EXCLUSIVE: Maddie Ziegler and Schitt’s Creek Star Emily Hampshire are to lead Bloody Hell, a coming-of-age “traumedy” from Mary Goes Round director Molly McGlynn.
19.05.2022 - 21:37 / variety.com
JD Linville Bernardo Quesney’s “History and Geography” and Tomás González Matos’ “Breaking and Entering” are two of the titles screening May 20 at Cannes’ Marché du Film showcase, Sanfic Industria Goes to Cannes. Two other films round out the selection; Andrew Sala’s “The Barbaric” from Argentina, and Esteban García’s Mexico-Columbia co-production “Back to the Sea of my Deseaced.”All four titles screened at Sanfic Industria’s Works in Progress. The 2022 Cannes slate showcases powerful themes of violence, identity and corruption.The Goes to Cannes sessions will run May 20-23 May.
The curated selections will be presented at two-hour pitch sessions alongside teams who will introduce their films in front of an audience of industry execs and fest heads. The films in this section are in various stages of post-production, some seeking sales agents, distributors or festival selection.
A brief breakdown of the Sanfic Industria Goes to Cannes titles:“Breaking and Entering,” (“Allanamiento,” Tomás González Matos, Chile)A modern dark thriller inspired by a true story, this Chilean feature film follows a police cover-up. When a commissioner and deputy commissioner break into the prosecutor’s office to destroy incriminating recordings, a betrayal jeopardizes the mission, pinning drug trafficking, torture and corruption on a sole culprit.
Produced by Camila Rodó Carvallo at Pira Films. “History and Geography,” (“Historia y Geografía,” Bernardo Quesney, Chile)Chilean actor Amparo Noguera (“A Fantastic Woman”) plays Gioconda Martinez, an actress seeking to reinvent her image, one of a comedic one-shot from an old hit TV series. She stages a play in her hometown centered on the tragedies of the Mapuche people, only to learn it will take
.EXCLUSIVE: Maddie Ziegler and Schitt’s Creek Star Emily Hampshire are to lead Bloody Hell, a coming-of-age “traumedy” from Mary Goes Round director Molly McGlynn.
Prince Louis‘ adorable faces at today’s big royal event are going viral (and some of his reactions are becoming memes across the Internet.)
John Hopewell Chief International CorrespondentProjeto Paradiso, operated by the Olga Rabinovich Institute, has renewed its partnership with Buenos Aires’ Ventana Sur, backed by Cannes Festival and Film Market and Argentina’s INCAA film-TV agency.The move is one of several unveiled at Cannes Marché du Film, as go-ahead orgs in Brazil continue to attempt to stem the ravages of three years of President Jair Bolsonaro’s state incentive slow down as well as map out institutional backing for an industry in what is hoped to be a post-Bolsonaro age after October’s general elections. Some of the new initiatives:Projeto Paradiso Broadens Its Alliance With Ventana Sur The Projeto Paradiso-Ventana Sur alliance cuts two ways.
Though shot and set prior to the Russian invasion, by dint of being a Ukrainian picture detailing the aftermath of a woman soldier’s assault in the Donbas, “Butterfly Vision” lays claim to uniquely wretched timeliness at this year’s Cannes. What is an impressive if formally flawed first film from Maksym Nakonechnyi earns some emotional weight vis-a-vis present events: the Ukrainian flags of blue and white, flown with unsparing pride across Nakonechnyi’s images, bear the immediate frisson of beleaguered resistance, and that women Stateside presently face unprecedented threats to their bodily autonomy only compounds the miserable resonance.
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.
The 75th Cannes Film Festival is coming to a close. The two-week festival saw some of the biggest stars and most anticipated films of the year come together to celebrate cinema.
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.
Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.
This year’s dark horse in competition at Cannes is easily “Leila’s Brothers,” Iranian writer-director Saeed Roustaee’s third feature and worthy follow-up to his intense 2019 cop thriller “Just 6.5.” With hints of “The Godfather” and Arthur Miller evident throughout, the drama is a sprawling tale exploring dysfunctional family dynamics, economic hardships, and generational wealth. READ MORE: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch “Leila’s Brothers” follows the lives of a Tehran family as they struggle to stay afloat amidst financial hardships and complicated familial relationships.
Anna Marie de la Fuente Iberseries & Platino Industria, a key international Ibero-American film-TV event which kicked off last year in Madrid, has announced new collaborations with Ventana Sur and the San Sebastian Film Festival for its second edition, slated for September 27-30.The announcement was staged at the Marché stand of Argentine film-TV agency INCAA, a co-organizer of Ventana Sur along with Cannes Marché du Film-Cannes Festival. It detailed new plans for the annual event to include hosting the Co-Production Forum-Platino Industria with San Sebastian and the Series Co-Production Forum with Ventana Sur, Latin America’s largest film and TV market.The Ibero-American event will once again present an extensive program of conferences and keynotes with experts, pitching sessions for platforms, and a market and networking area.
Anna Marie de la Fuente In keeping with a tradition that began in 2005, the Morelia Int’l Film Festival will showcase a selection of shorts at Cannes’ Critics Week.As festival director Daniela Michel explained: “The selection is made by the Critics’ Week team directly. Every year, a member of that team is invited to participate in our Mexican Short Film jury; they make a shortlist of films for the program in Cannes and the programming team narrows it down to four shorts.”The shorts chosen from Morelia’s prior edition underscore the diversity of themes and genres that are currently explored in Mexican cinema, from family ties that bind to black and white animation.
A documentary with no guardrails, “The Natural History of Destruction” (“NHD”) lurches through its 105-minute runtime with no concern for its audience’s bearings or balance. Commendable in its own way, eschewing as it does the omnipresent talking head and clip art formula so pervasive on the documentary scene, it is also devoid of context and narrative challenges.
A balloon shaped like a heart flies from the open window of a taxi. It is late at night and the woman (Leila Hatami) who this gift was bestowed upon simply couldn’t care less about the useless trinket, far more interested in comparing the quality of the accompanying chocolate boxes dispensed by a handful of men who wish to have her as a Valentine.
th Cannes. “In so many ways, what we have belongs to an older structure. Whether we want it to or not, the future will show up.”But, he added, the change in the movie business is only part of a wider change across society.
It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.
It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.
Marta Balaga Things got personal at Cannes Market’s Fantastic 7 showcase this year, highlighting upcoming genre projects selected by seven festivals including Spain’s Sitges, Bucheon in South Korea, Cairo, Guadalajara in Mexico, SXSW and Toronto, as well as Whanau Marama New Zealand Intl. Film Festival.“I think it’s my most personal film ever,” said director Jaume Balagueró, also behind “[REC],” co-directed with Paco Plaza.In his latest film “Venus,” presented by Sitges, he will combine elements of survival drama and modern witchery.
John Hopewell Chief International Correspondent“1976,” the awaited first feature of Chile’s Manuela Martelli, has closed first new major territories for sales company Luxbox before its world premiere in Directors’ Fortnight later this upcoming week.The film is produced out of Chile by writer-directors Omar Zúñiga (“The Strong Ones”) and Dominga Sotomayor (“Too Late to Die Young”) at auteur-focused Chile-based Cinestación (“Too Late to Die Young”) as well as Alejandra Garcia and Andrés Wood, another celebrated Chilean director (“Violeta Went to Heaven”) at Wood Productions. Nathalia Videla Peña and Juan Pablo Gugliotta at Argentina’s Magma Cine co-produce.“1976” is set, as its title implies, in 1976, one of the bloodiest years of Augusto Pinochet’s hugely bloody dictatorship.