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CANNES 

DAILY 

MAY 18, 2013 

№4 

THR.COM/CANNES 

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MARKET 

SCREENING 

SCREENING TODAY 

Directed by 

Kieran Evans 

Cast 

Antonia Campbell-Hughes, Julian Morris 

Saturday 18th May | 12.00 | Palais I 

SXSW 

FILM FESTIVAL 

2013 

BFI LONDON 

FILM FESTIVAL 

2012 

“DRIVEN WITH SUCH PASSION AND COMMITMENT THAT 

IT CRIES OUT FOR ATTENTION” Screen Daily 

MARKET 

SCREENING 


Directed by 

Cameron and Colin Cairnes 

Cast 

Damon Herriman, Angus Sampson, Anna McGahan, 

Oliver Ackland, Jamie Kristian 

MELBORNE 

INTERNATIONAL 

FILM FESTIVAL 

BIFFF 

2013 

Saturday 18th May | 20.00 | Star 3 

“FOR LOVERS OF ORIGINAL HORROR THIS IS A MUST 

AND I HIGHLY RECOMMEND IT” Twitchfilm 

Directed by 

Matt Wolf 

Featuring the voices of: Jena Malone, Ben Whishaw, 

Julia Hummer, Jessie Usher 

MARKET 

PREMIERE 

Sunday 19th May | 09.30 | Star 3 

HOT DOCS 

2013 

TRIBECA 

FILM FESTIVAL 

2013 

“MESMERISING” Variety 

Directed by 

Amit Gupta 

Cast 

Amara Karan, Harish Patel, Kulvinder Ghir, 

Tom Mison, Madhur Jaffrey 

MARKET 

PREMIERE 

Sunday 19th May | 12.00 | Olympia 8 

KULINARISCHES 

KINO BERLINALE 

2013 

“FUNNY, ENGAGING AND FULL OF LIFE. AN INDIE GEM!” 

Cosmopolitan 

Directed by 

Youssef Delara and Victor Teran 

Cast 

Jake Hoffman, Nikki Reed, Scott Bakula, 

Thomas Dekker, Jason Priestley 

MARKET 

PREMIERE 

Sunday 19th May | 20.00 | Star 3 

SXSW 

FILM FESTIVAL 

2013 

“ONE OF THE BEST PSYCHOLOGICAL THRILLERS OF 

THE PAST DECADE” Popmatters.com 

Directed by 

Morgan Matthews 

BAFTA Award Winning Director of ‘The Fallen’ 

MARKET 

PREMIERE 

HOT DOCS 

2013 

“TRULY HILARIOUS” Thedocumentaryblog.com 

The Works in Cannes: Apt C12 Relais de la Reine, 42/43 La Croisette Tel: +33 (0) 4 93 39 47 19 

In attendance: Clare Crean May 15 - 23 T: +44 7900 212 207 E: clare.crean@theworksfilmgroup.com 

Steve Bestwick: May 15 - 23 T: +44 7739 020 006 E: steve.bestwick@theworksfilmgroup.com

MAY 18, 2013 

THR.COM/CANNES CANNES №4 

CANNES 

WEATHER 

AND HIGH 

TEMPS 

TODAY 

61° F 

16° C 

TOMORROW 

67° F 

19° C 

A Real-Life 

Bling Ring 

Rocks Cannes 

By Gary Baum and Rhonda Richford 

In a scene out of To Catch a 

Thief, Chopard jewels worth 

more than $1 million have 

been stolen during the festival, 

though from a less glamorous 

setting than in the classic film, 

which took place at the Carlton. 

They were taken from the Suite 

Novotel Cannes Centre far from 

the Croisette. Thieves broke 

into the room of an American 

employee of Chopard late Thursday 

or early Friday; police believe 

the entrance was made through 

an unoccupied adjoining room. 

Cannes police tell THR the 

value of the stolen jewelry was 

about $1.4 million, and that an 

entire safe was taken. The police 

CONTINUED ON PAGE 2 

Weinstein Hawks 

His Contenders 

By Gregg Kilday 

It might as well have been 

the unofficial start of the 

2013 Oscar race. In what has 

become an annual Cannes ritual, 

impresario Harvey Weinstein summoned 

a crowd full of press and 

buyers Friday night to the Majestic 

for a show-and-tell spotlighting 

upcoming features from The 

Weinstein Co. 

Admitting that when he and his 

brother Bob first tried to re-create 

the success they had enjoyed at 

Miramax by founding TWC seven 

years ago, they hit a rocky patch, 

Chaos erupted shortly after 8 p.m. 

on Friday in front of the Martinez 

when a man fired a pellet gun 

while also carrying a suspicious 

device in the midst of a crowd 

gathered to watch a live Canal 

Plus TV interview between 

well-known French host Michel 

Denisot and Christoph Waltz. 

The 1 Percent’s New 

Hot Investment: Film 

As the rich get richer, they flood Cannes looking for better returns 

on their millions with at least four new financing companies: 

‘You’ll get 5 … 10 percent’ By Pamela McClintock and Scott Roxborough 

A 

flurry of new film financing 

ventures are being 

announced in Cannes this 

year as the rich get richer and 

realize the independent film business 

can provide a better return 

than traditional investment routes. 

On Friday, former indie agent 

Cassian Elwes, who has become a 

prolific financier and producer, 

and Robert Ogden Barnum (who 

did gigs at Benaroya Pictures and 

Annapurna Pictures) announced 

the launch of e2b Capital. Working 

with producers, talent agen- 

cies and foreign sales companies, 

e2b will arrange equity financing, 

gap financing and other debt 

solutions for 10 to 12 titles a year. 

The L.A.-based venture will be 

backed by five yet-to-be revealed 

production companies with access 

to equity, Elwes and Barnum tell 

The Hollywood Reporter. The duo 

have collaborated on a number 

of films in the past several years 

and are in Cannes to celebrate the 

world premiere of J.C. Chandor’s 

All is Lost, starring Robert Redford, 

CONTINUED ON PAGE 2 CONTINUED ON PAGE 2 

IN THIS ISSUE 

The Chic Life of 

Fest ‘It’ Girl 

Fan Bingbing ......................17 

How Major 

Players Fight 

Major Jet Lag ....................28 

Secrets of 

the Call Girl 

Economy 

at Cannes ...................................32 

Dining: 

Where to Be Seen 

& Where to Hide ..........38 

LOIC VENANCE/AFP/GETTY IMAGES; INSET: RAPHAEL LASKI/THE HOLLYWOOD REPORT 

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5/15/13 11:50 AM 

THE HOLLYWOOD REPORTER 1

theREPORT 

HEAT INDEX 

DONNIE YEN 

In addition to the actor’s four projects 

in the Cannes market, it was recently 

announced the Hong Kong superstar 

just landed the lead in the sequel to 

Crouching Tiger Hidden Dragon. 

1 Percent 

CONTINUED FROM PAGE 1 

and Ain’t Them Bodies Saints. 

Elwes says financing a film through a combination 

of equity, tax incentives and foreign pre-sales 

provides a “guaranteeable return.” Combined 

with the powerful allure of the movie business, 

that makes the film an attractive investment for 

the superrich. 

“If you’re a rich person or a private company looking 

to invest and you go to the bank, you’ll get 1 percent 

interest or less,” Elwes said. “If you are a debt 

investor in the independent film business, you’ll get 

5 percent back. And if you’re an equity player, you’ll 

get 10 percent.” 

On Friday in Cannes, wealthy Russian-born actor 

and producer Arcadiy Golubovich and longtime 

Hollywood producer Tim O’Hair launched their 

new production and financing company, Primeridian 

Entertainment. The first film will be a biopic 

of famed Soviet dissident Alexander Solzhenitsyn 

directed by Cyrus Nowrasteh. 

British private equity sources, including highnet-worth 

individuals are the cash behind Wentworth 

Media & Arts, a new production group 

headed by former EMI chairman Eric Nicoli that 

also launched here Friday. The venture plans to 

develop, produce and fund projects with budgets 

of up to $15 million. 

The fourth and final new financing vehicle 

announced Friday was a joint venture between 

Bruno Wu’s Seven Stars Entertainment and French 

film mogul and producer Pierre-Ange Le Pogam 

(Grace of Monaco) and his company Stone Angels to 

form Angel Storm, which will develop and produce 

action-based European-Chinese co-productions. 

The first two projects identified are Shanghai, which 

will start production early next year, and Triangle. 

Another new face this year is Ivan Orlic of Siene 

Films, aPeruvian investor whose family’s fortune 

comes from fishing and real estate industries. Orlic 

is financing Pele, the $15 million to $20 million drama 

based on the life of the Brazilian soccer star, which 

Brian Grazer and Imagine are producing and Exclusive 

Media International is selling in Cannes. 

SOFIA COPPOLA 

The day after Gatsby got polite 

applause at the Palais, Bling Ring 

received an equally tepid response. 

DEV PATEL 

In a casting announced at Cannes, 

Slumdog Millionaire’s star returns 

to film as the star of”smarthouse” 

movie The Man Who Knew Infinity: A 

Life of the Genius Ramanujaton, to be 

directed by Matthew Brown, playing a 

famed Indian mathematician. 

Chopard 


believe the burglary to be an 

inside job. Hotel employees are 

being questioned. 

At an afternoon press conference, 

Chopard’s international 

communications director Raffaella 

Rossiello confirms a staffer was 

robbed but insists the value of the 

pieces stolen is “far lower than 

the figures circulating.” Contradicting 

earlier reports, she says 

they are “not part of the collection 

of jewels worn by actresses 

during the Cannes Film Festival.” 

The brand, which creates the 

Palme d’Or trophy, is a major 

Suite 

Novotel 

corporate presence during the 

festival, having been an official 

sponsor for years. On Thursday 

night it organized its annual 

Trophee Chopard at the Martinez, 

with Colin Firth handing 

out awards to rising stars Blanca 

Suarez and Jeremy Irvine. On 

Friday, as news broke midday, 

Chopard held a lunch — also at 

the Martinez — with Marion Cotillard 

in attendance. 

Suite Novotel Cannes Centre is a 

non-glitzy, business-oriented hotel 

situated along the far less-touristy 

Boulevard Carnot, a 20-minute 

stroll from the Croisette. A spokesperson 

for the hospitality company 

declined comment. 

The theft, which followed the 

Thursday night premiere of teen 

heist movie The Bling Ring by just 

a few hours, had the town talking, 

including the biggest-name 

star of the film. “I promise I’m 

innocent,” jokes Emma Watson to 

THR. “I can have someone vouch 

for my whereabouts at the time of 

the robbery.” 

KNOW YOUR DEALMAKER 

Jasna Vavra 

Universum Film, head of 

theatrical entertainment 

With southern Europe struggling, the 

still-healthy German market is more 

important than ever for the international 

sales business and Vavra is one of the few 

German buyers who can commit to huge 

projects. Universum’s pre-buy of Ron 

Howard’s Rush was key to getting that film 

made and its recent buys include McG’s 

Three Days to Kill and Robert Rodriguez’ 

Machete Kills. 

Weinstein 


he celebrated their turnaround, saying, “Last year 

was as good a year as we ever had at Miramax.” 

Django Unchained and Silver Linings Playbook, 

which Weinstein first trumpeted at last year’s 

Cannes, broke through at the box office and also 

took home Oscars. And as Weinstein introduced 

trailers and clips from TWC’s 2013 slate, it looks 

as if his cupboard again is bursting with potential 

awards contenders. There’s The Butler, Lee Daniels’ 

portrait of a long-serving White House butler, starring 

Forest Whitaker and Oprah Winfrey and featuring 

a host of celebrity cameos, coming to theaters 

Aug. 16; August: Osage County, the John Wellsdirected 

adaptation of Tracy Letts’ Pulitzer Prizewinning 

play about a dysfunctional family starring 

Meryl Streep and Julia Roberts, set for a Nov. 8 

release; Grace of Monaco, starring Nicole Kidman as 

the actress-turned-monarch, which is scheduled 

for an awards-qualifying run beginning Dec. 27; 

and Mandela: Long Walk to Freedom, with Idris Elba 

as Nelson Mandela and Naomie Harris as his wife, 

Winnie, produced by Anant Singh. 

To further sweeten the pot, TWC concluded a 

$6.5 million deal Thursday, picking up U.S., Canada 

and Spain rights to Stephen Frears’ Philomena, starring 

Judi Dench in the true story of an Irishwoman 

searching for the son she gave up for adoption. 

Friday night, Weinstein lavished special attention 

on Grace, noting it was the seventh movie he has 

made with Kidman, who skipped out from her jury 

duties for a moment to attest, “I got to know Grace 

very, very well, researched her and fell in love with 

her.” With that she headed off to a jury meeting, 

“hopefully,” cracked Weinstein, “to decide which 

movie of mine wins the Palme d’Or — I’ve certainly 

given [jury head] Steven [Spielberg] enough money 

over the years.” 

AP PHOTO/LIONEL CIRONNEAU 


TOM SCHILLING 

WINNER 

GERMAN ACADEMY AWARDS 

oh 

BOY 

BEST FILM 

BEST DIRECTOR 

BEST SCRIPT 

BEST ACTOR 

BEST SUPPORTING ACTOR 

BEST MUSIC 

A film by JAN OLE GERSTER 

“a love-letter to the city of Berlin” 

(TWITCHFILM.COM) 

“a delightfully unforced comedy with a sure grasp of 

character and setting… brings to mind vintage Woody Allen”. 

(THE HOLLYWOOD REPORTER) 

SCREENING 

TODAY | May 18th | 6:00 p.m. | Palais I 

Tuesday | May 20th | 11:30 a.m. | Arcades 3 

CANNES OFFICE Grand Hotel Cannes, bâtiment le Goeland (ground floor), right hand side to the Grand Hotel entrance, +33 (0)4 9399 5580 

HEAD OFFICE Gruenwalder Weg 28d / D-82041 Oberhaching / Phone +49 89 673469 - 828 / beta@betacinema.com / www.betacinema.com

theREPORT 

OUI, 

I DID 

SAY 

THAT! 

A look at who’s saying what 

in entertainment 

“Omg! The power went out 

in my hotel half way thru 

getting my hair curled. 

This is a nightmare.” 

PARIS HILTON 

The socialite, tweeting about electricity 

issues at her hotel 

“Red carpet 

pink shirt !! 

I know … Sorry” 

DAVID HASSELHOFF 

The Knight Rider star on 

his fashion choice for Thursday’s 

Jeune et Jolie premiere 

“For a complete alien in the 

midst of Cannes to be 

acknowledged, is the proudest 

moment for me as an Indian.” 

AMITABH BACHCHAN 

The Bollywood veteran and Gatsby co-star, who 

opened the festival with Leonardo DiCaprio, on the fest 

celebrating 100 years of Indian cinema 

“Cannes hit 

by $1 million 

jewelry heist. 

All jewelry is 

real; only the 

boobs are fake.” 

BETTE MIDLER 

The singer-actress, commenting 

on the Chopard heist 

Competition Entries 

From Iran and China 

Stir Censorship Debate 

Jia Zhangke’s A Touch of Sin challenges 

restrictions bluntly, while Asgar Farhadi’s 

The Past takes a more subtle approach 

By Scott Roxborough and Patrick Brzeski 

Censorship — both state-run and selfimposed 

— was the focus in the Cannes 

competition Friday with the screenings 

of two films already tipped as Palme d’Or contenders: 

A Touch of Sin from Chinese director 

Jia Zhangke and The Past from Iranian Oscarwinner 

Asgar Farhadi. 

Touch of Sin has already stunned audiences 

with its bracingly violent and direct depiction 

of contemporary social ills in China. So bru- 

tal, in fact, many are questioning how 

the film can get by China’s censors. It was 

violence that recently derailed Django 

Unchained’s hopes for a lucrative Chinese run. 

In addition to the blood, Jia’s film also directly 

confronts the very same hot-button political 

issues, including widespread political corruption 

in China, that are often censored in 

Chinese social media. In China, where censors 

tightly control the topics addressed onscreen, 

touching such topics is unheard of in a mainstream 

release. 

Following the film’s press screening, many 

Chinese reviewers noted A Touch of Sin didn’t 

carry the so-called “dragon stamp,” the official 

seal of approval from China’s film regulators. 

That set off discussion on Chinese social media 

that Jia screened a version of the movie in 

Cannes that wasn’t preapproved. 

The Past 

Speaking to The Hollywood Reporter, 

Jia denies that: “Many people have been 

asking, and the answer is: Yes, it will be 

released in China.” 

Jia insists the version of the film showing 

in Cannes has already been approved for 

release back home. Many are skeptical, but if 

this turns out to be true, it would mark a sea 

change for the country’s media climate.“In 

the past, because of the censorship system, a 

lot of directors play along and self-censor,” 

Jia says. “I refuse to do that. I want to follow 

my impulses and tell the stories that I feel 

are important.” 

While A Touch of Sin pushes the boundaries 

of what is allowed under China’s state censors, 

the situation is reversed in the case of The Past. 

After making all his previous films under the 

strict eye of Tehran’s censors, Farhadi had 

complete freedom for his new movie, which was 

made in France. But Farhadi says after years 

under the Iranian system, he has internalized 

their restrictions. 

“It would be a lie if I said that because I work 

in a country without state censorship that I am 

suddenly free. I think I may have assimilated 

many of the restrictions,” Farhadi says. 

The Past has not been banned in Iran nor was 

Farhadi’s last film, the Oscar-winning A Separation. 

But in recent years Iran has been brutal 

in its crackdown on local filmmakers. Last year 

Tehran shut down the country’s independent 

director’s guild the House of Cinema, claiming 

it was a front for foreign governments wanting 

to destabilize the regime. 

Despite the difficulties censorship poses, 

Farhadi remains optimistic. “I try and see it 

not as an obstacle but as an asset, to use the 

censorship as a tool for creativity.” 

MIDLER: GETTY IMAGES 


theREPORT 

Koch Media 

Takes Action 

Thriller Drop 

By Scott Roxborough 

Koch Media has picked 

up German rights for 

Drop, an in-development 

action thriller from Mukunda 

Michael Dewil, whose last feature 

was the Paul Walker starrer 

Vehicle 19 from sales group K5 

International. Silke Wilfinger 

and Moritz Peters of Koch Media 

negotiated the deal with K5’s 

Daniel Baur. Koch bought the 

project solely based on Dewil’s 

screenplay, which sets the action 

in Cape Town, South Africa, and 

whose plot involves terrorists who 

kidnap the U.S. vice president. 

“We knew from the moment 

we read it that we had to come 

onboard such a pure piece of 

guilt-free entertainment,” said 

Wilfinger and Peters in a statement. 

“Mukunda has delivered an 

edge-of-your-seat thriller script 

that will have German audiences 

in its grip from beginning to end.” 

Dewil and K5 currently are casting 

the film. 

James Gray Sets Up Secretive Sci-Fi Thriller 

The Cannes regular, back in competition this year with The Immigrant tackles his first genre film 

By Pamela McClintock 

Filmmaker James Gray, 

who is returning this year 

to the Cannes Film Festival 

with his latest directing effort, 

is set to direct a sci-fi thriller for 

RT Features. 

The logline is being kept 

under strict wraps, but it is 

known that the We Are the Night 

helmer will direct from a script 

he co-wrote with Ethan Gross 

(Fringe). CAA brokered the 

deal and is representing domestic 

rights. 

RT founder and CEO Rodrigo 

Teixeira will serve as producer, 

with the company’s Sophie Mas 

and Lourenco Sant Anna executive 

producing. The Brazil-based RT 

Features recently produced Noah 

Baumbach’s Frances Ha, starring 

Greta Gerwig, Mickey Sumner and 

Adam Driver, and Kelly Reichardt’s 

Night Moves, starring Jesse Eisenberg 

and Dakota Fanning. Gray is 

represented by CAA. 

Gray’s upcoming film The 

Immigrant, a period piece starring 

Jeremy Renner, Joaquin Phoenix, 

and Marion Cotillard, will screen 

in competition at Cannes May 24. 

The Weinstein Co. will distribute 

the film in the U.S. 

Gray also co-wrote the script to 

another competition title, Blood 

Ties, a crime drama from French 

filmmaker Guillaume Canet which 

stars Zoe Saldana, Mila Kunis and 

Marion Cotillard. 

The Immigrant, explores many 

of the same themes of crime and 

Gray’s The Immigrant 

screens May 24. 

honor seen in Gray’s previous 

work, but in his new film, the 

action is set on the mean streets 

of Manhattan, circa 1920. 

The film is Grey’s third directing 

effort to play in competition 

in Cannes, following The Yards, 

We Own the Night and Two Lovers. 

The only one of his films that 

hasn’t graced the Croisette was 

his debut, Little Odessa, which 

premiered in Venice in 1994. 

The Smiths 

performing 

in 1984. 

Radiant Grabs International 

Rights to Wild By Rebeeca Ford 

L.A. Thriller 

to Get Smiths 

Soundtrack 

By Stuart Kemp 

A 

contemporary film noir 

set to a soundtrack of 

covers by L.A. bands of 

legendary British group The 

Smiths that has Mark Boone Junior 

(TV’s Sons of Anarchy) and Sam 

Hazeldene (The Monuments Men) 

attached to star is tuning up. 

It tells the story of a surveillance 

contractor who drifts 

through Los Angeles at night 

photographing cheating couples, 

then falls for a jilted wife and 

unwittingly photographs her 

husband burying the body of a 

dead girl. 

L.A.-based British filmmaker 

Trevor Miller directs with London 

music impresario Sean McLusky 

producing through the pair’s 

U.K.-based production banner 

1234 Films. U.S.-based Brink 

Films will co-produce. 

Radiant Films has picked 

up international rights 

to the comic drama Wild, 

which marks Vivienne DeCourcy’s 

feature film directorial debut. 

Emma Greenwell (Shameless) will 

star as Mary Reynolds, a garden 

designer who aims to compete 

in the Chelsea Flower show, 

a.k.a the Olympics of gardening. 

Tom Hughes has been cast as an 

environmentalist who helps Mary 

pursue garden gold. 

CEO Mimi Steinbauer of Radiant 

Films, which is shopping 

the project at Cannes, calls 

DeCourcy’s script “fun and 

quirky” and “a great antidote to 

today’s toils and troubles.” Gersh 

Agency’s Jay Cohen is handling 

U.S. rights. 

The film will be produced 

jointly by Green Earth in the U.S 

and Treasure Entertainment and 

Crowe’s Nest in Ireland. Rebecca 

O’Flanagan and Rob Walpole will 

produce from Treasure, and Sarah 

Johnson and Chloe Kassis Crowe 

will executive produce. 

Funded by Green Earth, the 

Irish Film Board, RTE and 

the Broadcasting Authority of 

Ireland, Wild will shoot in both 

Ireland and Ethiopia in the 

upcoming months. 

Newcomer Greenwell currently 

plays Mandy Milkovich on 

Showtime’s Shameless and has 

previously appeared on HBO’s 

True Blood. She’s repped by 

WME, Troika and Thruline 

Entertainment. 

British actor Hughes has 

appeared on several U.K. TV 

shows, and recently wrapped war 

thriller I Am Soldier. He’s repped 

by UTA and Gordon and French. 

Radiant’s slate includes William 

H. Macy’s directorial debut Rudderless, 

thriller Take Down, Claire 

Danes and James Marsden-starrer 

As Cool As I Am and Lullaby, 

starring Garrett Hedlund, Richard 

Jenkins and Amy Adams. 

SMITHS: PETER CRONIN/REDFERNS/GETTY IMAGES. GRAY: FRAZER HARRISON/GETTY IMAGES. 


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Email: info@kamasutra3d.in | Phone: +91 8129081090 | Website: www.kamasutra3d.in

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theREPORT 

CANNESDEALS 

Stephen Frears’ 

Philomena Picked Up 

by Weinstein Co. 

The Weinstein Co. has inked a 

deal for Stephen Frears’ Philomena, 

paying $6.5 million for rights 

in the U.S., Canada and Spain. 

The film stars Judi Dench as 

Philomena Lee, an Irishwoman 

who searches for the son she was 

forced to give up for adoption as 

a teenager, and is based on BBC 

correspondent Martin Sixsmith’s 

2009 nonfiction book The Lost 

Child of Philomena Lee. 

British comedian Steve Coogan 

stars opposite Dench in the film, 

which he co-wrote with J e ff Pope. 

Coogan plays a journalist who 

helps Lee search for her son. 

The title is being shopped to 

distributors at the Cannes Film 

Market by Pathe International 

and BBC Films, the standalone 

movie making unit of the U.K. 

public broadcaster. 

The film is produced by Coogan, 

Gabrielle Tana and Tracey Seaward, 

and executive produced by 

Baby Cow’s Henry Normal, BBC 

Films chief Christine Langan 

and Pathe’s Francois Ivernel and 

Cameron McCracken. 

KA-CHING! 

WHO’S INKING 

ON THE DOTTED LINE 

AT THE FESTIVAL 

Peter Mullan Soccer Pic Stirs Early Buzz 

By Stuart Kemp 

Writer-director Peter 

Mullan’s Paradise, a movie 

about the founding of 

legendary Scottish soccer 

team Celtic Football Club by 

a priest in 1887, is creating a 

buzz among buyers. 

The movie, billed as Gangs 

of New York meets Field of 

Dreams in Victorian Glasgow, 

is being shopped in Cannes 

by movie director and producer 

Peter Broughan. 

Mullan 

Broughan, whose directing résumé includes Rob Roy, 

tells THR he is exceptionally busy because he has a “project 

that everyone wants.” 

The movie details the true story of an Irish priest, Brother 

Walfrid, who founded the soccer club at a Catholic church 

Natascha Wharton oversaw 

the film for the BFI’s Film Fund. 

It marks a return to the big 

screen for Frears after Lay 

the Favorite last year. The director’s 

Muhammad Ali’s Greatest 

Fight for HBO will unspool 

May 22 at a special screening 

at the festival. 

Image Entertainment 

Takes Last Love 

Starring Michael Caine 

Image Entertainment has 

picked up North American rights 

to Last Love, the drama from 

Mostly Martha director Sandra 

Nettlebeck starring Oscar winner 

Michael Caine. 

Image plans to bow the film, 

which Global Screen is selling in 

Cannes, theatrically this fall. 

Global Screen already has locked 

up multiple pre-sales on the title, 

with deals for Germany (Senator), 

Spain (A Contracorriente) 

and Benelux (A-Film) signed 

ahead of Cannes and new territories 

including Hong Kong (Edko 

Communications) and Turkey 

(MIR Productions) recently 

boarding the project. The German 

sales agent says it expects 

in Glasgow on Nov. 6, 1887. 

Buyers have been keen to 

talk, and market insiders 

are abuzz with reports that 

Daniel Day-Lewis has been 

linked to the role of Walfrid. 

While nothing is signed, 

Mullan reportedly is 

expected to reach out to 

Day-Lewis as the actor is 

perceived as the perfect 

Day-Lewis 

choice to portray the soccerloving 

priest. 

Celtic became the first British club to win the European 

Cup in 1967. It is one of the most popular sporting entities 

in the world and is estimated to have more than a million 

fans in the U.S. alone. Broughan is a lifelong fan of the team, 

nicknamed the Hoops. 

to sell out Last Love worldwide 

before the end of the market. 

Clemence Poesy, Jane Alexander 

and Anne Alvaro co-star 

in Last Love alongside Caine’s 

lonely American widower in Paris 

who learns to love life again after 

a chance encounter with a beautiful 

young woman. 

Women’s Audio 

Visual Network 

Launches in Cannes 

EWA, the newly established 

European Women’s Audio Visual 

Network opens for membership 

at Cannes with the launch of its 

website and a series of networking 

events and strategy meetings. 

The network will be overseen by 

Spanish director Isabel Coixet, 

who is Cannes’ Golden Camera 

jurist this year. New Zealand-born 

director Jane Campion is due to 

add her support with a Cannes 

meeting planned during the festival 

with EWA’s executive director, 

Francine Raveney. 

In a letter to the EWA, Campion, 

who won a Palme d’Or in 

1993 for The Piano, wrote: “Film 

is an extremely competitive 

industry for everybody. In my 

Jane Campion 

Judi Dench 

takes on the role 

of a real-life 

Irishwoman in 

Philomena 

Michael Caine 

experience it is always best to 

focus on the work. Just be your 

brilliant self.” 

Arab Film Power 

Players to Partner on 

Road Movie A to B 

Some of the hottest Arab filmmakers 

are ready to make an impact 

outside their region with a road 

movie unveiled here on Friday. 

Emirati filmmaker Ali Mostafa 

(City of Life), Saudi producer 

Mohammed Al Turki (Arbitrage, 

What Maisie Knew) and others 

announced plans for feature film 

A to B, which will mark the first 

time that several people considered 

to be the Arab movie industry’s 

top pioneers will collaborate 

on a major release. 

A to B is about three young 

Arab expats who go on a road 

trip from Abu Dhabi to Beirut. 

Mostafa will direct the film 

based on a script from up-andcoming 

Egyptian writer-producer 

Mohamed Hefzy (My Brother the 

Devil). The other producers are 

Al Turki and the Lebanese Paul 

Baboudjian, whose feature Here 

Comes the Rain won the Black 

Pearl award at the 2010 Abu 

Dhabi Film Festival. 

The team behind the project, 

which will begin production in 

the UAE in October, says the film 

will be designed to “entertain 

audiences in the Arab world and 

beyond.” The news comes at a 

time when Middle East filmmakers 

increasingly are looking to 

also make an impact overseas. 

Abu Dhabi’s TwoFour54, which 

supports local media and entertainment, 

is an investor in the 

project. Mostafa tells THR he 

would love to premiere the film at 

Cannes next year. 


Meet 

the Germans 

in Cannes 

MANY THANKS TO OUR SPONSORS DURING THE CANNES FILM FESTIVAL 

FFP New Media GmbH, Köln 

wtp international GmbH, Geiselgasteig 

Focus Germany & German Films 

German Pavilion | International Village Phone: +33 4 92 59 00 04 www.focusgermany.de 

Stand 125 Phone: +33 4 92 59 01 80 www.german-films.de

theREPORT 

THR at Cannes 

EDITORIAL DIRECTOR 

Janice Min | janice.min@thr.com 

DEPUTY EDITORIAL DIRECTOR 

Mark Miller | mark.miller@thr.com 

PHOTO & VIDEO DIRECTOR 

Jennifer Laski | jennifer.laski@thr.com 

ART DIRECTOR 

Peter Cury | peter.cury@thr.com 

THE 2013 CANNES POSTER AWARDS 

THR pays tribute to the most, um, distinctive posters at the market 

Wedding 

Edition 

NEWS 

Kevin Cassidy 

kevin.cassidy@thr.com | +1 213 840 1896 

Gregg Kilday 

gregg.kilday@thr.com | +1 310 528 3395 

Gary Baum 

gary.baum@thr.com | +1 213 840 1661 

Patrick Brzeski 

patrick.brzeski@thr.com | +33 6 24 74 04 98 

Merle Ginsberg 

merle.ginsberg@thr.com | +1 917 862 4453 

Stuart Kemp 

stuart.kemp@thr.com | +44 79 7712 5676 

Pamela McClintock 

pamela.mcclintock@thr.com | +1 323 627 0670 

Rhonda Richford 

rhonda.richford@gmail.com | +33 6 52 23 93 34 

Scott Roxborough 

scott.roxborough@thr.com | +49 173 260 3692 

Georg Szalai 

georg.szalai@thr.com | +44 777 137 0103 

REVIEWERS 

Todd McCarthy | todd.mccarthy@thr.com 

Deborah Young | dyoung@mclink.it 

David Rooney | drooney@nyc.rr.com 

Neil Young | neil@jigsawlounge.co.uk 

Stephen Dalton | wetlabrador@yahoo.com 

Jordan Mintzer | jpmintzer@mac.com 

THR.COM 

Rebecca Ford | rebecca.ford@thr.com 

PHOTO & VIDEO 

Stephanie Fischette 

stephanie.fischette@thr.com 

Moira Haney | moira.haney@thr.com 

BEST WARDROBE DESIGN 

Girl on a Bicycle (Germany) 

Ah, Paree! The City of Love! The perfect place 

for a romantic wedding! But beware — the 

groom’s head might be turned by one of those 

famously stylish Parisian girls in crop tops and, 

yes, orthopedic shoes. 

BEST DECOR 

Wedding Day (USA) 

Don’t you just hate it when you spend all that money 

on wedding photos — not to mention Ikea frames 

— and then some jerk goes and shoots holes in 

them? It’s like, OK, I’m sorry I didn’t invite you to the 

wedding, but you’re totally overreacting. 

ART & PRODUCTION 

Amélie Cherlin | amelie.cherlin@thr.com 

Emily Johnson | emily.johnson@thr.com 

Kelly Jones | kelly.jones@thr.com | +1 818 359 9747 

PUBLISHER 

Lynne Segall | lynne.segall@thr.com 

SALES & MARKETING 

Alison Smith 

alison.smith@thr.com | +44 7788 591 781 

Jonathon Aubry 

jonathon.aubry@thr.com | +1 323-397-3725 

Tyler DelVento 

tyler.delvento@thr.com | +1 646 369 6818 

Debra Fink 

debra.fink@thr.com | +1 213 448-5157 

Tommaso Campione 

tommaso.campione@thr.com | +44 7793 090 683 

Ivy Lam 

ivy.lam@thr.com | +852 617 692 72 

Anna Magzanyan 

anna.magzanyan@thr.com | +1 818 261-0815 

POOR POSTURE AWARD 

The Wedding Pact (USA) 

As the type at the bottom reveals, the groom takes 

10 years to land that bride. Talk about taking it 

slow! And based on her awkward stance, she might 

need a few more years to make up her mind. 

BEST USE OF A HEADLOCK 

Wedding Scandal (South Korea) 

You’d probably have to go back to the days of 

Hepburn and Tracy to find banter as witty as this. 

We’re pretty sure “Since when did you get laid?” is 

going to be the catchphrase of 2013. 

— MICHAEL RUBINER 


Adapted From The Game:

Riviera - Booth#C14 - 02 

Worldwide Sales - All Rights Entertainment 

Mail: acd@allrightsentertainment.com www.allrightsentertainment.com

TWENTIETH CENTURY FOX 

AND THE FILMMAKERS OF 

PROUDLY CONGRATULATE 

FAN BINGBING 

THE HOLLYWOOD REPORTER’S 

INTERNATIONAL ARTIST OF THE YEAR

THR will honor Fan as 

International Artist of the Year at a 

private party at the Mouton Cadet 

Wine Bar atop the Palais des 

Festivals on May 18. 

THE CHIC 

LIFE 

OF CANNES’ 

‘IT’ GIRL 

Fan Bingbing is a fashion icon, and now, 

in Iron Man 3 and the next X-Men, gatekeeper 

to China’s luxury and film market 

BY REBECCA SUN 

In Elie Saab Couture 

— and Chopard 

diamonds — at Rust 

and Bone’s 2012 

Cannes premiere. 

THE HOLLYWOOD REPORTER 17 

FAN BINGBING REALLY KNOWS HOW TO 

make an entrance. For the opening ceremony 

of the 2010 Cannes Film Festival, the 

Chinese actress chose a one-sleeved, imperial 

yellow silk gown embroidered with 

dragons and cascading ocean waves, instantly declaring 

her proud heritage (no more shouts of “Where are you 

from?” on the red carpet) and flooring the fashion press 

even more than usual. The Laurence Xu creation was 

no fluke: Shifting fluently between indie designers and 

European haute couture, Fan already had established 

herself as one of fashion’s most intriguing figures with 

her bold, flamboyant choices. But her Cannes debut 

launched her into the style stratosphere. 

American audiences finally will see Fan on the big 

screen in summer 2014’s X-Men: Days of Future Past as 

the teleporting mutant Blink. She’s “extremely focused,” 

says director Bryan Singer. “She inhabits the screen like 

a true star.” (Fan also appears in the Chinese version 

of Iron Man 3, which scored a 

$63.5 million opening weekend.) At 

home, Fan has been an A-lister for 

much of her 15-year film and television 

career. And as her acclaimed 

films such as Lost in Beijing and 

Chongqing Blues made the festival 

circuit, Fan built a reputation for her 

chameleon-like and dramatic looks. 

In Louis Vuitton 

at the LV-hosted 

Bling Ring 

party Thursday. 

“My style depends on my mood,” 

says Fan, 31, of her sartorial philosophy. 

“Having something to say is the 

most important part.” (The star, who 

grew up in a middle-class family in 

Shandong province before attending 

Shanghai Theater Academy, is studying 

English; THR interviewed her in 

her native Mandarin.) Her fearlessness 

has attracted top designers, particularly 

those seeking a foothold in China’s 

$50 billion luxury market — the world’s 

largest, according to Brian Buchwald, CEO of Bomoda, a 

website focused on Chinese luxury consumers. 

“She has this interesting duality,” notes Buchwald of 

Fan, who has been a L’Oreal brand ambassador for three 

years and signed with Chopard and Louis Vuitton this 

year (she’s attending Cannes for L’Oreal and Chopard). 

“She represents products that a Chinese consumer 

would want to buy because she wears them, but also she 

represents a girl’s individuality and ability to stand out.” 

Beijing-based Fan had no problem standing out 

when she attended the 2013 Oscars with producer 

Bill Mechanic and Chopard’s Caroline Scheufele. Having 

arrived in L.A. undecided on what to wear, Fan fell for 

photos of a Marchesa gown that was in New York. Her 

friend Harvey Weinstein (they met at the 2010 amfAR 

dinner in Cannes) called his wife, label co-founder 

Georgina Chapman, who sent the dress on a private plane. 

Fan’s hair and makeup were done before the gown 

arrived, and she slipped it on just in time for the red carpet. 

“I loathe fittings,” she says. “When you do a fitting, 

it’s because your heart has no plan.” 

Marchesa isn’t the only brand eager to dress Fan. 

Later that night, she hit the Vanity Fair fete in a blackand-white 

Oscar de la Renta and the Elton John AIDS 

Foundation party in beaded Elie Saab Couture. She isn’t 

sure what she’ll choose for this year’s Cannes kickoff. 

DIAMOND EARRING: DAVE J HOGAN/GETTY IMAGES. RUST AND BONE: VALERY HACHE/AFP/GETTY IMAGES. VUITTON: DOMINIQUE CHARRIAU/WIREIMAGE/GETTY IMAGES.

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SPECIAL FEATURE 

LAURENCE XU 

Fan wore Cartier earrings with 

her Cannes 2010 “dragon robe.” 

If you think Cannes is just about movies, 

you’ve been hiding under the 

Croisette. While the Oscars and Met 

Ball were the fashion ne plus ultras for 

years, Cannes now gives those sartorial 

tentpoles a run for their euros. “Cannes 

is like two weeks of the Oscars,” says 

Sahar Sanjar of La Chambre, which 

represents Palais-steps mainstay Elie 

Saab. Adds Carlos Souza of Valentino: 

“Red carpets now rule the day — and 

the red carpet at Cannes is truly for the 

entire world.” 

MARCHESA 

The dress was flown to L.A. on 

the morning of the 2013 Oscars. 

VALENTINO 

For a L’Oreal dinner at Cannes 2012, 

Fan chose floral chiffon. 


Up to now, she’s worn a Chinese-style gown — the most 

recent two designed by her stylist, Christopher Bu — but 

her X-Men schedule might not allow time for an original 

creation. “The designers are good to me,” she says of her 

access to the festival fashion suites. “The clothes I want, 

they’ll hold on to them.” 

“[Compared to other Asian stars], Fan seems to 

have the most fun with fashion,” says Catherine Kallon, 

founder of the U.K.-based blog Red Carpet Fashion 

Awards. “She’s more of a risk-taker.” Fan understands 

her influence — she recently was named No. 1 on Forbes 

China’s Celebrity 100 — but says luxury brands can’t 

take Chinese consumers for granted. “There was a 

period when China was very label-conscious. But now I 

think Chinese women will use more of their creativity,” 

says the star, who once showed up in the front row at 

Elie Saab with one of the designer’s beaded cardigans 

wrapped around her head like a turban. “There are more 

people who really know fashion as a lifestyle, an attitude. 

China is catching up.” 

Fan’s expanding film career — she founded her own 

production studio in 2007, signed with WME in 2012 and 

has just been cast opposite Jackie Chan in the upcoming 

action comedy Skiptrace — will only amplify her voice 

as the unofficial Chinese ambassador to the fashion and 

beauty realms. But her off-duty look is T-shirts, jeans, 

flats and no makeup: “When I wear makeup, it’s to go out 

and make money,” she jokes. “Otherwise, no way.” 

MOVIES, WHAT MOVIES? AT CANNES, FASHION HOGS THE SPOTLIGHT 

The film festival has become a key global marketing platform for high-end designer labels: ‘All brands want to be there’ By MERLE GINSBERG 

Gucci creative 

director Frida 

Giannini (left) and 

Watts at 2012’s 

Vanity Fair party 

at Hotel du Cap. 

More than even the Oscars, the fest 

connects brands to a global audience 

— including the Asian retail market 

— with ambassadors such as China’s 

Fan Bingbing and Li Bingbing and 

India’s Aishwarya Rai, Sonam Kapoor 

and Freida Pinto. To reach a broad 

swath of markets, brands like L’Oreal, 

a festival sponsor, send as many multiculti 

ambassadors as they can; Fan, Rai, 

Pinto and Ines de la Fressange went to 

the festival last year. 

Wearing the best beads and ball 

gowns on the Palais steps, these stars 

cause the cameras to go wild, contributing 

to a riviera of fashion impressions, 

which can include coverage of the 

luxury brand suites at Hotel Martinez. 

Says Sanjar: “There are actually more 

requests this year from international 

journalists to cover fashion suites” — 

by Gucci, Armani, Louis Vuitton, Dior, 

Jimmy Choo and Bulgari. Actresses and 

their stylists circulate among them to 

make selections for soirees and photo 

ops. Saab, who in 2011 dressed Dutch 

model Doutzen Kroes, will be taking a 

larger suite this year. 

The list of fashion parties grows 

longer than the gown trains: Giorgio 

Armani throws one nearly every year, 

including its 2012 black-tie blowout 

in honor of Sean Penn’s Haiti charity. 

Gucci throws major parties with 

Martin Scorsese’s Film Foundation, 

and for two years running, Calvin Klein 

has hosted its Women in Film soiree, 

attended last year by Jessica Chastain 

and Naomi Watts. 

The annual amfAR ball on the fest’s 

final night brings out the most eyepopping 

displays of posh pulchritude. 

“It’s the ultimate international fashion 

spectacle,” says Sandra Choi, Jimmy 

Choo creative director. “There is such a 

wealth of talent in one place, making it 

a platform to showcase dynamic looks” 

— as well as scout for ambassadors 

who can make your stilettos look todie-for 

for buyers in China. 

The fashion presence hit a pinnacle 

From left: Shailene 

Woodley, Chastain, 

Watts, French 

actress Ludivine 

Sagnier, Kruger 

and Independent 

Filmmaker Project’s 

Joana Vicente 

at 2012’s Women 

in Film fete. 

last year with Jean Paul Gaultier 

sitting on the Cannes jury. This year, 

Raf Simons will show the Dior 2013 

resort collection in nearby Monaco 

on May 18, which will bring out 

Marion Cotillard (who stars in partner 

Guillaume Canet’s Blood Ties, 

showing at the fest) and likely her 

fellow Dior faces Charlize Theron and 

Natalie Portman. Add in 10 days’ and 

nights’ worth of spectacular wardrobes 

for Cannes jurors Uma Thurman, 

Diane Kruger and Nicole Kidman in 

2011, 2012 and 2013, respectively, and 

you’ve got a veritable fashion circus. 

“Not only does Cannes create worldwide 

awareness, it actually affects 

sales. Trust me on that,” says Sanjar. 

“All the brands want to be there.” 

DRAGON ROBE: MICHAEL BUCKNER/GETTY IMAGES. DRAGON ROBE EARRING: SEAN GALLUP/GETTY IMAGES. OSCARS & L’OREAL DINNER: PASCAL LE SERETAIN/WIREIMAGE/GETTY IMAGES. WOODLEY: DAVE M. BENETT/GETTY IMAGES. WATTS: DANIELE VENTMELLI/GETTY IMAGES FOR GUCCI.

Congratulations 

FAN BINGBING 

on being recognized as 

The Hollywood Reporter’s 

International Artist of the Year 

from all of us at 

Exclusive Media and 

Talent International 

We are so proud to be 

collaborating with you 

on the new film 

SKIPTRACE

STYLE 

FASHTR ACK 

What to buy, wear 

and know now 

by Merle Ginsberg 

Mulligan and Mumford 

Arrival Chic 

Fisher 

Those celebs-arriving-bleary-at-the-airport shots right after they 

get off the plane have become ubiquitous: “Stars! They’re just like 

us!” — but not really. Many arrive on private planes and have their 

hair and makeup done on the journey. Others just don’t care. 

Nicole Kidman turned up for the Cannes Film Festival at the Nice airport 

looking like the total glamour pro she is: in a tight sparkly Dior dress and 

heels, with perfectly straight hair and some very nicely applied makeup. 

Emma Watson also made a rather glamorous entrance, but in casualwear: 

a tight white dress with short sleeves, black flat boots and her hair up. 

Carey Mulligan’s was a lot less planned: She and hubby Marcus Mumford 

were photographed wheeling their own bags on a cart, she in a bland black 

top, pants and glasses. (But who could forget her entrance at her first 

Cannes, when she and Shia LeBeouf boated into the fest, hair flying back 

and all smiles?) Isla Fisher’s look was in deep contrast with her Gatsby 

getup: a striped top, sweater and jeans, and no makeup, but it still was 

chic. Fan Bingbing, on the other hand, was prepared. The fashion superstar 

was decked out in a blue Louis Vuitton skirt suit with matching hat, 

and of course, a chic LV bag and the French brand’s luggage. These airport 

pics get nearly as much play as the red-carpet nighttime ones do, so if a 

star wants to maintain an image, as Kidman clearly does, it’s best to be 

prepared. Casual is fine; bleary, jet-lagged and in sweatpants is not. Oh the 

agony of being famous! 

TOE-TAL NIGHTMARE! 

Rule No. 1 in Fashion: Never wear anything that 

doesn’t fit perfectly, particularly shoes. Julianne 

Moore must have really loved these unidentified 

silver sandals a lot (Dior, which made her 

gown, did not take credit for them) because the 

obviously borrowed 

samples clearly didn’t 

fit her feet. Now the 

star’s overhanging toes 

are being wildly circulated 

on the web. Don’t 

you hate when your 

toes don’t cooperate? 

Fan 

Majestic 

Suites 

Go Full 

Upscale 

EMMA WATSON 

in Chanel couture 

The Bling Ring star seems not to 

make any wrong moves, fashion-wise: 

Her choice of a black-and-white 

streamlined Chanel couture gown 

for her film’s premiere nicely matched 

her director Sofia Coppola’s chic 

Louis Vuitton simplicity. Of course, 

having a great face never hurts. 

THR visited two of the most upscale and private luxury brand suites 

in Cannes on Thursday: Dior Beaute and Chanel. Dior’s luxe manychambered 

suite had all the Majestic’s furniture removed in favor of 

Dior’s gray Parisian decor. The brand has been taking the suite for 

seven years now, and has done makeup for Berenice Bejo, Melanie 

Laurent, Charlotte Gainsbourg and even Ryan Gosling and Pedro Almodovar. One 

floor down, the Chanel suite contains at least 30 to 40 of the label’s couture gowns 

while a secondary room holds ready-to-wear day looks, plus hats and nail polish. The 

bathroom is a tableau: The tub is filled with faux pearls (well, we assume they’re faux), 

with mannequins modeling Chanel black mesh monokinis in the shower. 


Chanel 2013 

DRESS 

DU 

JOUR 

CLOCKWISE FROM TOP LEFT: GIGI IORIO/SPLASH NEWS/CORBIS; JACOPO RAULE/FILMMAGIC/GETTY IMAGES (2); VALERY HACHE/AFP/GETTY 

IMAGES; KARL PROUSE/CATWALKING/GETTY IMAGES; DOMINIQUE CHARRIAU/WIREIMAGE/GETTY IMAGES; TODD WILLIAMSON/INVISION/AP

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About Town 

1 

6 

1 Leonardo DiCaprio (left) 

joined his Departed 

director at Martin 

Scorsese’s formal 

announcement of his 

next project, Silence, 

hosted by John Walker & 

Sons Voyager Yacht. 

5 

2 From left: Young & 

Beautiful’s Geraldine 

Pailhas, Francois Ozon, 

Marine Vacth and Fantin 

Ravat arrived at the 

screening of their 

competition title. 

3 From left: Skiptrace 

director Sam Fell hammed 

it up with his stars Fan 

Bingbing (in Elie Saab 

Couture) and Jackie 

Chan. Exclusive Media 

and Beijing-based Talent 

International Film Co. 

are co-producing 

the action comedy. 

4 Carey Mulligan and 

Calvin Klein creative 

director Francisco Costa 

at the brand’s party in 

celebration of women in 

independent film. 

5 Harvey Weinstein and 

Rooney Mara made the 

trek to the Calvin Klein 

party at the Ecrin Plage. 

On Friday the actress was 

named the face of Calvin 

Klein’s new fall fragance. 

6 Sofia Coppola (left) 

and her Bling Ring star 

Emma Watson chatted 

with festival artistic 

director Thierry Fremaux 

at their film’s premiere. 

9 


10

4 

2 

3 

7 

8 

7 Paris Hilton signed 

autographs outside the 

Bling Ring party atop the 

JW Marriott. The celebutante 

has a cameo in the film. 

1 

8 David Hasselhoff (with 

girlfriend Hayley Roberts) 

was in town to promote the 

Cannes market title Killing 

Hasselhoff, about a celebrity 

death pool. 

9 From left: Fruitvale 

Station’s Ahna O’Reilly, 

Octavia Spencer, Melonie 

Diaz and Michael B. Jordan 

at the Fruitvale premiere. 

10 Un Certain Regard 

jury member Zhang Ziyi 

accessorized her black-andsilver 

Carolina Herrera ball 

gown with a Chanel necklace 

at the Bling Ring premiere. 

11 Lars Ulrich officially opened 

the American Pavilion next to 

the Palais. The heavy-metal 

rocker is presenting Metallica: 

Through the Never, a 

drama set at one of the 

band’s concerts. 

12 Spanish actress Paz Vega 

wore Calvin Klein to the 

brand’s party. 

11 

12 

HILTON: AP PHOTO. SCORCESE, OZON, ZIYI, SPENCER, WEINSTEIN, FREAMUX: GETTY IMAGES. MULLIGAN, HASSELHOF, 

ULRICH: WIREIMAGE/GETTY IMAGES. CHAN: COURTESY OF EXCLUSIVE. VEGA: GETTY IMAGES FOR CALVIN KLEIN. 


About Town 

RAMBLING REPORTER 

By Gary Baum & Merle Ginsberg 

Some Like Reese Rough 

Irish-born director Brian Kirk 

(Game of Thrones), in town for the 

Reese Witherspoon-Keanu Reeves 

sci-fi romantic epic Passengers 

(which Exclusive Media is shopping), 

didn’t seem concerned 

about the actress’ April 19 arrest 

for disorderly conduct in Atlanta. 

He and Wayfare Entertainment, 

which is financing the film, were 

in the midst of talking to Witherspoon 

about taking the role when 

the incident happened. “One of 

the things that I really like about 

her is that she’s really feisty and 

that she’s not a prize or a trophy,” 

says Kirk, adding that he wanted 

a strong, confident woman to play 

the role. Anyway, says Kirk, “if 

that’s the worst thing she’s ever 

done, she’s better than me.” 

Family Man Marty 

Martin Scorsese was feted by Johnnie 

Walker on its yacht in honor of 

Silence, his long-gestating passion 

project based on the novel by 

Japanese novelist Shusaku Endo. 

(It was recently announced that 

Andrew Garfield will star.) But 

the director admitted to guests, 

Mocca 

Left: Witherspoon. 

Above: DiCaprio with 

his mother, Irmelin 

Indenbirken, in 2010. 

including producers Lawrence 

Bender and Melita Toscan du Plantier, 

that he was eager to return 

home from Cannes because he 

was missing his family (wife Helen 

and 13-year-old daughter, 

Francesca). Indeed, he told 

THR that while working 

on the upcoming Wolf of 

Wall Street, “I put the editing 

machines in my house, 

because a lot gets done at night. 

If I have to go to the editing room 

I miss the little one and Helen. 

We moved her dining room out, 

and she wasn’t happy about that. 

I said, ‘Me or the furniture!’ ” 

Parties du Soir 

The cold, wet rain didn’t deter 

Cannes partiers the second night 

of the fest. Still, the crowds that 

descended on the Louis Vuittonand 

W magazine-sponsored Bling 

Ring afterparty at Albane at the 

top of the JW Marriott, and the 

Calvin Klein party at Ecrin Plage, 

were more covered up — with 

not an open-toed shoe in sight. 

Despite Albane’s dim lighting, 

it was hard to miss Sofia Coppola 

in her black Louis Vuitton 

Mulligan 

short dress, surrounded as she 

was by well wishers, and husband 

Thomas Mars to boot. Emma 

Watson was gracious to everyone 

who approached her, which 

included Berenice Bejo and Michel 

Hazanavicius. Bryan Ferry made an 

entrance, even in the dark, and 

others on hand included Bling’s 

Katie Chang, Taissa Farmiga, Claire 

Julien and Israel Broussard as well 

as Russian billionaire Roman 

Abramovich’s paramour, Dasha 

Zhukova. The Calvin Klein party, 

hosted by IFP’s Joanne Vicente 

and CK designer Francisco Costa, 

all the way at Port-Pierre Canto 

was hard to get to, but worth the 

Uber (car service) wait, as there 

was much gawking at A-listers 

Nicole Kidman and her CAA 

agent Chris Andrews, Rooney 

Mara, Carey Mulligan — 

who stayed for all of five 

minutes — Skyfall’s Naomie 

Harris, director Lynne Ramsay 

and, of course, Harvey Weinstein 

right in the middle of it all. 

Leo’s Parent Posse 

Leonardo DiCaprio’s gone positively 

wholesome, at least by 

the looks of it. Notoriously the 

leader of the “pussy posse” of his 

youth, perpetually out looking 

for ladies with longtime friends 

like his Great Gatsby co-star Tobey 

Maguire, these days he’s traveled 

to Cannes with a parent posse 

constantly in tow: His mother, 

Irmelin Indenbirken, her boyfriend, 

and his father, George DiCaprio 

(the pair were divorced when he 

was a year old). They attended 

the Gatsby premiere with Leo, 

then Scorsese’s yacht soiree the 

following evening. 

On May 17, Michel Hazanavicius 

lunched at Mocca Brasserie, across the 

PowerLunch 

Croisette from the Palais, where his 

wife Berenice Bejo’s movie The Past premiered earlier in the morning. … Lionsgate CEO Jon 

Feltheimer and Lionsgate Motion Picture Group co-president Patrick Wachsberger visited 

Fouquet’s at the Majestic, where the studio has adorned the outside with a huge Hunger 

Games: Catching Fire installation. … FilmDistrict CEO Peter Schlessel broke bread with Nu 

Image/Millennium Films chairman Avi Lerner at Millennium’s Cannes office. (All the big sales 

companies bring in chefs to cook meals since there’s no time to go out.) … Robin Wright took 

to a corner of the JW Marriott restaurant. … Producer Jason Blum did business on the Carlton 

terrace. A short while later, uber-publicist Peggy Siegal was chatting with a friend nearby about 

how she brought five trunks of clothes to accommodate her social calendar during the festival. 

… Sierra/Affinity’s Nick Meyer was at the Carlton but left once the rain started coming down. 

How the Jet Set 

Fights Jet Lag 

Surviving the slew of cocktails and 

red carpets of Cannes requires 

near-athletic-level stamina. And 

with glitterati arriving from the 

four corners of the world, it can 

take a little something extra to 

make it through. How to cope? 

“This year, I popped two Midnights 

[melatonin] for the flight,” 

says The Help producer Brunson 

Green, who also made a stop in 

London a few days early in order 

to adjust to the time change. Others 

take more drastic measures 

with sometimes unfortunate side 

effects. One exec popped an Ambien 

on the flight over. Upon landing 

a man told him how nice it had 

been to meet him. The exec didn’t 

remember ever speaking to him 

and later was stunned when the 

man sent a bottle of wine to his 

hotel. Then there’s the tale of the 

film exec who likewise hit the Ambien 

only to find himself awoken 

by a flight attendant asking him to 

kindly put his shirt back on. The 

Weinstein Co. COO David Glasser 

says he’s heard tales of people 

sleepwalking through the Carlton 

(though he’s quick to point out 

he’s not one of them). Still others 

abstain entirely. James Toback, 

director of the doc Seduced and 

Abandoned, screening at the fest, 

enjoys jet lag. “Since I have not 

consumed a mind-altering drug 

since my LSD-blowout as a Harvard 

sophomore, my only circuit 

to approximating that weirdly 

intriguing state of disoriented 

consciousness is jet lag,” he says. 

“As a result, I not 

only don’t resist but 

rather relish it with 

perverse anticipation, 

much as I used 

Toback 

to revel in the 

discombobulating effects of the 

Cyclone at Coney Island. I’m often 

amused by the unexpected things 

I — or more precisely, the altered 

I — say and do after landing.” 

WITHERSPOON: EVAN AGOSTINI/INVISION/AP. DICAPRIO: WILLI SCHNEIDER/REX/REX USA. MULLIGAN, GLASSER, GREEN: GETTY IMAGES. MOCCA: TODD WILLIAMSON/INVISION/AP. PILL, PLANE: ISTOCK. 


east HOLLYWOOD 

355 West 16th Street, New York City 

Reservations 646.625.4847 dreamdowntown.com 

2013 Dream Hotels ® dreamhotels.com

at the Cannes International Film Festival 2013 – part one* 

Since 2000 European Film Promotion (EFP) has been offering support and guidance to European producers during the Cannes International Film Festival. 

This year, the members of EFP have chosen 29 outstanding up-and-coming producers from 29 European countries to participate in the networking platform 

PRODUCERS ON THE MOVE. A highly focused working environment involves project pitching, one-to-one meetings and social events. 

Viktor Tauš 

Czech Republic 

Fog‘n‘Desire Films 

Voroněžská 24 

CZ – 101 00 Prague 10 

cell +420 775 204 809 

email viktor@fogndesirefilms.com 

www.fogndesirefilms.com 

A proud member of what Cahiers du Cinéma 

calls the do-it-yourself generation, Viktor 

Tauš co-founded the production company 

Fog‘n‘Desire Films with film-maker Michal 

Kollár. He produced Zuzana Liová‘s awardwinning 

House and currently has several 

films in postproduction, including Jan 

Hřebejk‘s Honeymoon and his own film, the 

international co-production Clownwise. 

Viktor is also developing new projects by 

Michal Kollár and Juraj Nvota. 

Selected Films 

The Red Captain (Rudý kapitán) 2014, 

by Michal Kollár (in a final development stage) 

Clownwise (Klauni) 2013, 

by Viktor Tauš (in postproduction) 

Honeymoon (Líbánky) 2013, 

by Jan Hřebejk (in postproduction) 

House (Dům) 2011, 

by Zuzana Liová 

© Lasse Leckilin 

Jussi Rantamäki 

Finland 

Aamu Filmcompany Ltd. 

Hiihtomäentie 34 

FIN – 00800 Helsinki 

cell +358 40 7355 977 

email rantamaki@aamufilmcompany.fi 

http://aamufilmcompany.wordpress.com 

During his studies in Cultural Management, 

Jussi Rantamäki worked as a freelance 

assistant director and location manager 

in various companies. In 2008, he joined 

Aamu Filmcompany and saw his first two 

productions, the short Whispering In A 

Friend‘s Mouth and Juho Kuosmanen‘s The 

Painting Sellers, premiering in Berlin and 

Cannes in 2010, respectively. This year, his 

production of Matti Ijäs‘ Things We Do For 

Love had its world premiere in Gothenburg. 


The Boxer 

by Juho Kuosmanen (in development) 

Heidi (working title) 

by Hannaleena Hauru (in development) 

Things We Do For Love 2013, 

by Matti Ijäs 

The Painting Sellers (Taulukauppiaat) 2010, 

by Juho Kuosmanen 

Zaza Rusadze 

Georgia 

Zazarfilm LTD 

Arsena Street # 29 

GE – 0108 Tbilisi 

phone +995 599 68 90 03 

cell D +49 179 19 62 154 

email zaza@zazarusadze.com 

www.zazarusadze.com 

Zaza Rusadze graduated in Directing 

from HFF Babelsberg in 2003 and founded 

his company Zazarfilm in 2007, debuting 

with the short Folds And Cracks which 

received the Discovery Award in Cottbus 

in 2009. Zaza then produced his feature 

debut A Fold In My Blanket, the opening 

film of the Panorama in Berlin 2013. He is 

currently developing two feature and two 

documentary projects for himself as well as 

an animation feature by Nika Machaidze. 


Negative Numbers, by TBA, 

screenplay by Uta Beria (in development) 

Doll On A Music Box, 

by Zaza Rusadze (in development) 

A Bear Over Our Heads, 

by Zaza Rusadze 

(documentary, in development) 

Ulayah Saba, 

by Nika Machaidze 

(animation, in development) 

Jochen Laube 

Germany 

teamWorx TV & Film GmbH 

Alleenstrasse 2 

D – 71638 Ludwigsburg 

phone +49 7141 979 210 

cell +49 151 504 674 48 

email jochen.laube@teamworx.de 

www.teamworx.de 

During his studies at the Film Academy 

Baden-Württemberg, Jochen Laube worked as 

assistant producer on Peter Greenaway‘s The 

Tulse Luper Suitcases, was involved in the 

UNESCO’s The Magic Lantern children‘s project, 

and founded his company summerhouse. 

He has also worked for teamWorx since 2010, 

producing award-winning films by Florian 

Cossen, Christian Schwochow and Stefan 

Schaller, and is now producing Burhan Qurbani‘s 

second feature We Are Young. We Are Strong. 


Coconut Hero 2013, 

by Florian Cossen (in preproduction) 

Zapped 2013, 

by Thorsten Schütte 

(documentary, in production) 

Five Years 2013, 

by Stefan Schaller 

Cracks In The Shell 2011, 

by Christian Schwochow 

Giorgos Karnavas 

Greece 

Heretic 

Promitheos 18 

GR – 152 34 Halandri, Athens 

cell +30 69 4567 6069 

email giorgos@heretic.gr 

www.heretic.gr 

Giorgos Karnavas began working in film 

production in 2010 and has collaborated 

with some of Greece‘s biggest directing 

talents. He has produced such films as Boy 

Eating The Bird’s Food and The Eternal 

Return Of Antonis Paraskevas, and is now 

developing new features by Elina Psykou (Ivo 

& Sofia) and Wasted Youth director Argyris 

Papadimitropoulos (Hungry Mouth). Giorgos 

has just established Heretic with his partner 

Konstantinos Kontovrakis. 


in development 

Ivo & Sofia (shooting in 2014) 

by Elina Psykou 

Hungry Mouth (shooting in autumn 2013) 

by Argyris Papadimitropoulos 

completed 

Boy Eating The Bird’s Food 2012, 

by Ektoras Lygizos 

The Eternal Return Of Antonis Paraskevas 2013 

by Elina Psykou 

with the support of the EU MEDIA Programme 

EFP is supported by 

project partners 

E u r o p e a n F i l m P r o m o t i o n F r i e d e n s a l l e e 1 4 – 1 6 2 2 7 6 5 H a m b u r g , G e r m a n y i n f o @ e f p - o n l i n e . c o m w w w. e f p - o n l i n e . c o m

Selected Films (all documentaries) 

New Hands 2014/15 (in production), 

by Örn Marinó Arnarsson, Thorkell Hardarson 

Trend Beacons 2014 (in production), 

by Örn Marinó Arnarsson, Thorkell Hardarson 

The North Atlantic Miracle 2011, 

by Örn Marinó Arnarsson, Thorkell Hardarson, 

Arnar Thorisson 

Feathered Cocaine 2010, 

by Thorkell Hardarson, Örn Marinó Arnarsson 


Zurich 

by Sacha Polak (in financing) 

Leones 2012, 

by Jasmin Lopez 

Taking Chances 2011, 

by Nicole van Kilsdonk 

(through Lemming Film) 

My Joy 2010, 

by Sergei Loznitsa 

(through Lemming Film) 


Red Spider 2014, 

by Marcin Koszałka (in production) 

Kebab & Horoscope 2014, 

by Grzegorz Jaroszuk (in production) 

In The Name Of 2013, 

by Małgośka Szumowska 

Baby Blues 2012, 

by Kasia Rosłaniec 


as writer/director/producer 

(in development) 

Bernarda – Frogs With No Tongues 

Dad‘s Record 

as director / co-producer 

My Dog Killer (Môj pes Killer) 2013 

as director 

Foxes (Líštičky) 2009 


For This Is My Body 

by Paule Muret (in development) 

Body 

by Halima Ouardiri (in development) 

In Art We Trust 

by Benoît Rossel (documentary, shooting 

starts in July 2013) 

Aisheen, Still Alive In Gaza 2010, 

by Nicolas Wadimoff 

(documentary, through Akka Films) 

Thorkell Hardarson is one half of 

the Markell Brothers with director Örn 

Marinó Arnarson. They started out with 

rockumentaries such as Punk In Iceland 

and then turned to the issues of geopolitics 

and terrorism for Feathered Cocaine about 

the true location of Osama bin Laden. Since 

then, they made The North Atlantic Miracle 

about the lifespan of the Atlantic Salmon and 

are now working on two new projects Trend 

Beacons and New Hands. 

Marleen Slot founded Viking Film in 2011, 

having already completed the co-production 

Leones and preparing several other films 

like Zurich from director Sacha Polak and 

Gabriel Mascaro‘s Bull Down!. She worked 

as a producer at Lemming Film for many 

years with such productions as Mischa 

Kamp‘s Tony 10, Nicole van Kilsdonk‘s Taking 

Chances, Meral Uslu‘s Snackbar and Hans 

van Nuffelen‘s Oxygen, which won the 

European Film Academy Discovery Award. 

Agnieszka Kurzydło has been working in 

the film industry since 1992 and managed 

Zentropa International Poland which 

was launched in 2008 and co-produced 

Antichrist and Elles, among others. In 2011, 

she established her own company Mental 

Disorder 4 and has produced such films as 

Kasia Rosłaniec‘s Baby Blues and Małgośka 

Szumowska‘s In The Name Of. She is now 

preparing films by Marcin Koszałka and 

Grzegorz Jaroszuk. 

A graduate from Prague‘s FAMU and the UK‘s 

NFTS, Mira Fornay‘s debut feature Foxes 

premiered in the International Film Critics‘ 

Week Venice IFF 2009. She not only wrote and 

directed, but also co-produced her second 

feature My Dog Killer which won the Hivos 

Tiger Award at the 2013 Rotterdam International 

Film Festival. Mira‘s company Mirafox is currently 

developing three new projects for her, including 

the drama Bernarda – Frogs With No Tongues 

and the absurd drama Cook, F**k, Kill. 

A graduate from the film school INSAS in 

Brussels in 1999, Joëlle Bertossa worked on 

several films as a first director‘s assistant before 

being hired by Nicolas Wadimoff at Akka Films 

in 2003 where she produced such films as 

his Aisheen, Still Alive In Gaza. Last year, 

Joëlle founded Geneva-based Close Up Films, 

completed Michele Pennetta‘s documentary 

Mal Della Luna and is currently developing 

international co-productions with France, 

Germany and Canada. 

Thorkell Hardarson 

Iceland 

Markell Productions 

Langholtsvegur 171 

IS – 104 Reykjavik 

phone +354 777 0842 / +354 777 8340 

cell +49 176 7546 2751 

email falkasaga@gmail.com 

http://digitusdei.info 

Marleen Slot 

The Netherlands 

Viking Film 

Lindengracht 17 

NL – 1015 KB Amsterdam 

phone +31 20 625 4788 

email marleen@vikingfilm.nl 

www.vikingfilm.nl 

Agnieszka Kurzydło 

Poland 

MD4 Sp. z o.o. 

ul. Narbutta 25 A 

PL – 02-536 Warsaw 

phone +48 22 646 55 93 

fax +48 22 646 34 80 

email agnieszka@md4.eu 

www.md4.eu 

Mira Fornay 

Slovak Republic 

Mirafox 

Majakovskeho 19 

SK – 902 01 Pezinok 

cell SK +421 910 176 857 

cell CZ +420 603 745 519 

email mira.fornay@mirafox.sk 

www.mirafox.sk 

Joëlle Bertossa 

Switzerland 

Close Up Films 

20 rue du Clos 

CH – 1207 Geneva 

cell +41 78 665 0512 

email joelle@closeupfilms.ch 

www.closeupfilms.ch 

* part two on May 19 

*part three on May 20 

Estonia, Kiur Aarma 

Hungary, Andrea Taschler 

Ireland, Conor Barry 

Republic of Kosovo**, Valon Jakupaj 

Luxembourg, Gilles Chanial 

EFP contact in Cannes +49 160 440 9595 

Montenegro, Sehad Čekić 

Norway, Hans-Jørgen Osnes 

Romania, Anca Puiu 

Spain, Maria Zamora 

United Kingdom, Andrea Cornwell 

**This designation is without prejudice to position on status, and is in line with UNSCR 1244 and the ICJ Opinion on the Kosovo declaration of independence. 

Belgium, Anton Iffland Stettner 

Bulgaria, Konstantin Bojanov 

Croatia, Zdenka Gold 

Denmark, Mikael Chr. Rieks 

France, Mathieu Robinet 

Italy, Viola Prestieri 

FYR of Macedonia, Labina Mitevska 

Portugal, João Matos 

Sweden, Erika Wasserman 

www.efp-online.com 

Associated EFP members: Baltic Films, British Council, Bulgarian National Film Centre, Croation Audiovisual Centre, Czech Film Center, Danish Film Institute, EYE International / 

Netherlands, Film Fund Luxembourg, Finnish Film Foundation, Georgian National Film Center, German Films, Greek Film Centre, ICA I.P. / Portugal, ICAA / Spain, Icelandic Fim Centre, Irish 

Film Board, Istituto Luce Cinecittà / Italy, Kosova Cinematography Center, Macedonian Film Fund, Magyar Filmunió / Hungarian National Film Fund, Ministry of Culture of Montenegro, 

Norwegian Film Institute, Polish Film Institute, Romanian Film Promotion, Slovak Film Institute, Swedish Film Institute, Swiss Films, Unifrance films, Wallonie Bruxelles Images

SECRETS OF THE 

CALL GIRL ECONOMY 

AT CANNES 

Despite a major prostitution ring bust in 2007, sex for money still flourishes 

on the Croisette during the festival, with women descending from all over the world for 

yacht parties and hotel encounters in exchange for envelopes marked ‘gift’ 

BY DANA KENNEDY 


LIKE BRAD PITT, ANGELINA JOLIE AND 

Diane Kruger, Lebanese businessman Elie 

Nahas was once a regular at the Cannes 

Film Festival. 

But since his bust in 2007 for his part in 

the most explosive prostitution scandal in the history of 

the festival, Nahas, 48, can’t leave his native Lebanon. He 

hopes that his eight-year prison sentence, slapped on him 

in absentia by a French judge after a trial in Marseilles in 

October, will be overturned on appeal this year, but he’s 

not overly optimistic. In fact, he also is fearful that if he 

leaves Lebanon, he’ll be picked up by Interpol. 

Nahas, who owns a Beirut-based modeling agency, 

used to work as a right-hand man for Moatessem 

Gadhafi, the playboy son of Libyan strongman 

Muammar Gadhafi, Nahas’ longtime pal. It was during 

this time that Nahas was arrested on charges of running 

a prostitution ring that supplied more than 50 women 

“of various nationalities” to the younger Gadhafi and 

other rich Middle Eastern clients during the festival. 

Moatessem was killed with his father in Libya in 2011. 

The women ran the gamut, from full-time escorts 

to models to beauty queens, and they serviced men in 

hotels, on yachts and in the palatial villas in the hills 

above Cannes, police said. Philippe Camps, a lawyer for 

a Paris-based anti-prostitution organization that was 

a civil plaintiff in the trial, tells THR that some of the 

women were brought to Cannes under false pretenses 

and coerced into prostitution. 

Police broke into Nahas’ room at the city’s famed 

Carlton hotel in August 2007 and arrested him after a 

lengthy investigation involving wiretaps, which helped 

them identify Nahas and seven others as key members 

of the vice ring. (Prostitution is legal in France, but 

soliciting, whether with advertising or on a street corner, 

is not.) 

Nahas remains bitter about his arrest and subsequent 

conviction and denies he was running a prostitution 

ring. He says he was unfairly singled out in a sea of 

rich players who move in and around the Cannes Film 

Festival’s second-biggest business after movies: sex. 

“Why me?” asks Nahas during a phone interview with 

THR from Beirut. “The police know what goes on during 

the film festival, and they turn a blind eye. But they went 

after me. Why? Because I worked for Gadhafi.” 

‘They Can Make up to 

$40,000 a Night’ 

Every year, women ranging from what the French call 

putes de luxes (high-priced call girls), who charge an 

ILLUSTRATIONS BY IKER AYESTARAN

SPECIAL FEATURE 

average of $4,000 a night, to local streetwalkers, who 

normally get little more than $50 or $75 an hour turning 

tricks in nearby Nice, converge on Cannes for what one 

Parisian hooker calls “the biggest payday of the year.” 

The influx is hard not to notice, even just strolling the 

Croisette. “Hookers stand out in Cannes. They’re the 

ones who are well-dressed and not smoking,” tweeted 

Roger Ebert in 2010. 

“We all look forward to it,” says a local prostitute in 

Cannes who goes by the name of Daisy on her website 

but declined to give her surname. Daisy is one of many 

independent escorts who have their own websites and 

usually avoid going to hotels and bars — except during 

the festival. “There’s a lot of competition because there 

are so many girls, but the local ones have an advantage. 

We know the hotel concierges.” 

The local prostitutes, says Daisy, routinely drop cash 

off with concierges at the town’s top hotels. In return, if 

they are lucky, concierges sometimes steer clients their 

way. During the 10-day festival, an estimated 100 to 

200 hookers stroll in and out of the big hotels every day, 

according to hotel sources. 

Nahas says the money can be bigger than most people 

realize. The most beautiful call girls, he says, know to 

target the high-end hotels “where all the Arabs stay.” 

“They can make up to $40,000 a night,” says Nahas. 

“Arabs are the most generous people in the world. If they 

like you, they will give you a lot of money. At Cannes, 

they carry money around in wads of 10,000 euros. To 

them, it’s just like paper. They don’t even like to count it. 

They’ll just hand it to the girls without thinking. I know 

the system.” 

The serious action starts after 10 p.m., he says. Call girls 

sit in the lobby, and prospective clients check them out. 

“It’s all done with hand signals,” he says. “The guys 

signal their room numbers with their hands and the girls 

follow them.” 

The Organized Rings 

Some of the “luxury prostitutes” come as part of an 

organized ring, the type of operation that police said 

Nahas ran, and others fly in small groups on their 

own, mainly from Paris, London, Venezuela, Brazil, 

Morocco and Russia. Still others take advantage of the 

other big event taking place on the Cote d’Azur, the 

Monaco Grand Prix, and rent hotel rooms in the town of 

Beausoleil, just behind Monaco, and commute between 

there and Cannes, a 40-minute drive. 

Nahas denies he was running a prostitution ring but 

admits he arranged for women to come to Cannes during 

the festival. His job, he says, was to pick them up at Nice 

International Airport, bring them to the port at Cannes 

and place them on small boats that took them out to 

Gadhafi’s yacht, the Che Guevara, and other luxury vessels. 

“I was not party to anything else,” insists Nahas. “I 

don’t know what took place between any of them. I had 

no part of it. They may have just been there to talk and 

have fun.” 

Until his 2007 arrest, Nahas was best known for 

throwing a $1 million birthday party for Moatessem 

Gadhafi in Marrakesh in 2004. He paid Enrique Iglesias 

$500,000 to attend and flew in Carmen Electra for 

$50,000, he says. Kevin Costner also attended. 

“Gadhafi never touched Carmen,” says Nahas. “In 

fact, she was a little angry because she felt he didn’t pay 

enough attention to her. But Gadhafi was shy, believe it 

“Please. There 

are 30 or 40 

yachts in the 

bay, and every 

boat has about 

10 girls on it; 

they are usually 

models, and 

they are usually 

nude or half 

nude. ... It’s been 

going on there 

for 60 years.” 

ELIE NAHAS 

Cannes 

Loves Call Girls 

in Film Too 

The Mother and 

the Whore 

Palme d’Or nominee (1973) 

Jean Eustache’s suicidally 

downbeat movie about a 

menage-a-trois gone sour 

caused a furor, with French 

newspaper Le Figaro calling it 

“an insult to the nation.” 

▲ Taxi Driver 

Palme d’Or winner (1976) 

Robert De Niro’s mad cabbie 

hunts Manhattan for “whores, 

skunk pussies, buggers, 

queens,” and finds instead 

12-year-old hooker, Iris (Jodie 

Foster), who needs rescuing. 

Mona Lisa 


Though it didn’t win the Palme, 

Bob Hoskins took best actor 

honors as the exasperated, 

emotionally entangled chauffeur 

for a standoffish call girl 

(Cathy Tyson) who needs him, 

but not in the way he wants. 

Moulin Rouge! 


As courtesan Satine, 

Nicole Kidman is the belle 

of the Belle Epoque in Baz 

Luhrmann’s musical spectacle. 

Young & Beautiful 


Marine Vacth plays a scholarly, 

shy 17-year-old who startles 

her bourgeois folks by cutting 

class to service men in 

hotels for 300 euros a pop. 

— TIM APPELO 


or not. Women had to make the first move.” (A spokesperson 

for Electra could not be reached for comment.) 

Nahas — who was jailed for 11 months after his arrest 

in France then released for lack of proof — says the 

younger Gadhafi sent him $25,000 a month to live on 

after his reputation was ruined in Lebanon and he no 

longer could work. Since Gadhafi’s death, the money has 

dried up. “I cry blood for him every day,” says Nahas. 

When Nahas was arrested, police confiscated an 

address book that contained dozens of names and contact 

information for some of the richest princes and potentates 

in the Middle East. Nahas admits that he knew them 

all but denies that he procured hookers for them. 

But even if he did, says Nahas, there are plenty more 

like him all over Cannes during the festival. 

“Please,” says Nahas. “Every year during the festival 

there are 30 or 40 luxury yachts in the bay at Cannes, 

and every boat belongs to a very rich person. Every boat 

has about 10 girls on it; they are usually models, and 

they are usually nude or half nude. It’s drugs and drink 

and beautiful women. Go out on one and you’ll see. The 

girls are all waiting for their envelopes at the end of the 

night. It’s been going on there for 60 years.” 

The Envelope, Please 

A “gift” contained in an envelope, according to Nahas 

and a number of veteran Cannes escort women interviewed 

by THR, is how prostitutes get paid at the festival. 

“It’s always a gift,” says a Russian woman who oversees 

a Paris-based escort agency with branches in London 

and Dubai. “Clients are told to put the money in an 

envelope and write ‘gift’ on the outside of it.” 

Women installed on yachts in Cannes during the film 

festival are called “yacht girls,” and the line between 

professional prostitutes and B- or C-list Hollywood 

actresses and models who accept payment for sex with 

rich older men is sometimes very blurred, explains one 

film industry veteran. 

“You’d definitely recognize more than a few names from 

Hollywood,” he says. “These are actresses who made bad 

career choices and fell off the radar. They tell themselves 

what they’re doing at Cannes is OK, that they’re just on 

dates with rich men, when the reality is they’re doing 

what prostitutes do. But they like the money.” 

Carole Raphaelle Davis — a longtime French- 

American film and TV actress (2 Broke Girls, Angel) who 

grew up in international circles in Paris, London and 

Thailand — says few people realize that some prominent 

and moneyed society women spent many years as highpriced 

prostitutes. 

Davis, who is married to TV comedy writer Kevin 

Rooney and divides her time between France and 

Beverly Hills, says she has two acquaintances who used 

to work the Cannes Film Festival as well as other exotic 

locales around the world. “I could never understand 

how they could do what they did,” says Davis. 

Davis says she has been propositioned by some of the 

richest men in the world but could never imagine sleeping 

with them for money. 

She says the women she knew “traveled the world like 

jet-setters,” and one of them eventually ended up marrying 

one of the richest men in France. 

“This woman didn’t even enjoy sex, she told me,” says 

Davis. “But she didn’t mind it, either. She didn’t mind 

sleeping with men who were repulsive. She said it never 

lasted more than five minutes, so it wasn’t that bad.”

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PRINT | DIGITAL | MOBILE | SOCIAL | EVENTS

STYLE 

THE CANNES 

DINING 

PLAYBOOK 

The South of France has a restaurant to suit every agenda, 

whether it’s to discuss a deal away from prying eyes — or to 

celebrate a must-have acquisition over $150 tasting menus 

By Dana Kennedy 

IF YOU WANT: 

PLATS DU JOUR AND 

PEOPLE WATCHING 

The splashiest venue, literally, is 

the seaside 1 Z PLAGE (73 boulevard 

de la Croisette), across the 

street from the Hotel Martinez. 

Stars from Jessica Chastain to 

Jodie Foster are drawn to its rows 

of square white umbrellas to sip 

signature Moet mimosas and tuck 

into roast fish. Just up the street 

and framed by floor-to-ceiling 

windows is the Michelin onestarred 

2 PARK 45 (45 boulevard 

de la Croisette), where Jude Law 

has been seen among diners eating 

the sea bass with pistachio 

nuts and other light Med fare. 

Situated just up the coast on the 

way to Antibes is Brad Pitt and 

Angelina Jolie’s favorite spot, 

3 CHEZ TETOU (8 avenue des Freres 

Roustan, Golfe Juan). Once a 

beach shack, it’s still got a homey 

vibe that dissipates once you 

see the menu: $100 for bouillabaisse. 

Cash only, please. Director 

and The Bling Ring producer 

Roman Coppola recommends 

ordering the beignets for dessert, 

which are served with huge pots 

of jam. “Whenever we’ve been 

to Cannes, my family and I have 

always made a stop here,” he says. 

For those who want to get out 

of town but still make their 

whereabouts known, the famed 

4 COLOMBE D’OR (1 place General 

de Gaulle) in the artsy hillside 

town of St.-Paul de Vence is 

beloved by the likes of Hugh Grant 

and producer Jerry Weintraub. 

“They have very good food,” says 

Weintraub. “If you can’t eat good 

food in France, you can’t eat good 

food anywhere.” The grand, woodpaneled 

dining room is stocked 

with paintings by Matisse and 

Picasso. The can’t-miss dessert is 

the Grand Marnier souffle. 

Inland along the Riviera, the 

still-celebrated 5 LE MOULIN DE 

MOUGINS (1028 avenue Notre- 

Dame de Vie), situated in a 16th 

century mill in Mougins, is 

where top toques Alain Ducasse 

and Daniel Boulud got their start. 

Further afield but worth the 

schlep is Nice’s legendary 6 LA 

PETITE MAISON (11 rue St.-Francois 

de Paule), where Elton John and 

Madonna famously bumped into 

each other last year and reconciled 

after their latest feud. Enjoy 

Nicoise specialties like the zucchini 

blossom fritters. 

IF YOU WANT: 

FEASTING FAR FROM 

THE PALAIS 

The closest option to town that’s 

just far enough for an undisturbed 

business dinner is the 

famed 7 RESTAURANT MANTEL (22 

rue Ste.-Antoine) in Cannes’ hilly, 

historic district, Le Suquet. Try 

the starter of white bean cream 

soup with white summer truffles. 

For an adventure, hop a ferry and 

5 

Mougins 

1 2 7 

Cannes 

FRANCE 

E80 

Golfe Juan 

3 

8 

10 

4 

St.-Paul 

de Vence 

9 

Biot 

Ile St.-Honorat 

Vence 

A8 

alight 20 minutes later for lunch 

on the Ile St.-Honorat, where 

Cistercian monks still live and 

work in the ninth century 

Abbey Lerins. They also run 

8 LA TONNELLE, a seafront bistro 

with wine from the abbey’s own 

vineyards. A bit inland in the 

otherwise pedestrian village of 

Biot is the Michelin-starred 

9 LES TERRAILLERS (11 Chemin 

Neuf). Chef Michael Fulci, who 

apprenticed with Ducasse, offers 

a €110 (around $150) tasting 

menu. The reward for heading to 

the hills of Vence not only is the 

extraordinary food at the two-star 

10 CHATEAU SAINT-MARTIN AND SPA 

(2490 avenue des Templiers) but 

the panoramic view of the Cote 

d’Azur stretching from the Italian 

border to St. Tropez. Look away 

6 

Nice 

The Most Expensive 

Dish on the Riviera? 

Prepare to pay $205 for an order 

of the San Remo Gamberoni, or prawns, 

served with rock fish gelee and caviar, 

in the ornate dining room of the Hotel 

de Paris’ Louis XV restaurant in Monaco. 

11 

Monaco 

often enough to enjoy restaurant 

specialties like the pigeon with 

flakes of chocolate macaroon. 

Finally, for those who want to 

trade movie royalty for the real 

thing, indulge in the fantastically 

over-the-top 11 LOUIS XV restaurant, 

an homage to the monarch 

at the Hotel de Paris (place du 

Casino) in Monaco. “Take a seat 

close to the French doors, which 

will most likely be open, so that 

with your left eye you savor the 

gold and glitz and with your 

right eye [the scene outside the] 

casino,” says French Rivierabased 

producer Miodrag Certic. 

Emblematic of Louis XV’s selfstyled 

“haute couture of taste” 

approach is the dish of roasted 

Pyrenean baby lamb, seasoned 

with Espelette pepper. 

From left: The seafront La Tonnelle 

on Ile St.-Honorat, run by Cistercian monks, 

serves up such dishes as gnocchi with 

mussels and Mediterranean sea bass grilled 

with herbs; a wok-cooked entree at Z Plage, 

across from Cannes’ Hotel Martinez. 

LOUIS XV RESTAURANT, DISH: T. DHELLEMMES (2). WOK: COURTESY OF GRAND HYATT CANNES. LA TONNELLE: COURTESY 

OF ABBAYE DE LERINS. FOSTER: KEVORK DJANSEZIAN/GETTY IMAGES. COPPOLA: TODD WILLIAMSON/INVISION/AP. 


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Confidential 

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SPECIAL 

FEATURE 

SOUTH 

KOREA 

Park Chan-wook made 

his Hollywood debut 

this year with the 

thriller Stoker, starring 

Nicole Kidman. 

THE SOUTH KOREAN 

NEW WAVE EXPANDS 

It isn’t all about Psy: With box office booming and a seemingly endless supply of film 

talent, the peninsula is ready to take on Hollywood (with China next) BY HYO-WON LEE 

PSY MAY HAVE BEEN ONE OF THE 

biggest stories of the past year, but beyond 

the Gangnam Style craze that swept the 

globe, South Korea also enjoyed a recordbreaking 

year through its film sector. In 

2012 the country moved up to No. 7 in box office (from 

No. 9 in 2011), taking in $1.3 billion. With domestic admissions 

cracking the 100-million mark for the first time, two 

local releases acheived blockbuster status: Masquerade, 

which earned $80 million globally, and The Thieves, which 

grossed $83.5 million. In March Lee Hwan-kyung’s Miracle 

in Cell No. 7 became the eighth Korean movie to join 

the 10-million admissions club, with a worldwide gross of 

$81 million; it even outperformed the mighty Iron Man 3. 

Now Korean filmmakers are beginning to think the 

unthinkable in terms of global expansion by aiming for 

the two biggest targets: first the U.S., and then China. 

“Korean cinema is no longer limited solely to niche 

fans of Asian films, but is beginning to appeal more to 

general American audiences,” says Lee Byung-hun, 42, 

who enjoys superstar status in South Korea and has been 

called the Brad Pitt of Korea (a sentiment loudly echoed 

by the 50,000 screaming women 

who greeted him at a fan event in a 

Tokyo stadium). Cast in Red 2 over 

Jackie Chan and Chow Yun Fat, 

Lee notes that his hit Masquerade 

premiered at the increasingly 

film-centric Los Angeles County 

Museum of Art, which will 

welcome the Academy of Motion 

Picture Arts and Sciences museum 

to its campus in 2017. 

Elsewhere, Park Chan-wook, 

director of Byung-hun’s 2000 hit JSA: Joint Security 

Area, made his U.S. debut this year with the Nicole Kidman 

thriller Stoker; Korea’s noir gangster thriller New 

World, which sold more than 4.5 million tickets in Korea, 

was picked up for six figures by Sony for remake rights; 

and Bong Joon-ho’s eagerly anticipated sci-fi epic Snowpiercer, 

starring Chris Evans and Tilda Swinton, will be 

released worldwide this summer. 

“We’ve already had a lot of winners at festivals like 

Cannes and Berlin and Venice,” says Kang Woo-suk, 


Bae Doo-na, who had 

a featured role in 

Cloud Atlas, next will 

be seen opposite 

Channing Tatum in 

Jupiter Ascending.

· The internet’s top English resource for all things Korean cinema 

· Available across all mobile platforms and on SNS 

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Ryan Werner 

Marian Koltai-Levine, PMK-BNC 

Michael Benaroya, CEO, Benaroya Pictures 

Lisa Perkins, VP, International Marketing & Publicity, Exclusive Media 

Moderated by Dana Harris, Editor-in-Chief, Indiewire 


DIGITAL HOLLYWOOD 

Col Needham, Founder & CEO, IMDb 

Jonathan Marlow, Co-founder/Chief Content Officer, Fandor 

Steve Beckman, FilmBuff 

Amy McGee, ZEFR/Movieclips.com 

Moderated by Kevin Winston, Digital LA 

TOMORROW, MAY 19 

3:00 PM | IN CONVERSATION: 

AMERICAN DIRECTORS 

IN CANNES 

Jim Mickle, We Are What We Are 

David Lassiter, The Opportunist 

David Lowery, Ain’t Them Bodies Saints 

James Toback, Seduced and Abandoned 

Moderated by Aaron Hillis, 

Video Free Brooklyn 

MONDAY, MAY 20 

11:00 AM | INDUSTRY IN FOCUS: 

FINANCING A FILM IN 2013 

Nick LoPiccolo, Paradigm 

Peter Trinh, ICM Partners 

Deborah McIntosh, WME 

Paul Miller, Film Financing, Doha Film Institute 

Bill Lischak, Co-President of OddLot 

Entertainment 

Moderated by Pamela McClintock, 

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FILM INDUSTRY 

Tom Quinn, Radius-TWC 

Michael Sugar, Anonymous Content 

Rena Ronson, UTA 

Jim Berk, Participant Media 

John Cooper, Sundance Institute 

Moderated by Pete Hammond, 

Deadline Hollywood 

TUESDAY, MAY 21 


AMERICAN PRODUCERS 


David Lancaster, Only God Forgives 

Nick Schumaker, We Are What We Are 

Jay Van Hoy and Lars Knudsen, 

Ain’t Them Bodies Saints 

Emily Wachtel, Shepard & Dark 

Moderated by Scott Macaulay, 

Filmmaker Magazine, @FilmmakerMag 


MUSIC IN FILM 

Cliff Martinez, Composer, Only God Forgives 

Gingger Shankar, Composer, 

Monsoon Shootout 

Moderated by Thom Powers, TIFF 

9:00 PM–12:00 AM 

THE AMERICAN PAVILION 

25TH ANNIVERSARY PARTY 

Cash Bar—Featuring The Joe Stilgoe Trio 

WEDNESDAY, MAY 22 


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Moderated by Logan Hill 


WILL FORTE (NEBRASKA) 

Moderated By Kyle Buchanan, Vulture 

THURSDAY, MAY 23 

3:00 PM | SPECIAL FILM 

CRITICS PANEL: 

IN HONOR OF ROGER EBERT 

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Moderated by Annette Insdorf, 

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10:30AM–1:00PM 

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SOUTH KOREA SPECIAL FEATURE 

whose Fists of Legend received a limited release in the 

U.S. in April, “but now Hollywood is watching the Korean 

film industry. It’s amazing that a Korean director, Kim 

Ji-woon, directed Schwarzenegger in The Last Stand.” 

Since more than 80 percent of Korean films rely on 

digital release for revenue, most U.S. theaters don’t 

clamor for foreign product, and American advertising 

costs are sky-high, Kang is thrilled at the growing VOD 

market offered by Netflix, Hulu, Amazon and YouTube. 

“Digital has made it easier for us to find all kinds of 

audiences,” he says. “Two years ago it was a dream, now 

it’s an ordinary day, business as usual.” 

When Netflix began accepting 20 titles from Choi 

Joon-hwan, CEO of CJ Entertainment, Korea’s biggest 

studio, he asked all his employees to click on at least five 

to 10 Korean films a day to add more to Netflix numbers. 

It turned out he didn’t have to: “I thought 100 clicks a 

day would help! Tens and twenties of thousands came 

up. Even Netflix was surprised.” 

Choi has bigger plans still for China, where CJ has 

patiently navigated its notoriously tricky film bureaucracies. 

“We’ve been working with China for 10 years,” says 

Choi. “We have theaters, production companies, home 

shopping in China. They have a lot of money, so it’s hard 

to compete with them sizewise. So we focus on a kind of 

niche market, concentrating on high-level films.” 

CJ’s latest Chinese co-production is the comedy 

A Wedding Invitation, in Mandarin with English subtitles, 

produced by CJ and five Chinese companies and distributed 

by China Lion Film Distribution. The film opened 

April 12 in China and already has grossed $35 million. 

It bows May 24 in the U.S. “It’s not our first Chinese coproduction,” 

says CJ svp of marketing Angela Killoren, 

“but it’s our first to hit number one there.” 

China’s cap on foreign films is an obstacle to Korean 

exports, and co-production with China is a dicey art. In 

an effort to streamline negotiations, the Korean Film 

Council (KOFIC), has ramped up efforts to showcase 

1 

Korean film talent overseas, particularly China. Last 

year KOFIC spent about $1.5 million launching an International 

Co-production Team, a highlight of which was 

setting up the Korean Film Business Center in Beijing in 

April. KOFIC has sponsored trips to the Chinese capital 

so South Korean film talent can meet with local producers 

to establish the all-important relationships that are 

necessary for doing business in China. 

This year the organization has allotted just over $1 million 

to support international collaborations in China, 

the U.S., France and Japan. “KOFIC has been supporting 

international co-productions since five, six years ago, 

but it is now much more systematic, and meetings are 

held every three months,” says Kim Young-gu, manager 

of the International Coproduction Team. 

Whether or not the South Korean expansion succeeds 

as planned, Lee — one of the first Asian actors to leave 

hand and footprints in front of TCL Chinese Theatre 

(formerly Grauman’s) — admits to being a bit starstruck 

about more collaborations with Hollywood in the future. 

“It still feels new to me,” he says. “To be working 

alongside these big Hollywood stars I grew up watching 

in the movies, I can’t believe it.” 

3 

1 Kim Ji-woon on the set of The 

Last Stand. 2 Snowpiercer director 

Bong Joon-ho. 3 Lee Byung-hun, 

the “Brad Pitt of Korea.” 

2 

THE DICAPRIO OF SOUTH KOREA SAYS NO THANKS TO HOLLYWOOD 

Superstar Jung Woo-sung says filmmaking in Asia is so hot he has no desire to cross over in the West 

The “Leonardo DiCaprio of Korea” has 

been expanding his horizons in Asia, and 

says the region has matured so much that 

for established stars like himself, the lure 

of Hollywood is not what it once was. 

Early in his career Jung Woo-sung drew 

comparisons to James Dean thanks to 

his breakout role in the coming-of-age 

blockbuster Beat in 1997, but his career 

increasingly has drawn comparisons to 

that of DiCaprio. 

Like the Great Gatsby star, Jung — 

once known primarily as a heartthrob 

— has delivered on his early promise by 

taking on a challenging array of roles, 

from romantic leads to action heroes, to 

There definitely seems to be more 

demand for Asian actors in Hollywood, 

but I think debuting there just for the 

sake of debuting there would be wrong.” 

dynamic character studies. But his next 

part — in the upcoming thriller Cold 

Eyes — is sure to give his loyal, pan-Asian 

female fan base a bit of a shock: For the 

first time Jung will play an unambiguously 

evil character, carrying out several 

disturbingly violent acts. 

“In the past I’ve played romantic assassin 

types, but this time he really is a bad 

guy — he does some horribly violent 

things that are definitely going to earn the 

film an R rating,” the 40-year-old actor 

says. “Quite a few mainstream Korean 

movies are experimenting with new types 

of characters, especially those that are 

not so typical.” 

Although Jung’s recent work has given 

him increasing exposure to non-Asian 

audiences — most notably the John Woodirected 

Reign of Assassins, Asia’s answer 

to Mr. and Mrs. Smith, in which he appears 

John Woo’s 

Reign of 

Assassins 

(2010) 

opposite Michelle Yeoh — Jun says he’s 

not particularly interested in attempting 

the risky high-wire act of a Hollywood 

crossover, as some of his A-list Korean 

contemporaries have recently pursued, 

such as Lee Byung-hun (G.I. Joe 1 and 2, 

Red 2). 

“There definitely seems to be more 

demand for Asian actors in Hollywood, 

but I think debuting there just for the 

sake of debuting there would be wrong,” 

he says. “Besides, there are so many 

intriguing projects here in Asia right now, 

I don’t necessarily feel compelled to 

look beyond.” — H.L. 

SOUTH KOREA CREDIT: GI JOE: ©PARAMOUNT/COURTESY EVERETT COLLECTION 


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PRESENTS 

FILM BAZAAR 

20 - 24 NOVEMBER 2013, MARRIOTT RESORT, GOA 

SOUTH ASIA’S GLOBAL FILM MARKET 

Celebrates 

The Lunchbox 

Ritesh Batra 

Semaine De La Critique 

(Film Bazaar Screenwriters’ Lab 2011) 

& 


Amit Kumar 

Festival de Cannes - Midnight Screenings 

(Film Bazaar Co-production Market 2008)

Q&A 

DIRECTOR 

PROLIFIC,” “CONTROVERSIAL” AND “BAD 

boy of Japanese cinema” are some of the 

tags often attached to Takashi Miike. 

With more than 70 productions to his 

credit, there’s no doubting his work ethic, but 

categorizing a director who has made horror, 

gangster flicks, fantasy, action, comedies and 

a 3D samurai drama is not quite so simple. His 

2003 Gozu, a yakuza-horror movie, was the 

first straight-to-video production selected for 

Cannes’ Directors’ Fortnight section, while 

in 2011 Hara-kiri: Death of a Samurai became 

the first 3D film in the main competition. This 

year, Shield of Straw (based on the book Wara 

no Tate by Kazuhiro Kiuchi) sees Miike back in 

contention for the Palme d’Or. The film follows 

a special police unit’s 750-mile trek across 

Japan protecting a suspect with a 1 billion yen 

($10 million) bounty on his head offered by the 

wealthy grandfather of the 7-year-old girl he 

murdered. The single Miike, 52, spoke to THR 

in Tokyo about the film, his unrelenting schedule, 

why making comedies is even tougher 

than making horror and how Japanese cinema 

has become too safe. 

Shield of Straw is an action-thriller and quite 

different from a lot of the films usually found in 

competition at Cannes. Were you surprised when it 

was announced? 

Yeah, very surprised. And not just me. I think 

everyone was like, “Really, in competition?” 

And it’s a Japanese action film, which is a genre 

that has been largely forgotten. Now, if you 

think of action, it’s Hollywood or Korean films. 

But Cannes selects a wide range of films: That 

is one of the great things about the festival. But 

even an action film, it’s not just about showing 

action, it’s the characters involved and the 

sequence of events that leads to those happenings. 

The thousands of people that come to the 

theater have a lot of different reasons to watch a 

movie, so if I can hold their attention and keep 

them all entertained, then I’m satisfied. 

How did the idea for Shield of Straw come about? 

The producers at Warner asked me about it, 

but I looked at it and thought it was full of 

parts that were impossible to film in Japan. 

You basically can’t get permission to film on 

the bullet train or the highways. We looked 

into building a full set for the bullet train, but 

that was too expensive. So we decided to try 

and go to Taiwan and shoot on the high-speed 

trains there, but they hadn’t let anyone film 

on those before either. But after a lot of hard 

negotiations, the authorities in Taiwan gave us 

permission. When I was making straight-tovideo 

yakuza gangster films at the beginning 

of my career, I shot a few of them in Taiwan. 

I got back in touch with some of the producers 

I’d worked with back then, and they really 

helped us out. 

Takashi Miike 

The bad boy of Japanese 

cinema discusses his 

unexpected return to Cannes 

and why he thinks restrictions 

on violence in movies ‘is 

good for business, but not 

filmmaking’ By Gavin J. Blair 

When you were doing those straight-to-video 

movies, you naturally made a lot of films every year. 

Most directors slow down after they move out of 

that world, but you’ve pretty much kept going at 

the same rate. Why? 

If there’s an opportunity to make a film and 

my schedule allows it, I don’t see a reason 

not to do it. Of course there are directors 

who choose not to make so many films, and 

that may be right for them, and stops them 

from making mistakes. But for me, being on 

set and solving problems of how to shoot a 

scene, that’s everyday life and what I need to 

be doing. Even when there 

seems to be things that can’t 

be done — like with Shield of 

Straw — until you try, you 

don’t know. 

You’ve said that you don’t think 

about how a film will be seen by 

audiences when you’re making 

it. Is that really the case? 

Even if you think about 

how people will see a film, 

VITAL STATS 

Nationality Japanese 

Born Aug. 24, 1960 

Festival Entry Shield of Straw 

(Wara no Tate) 

Selected Filmography 

Audition (1999), Ichi the Killer (2001), 

Gozu (2003), Sukiyaki Western 

Django (2007), 13 Assassins (2010), 

Hara-kiri: Death of a Samurai (2011) 

Notable awards KNF award, 2000 

Rotterdam International Film Festival 

(Audition); jury prize, 2004 Sitges 

International Film Festival (Gozu) 

I don’t think that’s possible. For example, if 

you think this is the kind of film that will go 

down well with salarymen [Japanese office 

workers], there are a hundred different types 

of salarymen working for a hundred different 

companies and with a hundred different personalities. 

So I think it’s rude to think that “an 

audience” that comes to the theater whom I’ve 

never met and don’t know will like this part 

or this film. I can only concentrate on getting 

the best performances and shooting the best 

scenes possible. 

You’ve made films across such a wide range of 

genres. Do you have a favorite? 

Firstly I made horror, and that’s tough. Always 

thinking how to scare and shock people, 

it’s almost like bringing a curse on yourself. 

Though there’s a strange kind of pleasure in 

that too. Actually the hardest films to make 

are comedies. In normal life, funny things happen 

by accident; to re-create those by design 

in a film takes real technique. If you take 

those two out, then for me, it’s gangster films. 

I don’t want to be involved with the yakuza in 

real life, but they can do in an evening what 

politicians take 10 years to do. The yakuza are 

straight-up beings, they want what they want; 

if they betray people — it’s absolute betrayal. 

Japanese of my generation try to get through 

life without stepping on anyone’s toes; in 

some ways that’s unnatural and stressful. The 

yakuza are different: They live short lives but 

live and die on their own terms — it’s exciting 

to portray that. 

Talking of horror and yakuza films, you’re famous 

for shockingly violent and grotesque scenes. 

Do you ever worry about the effect it might have 

on people? 

Regarding the responsibility that a director 

has to society, first of all, there are ratings. 

There’s freedom to make films, and freedom 

to watch them or not. It’s not like I take those 

films to a school and force kids to watch them. 

In Japan now, films are very safe. When I was 

young and went to old cinemas, they had a 

distinctive feel, an adult smell about them. 

As you got in your seat and the lights went 

down, there was a feeling of excitement: What 

if the film is scarier than I thought it’s going 

to be? You’re taken into that 

world. Nowadays, you can 

sit in the theater and know 

it’s going to be safe. That’s 

good for business, but not 

for filmmaking. I have lines 

in my mind about what is 

too violent or shocking to 

show. It’s a difficult issue. I 

don’t think a film that has no 

effect on people or society is 

a good film. 


MultiVisionnaire’s Market Premiere 

Action • Sci-Fi • Horror 

Action Comedy / 129 min. / Potugual / 2012 

Horror / 100 min. / Philippines / 2013 

For full lineup, visit www.MultiVisionnaire.com/cannes 

Sci-Fi Action / 85 min. / Canada / 2013 

Horror Thriller / 89 min. / USA / 2013 

MultiVisionnaire Pictures • www.MultiVisionnaire.com 

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Stand: RIVIERA D2

REVIEWS 

Zhou San (Wang) 

is more menacing 

than he first 

appears. 

A Touch of Sin 

China returns to the Cannes competition with Jia Zhang-ke’s 

sobering view of festering discontent as the gap between the 

country’s rich and poor expands BY DAVID ROONEY 

THE WIDENING CHASM OF SOCIAL INEQUALITY 

separating the moneyed powerbrokers from the struggling 

masses — not to mention the despair and violence bred 

by that disparity — is a subject of saddening universality. 

Exploring those thematic lines in A Touch of Sin (Tian Zhu 

Ding), Chinese auteur Jia Zhang-ke only occasionally strikes chords 

that resonate, despite having distinguished himself as one of the most 

perceptive chroniclers of his country’s transition into 21st century 

nationhood in films like Platform and The World. 

The English-language title of his seventh narrative feature is a play 

on King Hu’s 1971 martial-arts epic, A Touch of Zen. And while that 

seems more an homage than a significant structural inspiration, there 

certainly are genre elements here that are new to Jia’s work. But tonal 

inconsistency, lethargic pacing and a shortage of fresh insight dilute 

the storytelling efficacy of this quartet of loosely interconnected episodes 

involving ordinary people pushed over the edge. 

As always, the visual compensations are considerable thanks to 

regular cinematographer Yu Lik-wai, whose eye for arresting detail is 

equally sharp whether trained on natural landscapes, assembly-line 

industrial communities, bleak mining towns or the crumbling remnants 

of China’s past. 

While the distinctions among the four far-flung principal settings 

and their various dialects will mean little to audiences unversed in 

Chinese geography and linguistics, a strong sense does emerge of a 

rootless populace displaced by sweeping cultural change and economic 

necessity. When one character living paycheck-topaycheck 

responds to the suggestion of trying his luck 

abroad by saying that the rest of the world is broke, and 

that’s why so many are descending on China, the sardonic 

edge to Jia’s observation will be lost on nobody. 

The film opens with a punchy bout of bloodshed as 

three kids brandishing hatchets hold up passing motorcyclist 

Zhou San (Wang Baoqiang). But they are foiled 

when he pulls out a gun and dispatches them. That 

drifter resurfaces later in the least focused of the film’s 

four narrative strands. 

More satisfying is the story of coalmining company 

employee Dahai (Jiang Wu), a disgruntled former classmate 

of the corporate boss, who, along with the village 

officials, has forgotten his promises of profit sharing 

while whizzing around on his private jet. Having failed 

to convince the firm’s accountant to expose its financial 

inequities, Dahai disrupts the media moment of the 

chief’s return to town, met by a committee of ceremonial 

drummers and workers incentivized to look happy. 

In one of the film’s more startling bursts of violence, he 

gets reprimanded with a metal spade to the head. 

The other compelling section has frequent Jia muse 

Zhao Tao as Xiao Yu as a receptionist in a sauna. Jia 

sets up the knife in her rucksack a little too pointedly. 

But there’s a captivating momentum to the accumulation 

of frustrations that lead her to use it on an arrogant 

massage customer who refuses to accept that she’s 

strictly front desk-only. 

The fourth and final chapter concerns Xiao Hui (Luo 

Lanshan), a feckless young man who inadvertently 

causes an accident and is to be docked for the salary of 

his injured co-worker for the duration of his hospitalization. 

This prompts him to flee to a succession of shortlived 

jobs — including one as a greeter at a sex club called The Golden 

Age, featuring hostesses in sexy versions of Chinese military uniforms. 

In that concluding section, glimpses of tech factories in the international 

free-enterprise town of Dongguan inevitably conjure associations 

with the controversial plants where Apple products are manufactured. 

Jia emphasizes the dehumanizing aspect of these environments by 

showing a grim worker-housing complex called Oasis of Prosperity. The 

fact that wealth and influence are accessible only to the privileged few 

is acknowledged throughout the film with a borderline heavy hand. 

The four fictionalized plot strands have their roots in real-life tabloid 

cases involving three murders and a suicide. But as assembled here, 

they make for a schematic narrative patchwork with scant emotional 

involvement. Many similar points about the growing discontent in postreform 

China have been made more trenchantly by Jia in his other 

films, and the use of traditional opera as a mocking counterpoint to 

contemporary experience now seems somewhat pat. 

Despite solid performances and haunting images, there’s a disappointing 

banality to the film. Either the Dahai or the Xiao Yu story might have 

benefited from more robust development to make a standalone drama. 

But incorporated into this too-diffuse examination of escalating violence 

in a recklessly modernized society, their impact is dulled. 

In Competition 

Cast Zhao Tao, Jiang Wu, Wang Baoqiang, Luo Lanshan 

Director-screenwriter Jia Zhang-ke // 133 minutes 


REVIEWS 

The Major 

Filmmaker Yury Bykov’s second feature, starring 

Denis Shvedov and Irina Nizina, takes a gritty look at 

Russian police corruption BY JORDAN MINTZER 

Like an episode of The Shield 

transplanted to the snow-swept 

Russian countryside, writerdirector 

Yury Bykov’s The Major 

is a tense, handheld police thriller 

filled with dirty cops, abrupt 

violence and a relentless, overriding 

sense of nastiness. It’s also 

rather heavy-handed in parts and 

not necessarily original in the 

story department, but its rapid 

pacing and potent performances 

should make it a viable pickup for 

distributors specializing in exotic 

genre fare. 

Premiering in competition in 

the Critics’ Week sidebar, Bykov’s 

second feature, following 2010’s 

Live!, is also a one-man-band 

affair, with the filmmaker credited 

as writer, editor and composer, as 

well as playing a character who 

Sobolev (Shvedov) makes one mistake after another. 

gets an, er, major ass-whipping 

from various members of the local 

police force. So while there’s no 

doubt that the 32-year-old Bykov 

is committed to his art, he also 

overreaches in places — especially 

with the film’s excessive score — 

but otherwise shows a knack for 

building intense set pieces, including 

a nail-biting shootout that 

makes strong use of off-screen 

space and vivid sound design. 

Set within 24 hours, the action 

kicks off quickly enough with 

commander Sergey Sobolev 

(Denis Shvedov) racing his SUV 

across icy country roads to join his 

wife, who’s giving birth at a clinic 

in nearby Ryazan, a small city 

southeast of Moscow. Along the 

way, his car skids into a 7-yearold 

boy, killing him instantly. But 

rather than calling an ambulance 

or doing anything remotely 

reasonable, Sobolev takes the 

kid’s wailing mother, Irina (Irina 

Nizina), hostage and phones a fellow 

officer, Pasha (Ilya Isaev), to 

come and clean up the mess. 

What follows is a very long day 

of unethical policing, as Sobolev 

and Pasha try to cover up the 

accident. The bloody chain of 

events spirals further and further 

out of control, until Sobolev takes 

stock of his actions, leading to a 

denouement that pits him against 

the corrupt unit he has so desperately 

been trying to protect. 

Filmed with lots of gritty, 

over-the-shoulder camerawork, 

The Major is mostly a well-paced 

affair, even if Bykov misses some 

plot points (whatever happened 

to the wife?) and resorts to dramatic 

overkill in order to prove his 

point — basically that Russian law 

enforcement is one big drunken 

motherload of corruption. 

Alongside the solid, if rugged, 

tech credits, the performances are 

keyed up all the way through, with 

Nizina particularly explosive as 

the tormented mom and Isaev — 

who looks like a Slavic Matthias 

Schoenaerts — slick and scary as 

the ruthless, ball-busting Pasha. 

Critics’ Week 

Cast Denis Shvedov, Irina Nizina 

Director-screenwriter 

Yury Bykov 

99 minutes 

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Joe Oppenheimer (BBC Films), Ben Roberts (the BFI Film Fund) 

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plus film funders Lizzie Franke (BFI) and 

Katherine Butler (Film4) in discussion. 

Laurence Sargent from Sargent-Disc chairs a panel of experts 

talking international film finance opportunities. Panel includes 

Joseph Chianese (EP Financial Solutions), producers Pippa Cross 

(Leave To Remain) and Chris Curling (Last Station), Christian Baute 

from Headline Pictures (The Invisible Woman), Dominique Malet 

(Cofiloisirs), James Bramsden (Saffery Champness) and 

Milan Popelka (Film Nation). 

Angus Finney, PFM project manager, focuses on 

the financial landscape, budgeting and packaging. 

Director Ruairi Robinson and members of the 

cast and crew discuss re-defining the sci-fi genre. 

UK Film Council D4 051813.indd 1 

5/15/13 11:51 AM

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REVIEWS 

Marie (Bejo) and 

her boyfriend, Samir 

(Rahim), feel the 

tension once her 

estranged husband 

resurfaces. 

The Past 

Berenice Bejo shines in a superbly lensed in-competition 

drama from A Separation’s Asghar Farhadi 

BY DEBORAH YOUNG 

Iranian filmmaker Asghar Farhadi 

pursues his exploration of 

guilt, choice and responsibility 

in a superbly written, directed 

and acted drama that commands 

attention every step of the way. 

As in his previous work, the 

story is set within a family, and 

children once again are the main 

victims. Here, however, Farhadi’s 

nearly flawless screenplay forgoes 

the explosive shocks that electrified 

Fireworks Wednesday and 

About Elly and drove A Separation 

on to win the best foreign 

language Oscar. The Past plays 

like a low-key adagio in the hands 

of a masterful pianist, who knows 

how to give every note its just 

nuance and how every single 

phrase affects all the rest. A 

surprisingly dynamic, unsentimental 

central performance from 

The Artist’s charming Berenice 

Bejo should help audiences 

relate to the tale, which co-stars 

Ali Mosaffa and Tahar Rahim in 

fine performances. 

Though set in France, the story 

unfolds entirely in interiors, specifically 

a rambling house on the 

outskirts of Paris that is as full of 

doors and windows as the Tehran 

apartment of A Separation. At 

the request of his wife, Marie 

(Beho), from whom he’s been 

separated for four years, Ahmad 

(Mosaffa) returns from Iran to 

finalize their divorce. He doesn’t 

know what a hornet’s nest he’s 

walking into. Viewers are kept 

on their toes trying to figure out 

the tangle of adult relationships, 

which have left a trail of insecure 

children in their wake. 

Throughout most of the film, 

Ahmad is the calm, balanced 

observer who sees everything 

that’s going on with Marie, her 

new boyfriend, Samir (Tahar 

Rahim), and the three kids they 

live with. But even the good 

psychologist Ahmad holds some 

surprises in reserve. The children 

themselves are not innocent, not 

“free from stain” one might say, 

to touch on a major plot point. 

But from Farhadi’s POV they are 

always the losers in their parents’ 

battles. 

When Marie picks Ahmad up 

at the airport, their awkward distance 

instantly is defined by them 

talking through a thick wall of 

glass. The fact that she’s driving a 

borrowed car tips Ahmad off that 

there’s another man in her life, 

a fact soon confirmed by little 

Lea (Jeanne Jestin) and Fouad 

(Elyes Aguis). Instead of booking 

him into a hotel, Marie insists 

he stay in their house, quite an 

awkward thing with the handsome, 

morose Samir around. The 

two men do their best to shuffle 

civilly through their first meeting 

at breakfast. The tension in the 

household, however, gradually 

rises as ugly truths will out. 

Samir runs a dry cleaner not 

far from the pharmacy where 

Marie works. Fouad is his son 

by Celine, his French wife who 

has been in a coma for eight 

months. Fouad likes living at 

Marie’s house with his playmate 

Lea, despite the fact that Marie 

is nervous and fiery-tempered, 

going overboard with the kids 

when they misbehave. Ahmad, 

who turns out not to be anybody’s 

father, meanwhile has a wonderfully 

persuasive way with them, a 

talent that will draw him deeply 

into a hidden family drama worthy 

of Michael Haneke. 

He’s particularly close to 

the 16-year-old Lucie (Pauline 

Burlet), who has been acting very 

strangely lately, staying away 

from the house and brimming 

over with hostility for her already 

edgy mom. Marie charges him 

with finding out what’s wrong 

with the girl. Reluctantly, but 

with the skill of a TV detective, 

Ahmad investigates. There are 

a few red herrings, like Marie’s 

sprained wrist, which coupled 

with her violent temper strongly 

suggests child beating. Worse 

than physical violence, however, 

is the poisonous climate of adult 

secrets of which the teenage 

Lucie seems to be a part: Why 

is Samir’s wife in the hospital in 

a seemingly irreversible coma, 

for instance, and what is the role 

played by each of the characters 

in her tragedy? 

The most fascinating thing 

about the script is the way it 

gradually unpeels motivation 

without taking sides; in fact, 

neither Bejo’s unbridled mother 

and lover, Mosaffa’s distanced 

outsider who has abandoned the 

family, nor Rahim’s morose adulterer 

act outside normal social 

mores. At the same time, the 

drama — which in other respects 

could have been performed as a 

play — is brilliantly heightened by 

the camerawork of D.P. Mahmoud 

Kalari, lending an intimate 

intensity and symbolic punch to 

virtually every scene. 

In Competition 

Cast Berenice Bejo, Tahar Rahim, 

Ali Mosaffa, Pauline Burlet 


Asghar Farhadi 

130 minutes 


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REVIEWS 

Stranger by the Lake 

Writer-director Alain Guiraudie’s latest is a murderous love 

story whose serene setting hides a darker purpose 

BY JORDAN MINTZER 

Switching gears after several 

surrealist comic features and 

medium-length works, French 

filmmaker Alain Guiraudie delivers 

a dark and, at times, absorbing 

contemplation on love, sex, 

desire and murder with minimalist 

homoerotic drama Stranger 

by the Lake (L’Inconnu du Lac). 

Set entirely in one summery 

location, this story of a man’s 

infatuation with a local killer is 

at once lighthearted and gloomy, 

and despite some longueurs, it 

provides a powerful critique on 

the dangers of social isolation and 

carefree living. 

A veteran of the Cannes Directors’ 

Fortnight with such films 

as No Rest for the Brave and The 

King of Escape, Guiraudie’s been 

upgraded to Un Certain Regard 

this time, which could give 

this more somber effort better 

international exposure. Still, the 

story’s tricky subject matter and 

Franck 

(Deladonchamps) 

seeks male 

company. 

numerous sex scenes — some 

of them downright hardcore — 

may make it a tough sell beyond 

the LGBT fest and art house 

circuit, along with the usual 

Francophone outlets. 

Establishing the film’s breezy, 

lethargic tone (which may be 

too lethargic for some viewers) 

from the get-go, the action begins 

with a simple overhead shot of 

cars parked in the woods — a 

shot Guiraudie returns to several 

times, in varying degrees 

of meaning and intensity. Eventually, 

we’re introduced to a 

secluded beachfront beside a 

beautiful lake, which is occupied 

by a handful of men swimming, 

sunbathing in the buff, and then 

disappearing into the adjacent 

forest to engage in anonymous 

hookups and humping. 

One of them, Franck (Pierre 

Deladonchamps) reveals himself 

to be a particularly sweet and 

romantic guy, especially when 

it comes to his infatuation with 

Michel (Christophe Paou), a 

brawny Tom Selleck lookalike 

who spends his days doing laps 

around the pond. When Franck’s 

not gawking at Michel, he makes 

small talk with a lonely husband, 

Henri (Patrick D’Assumcao), 

who’s less interested in exploring 

his lakeside libido than in finding 

simple companionship with the 

other men. 

But the tranquil atmosphere 

quickly dissipates when, one 

evening, Franck sticks around 

later than usual and witnesses 

a young man’s drowning at the 

hands of Michel. The scene — a 

lengthy sundown sequence shot 

entirely from Franck’s point of 

view — is altogether transfixing, 

accompanied only by the sounds 

of flowing water and rustling 

leaves. It’s as if Guiraudie were 

suggesting that such an act could 

hold its own bizarre appeal, and 

indeed, instead of running to the 

cops, Franck decides to keep his 

mouth shut and soon strikes up a 

relationship with Michel. 

Shifting from coldblooded murder 

to carnal desire, the movie 

then focuses on the burgeoning 

relationship between the two 

men — one marked by several 

explicit lovemaking scenes, and 

Michel’s growing suspicion that 

Franck may be onto him. Meanwhile, 

nobody else at the lake 

seems to care much that one of 

its regulars has disappeared, and 

when a detective (Jerome Chappatte) 

starts snooping around, he 

observes their insouciant attitudes 

and at one point remarks 

aloud: “You have a funny way of 

loving each other.” 

It’s a strong indictment of a 

lifestyle that Guiraudie seems 

to both lionize and condemn, 

highlighting the bucolic beauty 

of the men’s nonchalant couplings 

while at the same time 

revealing how cut off from reality 

they truly are. Franck is clearly 

aware of this, but so caught up in 

his passion for Michel that he’s 

willing to keep up appearances, 

until the story shifts to a thrillerlike 

denouement which, with its 

knife-wielding finale, is strangely 

reminiscent of William Friedkin’s 

Cruising — another movie about 

gay decadence and serial killers, 

albeit one with a different agenda. 

Featuring pristine cinematography 

by Claire Mathon (Three 

Worlds) and delicately layered 

sound design by Nathalie Vidal 

(Beau Travail), Stranger by the 

Lake invites you into its alluring 

and peaceful world, only to 

gradually uncover the darkness 

beneath it. Likewise, the naturalistic 

performances are extremely 

calm, even friendly, which makes 

the events depicted all the more 

unsettling. As Henri, the sole 

outsider in this cloistered world, 

relative newcomer D’Assumcao 

provides the film’s most moving 

turn, serving as a silent watcher 

to a place whose moral compass 

has subtly spun out of control. 

Un Certain Regard 

Cast Pierre Deladonchamps, 

Christophe Paou 


Alain Guiraudie 

100 minutes 

Coldwater Canyon 

Estate 

Spectacular Panoramic Views 

of the Hollywood Hills 

4 Bedrooms and 4 Baths 

For information and private showings contact 

Elizabeth Jones 

tel: 714-403-4480 

fax: 714-459-8317 

e-mail: djfoundation@yahoo.com

REVIEWS 

The Selfish Giant 

Teen newcomers Conner Chapman and Shaun Thomas 

star in writer-director Clio Barnard’s effective addition to 

Britain’s social-realism tradition BY NEIL YOUNG 

Oscar Wilde may seem an 

unlikely inspiration for British 

writer-director Clio Barnard’s 

second feature, a grimy tale of 

youngsters growing up fast in 21st 

century urban Yorkshire, but as 

Wilde famously wrote, “We are all 

in the gutter, but some of us are 

looking at the stars.” 

An absorbing and moving tale 

loosely inspired by Wilde’s fable 

of the same title, it premiered in 

competition at the Directors’ Fortnight, 

where strong early reactions 

foretell a healthy life on the 

festival circuit. Limited British 

art house play will be buoyed by 

enthusiastic critical support, with 

overseas prospects perhaps strongest 

in France where audiences 

frequently are drawn to depictions 

of the U.K.’s working class 

Arbor (Chapman) 

steals copper 

from the national 

power grid. 

a la Ken Loach. While Barnard 

seldom strays from the subgenre’s 

well-established template, she 

finds a fresh angle involving the 

theft of copper from public places 

including railway lines. The soaring 

price of such metals in recent 

years has sparked a lucrative illicit 

trade revolving around scrapyards 

where such materials can 

be “fenced” with few questions 

asked. One such dealer is “Kitten” 

(Sean Gilder), into whose insalubrious 

orbit are drawn pals Arbor 

(Conner Chapman) and Swifty 

(Shaun Thomas), both around 13. 

Pint-sized motormouth Arbor 

and bigger, more reflective Swifty 

make for an unlikely but effective 

brain/brawn duo, and it’s apparent 

that each has skills that the 

rigidity of formal education isn’t 

able to harness. 

Forsaken opportunities and 

wasted resources, both human 

and otherwise, are the underlying 

themes of Barnard’s story, 

which relies for drama on the 

increasing hazardousness of 

Swifty and Arbor’s hunt for the 

near-ubiquitous precious metals. 

Relentlessly foul-mouthed in a 

manner that would make even 

David Mamet blush, both lads 

quickly emerge as entirely believable 

characters whose friendship 

rings consistently true on every 

level. Downton Abbey devotees will 

enjoy seeing Siobhan Finneran, 

devious maid Miss O’Brien, in a 

rather more sympathetic turn as 

Swifty’s mother. 

The Press notes’ reference 

to Gilder’s Kitten as the “selfish 

giant” of the title, however, 

doesn’t really tie in with Wilde’s 

fairy-tale at all. Indeed, the 

whole Wilde connection is at 

best unhelpful and at worst 

distracting. Then again, Barnard 

couldn’t really have gone down 

the traditional route of naming 

the movie after her protagonist, 

since livewire Arbor evidently was 

named by Barnard in honor of 

her own debut, the 2010 documentary 

The Arbor. That has to 

count as another needlessly 

perplexing touch in a film whose 

most consistent strength is its 

unvarnished directness. 

Directors’ Fortnight 

Cast Conner Chapman, 

Shaun Thomas 

Director-Screenwriter 

Clio Barnard 

91 minutes 

Melinda Sue Gordon/Warner Bros. 

Thank you 

Warner Bros. for choosing 

Tucson locations for The Hangover III 

filmTucson.com 

visitTucson.org 

Tucson Film Office D4 051813.indd 1 

5/15/13 5:16 PM

REVIEWS 

We Are What We Are 

A refreshingly mature genre entry about 

teen cannibal sisters tempers its gruesome bloodshed 

by wrapping it in serious-mindedness 

BY DAVID ROONEY 

In the deliciously seasoned genre 

treat We Are What We Are, director 

Jim Mickle and his screenwriting 

partner Nick Damici take the 

bones of the 2010 Mexican film of 

the same name, about a family of 

cannibals, and reassemble them 

into an entirely different creature. 

Exchanging impoverished urban 

anxiety for rural creepiness in 

upstate New York, this reimagining 

serves up chilling American 

Gothic that slowly crescendoes 

into an unexpected burst of gloriously 

pulpy Grand Guignol. You 

may never look at a bowl of beef 

stew the same way again. 

Picked up for U.S. release soon 

after its Sundance premiere by 

eOne Distribution, the film is that 

rare modern horror movie that 

The Parker kids 

contemplate dinner. 

doesn’t fabricate its scares with 

the standard bag of postproduction 

tricks. Instead it builds them 

via a command of traditional 

suspense tools — foreboding 

atmosphere, methodical plotting, 

finely etched characters and 

a luscious orchestral score that 

effectively plays against the ominous 

tone of some scenes while 

heightening the tension of others. 

One of Mickle and Damici’s 

smartest moves is to flip the 

gender of the surviving family 

figurehead. Instead of losing their 

father at the start of the movie, it’s 

the Parker kids’ mother (Kassie 

Depaiva) who dies in an accident 

while picking up groceries. 

That shifts the film’s dynamics 

to center on teenage sisters Iris 

(Ambyr Childers) and Rose (Julia 

Garner), who are expected to 

continue the woman’s role of preparing 

the family meal. Staging 

the most macabre element of the 

story in scenes that evoke classic 

American family tradition makes 

it all the more disturbing. 

Making the family a part of 

the community and not the usual 

isolated weirdos adds an interesting 

layer. This is particularly so 

with the girls, whose blond hair 

and alabaster skin give them an 

angelic appearance. Childers’ Iris 

shows the internal struggle of a 

girl who can picture a normal life, 

even if she somehow knows that 

prospect has been bred out of 

her nature. Garner — memorable 

in Martha Marcy May Marlene 

— has a watchful intensity that 

foreshadows her resourceful 

behavior when the situation grows 

more dangerous. 

The film was shot in locations 

still recovering in the wake of 

widespread flooding following 

Hurricane Irene in 2011. Cinematographer 

Ryan Samul casts a 

subtle graveyard gloom over the 

exteriors, bringing muted tones 

and a malevolent eye even to 

some gorgeous scenic shots. 

We Are What We Are sustains 

not only suspense, but also internal 

logic. Mickle and his collaborators 

have taken one of the more 

lurid horror subgenres, the predatory 

cannibal movie, and treated 

it with stylistic restraint, narrative 

integrity and even moments 

of gentle lyricism. 


Cast Bill Sage, Ambyr Childers, 

Julia Garner 

Director Jim Mickle 

105 minutes 

Off Camera D4 051813.indd 1 

5/10/13 5:24 PM

MONTECITO, CA | web: 0113609 | $28,000,000 

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REVIEWS 

Taiwan’s Singing 

Chen and South 

Korea’s Jero Yun 

collaborated on 

short film The Pig. 

Taipei Factory 

This collective shorts project unites young Taiwanese 

directors with filmmakers from across the globe 

BY STEPHEN DALTON 

A portmanteau project designed to help propel young Taiwanese 

film talent onto the world stage, Taipei Factory is bookending the 

Directors’ Fortnight program this year. A joint enterprise between 

the Taipei Film Commission and the Fortnight section organizers, 

this feature-length patchwork is composed of four short films, each 

co-directed by a Taiwanese filmmaker in partnership with a collaborator 

from outside the island. The intentions are noble enough, but 

the results are highly uneven, with little parity between the films in 

tone, theme or quality. This kind of collective promotional vehicle is 

tailor-made for festivals dedicated to new talent and Asian cinema, 

but commercial prospects outside Taiwan will be very limited. 

The opening and closing sections provide more or less conventional 

dramatic narratives, while the middle two are more experimental. 

A collaboration between Taiwan’s Singing Chen and South 

Korea’s Jero Yun, The Pig depicts the shared despair of an ageing 

showgirl and an impoverished farmer forced to sell his prize pig just 

as his neighborhood is being demolished for redevelopment. Silent 

Asylum by Taiwanese-Burmese filmmaker Midi Zhao and French 

actor-artist-director Joana Preiss combines harrowing docudrama 

testimony describing state oppression in Burma with Preiss reading 

somber poetry about Hiroshima. An important subject, but a bad 

fit for such an arty and mannered format. Equally underwhelming 

is A Nice Travel by Taipei director Shen Ko-shang and Chilean Luis 

Cifuentes, a jumble of episodes in the life of young woman as she 

prepares to leave Taiwan to get married in Chile. 

The best of the quartet is the closing chapter, Mr Chang’s New 

Address, by Taiwanese director Chang Jung-chi and his Iranian collaborator 

Alireza Khatami. This Kafkaesque fable follows a middleaged 

professional thrown into existential meltdown when his house 

disappears, leaving just a door at the end of his street. Layered with 

dark humor, this is the only film of the four likely to leave viewers 

wanting more. There unquestionably is budding talent on show 

here, but overall Taipei Factory feels like a cross-cultural experiment 

that gets lost in translation. 


Directors Singing Chen, Jero Yun, Midi Zhao, Joana Preiss, Shen Koshang, 

Luis Cifuentes, Chang Jung-chi, Alireza Khatami // 75 minutes 

NFVF D4 051813.indd 1 

5/15/13 11:50 AM

REVIEWS 


An exceptionally beautiful, if a bit fuzzy-headed, romantic 

Texas outlaw saga that announces a considerable talent in 

writer-director David Lowery BY TODD MCCARTHY 

A beautiful, densely textured 

elegy for outlaw lovers separated 

by their misdeeds, Ain’t Them 

Bodies Saints will serve most decisively 

to put director-writer David 

Lowery on the map as one of the 

foremost young standard-bearers 

of the Malick and Altman schools 

of impressionistic mood-drenched 

cinema. This poetically told Texas 

crime saga is deeply and, to be 

honest, naively sentimental at its 

core, which creates something 

of a drain on its seriousness. But 

it’s a constant pleasure to watch 

and listen to, and stars Rooney 

Mara and Casey Affleck both have 

strong scenes. To be sure, this is 

an out-and-out art film, one that 

looks to enjoy a measure of success 

on the festival circuit and in 

specialized release. 

Ruth (Mara) and Bob (Affleck) are 

separated by Texas lawmen. 

Saints begins with a messy 

shootout, after which the criminal 

team of Bob Muldoon (Affleck) 

and Ruth Guthrie (Mara) are led 

off, with Bob destined for prison 

and the pregnant Ruth let go. 

Set in the Texas hill country, 

probably in the very early 1970s 

based on the models of the cars, 

the film evokes a number of 

sympathetic outlaw classics made 

around that time, specifically Terrence 

Malick’s Badlands and Robert 

Altman’s McCabe & Mrs. Miller. 

Far more attention is given to 

the couple’s intense bond than to 

clarifying the nature of what just 

went down; piecing together tiny 

snippets of information discreetly 

released here and there, it would 

seem that a robbery led to a police 

raid for which Bob took the rap 

for a cop actually shot by Ruth. 

Lowery might parcel out key 

plot elements with great reluctance, 

but he manages to keep 

things interesting and even moderately 

gripping, partly because 

of the managed uncertainty over 

where everyone stands in relation 

to others. 

It all inevitably ends in gunplay 

and a measure of tragedy, but of 

the kind that literally and figuratively 

bleeds into the history 

and mythology of the West. This 

sort of fate has been idealized, 

poeticized, beautified and canonized 

countless times before in all 

manner of popular art forms, and 

Lowery buys into its lyric potential 

wholeheartedly. 

But that said, and for all its 

derivative poetics — as many 

exteriors as possible were shot 

during or just after magic hour, 

a la Malick — the film is a lovely 

thing to experience and possesses 

a measure of real power. 

Having played a really, really 

bad Texas bad guy in The Killer 

Inside Me three years ago, Affleck 

delivers a milder variation on 

one here, to stronger effect; one 

monologue he delivers to himself 

in a mirror is particularly striking. 

Pretty quiet through most of 

the film, Mara has a gravitas that 

makes her rewarding to watch 

no matter what, or how little, 

she’s doing. 

Critics’ Week 

Cast Rooney Mara, Casey Affleck, 

Ben Foster, Keith Carradine 


David Lowery 

104 minutes 

A PRIVATE COMPOUND WITH STELLAR VIEWS 

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Lovdeep Kaur China D4 051813.indd 1 

5/16/13 2:26 PM

Marina Cordoni, Vice President, Movies 

t 416.366.6588 x113 

e mcordoni@breakthroughentertainment.com 

www.breakthroughentertainment.com

24-27 JUNE • 2O13 

CENTRE CONVENCIONS INTERNACIONAL BARCELONA (CCIB) 

BARCELONA • SPAIN 

See your peers and meet important 

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BARCELONA 

TOP REASONS TO ATTEND CINEEUROPE 

• Preview important upcoming cinema releases for the European market 

• See exclusive product reels of films in development and production 

to make informed programming decisions 

• Find the products, services, technologies and concession items at the 

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2013 CANNES FESTIVAL SCREENING GUIDE 

TODAY 

8:30 Lumiere, Jimmy P., 

Competition, Ticket Required, 

France, 114 mins., Wild Bunch; 

Miramar, The Dismantling, 

Critic’s Week, Festival 

Badge, Canada, 111 mins., 

Entertainment One 

Films International 

9:00 Theatre Croisette, 

Blue Ruin, Directors Fortnight, 

Festival Badge, USA, 

95 mins., Memento Films 

International (MFI) 

11:00 Debussy, Grand 

Central, Un Certain Regard, 

Festival Badge, France, 

90 mins., Elle Driver 

11:30 Miramar, For Those in 

Peril, Critic’s Week, Festival 

Badge, United Kingdom, 

90 mins., Protagonist Pictures; 

Theatre Croisette, La Danza 

de la Realidad, Directors 

Fortnight, Festival Badge, 

France, 130 mins., Pathe 

International (FR); Theatre 

Croisette, La Danza de la 

Realidad, Directors Fortnight, 


130 mins., Pathe International 

(UK); Lumiere, Like Father, 

Like Son, Competition, 

Ticket Required, Japan, 

120 mins., Wild Bunch; 

Arcades 1, The Selfish Giant, 

Directors Fortnight, Festival 

Badge, United Kingdom, 

95 mins., Protagonist Pictures 

12:00 Salle du 60ème, 

The Past, Competition, 




14:00 Debussy, Bends, 

Un Certain Regard, Festival 

Badge, Hong Kong (China), 92 

mins., Distribution Workshop; 

Miramar, Programme Courts 

Metrages 1, Critic’s Week, 

Festival Badge, 90 mins., 

Semaine de la Critique 


L’assemblée des Cineastes, 


Badge, 110 mins., Quinzaine 

des Realisateurs 

15:00 Bazin, L’Inconnu du Lac, 


Badge, France, 105 mins., Les 

Films du Losange 



France, 114 mins., Wild Bunch 

16:30 Bunuel, The Lonely 

Wife, Cannes Classics, Festival 

Badge, India, 117 mins., RDB 

Entertainments Pvt. Ltd. 


Blue Ruin, Directors Fortnight, 

Festival Badge, USA, 



Flora Lau’s 

Bends 

17:00 Miramar, 

For Those in Peril, Critic’s 

Week, Festival Badge, 

United Kingdom, 90 mins., 

Protagonist Pictures; 

Debussy, Grand Central, 


Badge, France, 90 mins., 

Elle Driver; Salle du 60ème, 

Stop the Pounding Heart, 

Out of Competition, Festival 

Badge, USA, 101 mins., 

Doc & Film International 

17:15 Bazin, Miele, 


Badge, Italy, 100 mins., 

Cité Films 



France, 114 mins., Wild 

Bunch; Theatre Croisette, 

Jodorowsky’s Dune, Directors 

Fortnight, Festival Badge, 83 

mins., Snowfort Pictures, Inc. 


The Last Emperor 3D, Cannes 

Classics, Festival Badge, 

United Kingdom, Hanway Films 

19:30 Bunuel, The Big Feast, 

Cannes Classics, Festival 


Roissy Films 

20:00 Miramar, Ain’t Them 

Bodies Saints, Critic’s Week, 

Festival Badge, USA, 90 mins., 

The Weinstein Company 


La Danza de la Realidad, 



Pathe International (FR); 

Theatre Croisette, La Danza 

de la Realidad, Directors 


France, 130 mins., Pathe 

International (UK) 

22:00 Miramar, For 

Those in Peril, Critic’s 



Protagonist Pictures; 

Lumiere, Like Father, 

Like Son, Competition, 


120 mins., Wild Bunch 

22:15 Debussy, Bends, Un 

Certain Regard, Festival Badge, 

Hong Kong (China), 92 mins., 

Distribution Workshop 


A Touch of Sin, Competition, 

Festival Badge, China, 133 

mins., MK2 S.A; Arcades 1, 

The Congress, Directors 

Fortnight, Festival 

Badge, Israel, 122 mins., 

The Match Factory 

24:30 Lumiere, Monsoon 

Shootout, Out of Competition, 

Ticket Required, India, 88 

mins., Fortissimo Films 

TOMORROW 

8:30 Lumiere, Borgman, 


Netherlands, 113 mins., 

Fortissimo Films; Miramar, 

For Those in Peril, Critic’s 



Protagonist Pictures 


Ilo Ilo, Directors Fortnight, 

Festival Badge, Singapore, 



11:00 Debussy, 

The Missing Picture, 



Films Distribution 

11:30 Arcades 1, Ain’t 

Misbehavin, Festival Badge, 

France, 106 mins., Wide 

House; Arcades 1, Ain’t 

Misbehavin, Directors 


France, 106 mins., Wide 

House; Lumiere, Inside 

Llewyn Davis, Competition, 

Ticket Required, USA, 110 

mins., Studiocanal; Salle du 

60ème, Like Father, Like Son, 

Competition, Festival Badge, 

Japan, 120 mins., Wild Bunch; 

Miramar, The Lunchbox, 

Critic’s Week, Festival Badge, 

India, 104 mins., The Match 

Factory; Theatre Croisette, 

Tip Top, Directors Fortnight, 


106 mins., Rezo 

13:00 Bazin, Bends, Un Certain 

Regard, Festival Badge, 


Distribution Workshop 

14:00 Debussy, 

Death March, Un Certain 

Regard, Festival Badge, 

Philippines, 110 mins., 

Versatile; Salle du 60ème, 

Monsoon Shootout, 

Out of Competition, Festival 

Badge, India, 88 mins., 

Fortissimo Films 


Stop Over, Directors 


Switzerland, 100 mins., 

Doc & Film International 

14:30 Lumiere, Borgman, 


Netherlands, 113 mins., 

Fortissimo Films 

15:00 Miramar, 

Ain’t Them Bodies Saints, 


Badge, USA, 90 mins., 

The Weinstein Company 

16:00 Bunuel, 

Fedora - Remastered, 


Badge, Germany, 110 mins., 

Global Screen GMBH 


PROMOTION 

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Source: comScore, March 2013 


FESTIVAL SCREENING GUIDE 


Bite The Dust, Out of 


Russia, 101 mins., Versatile; 

Debussy, The Missing Picture, 





Ilo Ilo, Directors Fortnight, 

Festival Badge, Singapore, 


International (MFI); Miramar, 

The Lunchbox, Critic’s Week, 

Festival Badge, India, 104 

mins., The Match Factory 

19:00 Lumiere, Inside 

Llewyn Davis, Competition, 

Ticket Required, USA, 

110 mins., Studiocanal 

19:15 Salle Du 60Eme, 

Bombay Talkies, Out Of 

Competition, Festival 

Badge, 130 mins., Viacom18 

Motion Pictures 

19:30 Bunuel, Queen 

Margot, Cannes Classics, 



(FR); Bunuel, Queen 

Margot, Cannes Classics, 



(UK); Theatre Croisette, 

Tip Top, Directors Fortnight, 


106 mins., Rezo 

20:00 Miramar, Programme 

Courts Metrages 1, Critic’s 

Week, Festival Badge, 90 

mins., Semaine De La Critique 

21:30 Bazin, Grand 

Central, Un Certain Regard, 



22:00 Lumiere, 

Borgman, Competition, 

Ticket Required, Netherlands, 

113 mins., Fortissimo Films; 

Salle Du 60Eme, Jimmy P., 


France, 114 mins., Wild Bunch; 

Theatre Croisette, Stop Over, 


Badge, Switzerland, 100 mins., 

Doc & Film International; 





22:30 Arcades 1, Ugly, 

Directors Fortnight, 

Festival Badge, India, 


24:30 Lumiere, 

Blind Detective, Out Of 

Competition, Ticket 

Required, Hong Kong (China), 

130 mins., Media Asia Film 

MONDAY 5/20 

8:30 Bunuel, 

Les Rencontres D’apres 

Minuit, Critic’s Week, 


Guillaume Canet’s 

Blood Ties 

90 mins., Films Boutique; 

Lumiere, Shield Of Straw, 


Japan, 116 mins., Celluloid 

Dreams/Nightmares; 






The Summer Of Flying 

Fish, Directors Fortnight, 

Festival Badge, Chile, 110 

mins., Alpha Violet 

11:00 Debussy, Omar, 


Badge, Palestine, 98 mins., 

The Match Factory; Bunuel, 

The Last Of The Unjust, 

Out Of Competition, 


225 mins., Le Pacte 

11:30 Lumiere, Blood 

Ties, Out Of Competition, 

Ticket Required, USA, 

44 mins., Wild Bunch; Arcades 

1, Blue Ruin, Directors 


USA, 95 mins., Memento 

Films International (MFI); 

Theatre Croisette, Me 

Myself And Mum, Directors 


85 mins., Gaumont; 

Miramar, The Owners, 


Badge, Argentina, 95 mins., 



Borgman, Competition, 

Festival Badge, Netherlands, 

113 mins., Fortissimo Films 

14:00 Debussy, As I Lay 

Dying, Un Certain Regard, 

Festival Badge, USA, 120 mins., 

Nu Image/Millennium Films; 

Miramar, Programme Courts 

Metrages 2, Critic’s Week, 


Semaine De La Critique; 

Bazin, The Missing Picture, 





Inside Llewyn Davis, 


USA, 110 mins., Studiocanal 

14:30 Theatre Croisette, The 

Last Days On Mars, Directors 


United Kingdom, Focus 

Features International 

15:00 Bunuel, Talents Cannes 

2013, Festival Badge, 90 mins., 

Festival De Cannes 

16:00 Lumiere, A Castle In 

Italy, Competition, Ticket 

Required, France, 103 mins., 

Films Distribution; Palais K, 

New Chinese Film Talents, 


Champs Lis International Ltd. 

16:30 Debussy, Omar, 


Badge, Palestine, 98 mins., 



Blind Detective, Out Of 



Media Asia Film 

17:00 Bazin, Death March, 


Badge, Philippines, 110 mins., 

Versatile; Bunuel, Gruppo Di 

Famiglia In Un Interno, 


Badge, 90 mins., Festival De 

Cannes; Miramar, The Owners, 


Argentina, 95 mins., The Match 

Factory; Theatre Croisette, 

The Summer Of Flying Fish, 

Directors Fortnight, 

Festival Badge, Chile, 110 

mins., Alpha Violet 

19:00 Lumiere, Blood Ties, 

Out Of Competition, 

Ticket Required, USA, 144 

mins., Wild Bunch 


Me Myself And Mum, 


Badge, France, Gaumont; 

Salle du 60ème, Seduced 

And Abandonned, Out Of 


USA, 95 mins., Hanway Films 

20:00 Bunuel, 

Hiroshima My Love, 


Badge, 92 mins., Festival 

De Cannes; Miramar, 

Les Rencontres D’apres 

Minuit, Critic’s Week, 


90 mins., Films Boutique; 

Debussy, As I Lay Dying, Un 

Certain Regard, Festival Badge, 

USA, 120 mins., Nu Image/ 

Millennium Films; Theatre 

Croisette, The Last Days 

On Mars, Directors Fortnight, 

Festival Badge, United 

Kingdom, Focus Features 

International; Miramar, 

The Owners, Critic’s Week, 

Festival Badge, Argentina, 

95 mins., The Match Factory 

22:30 Arcades 1, 

Jodorowsky’s Dune, 


Badge, 83 mins., Snowfort 

Pictures, Inc.; wLumiere, 

Shield Of Straw, Competition, 


116 mins., Celluloid 

Dreams/Nightmares 

TUESDAY 5/21 

8:30 Lumiere, Behind 

The Candelabra, 

Competition, Ticket 

Required, USA, 118 mins., 

HBO (Home Box Office); 

Miramar, The Owners, 


Argentina, 95 mins., 



A Strange Course Of 

Events, Directors Fortnight, 


98 mins., MK2 S.A 


STUDIO BABELSBERG 

OUR REFERENCES TELL THE STORY 

20 SOUND STAGES • EXCEPTIONAL PRODUCTION SERVICES • HIGH-QUALIT Y 

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Currently in Production: 

The Monuments Men 

(directed by George Clooney) 

The Grand Budapest Hotel 

(directed by Wes Anderson) 

The Book Thief 

(directed by Brian Percival) 

The Voices 

(directed by Marjane Satrapi)

MARKET SCREENING GUIDE 

TODAY 

8:30 Olympia 4, Default, No 

Press, Buyers Only, USA, 87 

mins, Wild Bunch 

9:15 Star 2, Trustnordisk 

Promo Screening, No 

Press, Buyers Only, 30 mins, 

Trustnordisk 

9:30 Palais B, A Lucky Man, 

South Africa, 87 mins, 7 & 

7 Producers’ Sales Service 

Ltd.; Palais I, A Touch of 

Sin, Competition, China, 133 

mins, Mk2 S.a; Gray 2, Ass 

Backwards, USA, 90 mins, 

Premiere Entertainment 

Group; Riviera 4, Ate Ver 

a Luz, Directors Fortnight, 

No Press, Buyers Only, 

Switzerland, 95 mins, 

Udi - Urban Distribution 

International; Star 3, Back 

in Crime, France, 100 mins, 

Memento Films International 

(Mfi); Gray 4, Gallowwalkers, 

United Kingdom, 90 mins, 

Vmi Worldwide; Arcades 1, 

How I Live Now, Invite Only, 


Protagonist Pictures; Olympia 

7, Jappeloup, France, 130 

mins, Pathe International (Fr); 

Arcades 3, Jesus Loves Me, 

Germany, 100 mins, Global 

Screen Gmbh; Star 1, Mood 

Indigo, France, 130 mins, 

Studiocanal; Palais J, Scatter 

My Ashes at Bergdorf’s, USA, 

90 mins, Fortissimo Films; 

Lerins 1, Suzanne, Critic’s 

Week, France, 90 mins, 

Films Distribution; Star 4, 

The Anderssons in Greece, 

Sweden, 95 mins, Sola Media 

Gmbh; Palais D, The Film 

to Come, France, 83 mins, 

Wide; Palais F, The Ganzfeld 

Experiment, USA, 86 mins, 

Bleiberg Entertainment LLC; 

Riviera 2, The Good Lie, 

Canada, 90 mins, Filmoption 

International 

9:45 Palais G, Finding 

Mr. Right, USA, 90 mins, 

Vision Films 

10:00 Riviera 3, 3D Knight 

Rusty, Germany, 85 mins, 

Sola Media Gmbh; Palais C, 

A Chair on the Plains, Japan, 

139 mins, Toei Company, Ltd.; 

Palais K, Beta Cinema Promo 

Reel, Germany, 110 mins, Beta 

Cinema; Gray 1, Capturing 

Dad, Japan, Fortissimo Films; 

Olympia 9, Emanuelle and the 

Truth About Fishes, USA, 95 

mins, Myriad Pictures; Riviera 

1, Family Matters, France, 80 

mins, Other Angle Pictures; 

Palais E, Let Me Survive, 


Filmsharks Int’l; Gray 5, Mona, 

Iceland, 94 mins, Princ Films; 

Star 2, Paris Countdown (Le 

Jour Attendra), France, 90 

mins, Gaumont ;Olympia 6, 

Patrick, Australia, 100 mins, 

Bankside Films; Olympia 8, 

Pour une Femme, No Press, 

France, 111 mins, Europacorp; 

Olympia 5, Space Warriors, 

USA, 100 mins, Content 

Media Corporation; Gray 3, 

The Evolution of Stem Cell 

Research, USA, 90 mins, Red 

Sea Media Inc.; Olympia 3, 

Too Late, USA, 110 mins, 

Tf1 International 

10:15 Olympia 4, Haunter, No 

Press, Buyers Only, USA, 97 

mins, Wild Bunch 

11:30 Lerins 1, A Stranger 

in Paradise, USA, 82 mins, 

Cinema Management 

Group LLC; Riviera 4, App, 

Netherlands, 80 mins, High 

Point Media Group; Gray 4, 

Carmina or Blow Up, Spain, 

71 mins, Cinema Republic; 

Palais J, Cerro Torre — A 

Snowball’s Chance in Hell, 

Austria, 94 mins, Red Bull 

Media House; Gray 2, Dragon 

Girls, Germany, 93 mins, 

Attraction Distribution; Palais 

B, Echo of Fear, Mexico, 90 

mins, Dc Medias ;Star 4, Heli, 

Competition, Mexico, 105 

mins, Ndm; Palais H, Hidden 

Beauties, France, 100 mins, 

Other Angle Pictures ;Riviera 

3, Holiday, Ecuador, 100 

mins, Consejo Nacional De 

Cinematografía Del Ecuador; 

Palais F, Inside Tennessee, 

110 mins, Acting International; 

Palais D, Last Call, Mexico, 92 

mins, Latinofusion; Arcades 3, 

The Famous Five 2, Germany, 

92 mins, Beta Cinema; Star 

3, The Motel Life, USA, 87 

mins, Independent 

12:00 Gray 3, 5 Senses of 

Fear, USA, 110 mins, Screen 

Media; Olympia 5, An End 

to Killing, China, 110 mins, 

Fortissimo Films; Gray 5, Ana’s 

Film, Austria, 94 mins, Icaic 

- Productora Internacional; 

Palais G, Big Sur, USA, 81 

mins, Visit Films; Arcades 2, 

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94 mins, Le Pacte; Olympia 

3, Cheap Thrills, USA, 85 

mins, Films Distribution; 

Palais E, Everything for Sale, 

Iran, 90 mins, Farabi Cinema 

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Victor, United Kingdom, 90 

mins, The Works International; 

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and the Midas Box, Spain, 

99 mins, Dreamcatchers; 

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Screening, 110 mins, 

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Jump, Ireland, 102 mins, 

Global Screen Gmbh; Riviera 

1, The Man Behind the Mask, 

Mexico, 108 mins, Mexican 

Film Institute (Imcine) 

12:10 Olympia 4, Smart Ass, 

No Press, Buyers Only, France, 

88 mins, Wild Bunch 

12:30 Palais C, Osamu 

Tezuka’s Buddha 2-Promo, 

Japan, 70 mins, Toei 

Company, Ltd. 

13:30 Palais J, Bottled Up, 

USA, 85 mins, Film Sales 

Company; Gray 4, Brecha 

En el Silencio, Venezuela, 

90 mins, Centro Nacional 

Autonomo De Cinematografia 

(Cnac); Lerins 1, Cavemen, 

USA, 100 mins, Lightning 

Entertainment; Arcades 1, 

Celluloid Private Screening, 

Invite Only, 116 mins, Celluloid 

Dreams / Nightmares; Palais 

F, Le Groupe Esra, 110 mins, 

Esra - Cote D’azur; Riviera 4, 

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Films Boutique; Star 4, May 

in the Summer, USA, 100 

mins, Elle Driver; Palais B, My 

Stuff, Finland, 80 mins, Rise 

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2, Puppy Love, Belgium, 85 

mins, Latido; Gray 2, Scenic 

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Entertainment Group; Palais D, 

The Last Death, Mexico, 104 

mins, Multivisionnaire Pictures; 

Palais H, The Returned, Invite 

Only, Spain, 100 mins, Filmax 

International; Arcades 3, 

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98 mins, Arri Worldsales; 

Star 3, We Are What We Are, 

No Press, Buyers Only, USA, 

100 mins, Memento Films 

International (Mfi) 

14:00 Olympia 4, A Strange 

Course of Events, Directors 

Fortnight, No Press, Buyers 

Only, France, 98 mins, Mk2 S.a; 

Palais E, A Cradle for Mother, 

Iran, 80 mins, Farabi Cinema 

Foundation; Palais I, A Pride 

of Lions, Canada, 100 mins, 

Visit Films’ 

Big Sur 

Moonstone Entertainment 

/ Prestige Films; Riviera 1, 

A Song for Mama, France, 

90 mins, Snd - Groupe M6; 

Olympia 7, Almost Christmas, 

97 mins, Hanway Films; Gray 

5, Bipolar, Buyers Only, USA, 

81 mins, Guildhall Pictures; 

Riviera 3, Combustion, 

Spain, 102 mins, Film Factory 

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Films; Olympia 5, Floating 

Skyscrapers, Poland, 93 mins, 

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Name of Sherlock Holmes, 

Hungary, 99 mins, Hungarian 

National Film Fund; Olympia 

6, Nothing Left to Fear, No 

Press, USA, 100 mins, Content 

Media Corporation; Gray 1, 

Open Grave, USA, 102 mins, 

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Redemption, France, 110 

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mins, Doc & Film International; 

Palais G, Waylands Song, 


Yellow Affair Oy 

15:00 Riviera 2, Inferno 3D, 

No Press, Hong Kong, 5 mins, 


GermanFilms18May_THR_THR_German-Films 24.04.13 11:05 Seite 1 

NEW GERMAN FILMS 

IN CANNES 2013 

SATURDAY, 18 MAY 

09:30 h ARCADES 3 

JESUS LIEBT MICH 

JESUS LOVES ME 

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102 min 

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FÜNF FREUNDE 2 

THE FAMOUS FIVE 2 

Mike Marzuk 

93 min 

Sales: Beta Cinema 

…………………………… 


DIE VAMPIRSCHWESTERN 

VAMPIRE SISTERS 

Wolfgang Groos 

98 min 

Sales: ARRI Worldsales 

…………………………… 


ZUM GEBURTSTAG 

A PACT 

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85 min 

Sales: Global Screen 

…………………………… 


SCHUTZENGEL 

GUARDIANS 

Til Schweiger 

128 min 

Sales: Action Image 

…………………………… 


ON AIR 

Carsten Vauth & Marco J. Riedl 

95 min 

Sales: PPP On Air Pictures 

GERMAN PAVILION · #125 · INTERNATIONAL VILLAGE 

phone +33-(0)4-92 59 01 80 · fax +33-(0)4-92 59 01 81 


Universe Films Distribution Co. Ltd; 

Riviera 2, The White Storm, No Press, 

Hong Kong, 5 mins, Universe Films 

Distribution Co. Ltd 

15:30 Arcades 3, A Pact, Germany, 

90 mins, Global Screen Gmbh; Palais 

F, Actor? A Documentary, USA, 77 

mins, Db Rich Productions; Arcades 

1, Bite the Dust, Out Of Competition, 

Russia, 101 mins, Versatile; Gray 4, 

Hansel and Gretel & the 420 Witch, 

USA, 86 mins, Jinga Films; Palais B, 

Riot on Redchurch Street, United 

Kingdom, 90 mins, Moviehouse 

Entertainment; Palais D, Snails in the 

Rain, Israel, 85 mins, Wide; Palais 

J, The Domino Effect, Netherlands, 

96 mins, Arri Worldsales; Star 4, The 

Hidden Child, No Press, Buyers Only, 

Sweden, 109 mins, Trustnordisk; 

Lerins 1, The International Criminal 

Court, Germany, 100 mins, Global 

Screen Gmbh; Riviera 2, The Summer 

of Flying Fish, Directors Fortnight, No 

Press, Buyers Only, Chile, 110 mins, 

Alpha Violet; Riviera 4, The Third Half, 

Macedonia, 90 mins, The Little Film 

Company; Gray 2, There Will Come a 

Day, Italy, 90 mins, Elle Driver; Palais 

H, Thesis on a Homicide, Spain, 102 

mins, Latido 

16:00 Olympia 3, 21 Ways to Ruin a 

Marriage, Finland, 89 mins, Yellow 

Affair Oy; Riviera 1, 3X3D, Critic’s 

Week, No Press, Buyers Only, Portugal, 

100 mins, Udi - Urban Distribution 

International; Arcades 2, African 

Safari 3D, Belgium, 110 mins, 

Studiocanal; Olympia 6, Asphalt 

Playground, France, 99 mins, Tf1 

International; Palais K, Code Red, 

Bulgaria, 100 mins, Outsider Pictures; 

Lerins 2, Contracted, USA, 80 mins, 

Arclight Films; Olympia 8, Deepsea 

Challenge 3D, No Press, USA, 40 

Alpha Violet’s 

The Summer of 

Flying Fish 

mins, Panorama; Riviera 3, Films 

Distribution Promo, France, 110 

mins, Films Distribution; Palais G, Five 

Thirteen, USA, 95 mins, Lightning 

Entertainment; Olympia 2, Legends of 

Oz: Dorothy’s Return, No Press, USA, 

110 mins, Summertime Entertainment; 

Palais I, Love Love Love, France, 90 

mins, Les Mures Sauvages; Olympia 5, 

Marius, 94 mins, Pathe International 

(Fr); Palais E, Musth, Mexico, 95 mins, 

Canibal Networks; Star 2, Short Term 

12, USA, 96 mins, Memento Films 

International (Mfi); Palais C, Steins; 

Gate Déjà Vu in the Load Area, Japan, 

89 mins, Kadokawa Shoten Co., Ltd; 

Gray 1, Stranded, Canada, 90 mins, 

Cinemavault; Olympia 4, The Boy Who 

Smells Like Fish, Canada, 91 mins, 6 

Sales; Star 1, The Last Days, No Press, 

Buyers Only, Spain, 101 mins, Wild 

Bunch; Olympia 7, The Machine, United 

Kingdom, 100 mins, Content Media 

Corporation; Gray 3, The Noble Family, 

Mexico, 102 mins, Filmsharks Int’l; Gray 

5, Under the Nagasaki Sky, Japan, 98 

mins, Open Sesame Co, Ltd 

17:15 Arcades 3, Guardians, Germany, 

128 mins, Action Concept Gmbh 

17:30 Palais D, Ain’t Misbehavin, 

France, 106 mins, Wide House; Palais 

F, And They Call It Summer, Italy, 

97 mins, Reel Suspects; Gray 2, Evil 

Feed, Canada, 101 mins, Wtf; Palais B, 

In the Name of the Son, Belgium, 80 

mins, Intramovies; Star 3, Life Deluxe, 

No Press, Buyers Only, Sweden, 120 

mins, Trustnordisk; Star 4, Michael H. 

Profession: Director, Austria, 90 mins, 

Films Boutique; Palais J, Milo, USA, 85 

mins, Aldamisa; Lerins 1, Montage, 

South Korea, 125 mins, Finecut Co. Ltd.; 

Riviera 4, Much Ado About Nothing, 

USA, 109 mins, Kaleidoscope Film 

Distribution Ltd; Gray 4, The Perfect 

German Films D4 051813.indd 1 

5/15/13 11:49 AM



3:30PM GRAY 4 

SCREENING TOMORROW (SUNDAY) 

5:30PM GRAY 4 

WWW.JINGAFILMS.COM 

JINGA FILMS 

RIVIERA E - 7 

INFO@JINGAFILMS.COM 

TEL: 00 44 7765 398 742 

Wave, South Africa, 90 mins, American 

Cinema International; Riviera 2, The 

Pin, Canada, 83 mins, Scythia Films Inc. 

17:45 Star 2, The Past, Competition, 

France, 130 mins, Memento Films 

International (Mfi) 

18:00 Star 1, 11.6, France, 100 mins, 

Wild Bunch; Palais C, Detective in the 

Bar, Japan, 120 mins, Toei Company, 

Ltd.; Olympia 5, Fanny, 102 mins, 

Pathe International (Fr); Palais K, 

Frankenstein’s Army, Netherlands, 

84 mins, Mpi Media Group; Lerins 2, 

Go for Sisters, USA, 122 mins, Cinema 

Management Group LLC; Riviera 

3, Harmony Lessons, Kazakstan, 

120 mins, Films Distribution; Palais 

E, Headsome, USA, 82 mins, Nova 

Automatics Production; Palais G, 

Johnny Christ, France, Cinemavault; 

Gray 1, Metro, Russia, 126 mins, 

Planeta Inform Film Distribution; Palais 

I, Oh Boy, Germany, 85 mins, Beta 

Cinema; Riviera 1, Pororo: The Racing 

Adventure, South Korea, 77 mins, CJ 

E&M Corporation / CJ Entertainment; 

Gray 3, Rock N Roll Over, France, 86 

mins, Giallo Queens Pictures; Olympia 

3, The Battle of the Sexes, USA, 87 

mins, Goldcrest Films International; 

Palais H, The Europa Report, USA, 

90 mins, Sierra / Affinity; Gray 5, Time 

Scoop Hunter, Japan, 102 mins, Gaga 

Corporation; Olympia 6, Zarra’s Law, 

No Press, Buyers Only, USA, 80 mins, 

Snapper Films Oy 

19:30 Arcades 3, On Air, Germany, 95 

mins, Ppp Onair Pictures Gmbh 

20:00 Star 3, 100 Bloody Acres, 

Australia, 92 mins, The Works 

International; Arcades 1, 2 Automnes 

3 Hivers, Acid, France, 90 mins, Acid; 

Palais F, Berlin -7, Iran, 98 mins, Visual 

Media Institute; Riviera 4, Big Bad 

Wolves, Israel, 104 mins, 6 Sales; Palais 

J, Jan Dara: The Finale, Thailand, 138 

mins, Sahamongkolfilm International 

Co. Ltd.; Riviera 2, Redemption, China, 

110 mins, G.w Pictures Co., Ltd; Palais 

D, Sweet 16, Canada, 76 mins, Id 

Communications Inc.; Palais H, Viva la 

Liberta, 94 mins, Rai Trade 

20:30 Riviera 3, I’m Going to Change 

My Name, Armenia, 104 mins, Reflexion 

Films; Riviera 1, In Their Skin (A.k.a 

Replicas), Canada, 95 mins, Celluloid 

Dreams / Nightmares; Arcades 2, Media 

Asia Promo Reel, 59 mins, Media Asia 

Film; Palais E, Vulture, Poland, 133 mins, 

New Europe Film Sales 

22:30 Riviera 1, Antisocial, Canada, 90 

mins, Breakthrough Entertainment Inc. 

TOMORROW, 5/19 

9:00 Star 4, A Touch of Sin, 

Competition, China, 133 Mins., Mk2 S.A 

9:15 Lerins 1, A Boy Called H, Japan, 

122 Mins., Toho Co., Ltd.; Gray 2, The 

Devil’s Path, Japan, 128 Mins., Nikkatsu 

Corporation 

9:30 Palais B, Day of the Flowers, 

United Kingdom, 100 Mins., Imagina 

International Sales; Palais F, Left 

Over, France, 82 Mins., Wide; Palais D, 

Memories They Told Me, Brazil, 100 

Mins., Imovision; Palais D, Memories 

They Told Me, Brazil, 100 Mins., Cinema 

Do Brasil; Star 3, Teenage, USA, 90 

Mins., The Works International; Palais H, 

The Boy Who Smells Like Fish, Canada, 

91 Mins., 6 Sales; Star 1, The Congress, 

Directors Fortnight, Israel, 122 Mins., The 

Match Factory; Riviera 2, Three Hours, 

Germany, 100 Mins., Arri Worldsales; 

Arcades 3, Uvanga, Canada, 90 Mins., 

Kunuk Cohn Productions; Riviera 4, 

Yugo and Lala, China, 80 Mins., Golden 

Network Asia Ltd 

9:45 Palais G, Ask This of Rikyu, Japan, 

123 Mins., Toei Company, Ltd.; Olympia 

4, Celluloid Private Screening, 116 

Mins., Celluloid Dreams / Nightmares; 

Olympia 5, Jimmy P., Competition, 

France, 114 Mins., Wild Bunch 

10:00 Riviera 3, 60 Going On 12, France, 

89 Mins., Pyramide; Olympia 3, A Whole 

Lott More, USA, 90 Mins., Goldcrest 

Films International; Palais K, Allez, 

Eddy!, Belgium, 97 Mins., Global Screen 

Gmbh; Arcades 2, Death March, Un 

Certain Regard, Philippines, 110 Mins., 

Versatile; Lerins 2, Dirty Weekend, 

United Kingdom, 90 Mins., The Little Film 

Company; Gray 5, For Sale, Cuba, 95 

Mins., Icaic - Productora Internacional; 

Palais I, La Jaula de Oro, Un Certain 

Regard, No Press, Buyers Only, Mexico, 

102 Mins., Films Boutique; Palais E, 

Let Me Survive, United Kingdom, 95 

Mins., Filmsharks Int’l; Gray 4, Longing 

Nights, Spain, 70 Mins., The Open Reel; 

Olympia 6, Oggy and the Cockroaches, 

France, 80 Mins., Films Distribution; 

Riviera 1, Shopping Tour, Russia, 73 

Mins., Dc Medias; Olympia 7, The Big 

Bad Wolf, France, 97 Mins., Other Angle 

Pictures; Gray 1, The Mysterious Boy, 

Croatia, 88 Mins., Croatian Audiovisual 

Centre; Palais C, Wajma, An Afghan 

Love Story, Afghanistan, 85 Mins., Doc & 

Film International 

Jinga Films D4 051813.indd 1 

5/16/13 2:25 PM

MEET ME at the 

NEW AMERICAN PAVILION 

TODAY AT THE AMERICAN PAVILION 


GETTING YOUR FILM TO 

MARKET: MARKETING + 

DISTRIBUTION TIPS FROM 

THE EXPERTS 

Ryan Werner 

Marian Koltai-Levine, PMK-BNC 

Michael Benaroya, CEO, Benaroya Pictures 

Lisa Perkins, VP, International Marketing & Publicity, Exclusive Media 

Moderated by Dana Harris, Editor-in-Chief, Indiewire 


DIGITAL HOLLYWOOD 

Col Needham, Founder & CEO, IMDb 

Jonathan Marlow, Co-founder/Chief Content Officer, Fandor 

Steve Beckman, FilmBuff 

Amy McGee, ZEFR/Movieclips.com 

Moderated by Kevin Winston, Digital LA 

TOMORROW, MAY 19 


AMERICAN DIRECTORS 


Jim Mickle, We Are What We Are 

David Lassiter, The Opportunist 

David Lowery, Ain’t Them Bodies Saints 

James Toback, Seduced and Abandoned 

Moderated by Aaron Hillis, 

Video Free Brooklyn 

MONDAY, MAY 20 

11:00 AM | INDUSTRY IN FOCUS: 

FINANCING A FILM IN 2013 

Nick LoPiccolo, Paradigm 

Peter Trinh, ICM Partners 

Deborah McIntosh, WME 

Paul Miller, Film Financing, Doha Film Institute 

Bill Lischak, Co-President of OddLot 

Entertainment 

Moderated by Pamela McClintock, 

The Hollywood Reporter 


STATE OF THE INDIE 

FILM INDUSTRY 

Tom Quinn, Radius-TWC 

Michael Sugar, Anonymous Content 

Rena Ronson, UTA 

Jim Berk, Participant Media 

John Cooper, Sundance Institute 

Moderated by Pete Hammond, 

Deadline Hollywood 

TUESDAY, MAY 21 


AMERICAN PRODUCERS 


David Lancaster, Only God Forgives 

Nick Schumaker, We Are What We Are 

Jay Van Hoy and Lars Knudsen, 


Emily Wachtel, Shepard & Dark 

Moderated by Scott Macaulay, 

Filmmaker Magazine, @FilmmakerMag 


MUSIC IN FILM 

Cliff Martinez, Composer, Only God Forgives 

Gingger Shankar, Composer, 


Moderated by Thom Powers, TIFF 

9:00 PM–12:00 AM 

THE AMERICAN PAVILION 

25TH ANNIVERSARY PARTY 

Cash Bar—Featuring The Joe Stilgoe Trio 

WEDNESDAY, MAY 22 


RANDY QUAID 

Moderated by Logan Hill 


WILL FORTE (NEBRASKA) 

Moderated By Kyle Buchanan, Vulture 

THURSDAY, MAY 23 

3:00 PM | SPECIAL FILM 

CRITICS PANEL: 

IN HONOR OF ROGER EBERT 

Michael Phillips, Chicago Tribune 

Kenneth Turan, LA Times 

Eric Kohn, IndieWire 

Moderated by Annette Insdorf, 

Director of Undergraduate Film Studies, 

Columbia University 

10:30AM–1:00PM 

STUDENT FILMMAKER 

SHOWCASE 

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8 Decades of The Hollywood Reporter 

The most glamorous and memorable moments from a storied history 

As an explanation for her 

behavior, a French friend said 

Adjani (here in May 1983) 

was in a “state of panic 

at the crowds and especially 

the camera lenses. Her 

fragility became tangible.” 

It was Isabelle Adjani vs. the shutterbugs at the 1983 fest 

THE 1983 PREMIERE 

of Merry Christmas, 

Mr. Lawrence, a POW 

drama starring David 

Bowie, “began under virtual 

siege,” wrote The Hollywood 

Reporter, “as armed riot police 

used dogs, billy clubs and tear 

gas” against a group of about 

300 medical students protesting 

proposed changes in their school 

system. More subtle was the protest 

photographers made against 

Isabelle Adjani. The actress, who 

had been honored at Cannes in 

1981 for her roles in Quartet and 


Possession, declined to attend 

both the press conference and 

the photocall for competition 

entry L’Ete Meurtrier (One Deadly 

Summer), in which she starred as 

a woman seeking revenge for the 

rape of her mother. In response, 

Cannes’ photographers laid 

their cameras at their feet when 

Adjani, then 27, arrived for the 

film’s premiere. It wouldn’t be 

Adjani’s last run-in with the 

press. An absence from the 

public eye in the late 1980s led 

the French media to speculate 

the actress had AIDS; rumors 

that she had died began to circulate. 

In 1987 she appeared on 

television to prove she was alive 

and well. A tempestuous liaison 

with the equally reclusive Daniel 

Day-Lewis followed. Their sixyear 

relationship (which the 

Lincoln Oscar winner reportedly 

ended by fax) produced a son, 

Gabriel-Kane Day-Lewis, now 18. 

All the drama didn’t hamper her 

career, however. She was nominated 

twice for Academy Awards, 

returned to Cannes as jury president 

in 1997 and won five French 

Cesar awards, including most 

recently in 2010 for La Journee 

de la Jupe, about a teacher who 

takes her students hostage. 

— BILL HIGGINS 

FRANCOIS LOCHON/GAMMA-RAPHO VIA GETTY IMAGES

DUBAI 

A WORLD OF 

LOCATIONS 

IN ONE CITY 

VISIT US AT CANNES FILM FESTIVAL 2013 

TO LEARN ABOUT DUBAI’S UNIQUE INCENTIVES 

FIND US AT THE UAE PAVILION – 136 INTERNATIONAL VILLAGE 

info@dubaifilmcommission.ae • Tel: +971 4 360 2022 • Fax: +971 4 391 6648 • P.O. Box 53777 • Dubai, UAE 

Dubai Film and TV Commission 

@filmdubai 

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CANNES - The Hollywood Reporter

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