‘Lendarys,’ Big-Budget Animation, Scores Pre-Sales at Cannes Market

EXCLUSIVE: Ellen Wander’s Film Bridge International has sold shark survival thriller Maneater to a host of buyers during the Cannes market including Saban Films (North America, UK, Australia/NZ, Scandinavia and South Africa), Challan Films (Korea), Superfine Films (India), YouPlanet (Spain), ILY Films (France), Monolith (Poland), Suraya Filem (SE Asia), Blitz Film Group (Ex-Yugo), and Selim Ramia and Co. (Middle East).

NEON earned bragging rights tonight with the third consecutive Palme d’Or Cannes winner in a row, that being Ruben Östlund’s satirical comedy Triangle of Sadness, which was a huge crowd pleaser during the fest.

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.

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.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

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.

Naman Ramachandran The European Genre Film Foundation (EGFF), aimed at restoring and raising awareness of classic genre films in Europe and globally, launched at Cannes on Tuesday.The non-profit organization, headquartered in Stockholm, will work with film libraries, archives, rights holders, academics, film festivals and other institutions. It is modelled on Martin Scorsese’s Film Foundation and the American Genre Film Archive (AGFA) in the U.S.Among the first projects of the EGFF will be an academic study of historic female genre film makers in Europe and raising funds for a 4K film scanner set-up dedicated to digitizing and restoring genre films and related material that is languishing in archives.

Cannes Film Festival that the pace of deals was almost as glacial as the amount of time it takes to get your check at a restaurant in the south of France.But then, sacré bleu, Netflix struck, shelling out more than $50 million for the rights to “Pain Hustlers,” a conspiracy thriller that unites Emily Blunt with Harry Potter director David Yates, and the move has started to accelerate deal-making up and down the Croisette.This year’s market has been a litmus test for film sales as the U.S. and key international markets emerge from the worst of the pandemic.

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.

Christopher Vourlias Russia may have been cut off from much of the international film community, but here at Cannes, members of the country’s media business are quietly trying to line up deals.Nearly three months into the war in Ukraine, the leadership of the film festival has spent its opening week fielding questions about its stance on Russia. Festival chief Thierry Frémaux, for instance, was grilled over the inclusion of competition title “Tchaikovsky’s Wife,” a movie with financial ties to Russian oligarch Roman Abramovich.

Audrey Diwan’s planned English language directing debut, the erotic tale Emmanuelle starring Lea Seydoux, has buyers buzzing as much as any Cannes Market package being shopped this week on the Croisette. But her last film Happening (which didn’t make the cut as France’s choice for Best Foreign Language Film, though many felt it would have won) might have the most lasting impact. The film is just released in the U.S. smack in the middle of revelations that the Supreme Court plans to overturn Roe V Wade.

EXCLUSIVE: MUBI has picked up U.S. and Canadian rights to Ricky D’Ambrose’s The Cathedral starring Top Gun: Maverick’s Monica Barbaro.

John Hopewell Chief International Correspondent“Lost And Found” has closed first sales to Italy (Eagle Pictures), France (KMBO) and Taiwan (Creative Century Entertainment) on thriller “Lost and Found,” starring Álvaro Morte, “Money Heist’s” Professor, and directed by “The Head” helmer Jorge Dorado.The caliber of the distributors – Eagle Pictures is one of Italy’s most muscular mainstream buyers, for instance – and the movie’s high-profile talent package confirm “Lost and Found” as a preeminent title in Spain’s currently most exportable product line: Upscale ambitious thrillers with a social-issue underbelly.Filmax, “Lost and Found’s” sales company, screened a promo at Berlin’s European Film Market. The first sales news comes just before the film’s first market screening at a private event at Cannes.

India is the country of honor at the Cannes Film Market and consequently a massive contingent from the country is descending upon the Croisette. Variety understands that some 400 attendees are winging their way from India, and that French embassies across the country were working at capacity to issue visas.That stands in contrast with the attendance from other parts of Asia, further East.

EXCLUSIVE: Eternal Sunshine Of The Spotless Mind director Michel Gondry is readying his next project, which will be on sale in the Cannes market with French seller Kinology.

Zack Sharf Simu Liu knew almost nothing about Greta Gerwig and Margot Robbie’s “Barbie” when he agreed to audition for a role in the movie. So why did the “Shang-Chi” actor decide to throw his name into the casting ring? It turns out a junior agent at Liu’s management customer convinced the actor to give “Barbie” a go after telling the actor that the film’s script was one of the best he’s ever read.“He literally said this verbatim,” Liu recently told GQ UK.

Long a bastion of artistic freedom, the Cannes Film Festival has a secret: it censors interviews with festival head Thierry Frémaux.

EXCLUSIVE: Fresh off their Oscar nominations for drama The Lost Daughter, Oscar winner Olivia Colman (The Favourite) and Chernobyl star Jessie Buckley are set to reunite on comedy Wicked Little Letters, which will be a hot project at the Cannes market.