Cannes Directors’ Fortnight Title ‘1976’ Rolls Out Sales for Luxbox (EXCLUSIVE)

EXCLUSIVE: Cannes Directors’ Fortnight documentary De Humani Corporis Fabrica has sold to U.S. (Grasshopper Film and Gratitude), Australia & New Zealand (Madman) and Spain (Vitrine Filmes) for Paris-based sales firm Les Films Du Losange.

Elsa Keslassy International CorrespondentMK2 Films has locked major territory deals on Leonor Serraille’s drama “Mother and Son” which world premiered in competition at the Cannes Film Festival and garnered strong reviews. “Mother and Son” charts the lives of a young African woman, Rose, and two of her four children, Jean and Ernest, who come to France from the Ivory Coast in the 1980s with high ideals.

Emiliano Granada Playing Directors’ Fortnight, Fabián Hernández’s “A Male” (“Un Varón”) underscores just how much Colombian cinema has evolved in recent years, in both technique and kind of storytelling. A meditation on manhood sold by Dubai-based Cercamon and seen at San Sebastian’s WIP Latin last year, it turns on 16-year-old Carlos (Dylan Felipe Ramírez Espitia), glimpses of his deep turmoil shining through a stoic facade. His mother in jail, his sister on the game,Carlos lives in a central Bogotá homeless shelter in central Bogotá.Over Christmas, he wanders his local streets, dominated by the ideal of the alpha male and an eye-for-an eye vengeance. Sensitivity is conspicuous by its absence.

s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.

The stars of the new movie Elvis, directed by Baz Luhrmann, stepped out for a press conference and photo call at the 2022 Cannes Film Festival.

Marta Balaga Italy’s Valerio Ferrara was named the winner of the 25th edition La Cinef for his warm take on a hapless barber who believes in conspiracy theories in “A Conspiracy Man” (“Il Barbiere Complottista”). Laughing stock of his family, nobody takes him seriously. Until he is arrested by the police.“Personally, I have a special affection for the cinema of this country,” said Canadian actor Monia Chokri, praising the director’s sense of humor.

John Hopewell Chief International CorrespondentIn the second big prize announcement by a Directors’ Fortnight partner, “The Mountain” (“La Montagne”), from emerging French auteur Thomas Salvador, has won the SACD Prize, awarded by France’s Writers’ Guild for the best French-language movie in the section.The second feature of the French actor-director after 2017’s promising “Vincent,” selected for San Sebastian’s prestige New Directors section, ”The Mountain” is sold internationally by Le Pacte which will also handle distribution in France.From a screenplay written by Salvador and Naila Guiguet, which was selected for Critics’ Weeks’ Next Steps 2020, “The Mountain” turns on Pierre, 40, played by Salvador, who makes a sales pitch for his company’s robotic arm in Chamonix, the capital of the French Alps. When his colleagues return to Paris, he stays on, pitching a tent just below the Aiguille du Midi cable car station, a spectacular pinnacle at 12,600 feet, in the lap of Mont Blanc.

John Hopewell Chief International CorrespondentStarring Léa Seydoux,  Mia Hansen-Løve’s “One Fine Morning” won this year’s Europa Cinemas Cannes Label for best European film at the 2022 Cannes Directors’ Fortnight.Announced Thursday by Europa Cinemas, ahead of the closing ceremony this evening, the prize is one of two at Directors Fortnight, and awarded by one of the sidebar’s partners given the section is non-competitive.A second partner plaudit, the SACD Prize, handed out by France’s Writers’ Guild,  will be announced later today at an awards ceremony.“One Fine Morning” was always a frontrunner for a prize at Directors’ Fortnight, though never a shoo-in. The award comes just three days after Sony Pictures Classics announced it had acquired North American, Latin American and Middle East rights to the film.

Anne Hathaway is being crowned the haute couture queen of the Cannes Film Festival. And fans of the brunette bombshell are digitally reveling over the early-2000s diva’s fashionable resurgence. “Can we all take a moment to appreciate Anne Hathaway looking like a goddess in Cannes,” tweeted an admirer of the Oscar winner, alongside a snapshot of her in a sequin, floral-print two-piece ensemble by Schiaparelli. “I love this Anne Hathaway renaissance we’re going through,” chimed another. Making her debut at the annual silver screen soirée over the weekend, Hathaway, 39, repeatedly turned heads in high-fashion finery for the premiere of her feature flick “Armageddon Time,” starring Anthony Hopkins, 84, and Jeremy Strong, 43. And immediately after touching down in France on Wednesday, the blockbuster beauty transformed the Nice Côte d’Azur Airport into a virtual runway, sashaying through in a chic, loose-fitting pantsuit.  From there, Hathaway ditched her trendy traveling togs to don a white strapless Armani Privé gown, reminiscent of her “Princess Diaries” glamor, on the film festival’s star-studded red carpet Thursday. The flawless fashion plate continued to outdo herself throughout the duration of the weekend, rocking a blue mini dress by Gucci Friday, stunning in a coffee-colored Louis Vuitton number Saturday and beaming in a hot pink piece by Valentino Sunday. And the luxe looks sent Hathaway enthusiasts into a full-on Twitter tizzy. “Anne Hathaway at the cannes film festival.

In the late 19th century, two French psychiatrists coined the term “folie à deux,” literally translated as madness for two, to describe what is now widely referred to as shared psychotic disorder, or when two — or more — people transmit delusional beliefs and occasional hallucinations to one another. The condition is most common in people closely related, who live in intimate proximity, and has been lengthily dissected by academics.

Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

“The Five Devils,” from French director Léa Mysius, captivates from its very first seconds. We see Adèle Exarchopoulos in a sparkling gymnast outfit with other similarly dressed girls, all watching an enormous fire in the background; when she turns around, she is crying — fire, beauty, passion and death all conveyed in one image.

Alessandra Ambrosio has been making the most of her time in Cannes. The Brazilian supermodel is a big fan of the film festival, enjoying its luxurious and elegant ambiance and the opportunity to wear bold and innovative looks. She shared some photos on her Instagram, stunning her followers.Brazilian model Alessandra Ambrosio & her most stunning Cannes looksBrazilian model Alessandra Ambrosio looks like a vision wearing a plunging dress in CannesA post shared by Alessandra Ambrosio (@alessandraambrosio)“Heure d’or,” she captioned the post, referring to the golden hour in display in the photographs.

The films of French filmmaker Quentin Dupieux are at their best when they combine his penchant for ludicrous but simple what-if scenarios, with his perceptive eye for humor in everyday life and banal interactions. He would probably hate his cinema to be pinned down in this way: though he has proven that he can subscribe to straightforward storytelling with “Deerskin” (which premieres at Cannes in 2019) and “Incredible But True” (Berlinale 2022), the French director and absurdist also enjoys leaving the demands of logical plot developments behind in favor of a freer style.

French writer/director Alice Winocour was interested in the connection between the body and the mind before it was cool. Her feature debut “Augustine” (2012) told the story of a supposedly “hysterical” woman and her doctor in 19th century France, while “Disorder” (2015) centered on a soldier-turned bodyguard suffering from PTSD.