The 2017 Cannes Film Festival is underway, and IndieWire is partnering with Festival Scope for a second year in a row to give readers the chance to bring a part of the event straight to their own homes. This year, our Critics’ Week sweepstakes features 9 short films and one feature in competition. If you aren’t in Cannes, this is your only chance to watch them all.
Now through Thursday, May 25, IndieWire readers have an exclusive opportunity to register for a chance to win an online Festival Pass to screen the 9 short films and one feature in competition. Click Here for the registration form — all you need to enter is your first and last name and a valid email address — and make sure to enter by May 25 for a chance to win. Festival Scope has
Sam Kuhn’s short “Möbius” is billed as visually arresting film that dips in and out of the consciousness of Stella, a high school girl in the Greater Northwest who is coping with the sudden passing of her true love Sebastian. While re-reading his love notes (all of which end with “Stella, she makes my heart soar,” never discount the emotionality of teens), Stella realizes that she needs to give her love the final send-off that he truly deserves. Will this involve some truly weird, thought-provoking stuff? Believe it.
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Kuhn and his
The Independent Filmmaker Project (Ifp) has announced the projects selected for the 13th Ifp Narrative Labs.
Ifp’s year-long fellowship provides an all-encompassing mentorship and resources for 10 first-time filmmakers currently in post-production on their debut narrative feature.
The selected fellows for the 13th Ifp Narrative Labs are:
American Thief Miguel Silveira writer-director, Melissa Hernandez co-writer, Michel Stolnicki writer-producer;
Cubby Mark Blane writer-director, Carolina Gimenez producer, William Colby editor;
Dead Pigs Cathy Yan writer-director;
The Garden Left Behind Flavio Alves director, Roy Wol producer, Alex Lora editor;
Geppetto Z Behl writer-director, Sam Kuhn director of photography, Justin Cox music supervisor;
Jinn Nijla Mu’min writer-director, Avril Z. Speaks producer, Collin Kriner editor;
Jules Of Light And Dark Daniel Laabs writer, director and editor, Jeff Walker producer, Judd Myers producer-editor;
Kids Go Free To Fun Fun Time Ben Hicks writer-director;
Nancy Christina Choe writer-director, Amy Lo producer, David Gutnik editor
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The section will open with Fabio Grassadonia and Antonio Piazza’s latest feature, “Sicilian Ghost Story,” which combines the myths of Romeo and Juliet with the present day Sicilian mafia. Dave McCary’s debut “Brigsby Bear,” the Sundance comedy that sold to Sony Pictures Classics, will close out the section.
For the first time in its history, both a documentary and an animated film will screen in competition. Ali Soozandeh’s animated
Cannes Critics’ Week, devoted to first and second features as well as shorts, has unveiled the line-up of its 56th edition, running May 18-26.
Italian directors Fabio Grassadonia and Antonio Piazza will open the selection with their second feature Sicilian Ghost Story, a genre-mixing work following a teenage girl as she searches for the boy she loves after he is kidnapped by the Mafia.
It is inspired by the real-life tale of Giuseppe Di Matteo, the son of a former Mafia hitman-turned-informant, who was abducted in 1993.
Critics’ Week artistic director Charles Tesson described it as a “staggering crossover between cinema genres, combining politics, fantasy and terrible teen love.”
The directorial duo premiered their debut feature Salvo in competition in Critics’ Week in 2013, winning the €15,000 Nespresso Grand Prize.
The screenplay for Sicilian Ghost Story was developed at the Sundance Screenwriting Lab and went
In the meantime: Is this a project you’d want to see? Tell us in the comments.
Pinocchio’s Candy Lust
Logline: A 20-minute short about a female carpenter named Gepetto’s self-transformation into a reckless artist (Pinocchio) and her shifting relationship to the world of men. “Pinocchio’s Candy Lust” is a treatise on gender in relation to artistic identity.
Raising questions about multiple selves and the commodification of “artist” and “woman,” Gepetto, a disgruntled female carpenter, is confronted with the choice between acting responsibly and hating her life or (re)producing herself as Pinocchio. Carving a paintbrush and painting her body with woodgrain she undergoes a transformation so wild she destroys her whole village.
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