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Annecy – Spain’s biggest animation play of 2015 – and one of its two-or-three biggest films of the year – Enrique Gato’s “Capture the Flag” will be released by Paramount Pictures on Aug. 28, replicating one of the most successful new business models emerged in the international movie industry in last decade: Big broad broadcast network backing; a movie production of sufficient caliber and scale to warrant this marketing push.
“Capture” could hardly have stronger backing. Paramount Pictures has acquired worldwide distribution rights. Two of Spain’s most powerful producers, Telecinco Cinema, who co-produced both “Spanish Affair” and “The Impossible,” which grossed €42.4 million ($47.3 million) in Spain; Telefonica Studios, whose credits include “Wild Tales,” “Underdogs” and upcoming movies by Alex de la Iglesia and Pablo Trapero, plus “Capture” originator-screenwriter and producer Jordi Gasull and producer Edmond Roch, partners at 4 Cats Pictures. Nicolas Matji’s Lightbox Animation Studios delivers animation. Mediaset España has taken free-to-air rights, »
- John Hopewell and Emiliano De Pablos
Now that we’ve come out of the Cannes ether, we can examine several of the names glaringly absent from the lineup that may potentially premiere on the Lido this fall. With controversial moves finding Garrel, Gomes, and Desplechin playing the Quinzaine, while Naomi Kawase and Apichatpong Weerasethakul got slotted in Un Certain Regard, we’re aggravated and pleased about some of this shifting around, but all in all, the main competition this year didn’t end up feeling like many programming risks were taken.
First off, to the general surprise of all, German director Maren Ade and British director Terence Davies were absent from the line-up, both with new highly anticipated titles (Toni Erdmann and Sunset Song respectively). Thierry Fremaux, arguably, tried to mix things up a bit with the Main Competition this year, inviting two female directors (Sacre Bleu!), including Valerie Donzelli and repeat offender Maiwenn (both titles »
- Nicholas Bell
Connect4Climate's Francis James Dobbs: "In Cannes we met with the Cine-Regio, which is the film commissions in France and Belgium and Holland and Germany." Photo: Anne-Katrin Titze
At the official launch of Wild-Touch's Ice & Sky with Luc Jacquet and Marion Cotillard, I arranged to meet with Connect4Climate's Francis James Dobbs who discussed with me the Action4Climate competition that had jury members including filmmakers Bernardo Bertolucci, Wim Wenders, Atom Egoyan, Walter Salles, Mira Nair, Fernando Meirelles, Bob Rafelson, Mika Kaurismaki, Marc Foster and Pablo Trapero, a meeting with Cine-Regio at the Cannes Film Festival, contacting Sony, Universal, and Paramount to come on board, what Yoko Ono said at the press preview for Yoko Ono: One Woman Show, 1960 - 1971 at MoMA and looking forward to COP21 in Paris.
In Le »
- Anne-Katrin Titze
Two powerhouse shingles from Chile and Argentina have forged a strategic alliance that kicks off with the Chilean remake of Argentine romcom “Un novio para mi mujer” (“A Boyfriend for My Wife”). Demente Contenidos of Chile and Argentina’s Patagonik Film Group have agreed to co-produce a number of films with commercial potential in both territories and beyond.
Patagonik will provide the screenplay as well as part of the financing for production and post-production.
Budgeted at $1 million, the Chilean adaptation of “A Boyfriend for My Wife” will be distributed worldwide by Patagonik; Demente will own the Chilean rights. 20th Century Fox Chile, which released the massive comedy hit “Stefan vs Kramer,” co-helmed and co-produced by Demente CEO Sebastian Freund, is in talks to release the remake in Chile.
- Anna Marie de la Fuente
Madrid – A trailer for Pablo Trapero’s unsettling “The Clan,” which 20th Century Fox releases in Latin America, has touched a national nerve in its native Argentina, positioning the film, tipped for a big late summer/fall fest berth, as Argentina’s most expected movie title of the year.
Looking at a subtitled copy, to which Variety has had exclusive access, it’s easy to see why.
Scheduled for an Aug. 11 theatrical release, “The Clan” teams some of the major forces behind recent prestige Latin American productions which broke through to significant box office abroad. Argentina’s K & S Films and Trapero’s own Matanza Cine and Pedro and Agustín Almodóvar’s El Deseo produce in co-production with Fox Intl. Productions. Argentine broadcaster Telefe and Telefonica Studios. Film Factory handles international sales.
Production standards look immaculate. But it’s what’s happened to lead actor Guillermo Francella that, for Argentineans, »
- John Hopewell
A long time favorite here at Twitch, Pablo Trapero returns with his real life crime film El Clan and everything you need to know about the man - and the film - are encapsulated in the first shot of the just released trailer. A single, minute plus long shot following an elderly man through his home, a home bustling with family and happiness before revealing something far darker, it's a virtuoso bit of work, one that validates every bit of effusive praise that has been heaped on Trapero over the years. The man's a master, one who speaks a cinematic language as forcefully and clearly as anyone else out there working today.As for the story itself, El Clan tells the tale of Argentina's Puccio family...
[Read the whole post on twitchfilm.com...]
In today's roundup of news and views: A new journal on television narratives; a review of a book from Raymond Cauchetier, who photographed Jean-Luc Godard, François Truffaut and other French New Wave filmmakers at work; more long takes on Alex Garland's Ex Machina (and Joe Wright's interview with Alicia Vikander); Boris Nelepo on Manoel De Oliveira; John Powers on The Matrix; Bright Lights on Boyhood; a conversation about Don Hertzfeldt; an appreciation of Federico Fellini; Jaws at 40 and Total Recall at 25; in defense of Cameron Crowe's Aloha; and Bernardo Bertolucci, Wim Wenders, Fernando Meirelles, Walter Salles, Atom Egoyan, Bob Rafelson and Pablo Trapero are among the directors who have pledged their support to Film4Climate. » - David Hudson »
Toronto International Film Festival director and CEO has revealed further details of Toronto’s new Platform section, which will be the festival’s first competitive section.
Platform will kick off this year with 10 to 12 international features selected, and a jury of three international experts deciding on one ‘best film’ winner who will receive a $25,000 prize.
The festival said the selection for Platform will be films of “high artistic merit that demonstrate a strong directorial vision by significant international filmmakers”.
The films are expected to not have North American distribution already in place.
Handling explained to Screen: “It’s our 40th anniversary, so that’s time to take stock, it’s a real opportunity to position yourself for the future, position yourself in the landscape and the market.”
The section will essentially aim to garner more attention - from the industry, local audiences and press - on the international auteur works by mid-career film-makers who can sometimes not get »
- firstname.lastname@example.org (Wendy Mitchell)
Donald Ranvaud, Film4Climate’s Creative Producer, and filmmakers including Bernardo Bertolucci (The Last Emperor, currently featured in Wong Kar Wai In China: Through The Looking Glass), Fernando Meirelles (City Of God and The Constant Gardener), Pablo Trapero (White Elephant and Carancho), Atom Egoyan (Devil's Knot and Ararat) and Wim Wenders (Pina and The Salt Of The Earth with Juliano Ribeiro Salgado on photographer Sebastião Salgado) have joined forces with Cannes Jury Member and Connect4Climate Global Ambassador, Rokia Traoré; Ivan Trujillo, the Director of the Guadalajara International Film Festival; the CEO of the Ile-de-France Film Commission, Olivier-René Veillon; Publisher and Chief Editor of Green Film Shooting Brigit Heidsiek; Head of Training and Film Education of the Flanders Audiovisual Fund Siebe Dumon; the Chief Executive Officer of the Sardinia Film Commission and Vice President of »
- Anne-Katrin Titze
A lawyer turned schoolteacher pursues her ideals to an almost pathological degree in “Paulina,” a provocative if not always persuasive parable from Argentine helmer Santiago Mitre, making his second feature. A fierce performance from Dolores Fonzi, as a heroine whose actions baffle those around her, helps to hold this conversation-starter together, but viewers’ own mileage and perceptions will vary — which is clearly by design. Critical support will be necessary to carry the movie to significant arthouse exposure; the Nespresso Grand Prix in Critics’ Week is a good start on getting the word out.
Less arid than Mitre’s 2011 feature directing debut, “The Student,” which used a story of university politics to comment on political dealmaking in Argentina, “Paulina,” inspired by the 1960 film “La Patota,” is likewise at once allegorical and concrete. The film opens, in what appears to be a pressure-cooker of a single take, with Paulina (Fonzi) and her father, »
- Ben Kenigsberg
Several of the world’s leading filmmakers have pledged their support to Film4Climate, an initiative to encourage the film and entertainment industry to take action on climate change.
Among those supporting the initiative are Bernardo Bertolucci, Wim Wenders, Fernando Meirelles, Walter Salles, Atom Egoyan, Bob Rafelson and Pablo Trapero. In a call to action, Bertolucci said: “There is no doubt the earth is in danger. I am looking forward to see testimonies about the climate changes.” Wenders added: “To combat climate change is one of the major tasks of our generation.”
Film4Climate is an initiative of the World Bank’s Connect4Climate program.
“It’s time for a global creative and influential alliance to tackle the climate crisis,” said Lucia Grenna, program manager for Connect4Climate.
Film4Climate will be presented at Cannes with events at the Doc Corner brunch and Next pavilion on May 18-19.
- Leo Barraclough
Spain’s economic downturn has polarized the country’s film export business, with sales agents downsizing slates and looking further afield, namely to Latin America and Eastern Europe, to maintain strong lineups.
Spain continues to generate commercial hits, primarily co-produced by its two big broadcast groups, Atresmedia and Mediaset España, and a handful of international auteur hits. But budgets have plunged 60% from 2009 to $1.3 million as state and TV financing dwindles and the middle ground has significantly eroded.
In 2014, Spanish films recorded their biggest local market share since 1977 — 25% — as audiences flocked to escapist and romantic comedies such as the box office juggernaut “Spanish Affair.” Comedy is typically a tough overseas sell.
But Barbora Susterova of Imagina Intl. Sales believes that the right blend of comedy can work, citing “Isla Bonita,” directed by and starring Fernando Colomo. The film, she says, has a decidedly Woody Allen feel.
Imagina also represents Basque terrorist tale “The Lasa & Zabala Case, »
- Martin Dale
Whether projects, movies in production, completed film, market screeners or titles that made the Cannes cut, these are titles from Spain be moved at Cannes and that have varying degrees of international market potential:
Colombia-Spain revenge drama in which a nurse tracks down a paramilitary man who killed her daughter. Samuel Martin Mateos and Andres Luque helm.
Oberon Cinematografica/Alebrije Cine y Video/Ikiru Films Filmax
Extraordinary fact-based espionage thriller turning on Trotsky’s assassination. Monica Lozano co-produces.
K&S Films/Matanza Cine/El Deseo/Fox Intl. Productions/Telefonica Studios Film Factory
Major Argentine auteur Pablo Trapero (“Lion’s Den”) helms ’80s-set, noir abduction thriller chronicling the real-life case of Argentina’s Clan Puccio. Big fall fest plans.
The Corpse of Anna Fritz
Corte y Confeccion de Peliculas/Play Time Movies/A Contraluz/ Bnc Produccions/Silendum Film Factory
Tyro Hector Hernandez Vicens »
- Emilio Mayorga
This story first appeared in the May 15 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. "You never look as ugly as you do in a selfie," said Cannes Film Festival director Thierry Fremaux on April 16, when he announced a new policy of stopping awkward extended-arm snaps on the red carpet. He called the practice "ridiculous and grotesque." The Cannes A-list might disagree. Rosario Dawson, Hilary Swank and Petra Nemcova have done it, as have Alec Baldwin, Matt Damon and even 2014's Un Certain Regard jury president Pablo Trapero.
- Rhonda Richford
Isabella Rossellini has been announced as the President for the Un Certain Regard category at Cannes.
The actress and director will oversee the judging of 20 films in the selection next month.
The Festival de Cannes organisers have also announced that Rossellini will take part in the film awards' annual tribute, which this year is dedicated to her late mother, Swedish actress Ingrid Bergman.
Rossellini will attend a Cannes Classics screening of Ingrid Bergman, in Her Own Words, a documentary by Stig Björkman, as well as launching her own 'Ingrid Bergman Tribute' to celebrate the centenary of her mother's birth.
Directed by Guido Torlonia and Ludovica Damiani, the project will be based on both Bergman's autobiography and her letters to husband Roberto Rossellini. Following its debut, the show will play at major theatres around the world.
This judging of this year's In Competition selection will be overseen by the Coen brothers. »
Italian-American actress and director to head Un Certain Regard jury.
Isabella Rossellini is to preside over the Un Certain Regard Jury at the 68th Cannes Film Festival (May 13-24).
The Italian-American actress and director will head a jury that will judge 20 films, set to be announced when the full line-up is unveiled on April 16.
At this year’s Cannes, Rossellini will take part in a tribute to her actress mother by attending the screening of Ingrid Bergman, in Her Own Words, a documentary by Stig Björkman being shown as part of the Cannes Classics. (This year’s Cannes poster features Bergman)
She will also launch her own ‘Ingrid Bergman Tribute’ to celebrate the centenary of her mother’s birth. The show, directed by Guido Torlonia and Ludovica Damiani, will be based on both her autobiography and her correspondence with Roberto Rossellini.
With the help of a soon-to-be-announced jury made up of artists, journalists and festival »
- email@example.com (Michael Rosser)
There are few better snapshots of the energy and new direction of Latin American cinema than Argentina’s Buenos Aires Lab (Bal), which showcases regional films in post-production. The lab, which unspools April 17-19, is a key ingredient of Buenos Aires’ Bafici Festival.
The revolution that lifted off when Pablo Trapero screened his debut, “Crane World,” at the first Bafici in 1999 just hasn’t stopped, notes Bal co-founder/director Ilse Hughan. Indeed, American audiences got a taste of the continuing celluloid revolution with the 2009 foreign-language Oscar winner “The Secret in Their Eyes,” now being remade by Billy Ray with Julia Roberts, Nicole Kidman and Chiwetel Ejiofor, and recently with the Oscar-nommed “Wild Tales.”
Launching in 2003 as Latin America’s first works-in-progress showcase, Bal worked very early on with European festivals as a pioneering platform for Latin American cinema, says Hughan. In 2012, it teamed with the Cannes Film Market to launch »
- John Hopewell
Running April 9-15, and now celebrating its fourth edition, the International Film Festival of Panama reps one of the world’s most quickly consolidating festivals in two of its nascent but fast-growing film regions: Central America and the Caribbean.
There’s a relationship. Launched in 2012, Piff has a mission, in industry and international terms, to serve as a platform for Central America and the closer Caribbean countries, and as a driver for further growth, said Pituka Ortega Heilbron, Iff Panama director, who runs the festival with Diana Sanchez, the Toronto Fest programmer for Latin America, Spain and Portugal, serving as its artistic director.
That is an exciting mission. Boosted by multiplex construction, Central America box office was $94.8 million in 2012 and soared 13% in two years to $107.2 million in 2014, per Luis Vargas, Rentrak managing director for Mexico, Central America, Caribbean, Colombia and Venezuela.
Central America’s 2014 top 10 was packed out exclusively by Hollywood family and action fare, »
- John Hopewell
There are still three weeks to go before the Cannes Film Festival unveils its official-selection lineup, but so far, the latest Pixar 3D animated extravaganza and new films from Woody Allen, Todd Haynes, Jeff Nichols, Denis Villeneuve and Arnaud Desplechin appear to be securing their positions in the event’s 68th annual edition (May 13-24).
In keeping with his longtime habit of avoiding festival accolades, Allen will likely receive an out-of-competition berth for his 45th feature, “Irrational Man,” starring Joaquin Phoenix and Emma Stone (who starred in the director’s “Magic in the Moonlight”). Among other U.S. fare, Cannes will get an early start on the summer blockbuster season with Disney/Pixar’s feature toon “Inside Out,” marking a second trip to the Croisette for director Pete Docter (who co-helmed with Ronaldo Del Carmen) after his “Up” opened the festival in 2009. As already announced, George Miller’s “Mad Max: Fury Road, »
- Justin Chang and Elsa Keslassy
Gazing into the crystal ball, Screen rounds up its Cannes predictions.
With the unveiling of Cannes Film Festival’s Official Selection now exactly three weeks away buzz over the titles that Thierry Fremaux and his team will select for the 68th edition is hitting fever pitch.
Earlier the week, Cannes unveiled its poster featuring Ingrid Bergman to mark the centenary of the late big screen’s birth and it was announced that Stig Bjorkman’s documentary Ingrid Bergman – In Her Own Words would show in Cannes Classics as part of the commemorations.
For the rest of the Official Selection, except perhaps the opening film which is traditionally revealed in advance, Cannes watchers will have to wait for the announcement press conference in Paris on April »
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