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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 »
- email@example.com (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 »
- firstname.lastname@example.org (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 »
Madrid – Adding another awaited title to a powerful 2015 production slate, Telefonica Studios has boarded action thriller “Toro,” the second feature from Kike Maillo whose 2011 debut, “Eva” starring Daniel Bruhl, was sold by Wild Bunch and is seeing a belated U.S. release from the Weinstein Co.
Aligning once more with some of the movers and shakers in Spain’s motion picture business, Telefonica Studios will co-produce “Toro” with “The Impossible” producers Apaches Entertaintment and Atresmedia Cine, the film arm of TV network group Atresmedia whose production credits include “I Want You” and “Red Lights.”
Already teaming with Telefonica Studios, Argentina’s K & S and Pedro and Agustin Almodovar’s El Deseo to finance, produce and sell Damian Szifron’s Oscar-nominated Cannes competition player “Wild Tales” and Pablo Trapero’s upcoming “The Clan.” Film Factory, a preeminent Spanish sales company, is handling world sales on “Toro.”
Written by up-and-coming scribes Fernando Navarro »
- John Hopewell
Jayro Bustamante’s debut “Ixcanul,” the flagship of a burgeoning Guatemalan cinema, continued its triumphant festival march, winning Official Fiction Competition best picture at Colombia’s 55th Cartagena Festival, which wrapped Tuesday night.
A Berlin Festival Silver Bear Alfred Bauer Prize winner, “Ixcanul” took top honors – best Ibero-American picture and director – just last Saturday at Mexico’s Guadalajara Fest. Described by Variety’s Scott Foundas as “a transporting, hypnotically beautiful debut feature” and “downright Herzogian (far more Herzogian than Herzog’s own ‘Queen of the Desert’),” “Ixcanul” has now achieved the near unthinkable for a Guatemalan movie just a few years back: a French co-producer, Edgard Tenembaum’s Paris-based Tu Vas Voir, whose credits also include Walter Salles’ “The Motorcycle Diaries”; a sales agent, Vicente Canales’ Film Factory, now one of the biggest dealers in not only Spanish but Latin American films; top fest plaudits and major territory sales to distinguished distributors, »
- John Hopewell
Madrid – Opening with awaited Colombian title “Alias Maria” (pictured), threading the concept of memory – including fest’s own past – throughout its program, the 55th Cartagena International Film Festival, Latin America’s oldest fest, bows today under a new artistic director, Diana Bustamante, one of Colombia’s leading international producers (“The Wind Journeys,” “Crab Trap,” “La Playa D.C.,” “Refugiado” ).
It shows. The 55th Ficci, as it is known in local parlance, picks up, via a section dubbed 5 + 5 Ficci, on signature past Cartagena Fest titles from Latin America, and with a second sidebar, Gabo: The Films of My Life, on movies which impacted Colombia’s Nobel-prize novelist Gabriel Garcia Marquez, a writer who studied cinema, taught cinema at Cuba’s San Antonio de los Baños Film School and whose novels inspired some 20 films. Arguably, his finest film creation, son Rodrigo Garcia, closes Ficci with “Last Days in the Desert.”
“The concept »
- John Hopewell
Argentinian filmmaker Pablo Trapero vaulted onto the international cinema scene in 2010 with "Carancho." The film was well received after screening at Cannes in the Un Certain Regard lineup, and a Hollywood remake was kicked around for a hot moment, though now seems stuck in development hell. He returned to Cannes a couple years later, once again relegated to Un Certain Regard, with "White Elephant." It didn't raise the same amount of heat, but something tells me his latest, "The Clan," will spark his name back into the conversation, and maybe see him in the Competition lineup at the festival. Certainly, this first teaser will grab your attention. Starring Guillermo Francella (“The Secret In Their Eyes,” “Heart of a Lion”) and set in the '80s, the film is based on the true story of the wealthy Puccio family, who were responsible for a string of kidnappings and murders. And that little logline, »
- Kevin Jagernauth
Throughout the 1980s Argentina's Puccio family operated a highly lucrative - albeit violent - family business. Behind the veneer of high society and general acclaim, with one of the clan's children a member of national rugby team, the Puccio clan operated a prolific - and deadly - kidnapping ring, abducting residents of their own neighborhood, holding them for ransom and then killing their victims rather than returning them after their ransoms were received.The Puccio family are the subject of The Clan (El Clan), the latest from acclaimed director Pablo Trapero, with Guillermo Francella in the lead as patriarch Archimedes Puccio. The first teaser for the film has just arrived online and while it is very much just a teaser at this point it does not...
[Read the whole post on twitchfilm.com...]
Even before the Berlin festival is over, and the Oscars remain under wraps, the thoughts of many executives have turned to Cannes.
At this stage, the selectors of Cannes different sections have seen very little, so there is no such thing as a certainty.
Following some of the chatter and looking at which films might have the right credentials comes up with a strongly international selection for Thierry Fremaux and his team to choose from.
Fellow Italian, and previous Palme d’Or-winner Nanni Moretti, has “My Mother” (aka “Mia Madre”) while Paolo Sorrentino’s Michael Caine and Harvey Keitel-starrer “Youth” (aka “La Giovinezza,” aka “In the Future”) is also a strong competition contender.
Buzz is strong for “The Lobster,” the English-language »
- Patrick Frater
Struck Friday night at the European Film Market by sales agent The Film Factory off a two-minute promo, the deal confirms the sales potential of the latest title from Trapero (“White Elephant,” “Lion’s Den”) since France often rates as the biggest international territory out for foreign-language movie sales. Twentieth Century Fox has already taken Latin American rights.
The Diaphana deal for France kicks starts sales on “The Clan,” which Film Factory closed for world sales in the run-up to Berlin.
Now in post, “The Clan” is being talked up by pundits as a frontrunner for selection at the Cannes Festival where Trapero’s “The Lion’s Den” played in competition and “The White Elephant” in Un Certain Regard. »
- John Hopewell
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