Bruno Podalydes to direct, features young
actors performing in a bare warehouse
and, altogether, amounts to roughly 28
minutes of material. But rather than an
end in itself, it serves here as a springboard
to stimulate the emotional memories of
d’Anthac’s veteran actors, who are then
seen playing their old roles once again,
regardless of their sometimes vast age
discrepancies with the characters.
For a while, the different pairings and
performance styles holds the interest and
even stimulates; revisiting one old production are Sabine Azema as Eurydice and
Pierre Arditi as Orpheus, while another,
regularly intercut, stars Anne Consigny
and Lambert Wilson. Greatly enriching
these impromptu flashbacks, or resummonings of dramas past, are Jacques
Saulnier’s wonderful sets which, despite
their color, deliberately evoke the poetic
realism of French cinema in the 1930s and
into the 1940s, especially in a beautifully
rendered train station; in all respects, the
film is technically immaculate. Further
harkening back to that same period is Seweryn’s role as a detached impresario who
orchestrates the proceedings.
Unfortunately, the film severely limits
the richness of these reprised performances by providing no indications of the
actors’ own relationships, now or decades
before. The intense dialogues about love,
lost and recaptured, could have achieved
much greater resonance — be it sincere,
ironic, painful, wistful or whatever — had
the interpersonal histories of the actors
been illuminated, with all their inevitable
passions and rivalries. But Resnais is operating here on a more intellectual, gameplaying level, constricting all responses to
the brain and not the heart.
Furthermore, Resnais devotes a lion’s
share of the final stretch to Azema (his
wife) and Arditi, whereas, to be blunt, the
beautiful Consigny and Wilson are much
more enjoyable to watch. Azema provides
Eurydice with a neurotic component that
goes way over the top, drawing unneeded
attention to the fact that this film is all
talk, all the time.
You Ain’t Seen Nothin’ Yet is an amusing
title for a film by an 89-year-old director,
one who has already announced another
project. At the same time, there is something both gleefully self-effacing and egotistical about centering a film on a puppet
master-like director who, from the grave,
summons his associates to do his bidding.
In Competition
Director Alain Resnais
Production F Comme Film, StudioCanal,
France 2 Cinema, Alamode Filmdistribution,
Christmas in July
International sales StudioCanal
Cast Matheiu Amalric, Pierre Arditi, Sabine
Azema, Jean-Noel Broute, Anne Consigny,
Anny Duperey, Hippolyte Girardot, Gerard
Lartigau, Michel Piccoli, Denis Podalydes,
Michel Robin, Andrzej Seweryn, JeanChretien Sibertin-Blanc, Michel Vuillermoz,
Lambert Wilson
Screenwriters Laurent Herbiet, Alex Reval,
based on the plays Eurydice and Cher Antoine
ou l’amour rate by Jean Anouilh
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www.ffm-montreal.org
World Competition
First Films World Competition
World Greats, out-of-competition
Focus on World Cinema
Documentaries of the World
Tributes
Student Film Festival
Cinema Under the Stars
and
INTERNATIONAL FILM MARKET
1432 de Bleury Street
Montreal, Quebec, CANADA H3A 2J1
Tel.: 514 848-3883
23
august
O3
sept
2012
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Reviews
Like Someone in Love
The drama is an enchanting game of misfired
passions and mistaken identities By Jordan Mintzer
A
fter deconstructing
a would-be romance in
the Tuscany-set Certified
Copy, Iranian auteur Abbas
Kiarostami takes another trip
abroad to explore the depths
of unrequited desire in the
Japanese drama Like Someone
in Love. However, this being a
Kiarostami movie, the “Like”
part of the title (taken from the
widely covered jazz standard) is
to be taken quite literally here,
and this unusual affair (of sorts)
between a retired professor
and a gorgeous young call girl
is never exactly what it seems.
Upscale art houses and admirers of the Palme d’Or laureate
will be the major clients of this
tenderhearted and melancholic
work, provided it is not lost
in translation.
A lengthy opening in a
crowded Tokyo bar sets the pace
for much of what comes next:
We see people chatting and
drinking as a jazzy soundtrack
plays in the background, but
what we hear is the voice of a
woman talking on the phone to
her boyfriend, pretending to be
somewhere she isn’t. Only when
the camera cuts to the reverse
shot do we see that the voice
belongs to the timidly beautiful Akiko (Rin Takanashi), and
only when the scene runs its
course do we realize that she’s
a student doubling as an escort
girl, who’s about to be sent by
her pimp (Denden) on a very
special rendezvous.
This initial play between
what’s seen, what’s heard
and what’s really happening
becomes the modus operandi
for the relationship at the heart
of Like Someone in Love, and
the film constantly toys with
the expectations of both its
characters and the audience,
transforming a classic threeway tale of mistaken identities
into something much more
mysterious and troubling.
What that exactly is becomes
clear once Akiko arrives at the
home of the elderly sociologist,
Takashi (Tadashi Okuno), who
seems to be all geared up for
a hot date, although that’s not
really what happens: After the
two engage in a long and casual
conversation about a painting hanging on Takashi’s wall
(which prompts a very Vertigolike moment of mirroring hairstyles), Akiko eventually heads
into the bedroom and undresses,
Tadashi Okuno and Rin
Takanashi in Abbas
Kiarostami’s Competition
entry Like Someone in Love.
but an unexpected phone call
delays things and she winds up
passing out on the old man’s bed.
The next day, Takashi drives
Akiko to university and crosses
paths with her macho boyfriend, Noriaki (Ryo Kase, Restless), who’s a bundle of nerves
and jealousy. When the latter
mistakes the professor for his
girl’s grandfather, Takashi
decides to go along with it, and
very much like in Certified Copy
(or the director’s 1990 masterpiece, Close-Up), the narrative
becomes an extended quid
pro quo where the characters
decide to take on different
personas out of either desire or
happenstance, or both. Thus,
Takashi turns into the protector that Akiko sorely lacks as
a young woman alone in the
big city, while she becomes
the granddaughter that the
reclusive academic seems to be
estranged from.
Where all the roleplaying
ultimately leads is surprising
to say the least. Whether or not
such a denouement ultimately
convinces is another matter,
and while it certainly represents an intriguing change of
pace for the Iranian filmmaker,
it takes things so far as to make
one wonder whether the means
entirely justify the ends here.
In Competition
Director Abbas Kiarostami
Production companies Euro
Space, MK2 Productions
Stars Ryo Kase, Denden, Rin
Takanashi, Tadashi Okuno
Sales MK2
A Respectable Family
A
Respectable
explores a
family’s
questionable
business
practices.
A complex indictment of post-revolutionary Iran By Jordan Mintzer
n artfully woven political
indictment whose convictions far
outweigh its emotional thrust, the
Iranian drama A Respectable Family (Yek
khanevadeh-e mohtaram) explores the
dealings of a corrupt clan from the early
years of the Revolution through the present. Meticulously structured but never
quite as harrowing as its subject matter,
this feature debut from documentary
maker Massoud Bakhshi (Teheran Has No
More Pomegranates) should continue its fest
run after a Directors’ Fortnight bow, with
Euro and niche distribution its best bet.
Returning home to Iran after more than
two decades abroad, visiting professor
Arash (a compelling Babak Hamidian)
is quickly plunged into a past he’s been
running away from for most of his life.
With an estranged father on his deathbed
and a mother (Ahoo Kheradmand) who
refuses to discuss her former husband’s
various misdeeds, Arash soon is coerced by
his half-brother’s son, Hamed (Mehrdad
Sedighian), into wrapping up the patriarch’s business himself before heading
back to Europe.
The film dishes out only a minimal level
of suspense as it cuts between the scholar’s
quest to settle affairs within Iran’s stifling
bureaucracy and flashbacks to his childhood. The structure detracts from the plot’s
overall momentum and makes it confusing
to follow who’s who in the expansive family.
Although such ambitions prevent the
film from delivering the kind of dramatic
knockout blow of A Separation, there’s a
similar underlying feeling of hopelessness
in Arash’s efforts.
Directors’ Fortnight
Director-screenwriter Massoud Makshi
Production companies Firoozei Films,
JBA Production
Cast Babak Hamidian, Mehrdad Sedighian,
Ahoo Kheradmand, Mehran Ahmadi,
Parivash Nazarieh
Sales Agent Pyramide International
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SUPPORTING VOICES AND PERSPECTIVES
FROM THE ARAB WORLD THROUGH
CANNES PRODUCERS NETWORK
‫مؤسسة الدوحة لألفالم مؤسسة‬
‫أسست لتجمع‬
ّ ،‫ثقافية مستقلة‬
‫المبادرات السينمائية في قطر تحت‬
‫ تشمل نشاطات‬.‫مظلة واحدة‬
‫المؤسسة تمويل وإنتاج األفالم‬
‫باإلضافة إلى تنظيم مهرجان الدوحة‬
‫ تهدف‬.‫ترايبكا السينمائي السنوي‬
‫مؤسسة الدوحة لألفالم إلى بناء‬
‫صناعة سينمائية متينة ومستدامة‬
.‫في قطر‬
doha Film institute (dFi)
is an independent cultural
organisation established
to bring Qatar’s film initiatives
under one banner.
With film funding, production,
and the annual doha Tribeca
Film Festival, dFi aims to build
a robust and sustainable film
industry in Qatar.
mohAmmEd AlhAmAdi
Q atar
innovation Production
‘the Package Vol. 1’, ‘Lock-Down’
Abdull Ah boushAhri
Kuwait
Beyond Dreams
‘Heaven’s water’, ‘the waves will Carry us’
dimA hAmdAll Ah
JorDan
Jo image
‘Blessed Benefit’
Cl AirE mAzEAu-K Aroum
aLgeria
une Chambre a Soi
‘Les 100 Pas de Monsieur X’, ‘Mollement un
Samedi Matin’,
‘Même Jusqu’en Chine’
dFi presents Producers
Network breakfast meeting
Thursday, 22 may at 9:00 Am
For more information, visit
dFi Pavilion no. 112,
Village international riviera
DFI THR Producers Network AD.indd 1
Doho CannesD7.indd 1
r AChidA sA Adi
MoroCCo
Janaprod
‘the Dark room’, ‘where are You going
Moshé?’,
‘the Fifth String’
5/19/12 8:47 PM
5/20/12 2:06 PM
Reviews
La Pirogue
I
This timely immigration drama is powerful,
albeit predictable By Stephen Dalton
lluminatinG the traGic
human stories behind lurid
headlines about illegal immigration, La Pirogue is a colorful
and compelling drama about a
boat full of would-be economic
migrants attempting the perilous
Atlantic crossing from Senegal
to mainland Europe. Capably
directed by Moussa Touré, a
sometime politician and bittersweet chronicler of his country’s
social woes in several previous
features, this Un Certain Regard
entry at Cannes is dedicated to
the 5,000 or so Africans who have
died trying to cross to Europe in
the last decade.
Named after the large
wooden fishing vessel that
serves as the film’s nonhuman
star, La Pirogue has the feeling
of an issue-driven TV movie
at times. It should do well in
Francophone territories, where
West African immigration has
a strong colonial backstory.
Foreign interest will be limited,
but this universal story could
easily serve as a primer on
immigration issues to schoolchildren across the globe, from
Arizona to Afghanistan.
An experienced fisherman forced by economic and
moral pressures to captain
the refugee boat, Baye Laye
(Souleymane Seye Ndiaye) and
his crew set out from Senegal
in a mood of strained optimism.
Predictably, their crossing soon
becomes a nightmarish ordeal.
Tensions between different ethnic groups simmer and
explode. Passengers get sick and
die, others are washed overboard in storms. A harrowing
encounter with another pirogue,
floating on the high seas without food or power, becomes an
ominous portent. Soon Laye’s
boat itself suffers a similar fate,
its engines shutting down, its
course pulled out into the midAtlantic by powerful ocean currents. The vessel begins to drift
— and so, alas, does the plot.
Handsomely shot in fairly
conventional style by a mixed
Senegalese and French crew,
La Pirogue is a well-crafted
melodrama in the classic
issue-movie mold. The cast is
capable, the dramatic conflict
Senegal’s La Pirogue is
dedicated to West Africans
who have died trying to travel
to Europe in the last decade.
punchy and the soundtrack
sprinkled with the pretty,
sinewy, laidback music of West
Africa. The film’s flaws lie in its
predictable narrative arc and
too many sketchy, two-dimensional characters.
But the urgency of its subject
matter in these straitened economic times lend this timeless
story an extra topical bite. Leaving the Cannes screening, viewers were immediately greeted by
West African immigrants hawking umbrellas and sunglasses
along the Croisette. La Pirogue
is a depressingly current story
coming to a cinema near you
soon, or just outside.
Un Certain Regard
Director Moussa Touré
Production companies Rezo
Films, Les Chauves-Souris, Astou
Films, Arte France Cinema,
Appaloosa Films, Royal Pony
Film, Studio 37 production
Cast Souleymane Seye Ndiaye,
Laity Fall, Malamine Drame
“Yalenguen,” Balla Diarra, Salif
“Jean” Diallo, Babacar Oualy,
Mame Astou Diallo, Saikou Lo,
Ngalgou Diop
Screenplay Eric Neve and
David Bouchet, based on an
original story by Abasse Ndione
Confessions of a Child of the Century
T
English rock star Pete Doherty botches a role he was born to play in this tedious French drama By Megan Lehmann
he role of a beautiful and damned 19th century
libertine sounds like a perfect fit for disheveled English rock
star Pete Doherty, but then there’s the little matter of being
able to act.
Based on his debut performance in Sylvie Verheyde’s Cannes
Un Certain Regard entry, Confessions of a Child of the Century,
an intolerably dull adaptation of French romanticist Alfred de
Musset’s 1830s novel of debauchery and despair, the Libertines
and Babyshambles singer shouldn’t even think of giving up
his day job.
Some blame must be apportioned to writer-director Verheyde
(Stella), whose languorous, two-hour-long periodpiece leeches any
spark from her characters, and it was perhaps too much to expect
a first-timer to shoulder a demanding lead. It’s hard to recall an
actor looking more uncomfortable onscreen.
Even the terrific Charlotte Gainsburg seems to be sleepwalking
through the carefully dressed sets, as Doherty fidgets and ambles
about beside her.
Gainsburg’s involvement, and the novelty value of seeing the
normally charismatic rock star dolled up as a dandy in frock coat
and top hat (yet with a post-modern haircut), may stir initial interest, but the ennui of this low-budget French drama is contagious.
A victim of the times, Doherty’s Octave is struggling to find his
place in the world; he is disenchanted with society and riddled
with angst — the “disease of the century.” We know all this
because Octave tells us in endless voiceover (the whole film is in
English, presumably for Doherty’s benefit).
Betrayed by his mistress (model-turned-actress Lily Cole), he
fights a duel, is shot in the arm and then hurls himself into a life
of licentiousness. The scenes of so-called depravity are absurdly
tame, consisting of men and women lying around on the floor of
smoky salons and breaking the occasional glass.
When his father dies, Octave retires to the country, where he
meets Gainsburg’s Brigitte, an older widow whom he proceeds
to follow about with puppy-dog eyes. Considering the ardor with
which Octave pursues Brigitte, and the wanton vibe promised by
the premise, Verheyde’s decision to drain the entire production
of anything resembling passion is perplexing. And the unsteady
camerawork is even more irritating than Doherty’s fidgeting.
Un Certain Regard
Writer-director Sylvie Verheyde
Cast Charlotte Gainsbourg, Peter Doherty, August Diehl, Lily Cole
Production companies Ad Vitam & les Films du Veyrier
24
day7_reviews_c.indd 1
5/21/12 5:24 PM
In Another Country
Free events
Terrace café
Printing services
Free internet & Wi-Fi
Meet filmmakers and funders
Info about the UK film industry
This unlikely get-together of French arthouse queen and cult
Korean auteur yields laughs despite trickiness By Neil Young
T
wo art-house “worlds”
collide with amusing
and intriguing, if hardly
earth-shattering, results in cult
Korean writer-director Hong
Sangsoo’s In Another Country,
a brisk trio of larkish tales each
starring Isabelle Huppert as a
French woman visiting a small
coastal resort. Obvious catnip for
both sets of fan bases, it may give
many Huppert admirers their
first sampling of Asian auteur
cinema and thus provide Hong
— whose dozen previous features
have sparked much critical fervor
— with his biggest international
box-office exposure to date.
But while there’ll be no
shortage of festival takers for
an accessibly comic picture of
such pedigree world-premiering
in the Cannes Competition,
it is — for all its charms, and
despite Hong’s trademark formal
experimentation — ultimately
rather lightweight stuff. In terms
of art house “marquee” appeal,
Hong will likely remain a coterie
interest for the time being in
comparison to his better-known
compatriots Park Chanwook and
Bong Joonho.
As usual with Hong, In
Another Country (Da-reun na-rae-suh) plays games with structure
and operates on a stories-withina-story format. Here the three
episodes are the results of three
scripts — or maybe they’re one
single script — penned as a
pastime by a bored young film
student, Wonju (Jung Yumi),
who has traveled to seaside
backwater Mohang with her
mother (Youn Yuhjung) to evade
debt collectors. Whatever faults
we may find in the resulting
vignettes can thus be deflected
onto the inexperienced Wonju
rather than the veteran Hong
— whose underlying impetus
here, as elsewhere, is to examine
and celebrate the vagaries of the
creative process.
In each case, Wonju’s protagonist is a “charming French
visitor” named Anne: In the
first section, she’s a famous film
director (who may or may not
be based on Claire Denis); in
the second, she’s the wife of an
executive who arrives in Mohang
for a tryst with her film-director
boyfriend; in the third, she’s
a wealthy housewife recently
divorced from her unfaithful
husband. As each “Anne” interacts with the locals — including
Wonju, who works at Anne’s
lodging and helps show her
around — certain faces, situations and lines of dialogue recur,
their effect and implications
changing depending on context
and delivery.
Issues of infidelity are present
in each story — as is the livewire chap identified only as the
Lifeguard (Yu Junsang) — who
meets Anne on the beach in each
of her “incarnations.” These
TUESDAY 22 MAY - CELEBRATE SCOTLAND
Presented by Creative Scotland
1O.15 - 11.OO
Co-Production Hub
Why international producers are keen to work with Scotland with case
studies on Lore and Citadel and speakers Katie Holly (Blinder Films),
Paul Welsh (Edge City Films), Liz Watts (Porchlight Films), Jo Nolan
(North Sea Screen Partners)
13.OO - 14.OO
Barclays presents Capturing Audiences
New approaches to responding to audiences with Wendy Mitchell
(Screen International), Col Needham (IMDb), Philip Knatchbull (Curzon
Artificial Eye), Andy Green (Distrify), Chris Watts (3sixty), Professor
Ian Christie (Birkbeck/University of Westminster) and Anna Higgs,
(Film 4.O).
14.3O - 15.3O
Getting Animated
Oscar™ nominated producer Bob Last (The Illusionist) talks to Cameron
Fraser of Ko Lik Films about creating and distribution some of the most
successful animated films.
16.OO - 16.45
Making a Killing: Scotland and Horror
Ian Davies (Initialize Films) asks Eddie Dick (Makar Productions), Brian
Coffey (Sigma Films) and Micky MacPherson (Plum Films) how Scottish
filmmakers have cracked the horror genre.
In Another Country features Isabelle
Huppert in a trio of tales.
scenes involving Huppert and Yu
wittily crystallizing the language and cultural barriers that
complicate each of Anne’s stays
in Mohang.
And while Huppert finds
plenty of shading in the functionally sketched Annes, it’s Yu who
steals the picture with his bouncy
physical presence.
The sequence in which he
haltingly improvises a guitar serenade to Anne while the pair sit
in his tent displays Hong’s comic
gifts at their most hysterical. But
the interactions between Anne(s)
and the Lifeguard also have a
poignant romantic angle — some
force of destiny brings them
together, only to add complications before a satisfying and
pleasingly daft finale.
17.OO - 18.3O
The Angels’ Share talk
The Angels’ Share producer Rebecca O’Brien and screenwriter Paul
Laverty in conversation with Chris Fujiwara, Edinburgh International
Film Festival.
TODAY’S ONE-TO-ONE SURGERIES
MEDIA DESK UK
1O:OO - 11:OO
BFI FILM FUND
1O:3O - 12:3O
SARGENT DISC
14:3O - 16:3O
WEDNESDAY 23 MAY STARTS WITH...
11.3O - 12.3O
Meet film organisations that are inspiring young people Films without Borders, Films4Life, Film Education, BFI Education
and Film Nation.
First ONE-TO-ONE Surgery of the Day
BFI FILM FUND
1O:3O - 12:3O
For information and events updates visit www.ukfilmcentre.org.uk
In Competition
Director-screenwriter Hong
Sangsoo
Production company Jeonwonsa
Sales Agent Finecut, Seoul
25
day7_reviews_c.indd 2
5/21/12 5:24 PM
Festival and market screening guide
In Competition
tOday
Southern Wild, 93 mins.,
Entertainment One Films
International, USA, Arcades
1, Benh Zeitlin, Un Certain
Regard
8:30, Maddened By His
Absence, 98 mins., Films
Distribution, France, Salle
Buñuel, Sandrine Bonnaire, Critics’ Week; Killing
Them Softly, 100 mins.,
Inferno, USA, Grand Théâtre
Lumière, Andrew Dominik,
In Competition
14:00 Aliyah, 90 mins.,
Rezo, France, Star 1,
Elie Wajeman, Directors
Fortnight; The Sapphires,
98 mins., Goalpost Film,
Australia, Salle Du 60ème,
Wayne Blair, Out Of Competition; Our Children,
114 mins., Les Films Du
Losange, Belgium, Théâtre
Claude Debussy, Joachim
Lafosse, Un Certain Regard
Festival screening guide
8:30, Peddlers, 116 mins.,
Elle Driver, India, Miramar,
Vasan Bala, Critics’ Week
9:00 Operation Libertad, 90 mins., Doc & Film
International, Switzerland, Théâtre Croisette,
Nicolas Wadimoff, Directors
Fortnight
9:30 Dangerous Liaisons,
109 mins., Easternlight
Films, Lerins 1, Directors
Fortnight; The Repentant,
87 mins., Doc & Film International, Algeria, Riviera 2,
Merzak Allouache, Directors
Fortnight
9:45, After The Battle, 122
mins., Mk2 International,
France, Star 1, Yousry Nasrallah, In Competition
11:00 Le Grand Soir, 90
mins., Funny Balloons,
France, Théâtre Claude
Debussy, Benoît Delépine,
Gustave Kervern, Un Certain
Regard
11:15, You Ain’t Seen
Nothin’ Yet, 120, Studiocanal, France, Salle Du
60ème, Alain Resnais, In
Competition
11:30, Aqui Y Alla, 110
mins., Alpha Violet, Spain,
Miramar, Antonio Méndez
Esparza, Critics’ Week;
Room 237, 104 mins.,
Film Sales Company, USA,
Arcades 1, Rodney Ascher,
Directors Fortnight; The
Angel’s Share, 106, Wild
Bunch, Grand Théâtre
Lumière, In Competition
12:00 God’s Neighbors, 98
mins., Rezo, France, Star 1,
Meni Yaesh, Critics’ Week;
Fogo, 61 mins., Ramonda
Inc., Canada, Théâtre Croisette, Yulene Olaizola, Directors Fortnight; Dracula 3D,
107 mins., Filmexport Group,
Italy, Arcades 2, Dario
Argento, Out Of Competition
13:00, Djeca (Children Of
Sarajevo), 90 mins., Pyramide, Salle Bazin, Un Certain
Regard
13:30 Beasts Of The
Ken Loach’s Competition
entry The Angel’s Share
is about a group of
working-class Scots who
hatch a plan to steal
valuable whiskey.
14:15 Gangs Of Wasseypur,
320 mins., Quinzaine Des
Realisateurs, India, Théâtre
Croisette, Anurag Kashyap,
Directors Fortnight
14:30 Killing Them Softly,
100 mins., Inferno, USA,
Grand Théâtre Lumière,
Andrew Dominik, In
Competition
15:00 Maddened By His
Absence, 98 mins., Films
Distribution, France, Miramar, Sandrine Bonnaire, Critics’ Week; White Elephant,
120 mins., Wild Bunch,
Argentina, Salle Bazin, Pablo
Trapero, Un Certain Regard
15:30 A Respectable Family, 90 mins., Pyramide, Iran,
Arcades 1, Massoud Bakhshi,
Directors Fortnight
16:00 Polluting Paradise,
98 mins., The Match Factory,
Germany, Olympia 5, Fatih
Akin, Out Of Competition
17:00 Journal De France,
France, Salle Du 60ème,
Raymond Depardon, Out
Of Competition; Le Grand
Soir, 90 mins., Funny
Balloons, France, Théâtre
Claude Debussy, Benoît
Delépine, Gustave Kervern,
Un Certain Regard
17:30 Cabra Marcado Para
Morrer, 120 mins., Festival De
Cannes, Salle Buñuel, Cannes
Classics; Aqui Y Alla, 110
Esparza, Critics’ Week; After
Lucia, 93 mins., Bac Films,
Mexico, Salle Bazin, Michel
Franco, Un Certain Regard;
White Elephant, 120 mins.,
Wild Bunch, Argentina, Star
1, Pablo Trapero, Un Certain
Regard; Djeca (Children
Of Sarajevo), 90 mins.,
Pyramide, Star 3, , Un Certain
Regard
18:00 La Sirga 88 mins.,
Mpm Film (Movie Partners
In Motion), Colombia, Palais
G, William Vega, Directors
Fortnight
Market screening guide
19:30 Granny’s Funeral,
100, Wild Bunch, France,
Star 1, Bruno Podalydes,
Directors Fortnight; Killing
Them Softly, 100 mins.,
Inferno, USA, Grand Théâtre
Lumière, Andrew Dominik,
In Competition
8:30 Peddlers, India, Elle
Driver, Hindi, 116 mins.,
Miramar, Premiere
19:45 The Music According
To Antonio Carlos Jobim,
84 mins., Regina Film Productions Ltd, Brazil, Salle Du
60ème, Dora Jobim, Nelson
Pereira Dos Santos, Out Of
Competition
20:15 Trashed, 98 mins.,
Blenheim Films, United Kingdom, Salle Buñuel, Candida
Brady, Out Of Competition
21:00 Operation Libertad, 90 mins., Doc & Film
International, Switzerland, Théâtre Croisette,
Nicolas Wadimoff, Directors
Fortnight
21:45 Like Someone In
Love, 109 mins., Mk2 International, France, Salle Du
60ème, Abbas Kiarostami,
In Competition
22:00 Aqui Y Alla, 110
Esparza, Critics’ Week
22:15, Our Children, 114,
Les Films Du Losange,
Belgium, Théâtre Claude
Debussy, Joachim Lafosse,
Un Certain Regard
22:30 3, 119, Wide,
Uruguay, Arcades 1, Pablo
Stoll Ward, Directors Fortnight; The Angel’s Share,
Grand Théâtre Lumière,
In Competition
tOday
9:00 Hey Krishna, India,
Im Global, Hindi, 117 mins.,
Star 4, Premiere; Operation
Libertad, Switzerland, Doc
& Film International, French,
90 mins., Theatre Croisette,
Premiere
9:30 Always In Your
Dreams, India, R S Infotainment Pvt Ltd, 99 mins.,
Riviera 4, Premiere; Blazing
Famiglia, Japan, Toei
Company, Ltd., Japanese,
125 mins., Palais C, Premiere;
Breaking The Girls, USA,
Myriad Pictures, 87 mins.,
Gray 2, Premiere; Dangerous Liaisons, China, Easternlight Films, Mandarin,
110 mins., Lerins 1, Premiere;
Filly Brown, USA, Indomina,
Media English, 101 mins.,
Palais H, Premiere; Love In
Motion, Spain, Eldorado
Internacional, Spanish, 92
mins., Palais D, Premiere;
Neander-Jin - The Return
Of The Neanderthalman, Germany, Constant
Flow Productions, English,
81 mins., Palais B; The
Repentant, Algeria, Doc &
Film International, Arabic,
87 mins., Riviera 2, Premiere;
The Rescuers, USA, 2 Bulls
On The Hill Productions,
English, 94 mins., Arcades
3, Premiere; The Sleeping
Voice, Spain, The Match
Factory, Spanish 128 mins.,
Olympia 3 ; Zincograph,
Bulgaria, Bulgarian National
Film Center, Bulgarian, 107
mins., Gray 4, Premiere
9:45 After The Battle,
France, Mk2 S.A Arabic, 122
mins., Star 1, Premiere
10:00 Cinnamon, Mexico,
Kevin Williams Associates
(Kwa S.L.), Spanish, 100
mins., Riviera 1, Premiere;
Goddess, Australia, Ealing
Metro International, English,
104 mins., Olympia 5,
Premiere; How Big Is Your
Love, Algeria, Albany Films
International, Algerian, 98
mins., Palais G, Premiere;
Lost In Siberia, Germany,
Beta Cinema, German, 101
mins., Olympia 7, Premiere;
Marley, USA, Fortissimo
Films, English, 152 mins.,
Palais I; Mixed Kebab,
Belgium, Reel Suspects,
Dutch, 98 mins., Gray 5, Premiere; Phantom, USA, Rcr
Media Group, English, 100
mins., Palais K, Premiere;
Roraima, Austria, Red Bull
Media House, German, 90
mins., Arcades 2, Premiere;
The Children From Mount
Napf, Switzerland, Atrix
Films Gmbh, German, 87
The Creators, South Africa,
Eastwest Filmdistribution
Gmbh, English, 83 mins.,
Lerins 2, Premiere; Time
Of My Life, Belgium Films
Distribution, Flemish, 118
mins., Olympia 4 ; Unconditional, United Kingdom,
Media Luna New Films Ug,
English, 92 mins., Palais E,
Premiere
11:30 And Now A Word
From Our Sponsor,
Canada, 108 mins., Media
Corp., English, 83 mins.,
Gray 2, Premiere; Aqui Y
Alla, Spain, Alpha Violet,
Spanish, 110 mins., Miramar
Premiere; Bad Seeds,
France, Memento Films
International (Mfi), French,
95 mins., Star 4, Premiere;
Beyong The Walls (Hors
Les Murs), Canada, Boreal
Films Inc, French, 100
26
day7_fest_market_screnning.indd 1
5/21/12 12:35 PM
Far Out Isn’t Far Enough
: The Tomi Ungerer Story,
USA, Le Pacte, English, 90
Fast Girls, United Kingdom,
Ealing Metro International,
English, 95 mins., Gray
4, Premiere; Karakara,
Japan, Kukuru Vision Inc.,
English, 100 mins., Palais H,
Premiere; King Kelly, USA,
K5 International, English, 84
mins., Palais J, Premiere;
Love Love Love, France, Les
Mures Sauvages, English,
90 mins., Palais D Premiere;
Not Short Of Talent /
Talent Tout Court Canada
Telefilm Canada 110 Palais
F Premiere; Off White Lies
Israel Alpha Violet English
86 Lerins 1 ; Room 237,
USA, Film Sales Company,
1, Premiere; Truth, Canada,
Cmhl Enterprises Inc,
English, 110 mins., Palais B,
Premiere; When Santa Fell
To Earth, Germany, Sola
Media Gmbh, English, 105
mins., Riviera 4
12:00 Ameriqua, Italy,
The Little Film Company,
English, 90 mins., Lerins
2; Armed Hands, France
Films Distribution, French,
105 mins., Olympia 4,
Premiere; Black Rock,
USA, Elle Driver, English,
83 mins., Gray 1 ; Brain
Drain 2, Spain, Deaplaneta,
Spanish, 100 mins., Olympia
6 ; Clandestine Childhood, Argentina, Pyramide
Spanish, 110 mins.,Star
2, Premiere; Dracula 3D,
Italy, Filmexport Group,
2 ; Fogo, Canada, Ramonda
Inc., English, 61 mins.,
Theatre Croisette, Premiere;
God’s Neighbors, France,
Rezo, Hebrew, 98 mins.,
Star 1, Premiere; Indignados France, Les Films Du
Losange Wolof, 90 mins.,
Riviera 1 ; Moon Rider,
Denmark, Levelk, Danish,
81 mins., Palais C, Premiere;
One More ,India, Insomnia
World Sales, English, 95
mins., Gray 3, Premiere;
Romanzo Di Una Strage,
Italy, Rai Trade Department,
Italian, 130 mins., Olympia
7, Premiere; Rostam And
Sohrab, Iran, Documentary
And Experimental Film
Center, Persian, 90 mins.,
Palais E, Premiere; Sammy
2, Belgium, Studiocanal,
English, 100 mins., Olympia
2, Premiere; Sun Flower Himawari, Japan, Sanyo
Seiko Co., Ltd. Japanese,
64 mins., Gray 5, Premiere;
The Last War Crime, USA,
The People’s Email Network,
English, 97 mins., Palais K,
Premiere; The Parade, Serbia, Wide Serbian, 116 mins.,
Palais G ; Yoko, Germany,
Global Screen Gmbh, German, 90 mins., Riviera 3
13:30 A Common Man, USA,
Myriad Pictures, 90 mins.,
Gray 2, Premiere; Acting
International - Formation Professionnelle De
Comédiens, France, Cannes
Court Metrage, Palais F;
Ai Weiwei: Never Sorry,
USA, Independent, English,
Beasts Of The Southern
Wild, USA, Entertainment
One Films International,
1, Premiere; Bliss, Germany,
Feed Me With Your Words,
Slovenia, Slovenian Film
Centre, Slovenian, 88 mins.,
Riviera 2 Premiere; My Tribe,
Iran, Farabi Cinema Foundation, Farsi, 95 mins., Palais
B, Premiere; Night Boats,
Croatia, Croatian Audiovisual Centre, Croatian, 90
mins., Palais H, Premiere;
Percival’s Big Night, USA, 7
& 7 Producers’ Sales Service
Ltd., English, 86 mins., Gray
4 Premiere; Tey, France
Wide, 86 mins., Palais D;
The Snow Queen, Russia,
Wizart Animation, Russian,
80 mins., Star 4; Viva
Bel@Rus!, Poland, Wfdif
- Documentary & Feature
Film, Studio, Belarussian, 98
mins., Riviera 4, Premiere
14:00 Aliyah, France, Rezo,
French, 90 mins., Star 1,
Premiere; Approved For
Adoption, France, Wide
House, French, 75 mins.,
Palais G, Premiere; Chaos
Kids, Wild Bunch, 115 mins.,
Olympia 5, Premiere; Cj
Promo Reel, South Korea, Cj
Entertainment Inc., Korean,
Lerins 2; Come On, Let’s
Find A Treasure, Germany,
Everybody In Our Family,
Romania, Films Boutique,
Romanian, 107 mins.,
Olympia 4; Kauwboy, Netherlands, Delphis Films Inc.,
Dutch, 78 mins., Palais E;
Let My People Go! France,
Les Films Du Losange,
French, 100 mins., Riviera 1;
Nobody Walks, USA,
Myriad Pictures, English,
84 mins., Gray 1, Premiere;
Nova Zembla, Netherlands,
Eyeworks Film & Tv Drama,
Dutch, 104 mins., Palais K,
Premiere;
Shady Lady, United Kingdom, Fact Not Fiction Films,
90 mins., Palais I, Premiere;
Steve Jobs — The Lost
Interview, USA, Autlook
Filmsales, English, 70 mins.,
Palais C, Premiere; Verity’s
Summer, United Kingdom,
Patchwork Production,s
English, 99 mins., Gray
5, Premiere; Wavumba,
Netherlands, Eastwest Filmdistribution Gmbh, Swahili,
80 mins., Lerins 1, Premiere;
Welcome Aboard, France,
Studiocanal, French, 108
mins., Arcades 2, Premiere
14:15 Fairytale, Italy, Rai
Trade Department, English,
90 mins., Olympia 7, Premiere; Gangs Of Wasseypur, India, Elle Driver, Hindi,
316 mins., Theatre Croisette,
Premiere
15:00 Maddened By His
Absence, France, Films Distribution, French, 90 mins.,
Miramar, Premiere
15:30 6 Plots, Australia,
High Point Media Group,
English, 90 mins., Palais J,
Premiere;
A Respectable Family, Iran,
Pyramide, Farsi, 90 mins.,
Arcades 1, Premiere; Aspromonte, Italy, Publiglobe
Communication Network,
Italian, 88 mins., Gray 4,
Premiere; Chaos, France,
All Rights Entertainment,
Limited, French, 97 mins.,
Palais H, Premiere; Clip,
Serbia, Wide, Serbian, 102
mins., Palais D; Filadelfi,
Iran, Documentary And
Experimental Film Center,
Persian, 97 mins., Palais
B, Premiere; King Curling,
Norway Films Boutique,
Norwegian, 75 mins., Riviera
2; Lonely Island, Belarus,
National Film Studio Belarusfilm, English, 100 mins.,
Gray 2, Premiere; Quand
Je Serai Petit, France, Elia
Films, French, 90 mins., Star
4, Premiere; Sound Of My
Voice, USA, The Exchange,
English, 86 mins., Riviera
4, Premiere; The Dream
Team, France, Other Angle
Pictures 90 mins., Star 3,
Premiere; The Sex Of The
Angels, Spain, Latido, Spanish, 105 mins., Lerins 1
16:00 5 Souls, USA, Outsider Pictures, English, 90
Apartment In Athens, Italy,
Filmexport Group, Greek,
95 mins., Palais E; Captive,
France, Films Distribution,
Philippino, 120 mins., Lerins
2; Cats And Trees, United
Kingdom, Con Abbandono
Cinema, English, 100 mins.,
Gray 5, Premiere; Fly Away,
Germany, Global Screen
Gmbh, German, 89 mins.,
Riviera 3, Premiere; Ghost
Graduation, Spain, Film
Factory Entertainment,
Spanish, 88 mins., Palais G;
Jackie, Netherlands,
Eyeworks Film & Tv Drama,
Dutch, 90 mins., Olympia
7, Premiere; Kings Of The
Night, France, Artistic
Finances, French, 84 mins.,
Palais I, Premiere; Polluting
Paradise, Germany, The
Match Factory, Turkish, 98
Tad, The Lost Explorer,
Spain, Studiocanal, 88
mins., Palais K; The Convict Patient, Mexico, Mexican Film Institute (Imcine),
Spanish, 90 mins., Palais
C, Premiere; The Levenger
Tapes, USA, New Films
International, English, 93
mins., Gray 3; The Pirogue,
Senegal, Memento Films
International (Mfi), French,
97 mins., Arcades 2,
Premiere; The Suicide
Shop, France, Wild Bunch,
French, Star 1, Premiere;
Trade Of Innocents, USA,
Worldwide Film Entertainment Llc, English, 94 mins.,
Riviera 1, Premiere
17:30 After Fall, Winter,
USA, 2 Bulls On The Hill
Productions, English, 131
Aqui Y Alla, Spain, Alpha
Violet, Spanish, 110 mins.,
Miramar, Premiere; Djeca,
Bosnia-Herzegovina,
Pyramide, Bosnian, 90
mins., Star 3, Premiere;
General Education, USA,
Double Dutch International, English, 85 mins.,
Palais B, Premiere; Himizu,
Japan, Gaga Corporation,
Japanese, 129 mins., Gray
4; Kissing The Moon-Like
Face, Iran, Soureh Cinema
Organization, Farsi, 100
mins., Palais D, Premiere;
My Engine’s Fragile Sound,
Portugal, Recycled Films,
Portuguese, 180 mins.,
Palais H, Premiere; Oka!
USA, The Exchange, English,
105 mins., Riviera 4; Pair Of
Hearts, Instituto Nacional,
De Cine Y Artes Audiovisuales / Incaa, 106 mins.,
Lerins 1, Premiere; Prime
Time Soap, Brazil, Cinema
Do Brasil, 102 mins., Palais
F, Premiere; Shanghai
Gypsy, Slovenia, Slovenian
Film Centre, Slovenian, 122
She’s Not Crying, She’s
Singing, Belgium, Insomnia
World Sales, French, 78
The Monkey King —
Uproar In Heaven 3D,
China, Shanghai Film Group
Corporation, Mandarin,
White Elephant, Argentina,
Wild Bunch, Spanish, 120
mins., Star 1, Premiere
18:00 13 Eerie, Canada,
Entertainment One Films
International, English, 87
mins., Star 2; About Face
— Supermodels, Then
And Now, USA, Autlook
Filmsales, English, 72
mins., Palais C, Premiere;
Chained, USA, Myriad
Pictures, English, 98 mins.,
Gray 1, Premiere; Dead Mine
Indonesia, Celluloid Dreams
/ Nightmares, English, 100
mins., Palais K, Premiere;
Escape From Tibet, Germany, Global Screen Gmbh,
English, 105 mins., Riviera
3, Premiere; La Sirga,
Colombia Mpm Film (Movie
Partners In Motion), Spanish,
88 mins., Palais G, Premiere;
Private Screening Golden
Network Asia 2, Golden
Network Asia Ltd, 90 mins.,
Riviera 1, Premiere; Pulp,
United Kingdom, Dare Productions, English, 96 mins.,
Palais I, Premiere; Samarra
Story, Iran, Iranian Cinema,
Farsi, 73 mins., Palais E,
Premiere; Sandrine In
The Rain, Italy, Minerva
Pictures Group, Italian, 102
The Horde, Russia, Rezo,
Russian, 128 mins., Olympia
6, Premiere; The Last
Projectionist, United Kingdom, Electric Flix, English,
80 mins., Gray 3, Premiere; Vanishing Waves,
Lithuania, Reel Suspects,
Lithuanian, 120 mins., Gray
5, Premiere; Would I Lie To
You 3, France, Other
Angle Pictures, 115 mins.,
Olympia 3, Premiere
18:15 38 Witnesses, France,
Films Distribution, French,
104 mins., Lerins 2
19:30 Granny’s Funeral,
France, Wild Bunch, French,
100 mins., Star 1, Premiere
20:00 Backstreet Champions, Ukraine, Ukrainian
State Film Agency, Russian, 127 mins., Riviera 2,
Premiere;
Programme Courts
Metrages 2, Semaine De
La Critique, 91 mins., Miramar, Premiere; Replicas,
Canada, Celluloid Dreams
/ Nightmares, English, 95
mins., Palais J; Room 514,
Israel, Acid, Hebrew, 90
The First Time, USA, Celsius
Entertainment, English, 98
mins., Gray 2, Premiere
21:00 Operation Libertad,
Switzerland, Doc & Film
International, French, 90
mins.,Theatre Croisette,
Premiere
22:00 Aqui Y Alla, Spain,
Alpha Violet, Spanish, 110
mins., Miramar, Premiere
22:30 3, Uruguay Wide,
Spanish, 115 mins., Arcades
1, Premiere thr
27
day7_fest_market_screnning.indd 2
5/21/12 12:35 PM
Cannes memories
1976
Gilbert tOUrte/Gamma-raphO via Getty imaGes
Cannes Queen
A very young Isabella Huppert checks out the Hotel Carlton
pool on her first-ever visit to Cannes. The French actress
would go on to become a festival institution — winning two
Best Actress Palmes (1978, 2001) and serving as Jury
President in 2009. Huppert is double dipping this year with
two films in Competition: Michael Haneke’s Amour and
In Another Country from Korean director Hong Sangsoo.
28
day 7_endpage.indd 1
5/21/12 11:28 AM
TODay
UPCOMING EVENTS:
WEDNESDay, May 23
AT THE AMERICAN PAVILION:
TUESDay, May 22
2:00 PM | INDUSTRy IN FOCUS:
THE CURRENT sTATE OF FILM ACQUIsITIONs
Scott Shooman, CBS Films
Peter Van Steemberg, Magnolia Pictures
Arianna Bocco, IFC
Rob Williams, Indominia Media
Moderated by: Dana Harris,
Editor-in-chief, indieWIRE
3:00 PM | FILM PaNEL:
BEAsTs OF THE sOUTHERN WILD
Benh Zeitlin, Director
Lucy Alibar, Screenwriter
Dan Janvey and Josh Penn, Producers
Ben Richardson, Cinematographer
Moderated by: John Cooper,
Sundance Institute, Winner of the 2012
Sundance Film Festival Grand Jury Prize,
and screening 2012 Cannes in
Un Certain Regard
The American Pavilion is your full service business and entertainment venue just steps
away from the Palais. The Pavilion is the focus of the American presence at the Festival.
Enjoy a relaxed seaside environment with all the amenities and business services to
make your time at the Festival successful.
1:00 PM | IN CONVERSaTION:
JENNIFER LYNCH AND TIM ROTH
ANNOUNCING “A FALL FROM GRACE”
Jennifer Lynch, Director/Screenwriter
Tim Roth, pending his jury schedule
Eric Wilkinson, Co-writer/Producer
David Michaels, Producer
Moderated by Michael Phillips, Chicago Tribune
3:00 PM | IN CONVERSaTION:
PHIILP KAUFMAN FOR
HEMINGWAY & GELLHORN
Philip Kaufman
Moderated by Annette Insdorf, Author, Philip Kaufman
Kaufman’s latest film, “Hemingway & Gellhorn,” starring
Nicole Kidman and Clive Owen, will have its world
premiere in the Cannes Official Selection on May 25, and
airs on HBO, May 28.
4 PM – BOOK sIGNING
Philip Kaufman and Annette Insdorf will sign copies of the
just-published book on his work Philip Kaufman (“Contemporary Film Directors” Series, University of Illinois Press)
4:00 PM | FILM PaNEL:
THE CENTRAL PARK FIVE WITH
KEN BURNs, sARAH BURNs AND
DAVID MCMAHON
Directors: Ken Burns, Sarah Burns, David McMahon
Moderated by: Thom Powers, Toronto International Film
Festival, Stranger than Fiction, DOC NYC
6:00-8:00 PM | SCREENING:
sTRAIGHT EIGHT
2012
SPONSORS
®
SCREEN
ACTORS
GUILD
The Pavilion is open 8am–6pm daily during the Festival
Check ampav.com for our full schedule of panels and events
American Pavilion D7_052212.indd 1
121033-007amp_ad-day7-may22-sch_051612-1.indd 1
AMPAV.COM
5/18/12 12:37 PM
5/18/12 10:55:46 AM
COMING SOON...
SOHO HOUSE CONTINUES TO NURTURE NEW FILM
INDUSTRY TALENT WITH THE RETURN OF OUR VERY OWN
SHORT FILM COMPETITION.
HOUSE SHORTS OFFERS ASPIRING FILMMAKERS IN THE
UK, GERMANY AND USA THE CHANCE TO SECURE £5,000 TO
MAKE A SHORT FILM AND GIVES EXPOSURE ACROSS SOHO
HOUSE CINEMA SCREENS AND ONLINE.
REGISTER YOUR INTEREST AT WWW.HOUSESHORTS.COM
VISIT WWW.SOHOHOUSE.COM FOR INFORMATION ABOUT OUR SCREENING ROOMS.
Soho House RESIZED D5_052012.indd 1
5/18/12 10:20 AM

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