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Savina Petkova A vampire with qualms about killing to survive is no longer a figure exclusive to the “Twilight” franchise, when a Canadian French-language debut places a teenage girl in a tricky situation, torn between what the world demands of her and what she herself wants. The film’s title is eloquent enough — “Humanist Vampire Seeking Consenting Suicidal Person” — and it already won Ariane Louis-Seize the best director prize at this year’s Venice Days, and was praised for a “strong directorial vision.” The film screened as part of the main competition at the Thessaloniki Film Festival last week.

Elsa Keslassy International Correspondent “Kingdom of the Blind,” “Little Trouble Girls” and “Wind, Talk To Me” were among the projects which won prizes at the milestone 15th edition of Les Arcs Film Festival‘s Industry Village. The event, held in a popular French Alps resort, was attended by more than 700 professionals, including top sales agents, distributors and festival programmers, on top of high profile talent, such as two-time Palme d’Or winning Ruben Ostlund (“Triangle of Sadness”) who was the festival’s guest of honor.

EXCLUSIVE: Bombay Berlin Film Productions (BBFP) has revealed that August Diehl has been cast to play the role of German Olympic athlete Otto Peltzer in upcoming biopic The Distant Near. 

Christopher Vourlias Slovak directors Ivan Ostrochovsky and Pavol Pekarčík’s Ukraine war drama “Photophobia,” which won the Europa Cinemas Label Award after its Venice Days premiere and is Slovakia’s entry in the best international feature film Oscar race, has been acquired by Prague-based sales agent Filmotor. Set on a cold February morning in the wake of the Russian invasion of Ukraine, “Photophobia” follows 12-year-old Niki and his family as they arrive at the Kharkiv metro station to take shelter from the terrifying war raging outside.

Guy Lodge Film Critic That perky exclamation point sets the tone for “Coup!,” a story of murder, class struggle, One Percent entitlement and a global pandemic that nonetheless unfolds with all the eager, scrappy energy of an off-Broadway musical, minus most of the songs. The pandemic in question is not the one you’re thinking of — Austin Stark and Joseph Schuman’s puckish comic thriller unfolds against the dire backdrop of the 1918 Spanish Flu — but it also sort of is, as its study of wealthy exceptionalism in a time of national crisis is clearly intended to chime with more recent memories of regimented distancing and mixed safety messages from on high.

Jessica Kiang The unkillable vampire legend gets one of its frequent cinematic resurrections (this Venice Film Festival alone boasted three more: “El Conde” in competition, “En Attendant la Nuit” in Horizons and “The Vourdalak” in Critics’ Week) with Québécois director Ariane Louis-Seize’s sweetly gothy Venice Days winner, a film wittily — if too comprehensively — described by its title: “Humanist Vampire Seeking Consenting Suicidal Person.” The idea of a vampire who doesn’t want to kill is hardly without precedent. But Louis-Seize’s eager debut, intentionally or otherwise, plays to a relatively vamp-starved demographic, providing continuity to kids who have long outgrown the “Sesame Street” version, but are still a bit young for the emo lustiness of the “Twilight” franchise.

Jennie Punter TORONTO: “Humanist Vampire,” “Solo” Heat Up Market for Toronto’s Quebec Feature Slate By Jennie Punter Toronto has long been a go-to place for Quebec filmmakers to launch new work, connect directly to the U.S. marketplace and, by extension, propel their careers to the next level — Denis Villeneuve, Phillippe Falardeau and Jean-Marc Vallée, for example, premiered most of their early films here.

Leo Barraclough International Features Editor Adriano Valerio’s documentary “Casablanca,” which will world premiere on Thursday at Venice Days, has been acquired by Salaud Morisset for world sales. Variety has been given an exclusive clip from the film.

Sydney Sweeney is on the move.

Guy Lodge Film Critic The mythology around Japan as a nation of everyday ghosts — where the living and the dead share space, occasionally in view of each other — can lead certain western filmmakers into dubious territory: If you don’t recall how Gus van Sant floundered with the mawkish, condescending exoticism of “The Sea of Trees,” trust that it’s best forgotten. Centered on a long-grieving Frenchwoman who finally makes peace with her husband’s death over the course of a Japanese work trip, “Sidonie in Japan” risks similar pitfalls — but Élise Girard’s droll, bittersweet romance mostly dodges them with grace and good humor, plus a pointed awareness of the limitations of its outsider perspective.

Alissa Simon Film Critic As you read this, new titles from filmmakers of Tunisian, Moroccan and Franco-Palestinian-Algerian heritage are making their mark at the Venice Film Festival, while Toronto Film Festival will premiere a trio of first features from Saudi Arabia, along with discoveries from the UAE and Palestine, plus a handful of Arab titles screened at Cannes and Venice. Those in the know say that the annual number of Arab films produced has increased along with the emergence of new filmmakers, and that fall festivals such as El Gouna, Marrakech, Cairo and Red Sea will be chockablock with fresh regional titles.

Sydney Sweeney embraced the Italian fashion scene at MiuMiu Women’s Tales.

This year’s Taipei Golden Horse Film Festival will open with a double bill of Snow In Midsummer, directed by Malaysia’s Chong Keat-aun, and Be With Me, from Taiwanese filmmaker Hwarng Wern-ying.

Venice parallel section Giornate degli Autori (GdA), running alongside the main festival from August 30 to September 9, celebrates its 20th edition this year.

Nick Vivarelli International Correspondent Italy’s Fandango Sales will launch international distribution at the Venice Film Festival on Tommaso Santambrogio’s “Oceans Are the Real Continents,” set and shot in a run-down contemporary Cuba. The film opens the festival’s independently run Venice Days section.

EXCLUSIVE: There has been mystery for weeks over which Hollywood talent will attend the Venice Film Festival amid the two strikes but the clouds are finally starting to lift.

Leo Barraclough International Features Editor Rome-based sales agency True Colours has added Edoardo de Angelis’ “Comandante,” which opens the Venice Film Festival, to its slate. The film, which plays in the main competition section, stars Pierfrancesco Favino (“World War Z,” “Angels & Demons”).

Elsa Keslassy International Correspondent Be For Films has boarded “The Summer With Carmen,” Zacharias Mavroeidis’ colorful Greek comedy that’s set to world premiere at the Venice Days at the Lido. “The Summer With Carmen” takes place at Athens’ queer beach, where 30-something Demosthenes offers to help his friend and aspiring filmmaker Nikitas in drafting an idea for his feature debut, inspired by the events surrounding a dog named Carmen.

Earlier this week, the Venice Film Festival announced the line-up for its 80th edition, including new films from Michael Mann, Bradley Cooper, David Fincher, Woody Allen, and more. Now it’s time for Venice’s parallel section, Giornate Degli Autori (previously known as Venice Days), to promote the line-up of its 20th edition.

Leo Barraclough International Features Editor Gianluca Matarrese’s “The Zola Experience,” which will have its world premiere at Venice Days, has been picked up for international sales by Syndicado. Cinecittà will distribute the film in Italy. According to Matarrese, the film “explores the boundaries between fiction and documentary.” It centers on Anne, a theater director, who has separated from her husband and is moving house.

Nick Vivarelli International Correspondent French director Élise Girard’s “Sidonie in Japan” starring Isabelle Huppert as a French writer mourning her husband’s death while on a book tour of Japan, is among titles set to launch from the Venice Film Festival’s independently run Giornate Degli Autori. The section, also known as Venice Days, has unveiled its lineup comprising ten titles world premiering in competition – six of which first works – and films in other sections all displaying a wide range of genres and visual styles, but tied together by “A common discourse,” said the section’s artistic director Gaia Furrer.

Leo Barraclough International Features Editor Forty-nine films will compete for the Heart of Sarajevo awards at the 29th Sarajevo Film Festival, which runs in Bosnia and Herzegovina from Aug. 11 to 18. The Feature Film Competition will present 11 titles, with two world premieres, one international and five regional premieres. World premieres include “Europa” from Austrian-Iranian filmmaker Sudabeh Mortezai, whose credits include 2018 Venice Days entry “Joy,” the Best Film winner at London Film Festival, and “Macondo,” which competed for the Golden Bear at Berlin Film Festival in 2014. The other world premiere is “Medium,” from Greek director Christina Ioakeimidi, whose debut feature was “Harisma” in 2010.

EXCLUSIVE: Ahead of EFM, Capstone Global and Hammerstone Studios have shared a first-look image of Nicolas Cage and Joel Kinnaman in Sympathy for the Devil, the upcoming psychological thriller from Yuval Adler (The Secrets We Keep).

Editor’s note: Deadline’s Read the Screenplay series debuts and celebrates the scripts of films factoring in this year’s movie awards races.

Nick Vivarelli International Correspondent Egyptian-American director Dina Amer’s politically sensitive drama “You Resemble Me,” the story of Hasna Aït Boulahcen who in 2015 was wrongly believed to be Europe’s first female suicide bomber, is getting a Middle East release via Front Row Filmed Entertainment. Amer’s feature debut, which world premiered positively at the 2021 Venice Film Festival, is a deeply researched character study of the fragile young Muslim woman who became linked to the November 2015 terrorist attacks in Paris even though she didn’t participate in them. Aït Boulahcen died during an anti-terrorism raid alongside her cousin Abdelhamid Abaaoud, who was one of the ringleaders of the coordinated assaults that killed 130 people in the French capital, including 90 at the Bataclan theater. 

Pablo Sandoval Set to be unveiled at this week’s San Sebastian Europe-Latin America Co-Production Forum, “Bajo el Mismo Sol” has secured a first co-production deal ahead of the festival.  Argentina’ Pucará Cine has boarded the project, reteaming with lead producer Wooden Boat Productions in the Dominican Republican on director Ulises Porra’s third feature. Both production companies co-produced Porra’s most recent movie, “Carajita” (2021), co-directed by Silvina Schnicer, which won the New Directors award at last year’s San Sebastián, swept Guadalajara, and collected hardware at Argentina’s Mar del Plata and the Miami Film Festival.

Guy Lodge Film Critic In the little-remembered 1950 noir “The Damned Don’t Cry,” Joan Crawford plays a Texan housewife whose grief for her late son spurs her to make a new life for herself in the urban underworld. Fyzal Boulifa’s exquisite new film of the same title is named expressly for that Crawford vehicle, but is neither a remake nor a direct homage. Rather, it remixes the narrative components of that film and others of its ilk into the kind of new-school-old-school heart-tugger — one might say tearjerker if its characters weren’t, true to its title, stoically dry-eyed throughout — that might have been designed for the shoulder-padded diva were she alive in 2022 and, perhaps more crucially, of Moroccan heritage. 

Magnolia Pictures acquired North American rights to Blue Jean, the directorial debut of Georgia Oakley which just world-premiered in the Venice Days section of the Venice Film Festival. Pic stars Rosy McEwen and won Venice’s Giornate degli Autori (GdA) People’s Choice award. Magnolia plans to release the film next year.

Manori Ravindran International Editor Magnolia Pictures has acquired the North American rights to Venice Film Festival sensation “Blue Jean.” The directorial debut of Georgia Oakley, which just world-premiered in the Venice Days section of the Italian festival, is set in England in 1988, where Margaret Thatcher’s Conservative government is about to pass a law stigmatizing gays and lesbians. The new legislation forces Jean (Rosy McEwen), a closeted gym teacher, to live a double life. But as pressure mounts from all sides, the arrival of a new student catalyzes a crisis that will challenge Jean to her core.

Brent Lang Executive Editor Nicolas Cage and Joel Kinnaman will star in “Sympathy for the Devil,” a new psychological thriller from director Yuval Adler. Production on the film is underway in Las Vegas. Capstone Global is handling worldwide sales on the film, and will introduce it to buyers during the upcoming Toronto International Film Festival.   Written by Luke Paradise (“Lost on a Mountain in Maine”), “Sympathy for the Devil” follows “The Driver” (Kinnaman) as he finds himself in a high-stakes game of cat and mouse after being forced to drive a mysterious man known as “The Passenger” (Cage). That sets things up for a white-knuckle ride. 

Jennie Punter “The Maiden,” Graham Foy’s finely tuned story of adolescent mythmaking, togetherness and grief, has its world premiere Tuesday in Venice Days before heading to Toronto, but the film’s impressive international journey actually began in Cannes two years ago. Based in Toronto since 2008, Foy grew up in suburban Calgary where “Maiden” is set, spent teenage summers near the graffiti-covered railroad bridge and ragged ravine, where much of the film was shot, and, like one of the characters, was an avid skateboarder. He had been tapping away at the “Maiden” script — which draws from his experiences but is not autobiographical — for several years when his short “August 22, This Year” was selected for the 2020 Cannes’ Critics’ Week.

A lesbian gym teacher navigates Margaret Thatcher’s Britain under the “Section 28” law in Blue Jean, Georgia Oakley’s debut feature premiering in the Venice Days section of the Venice Film Festival.

Manori Ravindran International Editor It’s Timothée Chalamet Day in Venice. This isn’t a national holiday, but perhaps it should be. It’s just past 1:30 p.m. outside the Venice Film Festival’s Sala Casino, and a crowd of youth have set aside work and school commitments to travel into the Lido to catch a glimpse of the American superstar arriving for a press conference. Every generation has their movie star heartthrob — from Jonathan Taylor Thomas to Brad Pitt in the ’90s and Robert Pattison at the dawn of the Twilight movies. For many young women, Chalamet represents the pinnacle of Gen Z cool. The Chalamet stans arrived as early as 7 a.m. on Friday to catch a glance of Timothée. They are, not surprisingly, mostly female. They describe their favorite performances as “Call Me By Your Name” and “The King” but are mostly drawn to Chalamet because of his kind and friendly nature.

Shia LaBeouf plays the title character in this period piece, and his face dominates the promotional material, but the latest film from the ridiculously prolific Abel Ferrara, now into his 70s, is really more of an ensemble with a supporting cast that’s near-unknown outside Italy.

Anna Tatarska Dystopian narratives have been popular with filmmakers lately, in times when dark prophecies resonate. But sometimes life pens a much better script than any screenwriter could, as is the case with Giulia Amati’s “Kristos, The Last Child,” which has its world premiere Friday in Venice Days, a sidebar of the Venice Film Festival. Leipzig-based Deckert Distribution has taken on world sales duties. Arki is a small island on the east side of the Aegean Sea, populated by approximately 1,000 goats and 30 people. There is no mayor, no pharmacy, no police station and no cinema. But there is a school – and it has only one student, Kristos. If the boy wants to continue his education, he’ll have to leave his home and family. Will he decide to take this risk? Or will he stay with the loved ones to help preserve the family business and long-kept traditions?

EXCLUSIVE: Fresh off multiple rave reviews last night, we can reveal that Altitude has secured UK and Ireland distribution rights to writer-director Georgia Oakley’s buzzy Venice, Toronto and London Film Festival-bound drama Blue Jean from London and Paris-based Film Constellation.