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CANNES 

DAILY 

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MAY 15, 2015 

THR.COM/CANNES

MAY 15, 2015 

THR.COM/CANNES CANNES №3 

CANNES 

WEATHER 

AND HIGH 

TEMPS 

TODAY 

75° F 

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TOMORROW 

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THERON: AP PHOTO/THIBAULT CAMUS. 

Thurman 

Joins Up With 

The Brits 

by Pamela McClintock 

Uma Thurman is set to star 

in The Brits Are Coming, a broad 

comedy about an eccentric, 

no-good British couple who 

flee to Los Angeles and plot a 

jewel theft. 

Kristin Chenoweth also will 

star in the movie, which Cassian 

Elwes, filmmaker J.C. Chandor, 

Robert Ogden Barnum and Will 

Clevinger are producing. 

James Oakley, a protege of 

Chandor’s, will direct. Oakley’s 

other directing credits include 

The Devil You Know, starring 

Rosamund Pike, Lena Olin and 

Jennifer Lawrence. Oakley is set 

to start shooting The Brits Are 

Coming in July from a script he 

co-wrote with Alex Michaelides. 

Further casting on the project 

is underway. 

CONTINUED ON PAGE 4 

Is Mad Max 

Oscar Worthy? 

By Gregg Kilday 

At the official press 

screening on May 14 of 

Mad Max: Fury Road, the 

audience broke into spontaneous 

applause three times during 

the course of the film. With 

94 reviews currently tallied on 

Rottentomatoes.com, it’s racked 

up an enthusiast 99 percent 

approval rating. Any other movie 

From left: Margaret Sixel, 

director George Miller, 

Charlize Theron, Nicholas 

Hoult, Zoe Kravitz, producer 

Doug Mitchell and Courtney 

Eaton at the screening of the 

film Mad Max: Fury Road. 

Can Black Films Go Global? 

Once considered a tough sell overseas, projects featuring African-American characters 

and themes are starting to break through. ‘There’s been a sea change,’ says one insider 

By Tatiana Siegel and Scott Roxborough 

The 68th Cannes Film Festival is being hyped 

as the year of the woman. But it might also 

be aptly dubbed the year of the black film. 

Given the slew of projects being shopped at the 

Cannes film market that features black narratives 

— notably a Barack Obama-inspired love 

story Southside With You, Chiraq (Spike Lee’s 

reimagining of the Greek comedy Lysistrata), 

Jeff Nichols’ Loving, about an interracial couple 

in the 1950s and spoof film Fifty Shades of Black 

from Marlon Wayans — as well as Rick Famuyiwa’s 

Dope playing in the Directors’ Fortnight section of 

the festival, there are signs that fare once deemed 

ice cold in international markets is heating up. 

For years, the prevailing thinking has been that 

films with black casts don’t generate money outside 

the U.S. Think Like a Man, Get On Up and an About 

Last Night remake all made less than 5 percent of 

their worldwide box-office overseas. 

But Oscar best picture winner 12 Years a Slave 

made an astounding 70 percent of its $188 

million worldwide box office in international 

territories. And this year’s best picture nominee 

Selma made a promising 22 percent of its 

$67 million worldwide haul overseas. 

Stuart Ford’s IM Global, which is handling sales 

on Southside, Chiraq and Fifty Shades, is particularly 

bullish. Buoyed by the international success of his 

company’s The Butler, which surprised with 

CONTINUED ON PAGE 4 CONTINUED ON PAGE 4 

Ford 

MAD MAX 

HITS THE 

RED CARPET 

THE HOLLYWOOD REPORTER 3 

Map legend 

Offices 

Studios 

GLOBAL PRODUCTION SERVICES 

UK Tel: +44 (0)1753 656767 | US Tel: +1 310 244 3770 | www.pinewoodgroup.com 

PW_Hollywood Reporter_strip Ad_FRI.indd 1 13/05/2015 09:35 

Pinewood D3 051515.indd 1 

5/13/15 11:07 AM

theREPORT 

HEAT INDEX 

FIVE PROJECTS HOPING TO BREAK THE INTERNATIONAL COLOR BARRIER 

ROD PARADOT 

The young lead in Emmanuelle Bercot’s 

festival opener Standing Tall got a 

standing ovation from the crowd for his 

portrayal of a troubled teenager, drawing 

rave reviews across the board. 

NAOMI KAWASE 

The Japanese helmer underwhelmed 

reviewers with her Un Certain Regard 

opener An. The Guardian called it 

“a preposterous and overly sentimental 

opener,” while THR called it “too frail 

and cloying.” 

KNOW YOUR DEALMAKER 

Southside With You Parker 

Sawyers will play a young Barack 

Obama in a love story that 

chronicles the early days of the 

future president’s relationship 

with Michelle Obama. (IM Global) 

Black Films 

CONTINUED FROM PAGE 3 

$60 million overseas, Ford says 

the tide is changing. 

“There’s been a sea change in 

audience taste in popular culture 

right across the board in the past 

few years,” he says. “We see multicultural 

films as a big opportunity 

in the marketplace.” 

Ford says Fifty Shades already 

has sparked bidding wars in four 

territories — including Latin 

America, Italy and Germany — 

just one day into the market. 

Despite the strong showing of 

black films at Cannes, buyers 

expressed skepticism. “Anything 

that’s not big with broad appeal 

is hard to sell in this market,” 

says Alexander van Dulmen of A 

Company, who buys films for 

Chiraq Samuel L. Jackson is 

attached to star in Spike Lee’s 

musically-themed reimagining 

of the Greek comedy Lysistrata, 

set in the gang-plagued streets of 

Chicago. (IM Global) 

Loving follows the true story of 

an interracial couple in the 1950s 

who were sentenced to prison for 

marrying. Ruth Negga will star. 

(CAA is repping domestic; Wild 

Bunch International) 

Russia and Eastern Europe. 

“Having a black cast on top of 

that doesn’t help matters. It’s 

not as much about the appeal of 

black stars as the genre. If Will 

Smith started making urban social 

dramas in North Carolina, people 

would [say], ‘Who’s Will Smith?’ ” 

Sellers, too, questioned whether 

black films are becoming more 

palatable to global audiences. 

“It’s absolutely still the case 

that a black cast is harder to 

sell internationally,” says Pascal 

Brono, president of sales group 

Conquistador Entertainment. 

“People say, ‘They’re all racists,’ 

but it’s not the case. There just 

aren’t any black people in Japan, 

there aren’t many native black 

people in Italy or Spain. It’s not 

that they are racist. There’s just 

no cultural comparison for them.” 

Fifty Shades of Black Spoof 

man Marlon Wayons is back with 

a parody of Fifty Shades of Grey. 

He is writing, producing and will 

star in the sendup of the boxoffice 

sensation. (IM Global) 

Historically, one of the reasons 

why distributors have been 

cautious with African-American 

movies is the cost of marketing 

needed to reach audiences in 

countries without large black or 

African immigrant communities, 

particularly Asia. But as the distribution 

model evolves overseas 

and the emphasis on traditional 

theatrical revenues is softening, 

companies like IM Global are 

finding greater opportunity to 

monetize this content. In a more 

digital universe, it’s becoming 

easier to target an audience with 

niche content and cheaper to 

release overall. 

“I’m finding that distributors 

are increasingly open to this 

type of content,” Ford 

says. “I wouldn’t be doing this 

if it weren’t profitable.” 

JASON CONSTANTINE 

LIONSGATE, PRESIDENT OF 

ACQUISITIONS AND CO-PRODUCTIONS 

Lionsgate has hit the Croisette 

running this year, acquiring Oscar-bait 

drama Genius, starring Colin Firth, 

and teaming up with Roadside to nab 

Gus Van Sant’s competition title The 

Sea of Trees, starring Oscar winner 

Matthew McConaughey. 

MEANWHILE, IN THE REAL WORLD … 

• Harry Shearer said his contract 

on The Simpsons would not be 

renewed amid a dispute. 

• Samuel L. Jackson will play a 

biochemistry professor in Simon 

West’s remake of 1958’s The Blob. 

• The House of Representatives 

voted in favor of the USA 

Freedom Act, which would 

end the NSA’s bulk collection 

of Americans’ phone records, 

as revealed by whistleblower 

Edward Snowden. Senate 

backing would make it law. 

Mad Max 


bowing here in 

Cannes to that sort 

of swooning reception 

would 

be immediately 

hailed as a real 

Oscar contender. 

George Miller’s 

action epic faces 

an uphill battle. Never mind that the critics are 

piling superlatives on the movie, in which Tom 

Hardy in 

Mad Max: 

Fury Road 

Hardy steps into the biker boots originally worn by 

Mel Gibson: The New York Times’ A.O. Scott complimented 

Miller on his “great action filmmaking.” 

And THR’s Todd McCarthy called it a “madly entertaining 

new action extravaganza.” 

But Fury Road still has to overcome the fact 

that it has genre-movie roots, even if Miller has 

upped the imaginative ante and also given his 

series a feminist makeover with the addition of 

Charlize Theron’s woman warrior Furiosa. For the 

Academy rarely takes genre movies seriously. 

Thurman 


Fortitude International, the foreign sales 

company founded by Barnum, Nadine de Barros and 

Daniel Wagner, is representing international rights 

and will launch the project to buyers at the Cannes 

Film Market, which is now underway. 

The storyline follows Harriet (Thurman) and Peter 

Fox, who travel to L.A. to avoid paying a large debt to 

a notorious gangster after a failed poker game. With 

the gangster hot on their trail, the pair schemes to 

win back the money by executing a jewel-theft 

operation involving Peter’s ex-wife and her 

new husband, Gabriel. Chenoweth will play 

Gabriel’s pill-popping assistant, Gina. 

“Uma Thurman is a gifted actress who 

excels in all genres and will showcase 

her comedic skills in The Brits Are 

Coming, a hugely entertaining and 

hilarious script,” said Barnum. “Kristin 

Chenoweth is the perfect counterpart 

given her undeniable wit and charm, 

which has been on display across televi- 

sion, film and stage productions.” 

Thurman 

THE HOLLYWOOD REPORTER 4

theREPORT 

Natalie Portman: 

Busiest Woman 

in Cannes 

By Pamela McClintock 

Is Natalie Portman the 

new Nicolas Cage? In the 

past week, four movies 

have been announced with 

the Oscar-winning actress 

attached, all coming on the 

eve of her directorial debut, 

A Tale of Love and Darkness, 

which makes its world premiere 

May 16 at Cannes. 

Or, put another way, the 

actress wasn’t kidding when 

she told THR in a recent 

interview she’s eager to 

return to acting. “I 

don’t think I’ll stop 

unless I’m made to 

by lack of opportunity,” 

she said. 

As with Cage, 

whose name tends 

to pop up in connection 

with multiple market titles, 

lack of opportunity isn’t the 

issue. The question is which of 

the four projects actually will 

get made, and in what order. 

On May 14, word broke that 

Portman will portray Jackie 

Kennedy in Jackie, which Wild 

Bunch is shopping at Cannes. 

From Chilean director Pablo 

Larrain (No), the film follows 

the first four days after 

the 1963 assassination of 

President John. F. Kennedy. 

Portman also is in talks 

to star as U.S. Supreme Court 

Justice Ruth Bader Ginsberg 

in On the Basis of Sex. Focus 

Features is in negotiations 

to finance and distribute in 

North America. 

Then there’s Planetarium, 

co-starring Lily Rose Depp, 

daughter of Johnny Depp. 

Portman and Depp would 

play spiritualist sisters in the 

drama, directed by French 

filmmaker Rebecca Zlotowski. 

Finally, Portman is in 

negotiations to star in 

Annihilation, a postapocalyptic 

horror adventure from 

Alex Garland (Ex Machina), 

which tells the story of a 

biologist who’s embarking on 

a four-person expedition 

into Area X, a territory cut off 

from civilization. 

Portman 

Weinstein Drops 

Early Oscar Hınts 

By Gregg Kilday 

In what has become an annual 

Cannes tradition, Harvey 

Weinstein summoned press 

and buyers to the Majestic on the 

evening of May 14 for a preview 

of The Weinstein Co.’s upcoming 

movies, at which the mogul also 

laid down a couple of markers for 

2015 Oscar consideration. The 

presentation included trailers 

for 10 Weinstein Co. movies, two 

From left: Ossard, Rossellini and THR’s Belloni. 


of them competition films, Carol 

and Macbeth, and a brief glimpse 

of Quentin Tarantino’s The Hateful 

Eight. “We’ve been together 22 

years,” Weinstein said of his 

relationship with the filmmaker. 

“It’s the best marriage I’ve had. 

Don’t tell [my wife] Georgina.” 

Weinstein hailed Jake 

Gyllenhaal, a member of this 

year’s jury, for his performance 

in Antoine Fuqua’s boxing movie 

Southpaw, saying “his transformation 

is physically stunning.” 

Before inviting the actor to the 

stage, he added, “I thought he 

should have got nominated last 

year” for Nightcrawler, vowing, 

“We’ll get revenge.” 

Noting that Hands of Stone, the 

boxing movie about Roberto Duran 

that TWC just acquired, will be 

released in the spring, he boasted, 

“it’s a lot better than that Pacquiao 

fight we saw, way better.” 

The mogul also introduced jury 

member Sienna Miller, who stars 

opposite Bradley Cooper in the 

culinary drama Adam Jones, and 

current “It” girl Alicia Vikander, 

who stars in the period drama 

Tulip Fever and makes a cameo in 

Adam Jones. Weinstein promised, 

“These are three people you are 

going to be hearing extraordinary 

things about.” 

Director Defends Controversial Winehouse Doc 

Amy has been condemned by the singer’s father, who ‘felt sick when I watched it’ By Rebecca Ford 

Asif Kapadia did more than 100 interviews with 

80 people — friends, family and colleagues 

of the late singer Amy Winehouse — for his documentary 

Amy, about the iconic singer-songwriter. 

But it wasn’t easy. 

“The biggest challenge initially was getting people 

to talk,” he tells THR of the film, which A24 will 

release in the U.S. on July 10. “It was a painful, 

recent memory. People hadn’t come to terms or dealt 

with what happened.” 

Kapadia, who had the support of Winehouse’s 

music label Universal on the intimate film, would 

usually bring the subject of his interview into a 

recording studio, just the two of them, and speak to 

him or her in a small room with a microphone and 

the lights off. “We’d just talk in the dark,” he says. 

“For many of them, it was a form of therapy to get 

things off their chest.” 

Kapadia says the interviews were tough, but no one 

ever walked out and there were never any blowups 

while they were talking about the life of the singer, 

From left: 

Harvey 

Weinstein, 

Gyllenhaal, 

Miller and 

Vikander at the 

May 14 preview. 

ROSSELLINI KICKS 

OFF KERING TALKS 

The inaugural “Women in Motion” talks got started Thursday with a 

spirited discussion with Isabella Rossellini and French producer Claudie 

Ossard (Amelie) about aging in Hollywood and why there’s a lack of 

female representation behind the camera. “Is it so horrible to grow old?” 

Rossellini asked when an audience member suggested that advances in 

special effects technology could keep an actress forever young onscreen. 

“I don’t know why there is this attention on youth,” added the former 

face of Lancome cosmetics. 

The series of talks, which mark a partnership between THR and luxury 

goods giant Kering, will run throughout the 68th Cannes Film Festival. 

Held in a penthouse suite of the Majestic Hotel, the conversation was 

moderated by THR executive editor Matthew Belloni. — TATIANA SIEGEL 

who died in 2011 at age 27 from alcohol 

poisoning. Winehouse’s family, 

including her father, Mitch Winehouse, 

who was interviewed extensively, 

first saw a cut of the film in late 2014. 

Winehouse 

But in April, just two weeks before 

the film would premiere in Cannes in a midnight 

screening May 16, the Winehouse family chose to 

“disassociate” itself from the film. 

“I felt sick when I watched it for the first time. 

Amy would be furious,” said Mitch, who also accused 

the filmmakers of not sampling enough people from 

Winehouse’s life and blaming him for her addictions. 

But Kapadia says he’s tried to keep the focus of the 

film on Winehouse’s talent and passion for music. 

“My angle was to make a film that was honest 

and truthful to Amy,” he says. “There was a lot of 

tension, a lot of voices around her that made it 

difficult for her to deal with issues. I think that is 

difficult for people to see because it’s turning the 

mirror around.” 

WEINSTEIN: ANDREAS PROST.

theREPORT 

The Jury: Who They 

Are, How They’ll Vote 

Led by quirky bro-teurs Joel and Ethan Coen, the panel of 

directors, actors and one global-music wild card will judge the 

most open competition in years By Scott Roxborough 

THE PRESIDENTS 

The Coen Brothers 

Joel and Ethan Coen, now directing 

the Hollywood satire Hail, 

Caesar!, do everything together 

— write and direct, collect four 

Oscars (for Fargo and No Country 

for Old Men) and win the Palme 

d’Or (Barton Fink) and Grand 

Prix (Inside Llewyn Davis) at 

Cannes. So these two voices of 

experience (Joel is 60; Ethan, 57) 

naturally are jointly serving as 

Cannes jury president, a role that 

never before has been shared. 

The vaunted idiosyncratic Coen 

sensibility could bode well for 

independent-minded auteurs such 

as France’s Jacques Audiard and 

Greece’s Yorgos Lanthimos. 

THE SPANISH ROSE 

Rossy de Palma 

Jury watchers can hope 

that this double Goya Awards 

nominee, a Spanish cinema 

icon, might bring some drama 

to this year’s deliberations. 

Michel Franco’s Chronic, about a 

home-care nurse working with 

terminally ill patients, could 

move this Pedro Almodovar 

muse (de Palma, now 50, starred 

in several of his first hits). 

THE RISK-TAKER 

Jake Gyllenhaal 

Though he’s dabbled with 

attempted blockbusters (Prince 

of Persia, anyone? Anyone?), 

Gyllenhaal, 34, is most noted for 

deep dives into roles that would 

scare some actors away (Donnie 

Darko, Brokeback Mountain) but 

made him an Oscar nominee. 

Since he worked with the similarly 

fearless Denis Villeneuve on 

Prisoners, this would seem to load 

the deck in favor of the Canadian 

director’s Cannes entry, Sicario. 

But Gyllenhaal also could favor 

actor-friendly Gus Van Sant’s 

The Sea of Trees. 

THE RISING STAR 

Sienna Miller 

The American-born British 

actress, a Golden Globe, BAFTA, 

Independent Spirit and 

Critics’ Choice nominee, caught 

Cannes’ eye last year with her 

performance in best director 

winner Bennett Miller’s Foxcatcher. 

Starring opposite Bradley Cooper 

in American Sniper sent Miller, 33, 

to the top of casting agents’ lists, 

and playing the gun moll of mobster 

Whitey Bulger (Johnny Depp) in 

Black Mass will boost her profile. 

From left: Ethan Coen, Sophie Marceau, Rossy de Palma, Guillermo del Toro, Rokia Traore, 

Xavier Dolan, Sienna Miller, Jake Gyllenhaal and Joel Coen. 

She could favor a serious female 

performance: Marion Cotillard in 

Justin Kurzel’s Macbeth or Cate 

Blanchett or Rooney Mara 

in Todd Haynes’ Carol. 

THE HITMAKER 

Guillermo del Toro 

The Oscar-nominated writer 

and BAFTA-winning director of 

Pan’s Labyrinth — who at 50 has 

shown he knows his way around a 

franchise (three Hellboys, Pacific 

Rim and its planned sequel) — 

could go for Matteo Garrone’s Tale 

of Tales, said to feature a similar 

mix of the real and the fantas tic. 

But the director of Crimson Peak 

might instead favor the lineup’s 

only genre title: Hou Hsiao-hsien’s 

martial arts movie The Assassin. 

THE LOCAL HEROINE 

Sophie Marceau 

National loyalty might dictate that 

the Cesar Award-winning French 

star and onetime 007 villainess 

could back one of the four 

homegrown titles in competition. 

Marceau, 48, also could help to 

double Cannes’ female Palme d’Or 

winner total by casting her vote 

for Mon Roi by Maiwenn or Valerie 

Donzelli’s Marguerite and Julien. 

THE WUNDERKIND 

Xavier Dolan 

Complicated mother-child relationships 

have been at the core of 

every Dolan film, something that 

could mean good news for Nanni 

Moretti’s Mia Madre, about a director 

in an existential crisis trying to 

deal with the loss of her mother. 

The 26-year-old Canadian, who has 

had films in Directors’ Fortnight, 

Un Certain Regard and the main 

competition, also might favor the 

only first-time feature director in 

competition this year, Hungarian 

Laszlo Nemes (Son of Saul). 

THE CHANTEUSE 

Rokia Traore 

Cannes’ most cosmopolitan 

juror, world music star Traore, 

41, was born in Mali but spent 

a nomadic childhood traveling 

across Africa, Europe and the 

Middle East. Her music, too, 

draws inspiration from all over. Jia 

Zhang-Ke’s Mountains May Depart, 

which moves from rural 1990s 

China to a futuristic Australia 

in 2025, could appeal. But since 

Traore recently collaborated with 

Toni Morrison on her Shakespeareinspired 

Desdemona, she might also 

stump for Kurzel’s Macbeth. 

Exclusive 

First Look 

Chris Noth in Chronically Metropolitan 

Mr. Big, better known as Chris Noth, turns to the written word in Chronically Metropolitan, starring as a successful novelist known as 

much for his antics as for his prose. In Xavier Manrique’s film, Shiloh Fernandez plays Noth’s son, who returns to New York to reclaim his lost 

love (Pretty Little Liars’ Ashley Benson) but unbeknownst to him, she’s engaged to another. 13 Films will be showing footage in Cannes. 

TWC Picks Up De Niro 

Boxing Pic Stone 

The Weinstein Company has closed 

a deal for U.S. distribution rights to 

Hands of Stone, starring Edgar Ramirez. 

Venezuelan helmer Jonathan Jakubowicz 

directed the film, which centers on the 

life of boxer Roberto Duran and his 

mentor and trainer Ray Arcel, who is 

played by Robert De Niro. It’s a fitting 

landing for the project, given that 

Jakubowicz himself is an acolyte of 

Robert Rodriguez, who has long-standing 

ties to Harvey and Bob Weinstein. 

The deal calls for the film, which also 

features Usher as Duran’s opponent Sugar Ray 

Leonard, to be released on 2,000 screens. The 

move also marks the first major acquisition 

at the Cannes Film Market for The Weinstein 

Co., which has been relatively quiet on 

the festival circuit for the past year. 

De Niro 


Cannes Office LERINS: STAND R-19 

WWW.AMBIDISTRIBUTION.COM

theREPORT 

CANNESDEALS 

KA-CHING! 

WHO’S INKING 

ON THE DOTTED LINE 

AT THE FESTIVAL 

China’s Wanda Pictures to Distribute 

Fantasy Pic Ghouls Via AMC in U.S. 

By Clifford Coonan 

Chinese real estate and entertainment giant 

Wanda underlined its global ambitions 

in Cannes on Thursday, unveiling plans 

to distribute its big-budget tomb-raiding 

movie The Ghouls in the U.S. in the cinemas 

of exhibitor AMC Entertainment, which it 

acquired in 2012. 

The conglomerate’s Wanda Pictures unit 

will leverage the AMC theater chain to distribute 

the VFX-heavy movie internationally, 

with an added push from IM Global. 

Directed by one of China’s hottest directors, Wuershan, 

and with a big-name cast that includes Shu Qi, Chen 

Kun, Huang Bo, Angelababy and Xia Yu, The Ghouls is 

based on a series of online fantasy adventure novels 

written by Zhang Muye, which have sold 9 million copies. 

While the movie’s success in China is assured, 

Wanda, owned by China’s richest man, Wang Jianlin, 

hopes that it can use its ownership of 

the second biggest U.S. theater chain (more 

than 5,000 screens) to make the movie 

an international success. 

Jerry Ye, vice president of Wanda Culture 

Industry Group, told attendees at a presentation 

in Cannes that he is confident the film 

can find an audience overseas despite 

the fact that China has never produced a hit 

Wang on the global film market. “You’ve seen 

the trailer — it’s got a great cast. I think it 

will be very successful overseas. We will of course promote 

this overseas,” he said. “Our international sales partner is 

IM Global, and we also have the full support of AMC now.” 

Ye told THR that Wanda already has sold The 

Ghouls in Taiwan (CMC), the Philippines (MVP), Singapore 

(Shaw), Indonesia (Cinemaxx), Vietnam (BHD) 

and Thailand (International Production Associates). 

eOne Sells Spotlight in 

Multiple Territories 

Entertainment One has sold the 

Catholic Church scandal drama 

Spotlight, which stars Mark 

Ruffalo, Michael Keaton, Rachel 

McAdams, Liev Schreiber and 

Stanley Tucci, to a raft of international 

territories. Among other 

deals, Sony Pictures Worldwide 

Acquisitions took it for Latin 

America, Scandinavia, most 

of Eastern Europe, the Middle 

East and more. Spotlight is based 

on the true story of a childabuse 

scandal in Boston. Open 

Road is the U.S. distributor. 

Sony Classics Nabs U.S. 

Rights to Little Sister 

Hirokazu Koreeda’s competition 

title Our Little Sister has been 

acquired for North America 

by Sony Pictures Classics. The 

story, based on a manga comic, 

centers on three sisters who are 

getting to know their half-sibling 

after their father’s funeral. 

Wild Bunch handled the sale. 

Sheehan Joins Steinfeld 

in Probability 

Robert Sheehan (Mortal 

Instruments) has been cast as the 

male lead in Dustin Lance Black’s 

The Statistical Probability of Love 

at First Sight opposite Hailee 

Steinfeld. They play two people 

who meet in the waiting area 

at New York’s JFK airport. The 

Exchange is offering the film to 

international buyers in Cannes. 

Youth 

Searchlight Takes 

Sorrentino’s Youth 

Fox Searchlight has picked up 

North American rights to 

Youth, the competition entry 

from Paolo Sorrentino, the Italian 

director behind the Oscarwinning 

The Great Beauty. 

Sackhoff Boards 

Don’t Knock Twice 

Battlestar Galactica star Katee 

Sackhoff has signed on for supernatural 

horror film Don’t Knock 

Twice. Caradog James will direct 

the project, which will be sold in 

Cannes by Content Media. 

Paramount Home 

Media Goes for Ashby 

Paramount Home Media 

Distribution has acquired rights 

to coming-of-age dramedy Ashby 

for North America as well as 

a number of other markets, 

including the U.K., Germany, 

Latin America and Australia. 

Mickey Rourke, Nat Wolff (The 

Fault in Our Stars), Sarah 

Silverman and Emma Roberts 

(American Horror Story) star in 

the film. 


theREPORT 

THR AT CANNES 

PRESIDENT/CHIEF CREATIVE OFFICER 

Janice Min | janice.min@thr.com 

EXECUTIVE 

EDITOR 

Matthew Belloni 

matthew.belloni@thr.com 

DEPUTY EDITORIAL 

DIRECTOR 

Alison Brower 

alison.brower@thr.com 

PHOTO & VIDEO DIRECTOR 

Jennifer Laski | jennifer.laski@thr.com 

DESIGN DIRECTOR 

Peter B. Cury | peter.cury@thr.com 

NEWS 

Kevin Cassidy 

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

Gary Baum 

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

Clifford Coonan 

clifford.coonan@thr.com | +86 186 1019 3168 

Rebecca Ford 

rebecca.ford@thr.com | +1 925 788 0507 

Chris Gardner 

chris.gardner@thr.com | +1 323 706 2632 

Gregg Kilday 

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

Pamela McClintock 

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

Rhonda Richford 

rhonda.richford@gmail.com | +33 6 522 39334 

Alex Ritman 

alex.ritman@thr.com | +33 7 897 67693 

Scott Roxborough 

scott.roxborough@thr.com | +49 172 587 5075 

Tatiana Siegel 

tatiana.siegel@thr.com | +1 310 998 7212 

Georg Szalai 

georg.szalai@thr.com | +44 77 7137 0103 

REVIEWERS 

Jon Frosch | jon.frosch@thr.com 

Todd McCarthy | toddmccarthy1@gmail.com 

Deborah Young | dyoung@mclink.it 

David Rooney | drooney@nyc.rr.com 

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PHOTO & VIDEO 

Chelsea Archer | chelsea.archer@thr.com 

Stephanie Fischette 

stephanie.fischette@thr.com 

ART & PRODUCTION 

Jennifer H. Levin | jennifer.levin@thr.com 

Kelsey Stefanson | kelsey.stefanson@thr.com 

Kelly Jones | kelly.jones@thr.com 

EXECUTIVE VICE PRESIDENT, 

GROUP PUBLISHER 

Lynne Segall | lynne.segall@thr.com 

SALES & MARKETING 

Alison Smith 

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

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Hidden 

GEM 

McQueen spent months 

shooting authentic racing 

footage for Le Mans. 

Steve McQueen Finally Makes His Cannes Debut 

Co-director Alan Clarke discovered a treasure trove of new footage for his 

chronicle of the star’s doomed passion project, 1971’s Le Mans By Alex Ritman 

Steve McQueen, still unquestionably 

cinema’s king of 

cool more than 30 years 

after his death, never had a single 

film in Cannes. Until now. 

Billed almost too tantalizingly 

as “Bullitt meets Senna,” the documentary 

Steve McQueen: The Man 

& Le Mans captures our iconic 

antihero at a turning point in his 

life. Having become arguably the 

biggest name in the U.S. thanks to 

The Magnificent Seven, Bullitt and 

The Thomas Crown Affair, reaching 

the sort of celebrity status never 

seen before, McQueen then went 

off to create his passion project, 

1971’s Le Mans, capturing the 

intensity of France’s legendary 

24-hour endurance race. The film 

would irrevocably change him, 

something that Gabriel Clarke — 

more commonly seen presenting 

cannes according to ... 

for TV from the touchline at U.K. 

and European soccer matches 

— together with co-director John 

McKenna, set out to explore. 

“It’s a universal story,” says 

Clarke, the son of celebrated 

British director Alan Clarke. “[It’s] 

about how this obsession that he 

had drove him to want to create 

this vision for the big screen 

like no other film before it, 

but in doing so it led him 

into all sorts of difficulties.” 

The doc, which screens in 

Cannes Classics, shows the creative 

conflicts between McQueen 

and Hollywood’s first-choice 

helmer, John Sturges, which would 

ultimately lead to the director 

quitting (he was replaced by Lee 

Katzin), alongside the turmoil 

going on in McQueen’s personal 

life: the breakdown of his 

SEAN O’KELLY 

Joint CEO, Carnaby 

International 

Your biggest faux pas 

The rosé tan. I basically 

burned half of my face 

while having a very boring 

meeting on a beach with 

some Koreans, who obviously 

hate the sun, so the only 

seat I could take was 

actually in the sun. I went 

back to the same restaurant 

the next day to try to do 

the other side of my face 

and even it out. 

Clarke 

THE PRODUCER 

Best place to grab 

a drink after 3 a.m. 

The minibar. 

Lost-in-translation 

moment 

Having 12 limos arrive instead 

of transport for 12. 

What was your worst 

Cannes nightmare? 

My car was rammed by an 

off-duty drunk policeman. 

He hit me so hard that as I 

was spinning, I had the 

choice of either going into a 

hairdresser’s or into Dior. 

marriage and discovery while 

shooting that his name was on 

Charles Manson’s “Death List.” 

“His heightened sense of paranoia 

reached even more extreme 

levels,” says Clarke of McQueen. 

“He even asked for his gun to be 

sent over by his agent.” 

In making the doc, the team 

managed to track down its “holy 

grail,” the rushes of the film that 

everyone presumed had been lost. 

“Steve filmed so many hours 

of racing while on set, partly 

because they were struggling with 

the script, so just to keep people 

busy, and also because you get 

the sense that getting the most 

authentic motor-racing experience 

behind the wheel is what he 

wanted to do,” says Clarke. 

Everyone thought the unused 

footage had been incinerated, but 

the day before shooting on the 

doc began, a tip-off came through 

from Los Angeles. “Beneath a 

soundstage covered in dust, 

we found between 400 and 

600 boxes of film, each 

with ‘Le Mans’ along its 

spine,” Clarke says. “It still 

gives me a little shiver.” 

Although Le Mans would go on 

to be a cult classic, the film was 

a rushed edit that had been compromised 

by the production issues 

and artistic clashes. “But we have 

those original rushes, so you can 

now try and do Steve’s vision 

justice in showing what he wanted 

to bring to the screen.” 

Luckily I went into the 

hairdresser’s. I was fine, 

and because I’m fluent 

in French I could understand 

what was going on. I got 

off because I told the 

head of police that [the 

driver] was drunk and that 

I’d understood everything 

that he’d been saying 

— i.e., he’d been trying to 

blame me. 

Ever been the victim 

of a crime? 

Buying drinks at the Grand is 

the same as being mugged. 


BEST 

SELLING 

FEATURE 

FILM AT THE 

SPANISH BOX 

OFFICE IN 

2015 

TODAY, May 15th at 20:30 | Palais G 

May 19th at 13:30 | Star 3 

DIRECTED BY 

NACHO G VELILLA 

CAST 

YON GONZÁLEZ, 

JULIÁN LÓPEZ, 

BLANCA SUÁREZ 

ROMANTIC COMEDY, 105 min 

Hugo’s new life turns upside down when 

his parents and his girlfriend decide to visit 

him to see how well he is doing in Berlin. 

PALAIS - RIVIERA A5 - CINEMA FROM SPAIN | nbautista@deaplaneta.com

About Town 

CANNES HITS THE RED CARPET 

1 

2 

3 

4 

5 6 

1 Un Certain Regard jury president Isabella 

Rossellini (in Stella McCartney) at the opening 

ceremony and screening of Standing Tall. 

2 From left: 2015 jury members Sophie 

Marceau, Rokia Traore, Ethan Coen, Joel Coen, 

Sienna Miller and Rossy de Palma. 

3 Standing Tall star Benoit Magimel embraced 

the film’s director, Emmanuelle Bercot, during 

a photocall. 

4 Natalie Portman — whose directorial debut, 

A Tale of Love and Darkness, premieres 

May 16 at the fest — wore a Dior red column 

gown to the opening ceremony. 

5 From left: Director Hirokazu Koreeda and the 

stars of Our Little Sister, Masami Nagasawa, 

Suzu Hirose, Haruka Ayase and Kaho. The film 

premiered at the festival May 14. 

6 Vincent Cassel at a photocall for Tale of 

Tales. The actor also appears in the French 

comedy One Wild Moment and drama Mon Roi, 

which are screening at Cannes. 


HIROSE: AP PHOTO/THIBAULT CAMUS. BERCOT, CASSEL: AP PHOTO/LIONEL CIRONNEAU. PORTMAN: JOEL RYAN/INVISION/AP. ROSSELLINI, COEN: ARTHUR MOLA/INVISION/AP.

Following the tradition of 

Spanish greatest dark comedies, 

LATIDO FILMS proudly presents: 

GREAT CELEBRATION. BIG MISTAKE 

HAPPY 

140 

A film by GRACIA QUEREJETA 

CINEMA FROM SPAIN, Riviera Hall - Booth A5 

www.latidofilms.com 

Sat MAY 16 at 14:00 - Riviera 1 

Mon MAY 18 at 11:30 - Riviera 4

About Town 

RAMBLING REPORTER 

By Gary Baum & Chris Gardner 

Paul Allen’s 

yacht, 

Octopus 

The pro snappers along the red carpet. 

‘Ladder Gang’ Photogs Gear Up 

The Palais’ red carpet features not one but two 

photographer pits on either side of the red carpet. 

That’s where the international coterie of 

professional shutterbugs armed with credentials 

yell stars’ names. Meanwhile, a few paces away, a 

third, far more motley scrum of mostly for-the-loveof-it 

local snappers — 200 of them — are continuing 

a decades-long tradition of lining up along a narrow 

patch of the Croisette’s median for an arguably 

equally-prime view of not just the carpet but the 

Palais’ famous steps beyond it. This year, the 

mayor’s office began allowing them to mark their 

territory with rickety ladders beginning the 

morning of May 11 (two days before opening night). 

Most take pictures for pleasure, not profit — some 

staying in their cars, explains Cannes local Martine 

Santoro, a 26-year-participant of the group referred 

to as the Ladder Gang. (Santoro is known in France 

for decorating her own each year in honor of the 

jury president — a small shark for Steven Spielberg, a 

tiny piano for Jane Campion.) Some pros looking for 

fresh angles, like Belgian freelancer Frederic Andrieu, 

even occasionally join them: “At the beginning they 

were denigrated. They’ve become an institution.” 

The Ladder Gang, right, sets 

up their rickety shop in the 

center of the Croisette — 

prime real estate for amateur 

photographers hoping to snap 

some Cannes star power. 

Bouelvard de 

la Croisette 

The Palais 

This Week’s 

Black Market 

Ticket Index 

How much it’ll cost 

you to get into that party you 

weren’t invited to 

Money can buy most things at 

Cannes, including your way 

onto Paul Allen’s yacht for his 

bacchanal and the annual amfAR 

charitable hullabaloo at the 

Hotel du Cap-Eden-Roc. Here’s 

the current hookup rate for the 

following fetes, according to one 

in-the-know scalper. 

€1,500 

HOLLYWOOD DOMINO LUNCH EVENT 

MAY 17 

€3,000 

CHOPARD ANNUAL GALA 

MAY 18 

€7,500 

DE GRISOGONO ANNUAL GALA 

MAY 19 

€10,000 

PAUL ALLEN YACHT PARTY 

MAY 18 

Deneuve 

SCENE+HEARD Following the Standing Tall opening gala, VIP guests were treated to a L’Oreal-hosted dinner at 

Gotha Club in nearby Palm Beach. Inside: L’Oreal ladies Julianne Moore and Naomi Watts shared a table and looked chummy. … Jury 

member Jake Gyllenhaal kept L’Oreal model Liya Kebede’s attention for a 15-minute-long chat. … Natalie Portman was overheard 

telling tablemates around midnight that she had another bash to get to. … Jury co-president Ethan Coen stopped at Sienna Miller’s 

table (where Sophie Marceau and Frances McDormand also sat) at 12:47 a.m. to say goodnight and remind her the jury was meeting at 

7:30 a.m. the next day … Jury member Guillermo del Toro loved the dinner’s raspberry-lemon dessert so much, he had two. 

€15,000 

AMFAR 

MAY 21 

◄ amfAR host Sharon Stone 

• FESTIVAL FOOD FACE-OFF • 

The Burgers 

France is experiencing hamburger 

amour fou: One out of every two sandwiches now 

sold in the country are the quintessentially Yankee 

invention (up from just one out of seven in 2007). 

So THR visited a pair of Cannes burger haunts — 

one an iconic U.S. import, another a new-wave 

Gallic homage to America — mere steps from each 

and around the corner from the Palais. 

€8.45 €20 

STEAK ’N SHAKE 2 PLACE DU GENERAL DE GAULLE 

The late Roger Ebert was a lifelong fan of this Midwestern 

chain, which debuted its local location — the first in Europe 

— last year during the festival. “If I were on death row, my 

last meal would be from Steak ’n Shake,” he wrote in 2009. 

Alas, its Steakburger is a rather wan domestic competitor to 

the signature offerings from counter-service coastal rivals 

In-N-Out and Shake Shack. Spongy, shiny buns encase a pair 

of thin gray patties, a slice of cheddar cheese, limp lettuce 

and forgettable sliced pickles. It’s uninspired nostalgia. 

ZE BEST! 

NEW YORK NEW YORK 1 ALLEE DE LA LIBERTE 

The earnest French expression of Americanophilism on 

display at this grand sit-down, U.S.-style bistro can at times 

veer toward the questionable in the burger department. 

(The “Mexicain” features an unidentifiable “spicy sauce,” and 

the “Jewish” is a tuna steak.) Yet the namesake iteration 

is a decidedly on-point presentation. The double-height patty 

is enticingly charred, the Bibb lettuce and tomato each boast 

a smart snap, and the pungent Thousand Island dressing is 

Carl’s Jr.-commercial messy. 


STYLE 

FASHION 

WHAT TO BUY, WEAR AND KNOW IN CANNES 

by Chris Gardner 

DRESS 

DU 

JOUR 

Adams and 

Gyllenhaal (left) 

will star in 

Ford’s Nocturnal 

Animals. 

From left: Dunst, 

a pal of Kate and 

Laura Mulleavy, 

is the lead in their 

upcoming film. 

From Fashion to ‘Action!’ 

Tom Ford is having a major impact on Cannes — and we’re not 

talking about the red carpet, at least not yet. The American 

fashion designer turned director made a splash May 14 when 

he presented his upcoming film project, the thriller Nocturnal 

Animals, to international buyers. 

Ford’s quick spin in Cannes will include an appearance at amfAR’s 

Cinema Against AIDS event May 21. His new film, which is being 

repped by FilmNation and CAA, has emerged as a hot title thanks to the 

star power of Ford as auteur, Amy Adams and Jake Gyllenhaal as leads and 

George Clooney and Grant Heslov as producers. 

Nocturnal Animals centers on a divorced man and woman who reconnect 

when he sends her the manuscript to his novel, which leads her to confront 

painful truths about herself. The pic marks the return to the big screen for 

Ford, whose 2009 debut, A Single Man, was a critical smash that landed 

his dapper star Colin Firth a best actor Oscar nomination. 

But Ford isn’t the only major designer adding a high-profile film credit 

to his IMDB profile: Los Angeles-based Kate and Laura Mulleavy of Rodarte 

(who created the costumes for Black Swan) will make their writing-directing 

debut with Woodshock. Kirsten Dunst, longtime Rodarte muse and close 

friend of the Mulleavys, will star in the A24 project. With designers at the 

helm, rest assured the actors in these movies will be very well-dressed. 

NAOMI WATTS 

in Elie Saab Couture 

The British-born Australian actress 

brought major glamour to the Palais 

on opening night, courtesy of a 

stunning feathered creation from 

Saab’s spring 2015 couture collection. 

She paired the gray gown with a 

necklace from Bulgari’s Giardini Italiani 

line. Her Cannes style strategy? “Try to 

be comfortable and interesting,” 

she tells THR. Mission accomplished. 

Fest Must-Have: Dark Shades 

KARLIE KLOSS 

Ray-Ban 

CHARLIZE THERON 

Dolce & Gabbana 

At the Nice airport, the most coveted accessory 

for inbound A-listers is not a French bodyguard or muscle-blessed 

luggage handlers — it’s sunglasses. Of course, a chic pair of dark 

spectacles is a must for stars who wish to keep the barrage of 

paparazzi flashbulbs at bay, but Karlie Kloss — a L’Oreal 

ambassador who attended the opening-night festivities — offers 

another reason celebs choose to wear shades inside the local 

airport. “For me, I got off a very long flight with a very long delay,” 

the 6-foot-1 stunner tells THR. “I was a little bit jetlagged 

and fatigued to say the least, so sunglasses are mandatory.” 

TOM HARDY 

Gucci 

JOHN C. REILLY 

Ray-Ban 


OFFICIAL SELECTION - SPECIAL SCREENING 

A film by Pavle Vučković 

15/05 11.30AM Palais H (Market Screening) 

15/05 1.30PM Bazin Theater (Press Screening) 

16/05 6.30PM Soixantième Theater (Official Screening) 

17/05 4PM Palais I (Market Screening) 

wide 

OFFICIAL & MARKET SCREENINGS OF MAY 15 TH 

MARKET SCREENINGS 

A film by Sudhanshu Saria 

A film by René Féret 

15/05 1.30PM Palais J 15/05 6PM Lerins 2 

OFFICIAL SCREENING OF MAY 16 TH 

A film by Philippe Fernandez 

16/05 4PM Alexandre III (Official Screening) 

18/05 6PM Palais G (Market Screening) 

22/05 11AM Studio 13 (Official Screening) 

22/05 8PM Arcades (Official Screening) 

MARKET SCREENINGS OF MAY 16 TH 

A film by Khadija Al-Salami 

A film by Sanna Lenken 

16/05 1.30PM Lerins 1 

16/05 6PM Palais I 

BOOTH RIVIERA E6 LOÏC MAGNERON +33 6 60 43 96 86 · GEORGIA POIVRE +33 7 61 57 96 86

EXECUTIVE SUITE 

LOTUS ENTERTAINMENT 

Bill Johnson 

and Jim Seibel 

“We were friends first and 

foremost before doing 

business,” says Seibel (left) of 

his relationship with Johnson. 

They were photographed May 

8 in Johnson’s office at Lotus 

Entertainment in Los Angeles. 

The sales and finance execs with a slew of buzzy titles in the pipeline discuss their Zen-like company, why one of 

their upcoming releases offers an alternative to American Sniper and that time their lead actress quit midfilm By Rebecca Ford 

AFTER BILL JOHNSON AND JIM SEIBEL 

met in 1998, they became fast friends, 

taking trips to exotic locales like Costa 

Rica and Bali, where they’d sit on their 

surfboards, waiting to catch a wave, and talk 

about what they’d do if one day they owned 

their own company. 

Seventeen years later, the duo runs L.A.- 

based Lotus Entertainment, a busy international 

sales, production and financing firm 

that debuted two years ago at Cannes. The 

former co-chairs of finance and production 

company Inferno, Johnson, 51, and Seibel, 42, 

started working together in 2003 and now 

have a slew of films in postproduction, 

including A Hologram for the King, starring 

Tom Hanks; Kidnap with Halle Berry; Z for 

Zachariah with Chris Pine and Margot Robbie; 

and November Criminals with Chloe Grace 

Moretz and Ansel Elgort. Johnson, a married 

father of three, and the recently married 

Seibel, who have a knack for getting top stars 

and directors for interesting projects, also are 

selling some buzzy preproduction projects at 

Cannes, such as The Kaiser’s Last Kiss with Lily 

James and Replicas, starring Keanu Reeves. 

Fresh off celebrating Seibel’s wedding in 

Bora Bora, the two sat down with THR as the 

festival kicked off to reveal what yoga has to do 

with their name, why they’re so excited about 

Hologram and where they’ll expand next. 

How are you feeling about the market this year? 

JOHNSON There’s a lot of money in the world 

right now, so I don’t think we have much of a 

problem finding equity. As far as distribution 

goes, it seems like when the economy is doing 

well, people are in better spirits. But at the 

same time, ancillaries are a problem, in Europe 

in particular, so that makes it tough with movies 

that don’t have a clear theatrical target. 

How did you decide to go from a company with a 

name like Inferno to Lotus, which is a bit more Zen? 

SEIBEL Bill is Mr. Yoga, and I’m not-so-Mr. 

Yoga. But when I was a kid, I used to have 

these Lotus posters for the racing team. 

I remember when we were thinking up names, 

I ran into his office and said, “What do you 

think about Lotus?” 

JOHNSON But also with the Inferno name, 

we had people from Italy tell us, “By the 

way, your name literally means hell.” And in 

China, they said the same thing. “Lotus” 

just felt more peaceful. 

A Hologram for the King is a buzzed-about 

project, with Hanks starring as businessman 

who travels to Saudi Arabia to fix his life and 

career. What made you want to work on it? 

JOHNSON It’s a great story with this cross-cultural 

romance. I was talking to the director 

[Tom Tykwer] about it, and he was saying it’s 

really like the opposite of American Sniper. I 

know it resonated with a lot of people, and I 

enjoyed it quite a bit, but when you look at that 

movie, all those characters from that part of 

the world were very one-dimensional bad guys. 


This movie is doing the opposite, humanizing 

people from that part of the world. Here’s a guy 

who’s struggling with the challenges of the U.S. 

and goes over and finds a new life — and love. 

You’ve gotten a lot of movies made, which isn’t 

always easy. What’s your secret? 

SEIBEL We’re one of the only companies 

that’s never taken on an investor. Just Bill and 

I run the company. So we’ve had to learn 

how to make the coffee, do the budgets and 

everything in between. That’s part of the 

secret to getting these movies made. Any 

problem that can be thrown at us, we’ve been 

through it and figured it out. 

Tell me about a recent hurdle you’ve overcome. 

JOHNSON We were a week away from production 

on a movie when our lead actress walked 

off the movie because there was a dispute over 

the order of the credits. So all of a sudden we 

didn’t have a lead. We actually got a new lead 

who turned out to be an upgrade for us within 

48 hours. It was pretty anxiety-inducing. 

How do you plan to expand Lotus in the future? 

JOHNSON We’ve been talking about getting 

into the TV business. And we’ve talked about 

getting into some aspect of distribution. 

SEIBEL I think TV is the natural crossover right 

now. Every talented actor and director and 

writer is now happy to do both. We’ve actually 

been working on this for a while. I think you’ll 

see some news in the near future. 

PHOTOGRAPHED BY Tommy Garcia 

GROOMING BY SU HAN AT DEW BEAUTY AGENCY

Academy Award ® winner 

ADRIEN 

BRODY 

Academy Award ® nominee 

SALMA 

HAYEK 

Academy Award ® nominee 

SHOHREH 

AGHDASHLOO 

SEPTEMBERS OF 

S H I R A Z 

MILLENNIUM FILMS PRESENTS A G-BASE PRODUCTION AND AN ECLECTIC PICTURES PRODUCTION A FILM BY WAYNE BLAIR ADRIEN BRODY SALMA HAYEK 

“SEPTEMBERS OF SHIRAZ” SHOHREH AGHDASHLOO ALON MONI ABOUTBOUL ANTHONY AZIZI NAVID NAVID INTRODUCING ARIANA MOLKARA 

CASTING DIRECTOR MARIANA IVANOVA STANISHEVA MUSIC BY MARK ISHAM COSTUME DESIGNER IRINA KOTCHEVA DIRECTOR OF PHOTOGRAPHY WARWICK THORNTON 

PRODUCTION DESIGNER ANNIE BEAUCHAMP EDITOR JOHN SCOTT ASE CO PRODUCERS ANDREA IERVOLINO MONIKA BACARDI EXECUTIVE PRODUCERS ADRIEN BRODY SALMA 

HAYEK DALIA SOFER AVI LERNER TREVOR SHORT JOHN THOMPSON BOAZ DAVIDSON MARK GILL PRODUCED BY GERARD BUTLER ALAN SIEGEL 

HEIDI JO MARKEL HANNA WEG DANIELLE ROBINSON LES WELDON BASED ON THE NOVEL “THE SEPTEMBERS OF SHIRAZ” BY DALIA SOFER 

SCREENPLAY BY HANNA WEG DIRECTED BY WAYNE BLAIR 

© 2014 SEPTEMBER PRODUCTIONS, INC. 

C A N N E S 2 0 1 5 . PA L A I S 

R i v i e r a F 1 

Te l : + 3 3 ( 0 ) 4 9 2 9 9 3 2 3 5

SPECIAL FEATURE: SHOOTING IN ONTARIO 

ONTARIO: CANADA’S 

METHOD ACTOR 

Need squeaky-clean Toronto to become dark and dystopian? No prob. Or is a blazing L.A. sun on the 

agenda? Done. Meet the people who transform the province into almost anything BY ETAN VLESSING 

Martin Katz, producer on David 

Cronenberg’s Maps to the Stars, recalls 

scouting locations for a movie set entirely 

in Los Angeles and having Toronto double 

as Hollywood, thanks to a truckload of 

palm trees and artful gardening. 

KATZ One of the distinct challenges was 

gardening because we wanted to ensure 

that when you saw outside a window, 

when action took place in grounds 

around the houses, the houses 

appeared to be in Los Angeles. We had 

intense lighting through the windows, 

so we had the California sun. And the 

art department provided a truckload of 

palm trees, which we carried around 

and placed strategically in shots, so it 

always looks like California vegetation. 

We even took an ordinary Ontario 

hedge and had small flowers sewn onto 

it so it looked like bougainvillea. 

FOR EVIDENCE THAT 

Ontario trumps Hollywood 

as a location for moviemaking, 

look no further 

than Guillermo del Toro. The 

creature-feature king now makes 

Toronto his home while juggling 

film and TV shoots on local streets and 

stages. Those projects include Mama, 

which del Toro executive produced; 

Pacific Rim, which he directed; FX’s 

The Strain, which he created and wrote 

with Chuck Hogan; and his next film, 

Pacific Rim 2, which shoots later this 

year at Pinewood Toronto Studios. 

Location shooting in Ontario is the 

new normal for a slew of other 

Hollywood heavyweights as well: 

Toronto hosted Adam Sandler’s Pixels 

for Sony; Warner Bros.’ Suicide Squad, 

starring Will Smith and Jared Leto; 

and U.S. TV series like Hulu’s James 

Franco starrer 11/22/63, Syfy’s Defiance 

and Netflix’s Hemlock Grove. 

Beyond its lucrative tax breaks, 

Ontario also draws Hollywood with its 

skilled local crews and talent. THR 

asked Toronto directors, producers 

and location managers to discuss why 

Ontario continues to be Hollywood’s 

northern backlot of choice. 

EOIN EGAN, VICE PRESIDENT OF PINEWOOD 

INTERNATIONAL It’s an amazing testimonial 

that Guillermo del Toro, who has 

worked all over the world, in 

New Zealand and Hungary — when 

he came to Toronto, he could have 

just as easily moved on. But I think 

the crews, first and foremost on 

Pacific Rim and The Strain, now have 

Guillermo constantly talking about 

other movies and TV series [he 

wants to shoot in Toronto]. It’s a 

testament to the people and the crews 

he’s worked with. 

LUIS MENDOZA, LOCATION MANAGER FOR 

THE STRAIN When you have specific 

ideas [for your projects], scouts and 

location managers can come up with so 

many options. In his mind, [del Toro] 

knew the setting [for the show]. He’d 

say, “I need it dark, isolated, haunted 

and terrifying,” then we had a good 

sense. We didn’t want something too 

colorful and pretty. You want a dark 

alley with looming, tall and dark 

buildings in the background, with 

nooks and crannies where characters 

can hide. Abandoned factories where 

vampires will hide and the bloodsucking 

nemesis can hide and pounce. 

For his 2013 thriller 

Enemy with Jake 

Gyllenhaal, director 

Denis Villeneuve 

transformed clean, 

modern Toronto into a 

dystopian landscape. 

Peter Cullingford, owner of Picture 

Vehicle Specialties, says he has a number 

of tricks up his sleeve to make Ontario 

locations look less Canadian. 

CULLINGFORD You can block something 

that’s very non-American, non-New 

York or non-Chicago. So throw a 

[New York City] bus, a delivery truck, 

a fire truck into the frame, and it’s the 

small things that say it’s a U.S. city. 

Sometimes that’s right down to U.S. 

Postal Service mailboxes, a hot-dog 

cart or a vending trailer. I probably 

have 40 vehicles that are just always 

New York City. I have two fire trucks, 

two ambulances, at least 14 [yellow] 

taxicabs and NYPD police cars. 

Take [the Toronto street corner of] 

Richmond and Spadina, which is often 

used for Manhattan — you can flood 

Manitoba 

Minn. 

Wisc. 

ONTARIO 

Mich. 

Georgian 

Bay 

Toronto 

Hamilton 

Quebec 

NY 



that street with 25 taxicabs and 

rotate those cars and keep driving 

them through the scene. 

Need some realistic body parts fast? 

Jay Scanlon, owner of Lock Up 

Props Inc., a prop-rental shop in 

Toronto, is your man. 

SCANLON People often want body parts 

in jars. For [NBC’s] Hannibal, we 

rented out 30 jars of various oddities: 

dry mushrooms, weird liquids and 

moss. They also rented our morgue 

table. It’s a period white cast-porcelain 

table, a real one. It’s very old, I would 

guess early 1900s, heavy enameled cast 

iron, with drain holes and channels. 

They took quite a bit of medical 

equipment, including my cryogenic 

tanks. They’re 6-feet-tall, 

stainless-steel tanks. 

Ontario also can play itself, transforming 

from squeaky clean into dystopian 

and sinister thanks to skilled art departments. 

One example: Denis Villeneuve 

portrayed Toronto as a cold, dark, 

spider-infested megalopolis for Enemy, 

starring Jake Gyllenhaal. 

NIV FICHMAN, ENEMY PRODUCER Denis 

has called the movie a “love letter to 

Toronto,” and if that’s the case, I can’t 

imagine how he’d express his dislike for 

the city. It’s a highly urban film, and he 

plays that up very much. The whole 

spider motif, with the camera capturing 

streetcar wires, the canopy over a 

building, a motorcycle helmet like a 

spider’s web — he found spider images 

in places where none of us would have 

looked. Denis spent a lot of time 

walking around Toronto and being in 

awe of the city. It’s still Canada, and it 

spoke to him in a way it might not be. 

WARREN P. SONODA, TOTAL FRAT MOVIE 

DIRECTOR Hamilton [in Ontario] is two 

different cities. It’s the old steel town. 

But slowly, as the steel mills are phased 

out, now it’s a big medical hub. You get 

posh areas of town, and you get the 

grittiness of steel mills. On [fight flick] 

Nadda 

Katz 

Fichman 

Los Angeles-set Maps to the Stars 

was shot primarily in Toronto. 


Premiere D3 051515.indd 1 

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Unrivaled, we wanted very dark and 

gritty, so it felt and looked like Detroit 

and a U.S. inner city. But Total Frat 

Movie had to shoot like an affluent 

university town in the U.S. Deep South. 

So we shot on the McMaster University 

campus and the Scottish Rite Club, a 

huge downtown mansion. We get all 

sorts of looks, and you don’t have to 

dress every single inch to make the city 

gritty or elegant. 

Still, directors shooting outdoors are 

at the mercy of the weather, as Ruba 

Nadda, who has shot movies in Egypt 

and South Africa, found while shooting 

Patricia Clarkson starrer October Gale 

on the Ontario waterfront. Cottage 

Country director Peter Wellington 

also suffered torrential downpours in 

southern Ontario. 

NADDA It’s Georgian Bay, and we had 

the most difficult winter in 100 years. 

We had storms and rain on a frozen 

lake, and I had a scene that takes place 

underwater. Unfortunately, we just had 

to throw [Patricia Clarkson] in the 

water. Because the water was freezing, 

we shot the piece in the swimming 

pool of our hotel. It looks amazing; we 

color-corrected in post. And I sent out 

divers with an underwater camera into 

the lake to get her point of view. The 

movie needed a storm to lock her on the 

island [and] stop her from leaving. We 

couldn’t do it in post. So when there was 

a storm outside, we had to be out there 

running down the rocks to the water. 

WELLINGTON We needed Sparrow Lake 

[in southern Ontario] to be sunny and 

hot and an ideal vacation retreat. But 

almost every single day, it rained. Our 

lead actress, Malin Akerman, had to 

leave on the last day of principal 

photography. So she was on her way 

back to Hollywood. The crew was 

packed and done. Our only option was 

to shoot no matter what. So when the 

weather got bad, we put up silks to 

block the rain and turned on big lights 

and hoped people didn’t notice too 

much dripping going on from over the 

actors’ heads. And when the rain was 

literally horizontal, we had to move 

inside and turn on big lights and not 

point the camera out the window. 

Sometimes Canadian hospitality can play 

a key role in getting the perfect shot. 

APRIL MULLEN, DEAD BEFORE DAWN 3D 

DIRECTOR A big football field is hard to 

get in Toronto on a hot Friday night in 

the summer. But in Niagara Falls, I 

shot at my old high school, St. Paul’s, 

and we invited all the local high schools, 

family and friends to join us on the 

football field and get turned into zemons 

[zombie-demons]. We had 550 extras 

and, when a curse was supposed to 

happen, they all lay down and turned 

into zemons. Then, slowly, they started 

getting up and ran into the night. It was 

super helpful, and it was a fun night. 

Director Nadda 

benefited from some 

stormy weather and 

skilled underwater 

camerawork for her 

drama October Gale, 

with Scott Speedman 

and Clarkson. 


ZenHQ D2 051415.indd 1 

5/6/15 10:57 AM

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Q&A 

DIRECTOR 

Apichatpong 

Weerasethakul 

The Palm d’Or winner discusses returning 

to Cannes, his obsession with the 

supernatural and the role man’s best 

friend plays in his filmmaking process 

By Patrick Brzeski 

ZDF/ARTE/PHOTOFEST 

FIVE YEARS AFTER APICHATPONG 

Weerasethakul’s triumph in Cannes with 

Uncle Boonmee Who Can Recall His Past 

Lives, which won the Palm d’Or, the Thai 

auteur returns to the 2015 festival with 

Cemetery of Splendor. Set in the small, rural 

city in the northeast of Thailand where 

Weerasethakul grew up, the film tells a story 

of magic, romance and dreams as it follows 

a middle-aged woman who volunteers to 

care for soldiers who have fallen ill to a 

mysterious sleeping sickness. The 44-year-old 

director spoke with THR by phone from the 

northern Thai city of Chiang Mai about the 

mysterious nature of dreams, his favorite 

cricket and cicada sounds, and why Cemetery 

of Splendor may be his most personal — and 

unpredictable — film to date. 

What’s it like coming back to Cannes five 

years after winning the Palme d’Or? 

Well, I’m excited. The glamour stuff isn’t 

really my thing, but the projection system in 

Cannes is one of the very best. To see my film 

presented under such good conditions is 

really exciting to me. Too bad it’s not playing 

in the competition at the Palais, but that’s 

not my call. 

Many films working in the surrealist tradition, or 

art film genre, use nonlinear structure or surrealist 

techniques to implicitly challenge the viewer in 

some way. Your work often has those elements, but 

there’s also a sensual warmth or hypnotic quality. 

For me, it’s all inspired by living here in 

northern Thailand. The country forces you 

to see things beyond the ordinary. It’s like we 

are living not only on one plane of reality, but 

also this spiritual plane. We have quite a 

strong influence from Hinduism and animism. 

Especially in Isan, in the northeast. There 

is a strong Khmer influence, coupled with 

the place itself, which is hot, harsh and pretty 

dry. It forces people to crave for fantasy or 

the supernatural. I try to look at the mundane 

and think about how I can use cinema to 

bring out the magic that’s very familiar to 

us in this place. 

Do you feel that you have a particular disposition 

toward your audience? 

I make films for myself, really, as a form of 

diary. That’s the priority. But I also share many 

people’s aversion to the feeling that the 

filmmaker is trying to outsmart you. It’s better 

for me to lay myself with the audience, to 

experience the film together. I try to treat the 

audience with respect, as equals, experiencing 

this landscape side by side. 

The way you use ambient sound conveys your 

themes of connectedness and the living richness of 

your settings in a very potent way. How has your 

approach to sound design evolved? 

I’ve worked with the same sound designer 

forever, Akritchalerm Kalayanamitr. Over the 

years we have accumulated our preferences. 

He knows what tonal range I prefer and 

exactly what kind of bird, for example, should 

come in when. I don’t know their names, but 

there are specific birds, crickets and cicadas 

that we really like. It’s very hard to find 

many of these sounds. One time, he went to 

mix at the sound studio in Bangkok and 

discovered that a Vietnamese production 

was using his sound library because it was 

still in the hard drive there! I was really 

mad because he spent years working in the 

field and the jungle getting these sounds and 

details. It’s his private library. 

In Uncle Boonmee, the film’s theme of reincarnation 

also took on a formal quality, in that the past lives 

of Thai cinema were represented in the film, with 

each reel featuring a different cinematic style or 

period from the past. Are there any formal devices 

in the new film that we should watch out for? 

I have to say it’s the most narrative-driven 

film that I’ve made. But it’s deceptive, of 

course. It’s the first film that I’ve shot in Khon 

Kaen, my hometown. I grew up there and 

hadn’t been back for more than a brief visit in 


“I try to treat the audience 

with respect, as equals,” 

says Weerasethakul. 

20 years. From the casting to the art direction, 

I did everything there. I tried to throw away 

the styles that I usually use which constrain 

me. I tried to get into the city’s rhythm, 

which dictated the pacing of the film. It’s 

story-driven in a way that most of my films 

are not, but at the same time, it asks my usual 

questions about the layers of reality: 

How do we live in our memories? What is 

the time of dreams and the time of awakening? 

It’s all together. 

How did it feel to return to your hometown to 

work after so many years and so many experiences 

and accolades abroad? 

It was very emotional for me. But I also 

really enjoyed working on this film. With Uncle 

Boonmee, I was quite lost and it felt like a 

pretty abstract process. For this film, it all 

went smoothly and I knew exactly what I 

wanted to show. The overall feeling is this 

unexplainable mixture of both sadness and 

happiness. For me, it’s the sadness of 

Thailand, which is sinking because of the 

political situation — the repetition of coups 

and the coming to power of the military 

junta that now rules the country. The inequality 

and the way people treat each other here 

makes me very sad. But at the same time, 

there’s so much humor here. You’re not sure 

whether to laugh or cry. I’m really curious 

about how people will react to this film. 

More so than with your other films? 

Yes, because to me, it works on many layers 

— abstraction, history and just straightforward 

storytelling. At the test screenings, people 

seemed to need time to adjust. It was all quite 

liberating for me, but we’ll have to see how 

people respond. The film features this idea of 

sleeping as an escape from reality — for the

Q&A 

DIRECTOR 

characters, for the country and also for 

the audience. The film has an element of 

hypnotism that I hope the audience can feel 

— like the whole film is a hypnotist session. 

I once did some research into the sleep cycle 

and the four phases that we pass through 

every night. Each cycle lasts about 90 minutes, 

which is the length of a film. Maybe the 

shape of cinema evolved to match this natural, 

biological function. I like the idea that the 

length of a film matches what our brains 

expect a dream to be. 

You’ve mentioned before that the personal 

stories of your lead actress, Jenjira Pongpas, 

are also in the film. 

Yes, I’ve followed her life for a long time. 

We became good friends and she inspired 

me a lot with her memories — and her love 

life, as well. (Laughs.) Like all of us, 

she has been on a search, or a mission, to 

find a nice man to spend her life with. 

Four years ago, she found an American 

guy from New Mexico, a retired soldier. 

So I put that into the film. 

Does the fact that she’s partly telling her own 

story help you bring something more authentic 

out of her as an actress? 

Yes, exactly. Also, it works as record for me, 

as my diary. It’s much more comfortable to 

have someone in mind when writing. To 

experience the storytelling together, like in a 

family. It starts as early as the casting process. 

Sometimes he or she doesn’t have to fit the 

character I had in mind — if they have an 

interesting experience of their own, that’s 

more important to me. Bringing out and 

sharing their real stories, that’s 

the joy of making films. 

How do you begin writing a film? 

It’s fairly organic. It took quite a 

few years for me to make this film 

because I had so many ideas. I 

wrote two other film treatments 

but selected this one. I start from 

sleep. I observe my dreams and I 

write down what I can remember. 

I try to find the logic, even 

though it’s never really logical. 

BY THE NUMBERS 

9 

Feature films directed 

22 

International awards won 

5 

Nominations and wins 

at the Cannes Film Festival 

since 2002 

Dreams are so subtle. Many times when you 

see such things in a film, the special effects 

are very apparent — or, what’s supposed to be 

supernatural is very apparent. But dreams 

aren’t like movies in that way. The supernatural 

has the same feeling as reality in a dream. 

I try to start writing in this way. 

In the official summary for the film, you 

write that “it is also a very personal portrait 

of the places that have latched onto me like 

parasites.” What do you mean by that? 

I don’t know, it’s something 

about the logic of living here. 

Sometimes I feel really sick of 

this country — that I’d like to 

go away. But time and again, I 

keep coming back, and it inspires 

me to make movies. There’s this 

push and pull of the place. 

What pushes you away? 

The political situation and the 

inequality. You feel a strong 

powerlessness. It’s almost like 


Creative Content Malaysia D3 051515.indd 1 

5/7/15 3:11 PM

you cannot lead your own destiny — especially 

for those of us who work in the arts and the 

media. It’s impossible to communicate 

your true feelings here in Thailand. There 

are so many taboos. I feel frustrated sometimes. 

For the things you see and feel every 

day, you cannot say. 

Weerasethakul once 

again embraces the 

surreal in Cemetery 

of Splendor. 

You’ve said before that you don’t like to be away 

from Thailand for too long because you have dogs 

and hate leaving them behind. 

Yeah, I actually shot one of them for the new 

film, but he didn’t make the final cut. Poor 

DATE: May 14, 2015 

May 15, 2015 

May 16, 2015 

guy. I love dogs. After the film wrapped, I got 

another one. It’s become a rule: When I 

wrap a movie, I get a new dog. I’ve done it 

every time. Thankfully, it takes me four or five 

years to finish a film. 

THE BEAUTY SHOTS YOU 

EXPECT, WITH THE DIVERSITY 

OF LOCATIONS YOU DON’T. 

Filming in the U.S. Virgin Islands is one unbelievable shot after 

another. You’ll find a diversity of locations from rural farmland, 

lush rain forest and rolling hills to quaint European towns, 

cosmopolitan settings and colorful Caribbean architecture. Not 

to mention picturesque beaches. You’ll also find an experienced 

film community with English-speaking crews and the convenience 

of U.S. currency. For more opportunities in St. Croix, St. John and 

St. Thomas, call 340.775.1444 ext. 2243. Plan your production at 

filmUSVI.com. Ask about our pending new incentives. 

5 TALENTS SHAPING THE FUTURE 

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You Expect...” 

EDWIN Director 

Indonesia’s leading art house talent, Edwin, 36, was his 

country’s first filmmaker to compete at the Berlin Film Festival 

when his ethereal feature, Postcards From the Zoo, debuted 

there in 2012. He currently is at work on the follow-up, the 

’40s-era period piece Exotic Pictures, which won the ARTE 

International Prize at the Asian Project Market in 2013. 

BRILLANTE MENDOZA Director 

Already something of an elder statesman of the Filipino art 

house, Mendoza, 54, has directed 16 films since his 2005 

debut. He returns to Cannes as the only Southeast Asian 

director in the lineup besides Weerasethakul. His latest film, 

Taklub, centers on the survival and recovery from Super 

Typhoon Haiyan, which devastated the country in 2013. 

ANTHONY CHEN Director/Producer 

Singaporean Chen’s directorial debut, Ilo Ilo, won 

the Camera d’Or at Cannes in 2013. He’s since launched 

Giraffe Pictures, a production company that in 

March finished shooting its first project, the pan-Asian 

omnibus Distance, which the 31-year-old Chen 

executive produced. 

Download the FilmUSVI app 

YONGYOOT THONGKONGTOON 

Director/International Marketing Head 

Thongkongtoon, 48, handles all international sales for GTH, 

which currently reigns as Thailand’s hottest studio (2013’s 

Pee Mak was Thailand’s highest-grossing film of all time at 

$33 million). Thongkongtoon also is a veteran filmmaker 

(2000’s Iron Ladies; 2006’s Best of Times) and chairman of 

the Thai Directors Association. 

©2015 U.S. Virgin Islands Department of Tourism 

TRAN THIC BICH NGOC Producer 

Thic Bich Ngoc has had a hand in both Vietnam’s art house and 

commercial successes of late. In 2014, she produced director 

Victor Vu’s Vengeful Heart, which became Vietnam’s highestgrossing 

film ever. She also is a partner in leading regional 

production services firm Indochina Productions, which 

arranged the South Asian shoot of Avengers: Age of Ultron. 


US Virgin Islands D3 051515.indd 1 

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5/13/15 11:02 AM 

5/11/15 3:41 PM

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REVIEWS 

DRAWING ON THE RICH AND UNTIL-NOW UNEXPLORED 

vein of Neapolitan fairy tales written by Giambattista 

Basile in the early 17th century, Matteo Garrone’s Tale 

of Tales combines the wildly imaginative world of kings, 

queens and ogres with the kind of lush production values 

Italian cinema was once famous for. The result is a dreamy, fresh take 

on the kind of dark and gory yarns that have come down to us from the 

Brothers Grimm and Charles Perrault — only here, they’re pleasingly 

new and unfamiliar. 

Starring Salma Hayek as a childless queen who is willing to do 

anything — absolutely anything — to conceive, it also features 

Vincent Cassel, Toby Jones and John C. Reilly as three troubled kings. 

An English-language cast spits out their lines in a variety of accents, 

but the real question is whether the Italo-French co-production has 

enough name branding and modern appeal to leap wide. 

These fairy tales are certainly not aimed at children, though they 

will light the fire of many teens. Apart from a few moments of eros — a 

shot of two court ladies consumed with passion for each other in a carriage; 

a post-orgy scene laced with naked, Fellini-esque bodies — there 

is an underlying horror that is unnerving even for adults. 

The compendium of interwoven stories is lensed with flair and wit 

by Garrone, the Italian director who followed up his icy and original 

mob expose Gomorrah with the slightly insipid dramedy Reality, about 

the evils of reality shows (both won the Grand Prize here at Cannes). 

While all three films have Naples as a common thread, the striking 

difference lies in how Tale of Tales sets aside the strong social themes of 

Garrone’s earlier work. On closer inspection, however, there is a great 

deal of sympathy for the common folk here, particularly in the story 

Hayek devours 

a monster’s heart 

in Garrone’s 

competition entry. 

Tale of Tales 

Salma Hayek and Vincent Cassel headline Italian director Matteo Garrone’s 

lush, imaginative interweaving of Neapolitan fairy tales BY DEBORAH YOUNG 

of a prince and his pauper twin, 

and a heart-wrenching tale about 

two poor old sisters torn apart 

by the king’s lust and their own 

illusions. In contrast, there’s little 

good to be said about most of the 

royals, though they have their own 

twisted motivations that make 

them a bit more human. 

Take the all-consuming 

maternal desire of Hayek’s 

lovely, pearl-covered queen, 

who sends her doting husband 

on a suicide mission to kill a 

sea monster. Devoted to her, he 

performs this feat in a wondrous 

diving suit straight out of Jules 

Verne. By ravenously consuming 

the monster’s giant heart, she 

instantly conceives and gives 

birth the very next day. But so 

does the virgin cook who inhales 

the cooking fumes, and their 

two albino sons (played as young 

men by the excellent Christian 

and Jonas Lees) feel bound by 

a fraternal bond stronger than 

blood. The queen’s meeting with 

an eerie sorcerer and her unwise 

decision to follow his advice lead 

to a nasty but satisfying final 

metamorphosis. 

More visual effects are 

conjured up in the terrible yet funny account of how another king 

(Jones), who lives with his beloved daughter (Bebe Cave), becomes 

obsessed with a flea. He raises it to monstrous size by nourishing it with 

his own blood, and eventually uses it — strangely — in a contest that 

will decide who is to marry his daughter. The grotesqueness of all this 

peaks when a fearsome ogre played by Guillaume Delaunay demands to 

take part in the contest, occasioning several edge-of-seat chase scenes. 

Even darker is the third story, which revolves a lecherous king 

(Cassel) who courts a woman with a beautiful singing voice. Without 

glimpsing her face, he doesn’t realize Dora (Hayley Carmichael) is a 

gnarled old lady twisted by age and a lifetime of hard labor. A magical 

spell will turn the tables on the king, but will also affect Dora’s frail 

old sister Imma (a fine Shirley Henderson). The final scenes of 

Imma’s lonely madness explore desperate depths of the human psyche 

and send a shiver down the spine. 

Doused in luxuriant colors, elaborate costumes and fantasy decor, 

the movie’s scenes are wonderfully integrated into the Baroque architecture 

of Sicily, Apulia and Lazio, though some of the Escher-like 

castles clinging to hillsides look like CGI work. Peter Suschitzky’s 

cinematography ably creates a world of the imagination by 

blending astonishing (and real) Italian baroque interiors with Dimitri 

Capuani’s outstanding production design and Massimo Cantini 

Parrini’s eccentric and amusing period costumes (some from the 

Tirelli collection). Underlining the poetic dimension of the film is a 

haunting original score by composer Alexandre Desplat. 

In Competition // Cast Salma Hayek, Vincent Cassel, Toby Jones, 

John C. Reilly // Director Matteo Garrone // 125 minutes 


REVIEWS 

Our Little Sister 

Japanese filmmaker Hirozaku Koreeda is back with a 

breezy but underwhelming tale of four sisters enjoying domestic 

harmony in a seaside city by leslie felperin 

ONE OF WRITERdirector 

Hirokazu 

Koreeda’s marvelous 

early films, After Life (1998), 

unfolds a vision of limbo where 

the recently deceased collaborate 

with angelic filmmakers to 

re-create treasured moments — a 

cherry-blossom shower, a plane 

ride through clouds and so on — 

from their lives before they pass 

into oblivion. His new film seems 

to consist solely of happy, weightless 

moments like those. Nearly 

all the conflict is in the past as 

the movie observes three grown 

sisters (played by Ayase Haruka, 

Nagasawa Masami and Kaho) 

welcoming their teenage half-sibling 

(Hirose Suzu) into the family 

after the death of their common 

father. The result is an episodic, 

generous-spirited, pristinely shot 

and, quite frankly, somewhat dull 

effort which probably will play 

well in Japan, where the leads are 

big stars and the graphic novel on 

which it is based is well known. 

However, it’s unlikely to have the 

same appeal to audiences offshore 

except for hardcore Koreeda fans 

and committed Japanophiles. 

In the photogenic seaside city 

of Kamakura near Tokyo, the 

three Koda sisters, all roughly in 

their 20s, live in relative harmony 

together, apart from the odd spat 

over clothes borrowed without 

permission. Responsible eldest 

Sachi (Ayase), a nurse at the local 

hospital, is in a relationship with 

a married pediatrician (Shin’ichi 

Tsutsumi). Ever since the girls’ 

mother (Shinobu Ohtake) moved 

away and their grandmother died, 

Sachi has been the de facto matriarch 

of the family for her younger 

sisters, party-girl bank clerk 

Yoshino (Nagasawa Masami) and 

quirkily dressed but less well-defined 

Chika (Kaho). 

When their father, who took off 

when Chika was a toddler, dies in 

a distant province, the three sisters 

attend the funeral and meet 

their half-sibling, 15-year-old Suzu 

(Hirose) for the first time. Since 

Suzu’s own mother, whom the 

father went off to be with years 

ago, is now dead and Suzu doesn’t 

get on with her stepmother, she 

gladly accepts when Sachi invites 

her to come live with them in their 

capacious homestead. 

Viewers conditioned by more 

conventional movies to expect 

that spats or at least complications 

would arise from this 

Three grown sisters and their 

younger half-sister bond in 

Koreeda’s latest. 

inciting incident will be underwhelmed 

by Suzu’s seamless 

assimilation into the Koda 

family. Before long, she’s making 

friends at school and finding her 

niche on the local teen soccer 

team. The passage of time is 

marked by a procession of seasonal 

vignettes, like pages from a 

medieval book of hours brought 

to life. Suzu rides backseat on a 

friend’s bicycle through a lane of 

flowery blossomed trees to mark 

the coming of spring, and soon 

it’s time to etch kanji characters 

into the skin of greengages as 

the sisters prepare their annual 

batch of plum wine. (A great 

deal of the running time is spent 

watching characters preparing 

food, eating meals and discussing 

the virtues of, say, whitebait 

toast, or the local cafe’s preparation 

of marinated horse 

mackerel, making this a film 

one shouldn’t see on an empty 

stomach.) As the season turns, 

it’s time for the women to dress 

in their best summer kimonos to 

enjoy an entirely non-metaphorical 

fireworks display. 

As if grudgingly aware that he 

must provide at least a modicum 

of drama, Koreeda warms up the 

emotional temperature in the last 

few reels when the original trio’s 

mother shows up to make vague 

threats about selling the house, 

and the older girls find a way to 

forgive the father they barely 

knew but Suzu loved deeply. The 

sometimes self-righteous Sachi 

finally has an epiphany when she 

realizes her own extramarital 

goings-on make her no better a 

person than Suzu’s mother, who 

supposedly stole her father away. 

It’s not really a spoiler to report 

that by the end, like Chekhov’s 

three sisters but without any of 

the Slavic melancholy or frustration, 

the women are exactly 

in the same place as where they 

started — if just a little happier. 

And like the children in Koreeda’s 

much more tragic but punchier 

Nobody Knows, they find the inner 

resources to survive without 

parents, forming a somewhat 

unconventional family unit. 

Our Little Sister certainly marks 

a change from the heavy melodramatics 

of the swapped-at-birth 

storyline of the director’s last 

effort, Like Father, Like Son, but it 

feels ineffably slight even if it’s a 

consistent pleasure to spend time 

in the company of these likable 

women. The actors have a breezy, 

unforced and entirely credible 

sisterly chemistry together, and 

working once again with Like 

Father’s director of photography, 

Takimoto Mikiya, Koreeda 

often groups them together in 

midrange shots, all the better to 

showcase their private economy 

of exchanged smiles and amused 

raised eyebrows. 

But pleasant though that is, it’s 

not quite enough to sustain interest 

in a film that easily could be 

half an hour shorter than it is. The 

thing that was so inspired about 

the central conceit of After Life 

was that it was based on the notion 

that everyone has experienced just 

one moment of perfect happiness 

in his or her life. This new film, 

on the other hand, proves that 

if nearly every moment is pretty 

happy, then no one moment feels 

particularly special. 

In Competition // Cast Ayase 

Haruka, Nagasawa Masami, Kaho, 

Hirose Suzu, Shin’ichi Tsutsumi 

Director Hirokazu Koreeda 

126 minutes 


sales@planeta-inform.com 

20 MIN FOOTAGE IN 3D 

IS AVAILABLE TO SCREEN 

AT THE BOOTH 

PLEASE VISIT US AT 

LERINS S 5

REVIEWS 

The Anarchists 

Not even rising French stars Tahar Rahim and Adele Exarchopoulos 

can bring enough heat to Elie Wajeman’s historical thriller 

by jordan mintzer 

ASSEMBLING A TOP-NOTCH CAST, 

loads of atmosphere and plenty of 

intriguing ideas into what could 

have been a powerful tale of love 

and revolution in turn-of-thecentury 

Paris, The Anarchists (Les Anarchistes) 

nonetheless fails to ignite the way it should. 

This sophomore effort from writer-director 

Elie Wajeman takes place more than a century 

earlier than his breakout debut, Aliyah, but 

never brings the same level of tension, even 

if the narrative treads in a similar moral gray 

zone where individual ambitions are compromised 

by social norms. Proficient if not 

explosive turns from Cannes darlings Tahar 

Rahim (A Prophet) and Adele Exarchopoulos 

(Blue Is the Warmest Color) should push this 

Critics’ Week opener into offshore markets, 

though the insurrection will play best at home. 

It’s 1899 and Paris has never seemed grimmer. 

After making his way from poor orphan 

to well-read brigadier, the quietly charming 

Jean Albertini (Rahim) is ordered by his superior 

officer (Cedric Kahn) to infiltrate a band 

of young anarchists gaining traction in the 

working-class quarters of the city. 

Jean quickly ditches his chambermaid 

girlfriend and gets hired at a local nail factory, 

where punishingly loud machines and 11-hour 

workday provide living proof that the French 

proletariat is clearly getting the short end of 

the baguette. He soon befriends fellow laborers 

Biscuit (Karim Leklou, memorable) and 

Elisee (the promising Swann Arlaud), convincing 

them of his anarchist inclinations by 

dropping a Mikhail Bakunin reference. 

Wajeman and co-writer Gaelle Mace (Grand 

Central) spend a lot of time setting up each 

character’s political MO, which means there’s 

plenty of speechifying during the first hour 

but not nearly enough action. Gradually the 

conflicts emerge when Jean moves into the 

collective apartment run by bourgeois writer 

Marie-Louise (Sarah Le Picard), shacking up 

next door to Elisee and his brooding girlfriend, 

Judith (Exarchopoulos), with whom he begins 

an affair. 

There’s not much explanation as to why the 

two fall for one another — Jean simply calls 

her “beautiful” at one point — nor as to why 

Elisee never suspects anything is going on, 

even if the illicit lovers are doing it just down 

the hall. Wajeman seems to be trying to create 

an inner dilemma between Jean’s body and 

mind, but his desire for Judith tends to come 

across as more superficial than passionate — 

although that may be the point, considering 

he’s still supposed to be acting undercover. 

Regardless, the romantic drama doesn’t 

carry the weight it needs to service the rest of 

the story, even if Rahim and Exarchopoulos 

are engaging enough in their respective roles. 

It’s actually the friendship between Jean, 


NOVEMBER 4 - 15, 2015 

ENTRIES NOW OPEN 

www.denverfilm.org 

Krzysztof Kieslowski Award for Best Feature Film 

Maysles Brothers Award for Best Documentary 

Maria and Tommaso Maglione Italian Filmmaker Award 

Denver Film Fest 1 D3 051515.indd 1 

5/13/15 10:36 AM

Elisee and Biscuit — as well as the more 

prickly relationship he has with the group’s de 

facto leader (Guillaume Gouix) — that proves 

more narratively potent, setting up a clash 

that comes to a head during the final reels. 

Despite the general lack of verve, Wajeman 

and his production team offer up a few striking 

set pieces, including the opening factory 

scenes and a series of robberies the gang pulls 

off in order to fund their operations. Captured 

in cool widescreen colors by cinematographer 

Exarchopoulos 

and Rahim strike 

up a somewhat 

inexplicable affair. 

David Chizallet (Mustang), with production 

designer Denis Hager keeping the interiors 

drab and claustrophobic, such moments have a 

gritty realism that makes the film feel less like 

a period piece than a contemporary moral tale. 

Along with the craft contributions, 

Wajeman’s decision to mix a traditional score 

(by Gloria Jacobsen) with a selection of modern 

music tracks — such as The Kinks’ dreamy 

ballad “I Go to Sleep” — also helps give his 

movie some edge. The effect can be jarring 

at first, but like the performances and dialogue 

— including a dig at the French Socialist 

Party that could have been directed at current 

President Francois Hollande — there’s a lot 

about The Anarchists that feels closer to today 

than to the late 19th century, as if the crew had 

been sent back in time to shoot a documentary. 

(For a more successful take on this idea, 

see Peter Watkins’ La Commune.) 

As the net begins closing in on Jean and the 

others during the last half-hour, some of what 

Wajeman was setting up earlier begins to bear 

fruit. The finale is filled with more ambiguity 

than in your typical thriller, and we’re left with 

the idea that the political and personal rarely 

intertwine in productive ways, while revolutions 

of the heart are perhaps those that count 

most. But it’s a case of too little, too late, in a 

film that could have used a few more sticks of 

dynamite to really set the screen on fire. 

Critics’ Week // Cast Tahar Rahim, 

Adele Exarchopoulos, Swann Arlaud, 

Guillaume Gouix, Karim Leklou 

Director Elie Wajeman // 101 minutes 


CONGRATULATIONS 

CO-PRESIDENT 

TOM QUINN 

PAGE 50 

2015 STANLEY FILM FESTIVAL VISIONARY AWARD RECIPIENT 

PRESENTED BY 

WWW.STANLEYFILMFEST.COM 

A 4 DAY HORROR RETREAT AT THE HOTEL THAT INSPIRED THE SHINING 

STANLEY HOTEL • ESTES PARK, CO 

Denver Film Fest 2 D3 051515.indd 1 

5/13/15 10:37 AM

REVIEWS 

In the Shadow of Women 

Clotilde Courau and Stanislas Merhar star in a deeply felt, 

bracingly ironic drama of infidelity from veteran French director Philippe Garrel 

by boyd van hoeij 

MARITAL INFIDELITY IS 

something of a national 

pastime in France, at least 

if the movies are any indication. 

In the latest film from 

post-New Wave veteran Philippe Garrel, In 

the Shadow of Women (L’Ombre des Femmes), 

a married couple gets emotionally messed 

up when both partners start cheating with 

people who offer them physical pleasure but 

not necessarily emotional connection. 

Initially somewhat wispy-feeling, this 

72-minute feature transforms 

in its final reel from an ironic 

divertissement to a work 

of considerable feeling and 

intensity. Shot in handsome 

black-and-white on 35mm, 

though projected digitally at 

its Directors’ Fortnight premiere, 

the widescreen feature 

represents another respectable 

addition to Garrel’s 

filmography. It won’t break 

the bank, but it’ll be admired 

on the festival circuit and in 

niche release. 

Manon (Clotilde Courau) 

works with her hubby, Pierre 

(Stanislas Merhar), a documentary 

filmmaker currently 

preparing a film about the 

French Resistance. Their 

Parisian apartment, with its 

peeling wallpaper and improvised 

gas stove (which the 

cranky landlord suggests is a 

fire hazard), visually suggests 

not just the fact that they 

don’t make a lot of money, 

but also that the concept of 

upkeep is something they’re 

unfamiliar with. 

That disarray also extends to their relationship, 

as Pierre is not interested in 

accompanying Manon to soirees anymore, 

instead preferring to stay home — or, later, 

chat up a woman, Elisabeth (Lena Paugam), 

who works at a film archive. 

The offscreen voice of the director’s son 

(and frequent collaborator), actor Louis 

Garrel, occasionally comments on the action, 

suggesting early on, for example, that Manon 

— contrary to the title — lives in the shadow of 

her husband. The voiceover recalls the films 

of the French New Wave that clearly continue 

to inspire Garrel senior, and also supplements 

what the audience needs to know about Pierre, 

Merhar (left) and Courau test 

the boundaries of marriage. 

who, as played by the somewhat stiff Merhar, 

is the kind of stone-faced macho man who 

doesn’t seem to have any feelings at all. When 

he discovers, via Elisabeth of all people, that 

Manon also is seeing someone else (Mounir 

Margoum), it becomes clear that Pierre is the 

type of guy who’s quick to judge others but 

can’t bear to look at himself in the mirror. 

This is the first time Garrel has filmed a 

script co-written by veteran screenwriter and 

frequent Bunuel collaborator Jean-Claude 

Carriere, and the wicked irony typical 

of some of the Bunuel-Carriere projects 

can be felt here — and proves a welcome 

antidote to Garrel’s tendency to play things 

straight and low-key. 

Some observations about the way men treat 

women also feel relatively fresh and rather 

contemporary in the world of Garrel films (in 

one scene, Manon’s mother, played by the wonderful 

character actress Antoinette Moya, tells 

her offspring that “no man is worth sacrificing 

your life for”). 

Offering moments of mirth that help keep 

the film from becoming too serious, Carriere, 

Garrel and their fellow screenwriters employ 

sharp humor to highlight how a couple’s true 

feelings are not necessarily compatible with 

the established mores surrounding fidelity 

and marriage. The film’s last two sequences, 

inside and then outside a church where the 

funeral of a minor character is taking place, 

are impeccably executed, with a pitch-perfect 

Courau suggesting her character’s loneliness, 

desire to stay strong and real sentiments for 

Pierre through a couple of precise movements 

and glances. Everything then clicks into place 

for a deliciously ironic happy ending that 

wraps up the story perfectly while driving 

home its main themes. 

Garrel’s production and costume designers, 

Manu de Chauvigny and Justine Pearce, have 

again come up with a world that looks and 

feels like it is suspended somewhere in time 

between the late 1960s and today, with a single 

glimpse of a mobile phone, some 20 minutes 

in, playing almost like a kind of “gotcha!” 

gag for those wondering when exactly the story 

is set. Renato Berta’s lightly grainy yet 

always crisp cinematography rounds out the 

solid technical package. 

Directors’ Fortnight // Cast Clotilde Courau, 

Stanislas Merhar, Lena Paugam, 

Mounir Margoum // Director Philippe Garrel 

72 minutes 


SCREENING IN CANNES 

Tomorrow, 

Saturday, May 16 

10:00am • Riviera 3 

and 

Tuesday, May 19 

12:00pm • Lerins 2 

CONTACT: 

THE LITTLE FILM COMPANY 

Riviera, Lerins Floor – Stand R1 

www.thelittlefilmcompany.com

CDB15_AF AD THR ACOES 1505_bookend left side .pdf 1 08/05/15 15:44 

REVIEWS 

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Palio 

Cosima Spender’s vivid and compelling 

documentary depicts the behind-thescenes 

intrigue of Siena’s famous biannual 

horse race by frank scheck 

THE PALIO HORSE RACE HELD 

biannually in the Piazza del Campo of 

Siena, Italy, is the subject of Cosima 

Spender’s documentary, which plays like a classic 

sports drama thanks to memorable central 

characters. While the races, which go back 

hundreds of years, last no more than 90 seconds 

each, Palio, which premiered at Tribeca, packs 

enough intrigue to fuel a miniseries. 

The filmmaker lucked out with her decision 

to concentrate on two of the race’s principal 

jockeys: cocky 46-year-old veteran Gigi 

Bruschelli, who’s won 13 Palios in 16 years and is 

vying to break the record currently held by the 

retired Andrea Degortes, known as “Aceto”; and 

29-year-old, wildly ambitious upstart Giovanni 

Atzeni, who was trained by Bruschelli and now 

hopes to defeat his former mentor. 

The races themselves, which attract some 

70,000 viewers to the packed square, feature 

contenders from 10 of the city’s districts, with 

bribery and secret deals endemic to the proceedings. 

To say that the city’s denizens take 

the races seriously is an understatement, as 

evidenced by clips of several jockeys being 

viciously beaten by bystanders after losing; 

some have even been murdered. Among other 

colorful facts revealed: riderless horses can win 

the race, and have done so on nearly two dozen 

occasions; and the jockeys are allowed to whip 

each other with stretched, dried ox penises. 

But it’s the contestants who are the film’s 

main attraction. Bruschelli, a controversial 

figure, comments at one point, “Everyone has 

expectations of me,” before quickly adding, 

Horse racing, a hotbed of ego, corruption and violence, in Palio. 

“Me and my colleagues, I mean.” The similarly 

egotistical Atzeni points out about his rival 

that “he’s at the end of his career and I’m at the 

beginning.” Apparently recognizing his indiscretion, 

he immediately instructs the filmmaker 

to “cut that.” Equally memorable is the vainglorious 

Aceto, who has no compunction about 

sharing his acerbic observations. Seen at one 

social gathering, he announces, “I’m used to 

sitting at the head of the table.” 

Providing more sober comments is the retired 

Silvano Vigni, once Aceto’s rival and now a contented 

farmer, who is openly critical about the 

way the races are run. We’re also introduced to 

Atzeni’s father, who holds little enthusiasm for 

his son’s avocation. “I would have preferred him 

to get two degrees,” he ruefully admits. 

Featuring thrilling footage of the two races 

held during the summer the film was shot, Palio 

benefits greatly from the inherent drama of 

their outcomes, which will not be revealed here. 

Suffice it to say that a Hollywood screenwriter 

couldn’t have come up with anything better. 

Sales Altitude Film Sales 

Director Cosima Spender // 90 minutes 

Song of Lahore 

Pakistani classical musicians try jazz on for size in this 

likable doc, which is one part ethnomusicology to three 

parts ‘Can they pull it off?’ reality TV by john defore 

Pakistani musicians jazz it up all 

the way to New York in Lahore. 

PURVEYORS OF A FADING 

musical tradition try 

to adapt to the times in 

Song of Lahore, Andy Schocken 

and Sharmeen Obaid-Chinoy’s 

documentary about classical 

musicians in Pakistan. What 

initially feels like a South Asian 

attempt at Buena Vista Social 

Club-style rediscovery takes a 

left turn early on, as the men 

decide success might lie in playing 

American jazz. 

The result is a likable if not 

especially vibrant film that will 

have some appeal on the festival 

circuit and in special engagements 

in Pakistani-American 

communities. How the movie 

would fare beyond that is 


Cinema do Brasil Left D3 051515.indd 1 

5/8/15 3:22 PM

CDB15_AF AD THR ACOES 1505_bookend right side 

The Hallow 

Corin Hardy gives genre fans what they want with this gruesome, 

cleverly crafted Ireland-set monster movie by david rooney 

POKING AROUND IN THE WOODS 

unleashes a whole mess of seriously bad 

juju in The Hallow, director Corin Hardy’s 

viscerally scary fantasy horror tale about an 

English family that foolishly ignores the Irish 

locals’ warnings about malevolent nature. An 

end-credits dedication to Ray Harryhausen, 

Dick Smith and Stan Winston is hardly necessary 

to recognize Hardy’s veneration for 

handcrafted creature effects, and while his first 

feature shows more control in the setup than 

the busy extended mayhem of its final act, fanboys 

will find plenty to feast on. 

The Hallow tethers its first ick moment to 

science, when tree doctor Adam (Joseph 

Mawle) discovers a dollop of ophiocordyceps 

unilateralis on a deer carcass. That so-called 

“zombie fungus” infects the brains of ants and 

then explodes out of their heads, continuing to 

grow on their exoskeletons. Nasty stuff. Then 

there’s the folkloric element, though Adam and 

wife Claire (Bojana Novakovic) shrug it off as 

superstition when neighbor Colm Donnelly 

(Michael McElhatton) tries to tell them that 

entering the forest puts their baby at risk. Cue 

primal family terror. 

That’s just for starters. The screenplay by 

Hardy and Felipe Marino stirs in a siege scenario, 

a possessed house oozing black sludge, 

predatory monsters eager to extend their brood 

and a dose of David Cronenberg body horror. 

Homages fly left and right, from The Evil Dead 

to Alien to The Shining. In other words, this is a 

hefty cargo of plot ingredients and genre tropes 

for one film to handle, but it keeps the disparate 

elements cohesive. 

Hardy proves himself both a gifted visual 

stylist and an assured storyteller with a wicked 

grasp of sustained dread. What’s most gratifying 

is that The Hallow continues the trend 

of recent superior horror like The Babadook 

and It Follows by emphasizing practical effects 

and using the digital paintbox only for subtle 

enhancement. While the human cast is small, 

the film marshals a creepy assortment of 

animatronic and puppet creatures overseen 

by John Nolan. Hardy also scores points by 

steering clear of the usual teens in peril, instead 

dropping an intelligent adult couple into the 

demons’ lair. 

Sales Altitude Film Sales // Cast Joseph Mawle, 

Bojana Novakovic, Michael McElhatton, Michael 

Smiley Director Corin Hardy // 97 minutes 

Mawle fights the 

fungus in Hardy’s 

Irish horror flick. 

C 

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somewhat of a question mark. 

In the middle of the 20th 

century, Lahore was a center 

of culture in Pakistan, and the 

film introduces us to elderly 

instrumentalists who remember 

days when well-paid orchestras 

recorded soundtracks for local 

movies, and concerts were 

popular. They saw work vanish 

with the intensification of 

Sharia law; now they struggle to 

convince sons and grandsons to 

learn traditions that aren’t valued 

in an era defined by more 

synthetic beats. 

Sachal Studios, founded in an 

attempt to gather these musicians 

and find them work, is 

struggling when founder Izzat 

Majeed has a novel idea: “Let’s 

make two to four new tracks 

and try to understand jazz.” 

Real jazz musicians might be 

insulted by the idea that “jazz 

is something you can pick up,” 

but the idea works: After a 

video of their sitar-heavy version 

of “Take Five” goes viral 

worldwide, the group is invited 

to come to New York City for a 

joint concert with the Jazz at 

Lincoln Center Orchestra. 

We then move into familiar 

fish-out-of-water territory, watching 

as the musicians prepare for 

and make the scary, exhilarating 

trip abroad. But things get serious 

when they enter the rehearsal 

room: JALC leader Wynton 

Marsalis tries to be openminded 

about a collaboration 

one suspects was pushed on 

him, but the culture clash is 

rough for everyone. 

Differing ideas about 

musical professionalism and 

a problematic sitar player 

put the concert in jeopardy, 

and even the day before curtain 

we suspect there’s about 

to be a musical car wreck 

in front of a sold-out crowd. 

Let’s just say that it’s best not 

to spoil the suspense here. 

Sales Autlook Filmsales 

Director Andy Schocken, 

Sharmeen Obaid-Chinoy 

92 minutes 


Cinema do Brasil Right D3 051515.indd 1 

5/8/15 3:23 PM

REVIEWS 

MARKET 

Nasty Baby 

TITLE 

Kristen Wiig plays a woman who gets pregnant with 

the help of a gay couple in director Sebastian Silva’s 

perceptove, provocative drama BY TODD MCCARTHY 

Adembimpe (left) and Wiig 

form part of a modern family. 

WHAT SEEMS 

destined to be 

a stultifyingly 

politically correct indie about 

an interracial gay couple in 

Brooklyn helping a single 

white woman get pregnant by 

supplying sperm turns into 

a startling drama of moral 

ambiguity in Nasty Baby. 

Anyone who’s seen the previous 

work of Chilean expat 

writer-director Sebastian 

Silva knows that he’s going 

to examine what’s on the 

underside of the rock, not 

just on top, although here 

he waits to turn it over until 

late in the game. Involving 

throughout most of its running 

time, this is a vibrant, 

thoughtful piece about 

modern life in a very particular 

gentrified neighborhood. 

Shot in rough-and-ready 

handheld style, the film can 

benefit from co-star 

Kristen Wiig’s name to 

achieve initial exposure. 

The director co-stars here 

as Freddy, a video installation 

artist who’s informed that he 

should give up trying to help 

impregnate close friend Polly 

(Wiig) because his sperm 

count is too low. He therefore 

proposes that his partner, Mo 

(Tunde Adebimpe), take over. 

With little story other than 

the thread involving Polly’s 

efforts at pregnancy, the film 

skips along at a brisk clip, 

Silva’s observant, in-the-moment 

camera style catching 

glimpses of life the way a 

sharp-eyed photographer 

might. In its final stretch, 

Nasty Baby takes a very nasty 

turn to a place none of the 

characters has ever visited, 

physically or figuratively. 

Without giving anything 

away, the climax calls into 

question what kind of people 

these are whom we’ve been 

watching and what any given 

person might be capable 

of doing in extremis. Silva 

sticks it to a comfortable, 

complacent and presumably 

morally liberal audience with 

his finale and twists the knife 

to thought-provoking ends. 

If the film at the beginning 

is explicitly about life and 

creating it, at the end it’s 

also about just as consciously 

taking it away. 

The unsteady, quasihome-video 

quality of the 

proceedings is initially 

uninviting but becomes less 

grating after a while, albeit 

the night and darkly lit 

scenes remain problematic. 

The performances are 

naturalistic, accessible and 

likable; there’s no heavy, 

thespian-style acting going 

on here. The soundtrack 

offers a kaleidoscopic array 

of mostly flavorsome tunes. 

Sales Funny Balloons, 

Versatile // Cast Sebastian 

Silva, Tunde Adebimpe, 

Kristen Wiig // Director 

Sebastian Silva // 100 minutes 

FACE OF THE DEVIL 

SCREENING TODAY 13:30 PALAIS B 

UNHALLOWED GROUND 

SCREENING: 

SATURDAY MAY 16TH 

15:30 PALAIS B 

JINGA FILMS RIVIERA E - 9 

TEL: 00 44 7765 398 742 

JINGAFILMS.COM INFO@JINGAFILMS.COM 

THE ENTITY 

SCREENING: 

SATURDAY MAY 16TH 

AT 12:00 GRAY 3 


Jinga Films D3 051515.indd 1 

5/13/15 11:27 AM

FESTIVAL 

SCREENING 

GUIDE 

France, 73 Min., Theatre Croisette, 

Wild Bunch, Directors’ Fortnight 

16:00An, Japan, 113 Min., Bazin, 

MK2 S.A., Un Certain Regard 

Son of Saul, Hungary, 107 Min., 

Lumiere, Films Distribution, 

Competition 

16:30Chauthi Koot, India, 115 Min., 

Debussy, Elle Driver, Un Certain Regard 

Our Little Sister, Japan, 128 Min., Salle 

du 60eme, Wild Bunch, Competition 

17:15Sembene!, USA, 88 Min., 

Bunuel, Film Sales Company 

Embrace of the Serpent, Colombia, 

122 Min., Theatre Croisette, Films 

Boutique, Directors’ Fortnight 

17:30Paulina, Argentina, 103 Min., 

Miramar, Versatile, Critics’ Week 

18:45La Noire De..., 65 Min., Bunuel, 

Festival de Cannes, Cannes Classics 

19:30Irrational Man, USA, 96 Min., 

Lumiere, Filmnation Entertainment LLC, 

Out of Competition 

19:45L’esprit de l’Escalier, 

Israel, 105 Min., Bazin, EZ Films, 


Nahid, Iran, 105 Min., Debussy, 

Noori Pictures, Un Certain Regard 

11:15The Lobster, Ireland, 119 Min., 

Salle du 60eme, Protagonist Pictures, 

Competition 

11:30In the Shadow of Women, 

France, 73 Min., Arcades 1, Wild Bunch, 

Directors’ Fortnight 

The Sea of Trees, USA, 110 Min., 

Lumiere, Bloom, Competition 

The Wakhan Front, France, 100 Min., 

Miramar, Indie Sales, Critics’ Week 

11:45Arabian Nights Vol. 1, Portugal, 

125 Min., Theatre Croisette, The Match 

Factory, Directors’ Fortnight 

13:30The Shameless, Korea 

(South), 120 Min., Bazin, CJ E&M 

Corporation/CJ Entertainment, 

Un Certain Regard 

14:00Insiang, 95 Min., Bunuel, 


Disorder, France, 100 Min., Debussy, 

Indie Sales, Un Certain Regard 

Programme Courts Metrages 1, 

92 Min., Miramar, Critics’ Week 

Irrational Man, USA, 96 Min., Salle 

du 60eme, Filmnation Entertainment 

LLC, Out of Competition 

TODAY (MAY 15) 

8:30The Anarchists, France, 101 Min., 

Bunuel, Wild Bunch, Critics’ Week 

The Lobster, Ireland, 119 Min., Lumiere, 

Protagonist Pictures, Competition 

Sleeping Giant, Canada, 

89 Min., Miramar, Seville International, 

Critics’ Week 

9:00Embrace of the Serpent, 

Colombia, 122 Min., Theatre Croisette, 

Films Boutique, Directors’ Fortnight 

10:00A Conversation With 

Ted Sarandos, 110 Min., Bunuel, 

Next - Marche du Film 

11:00One Floor Below, Romania, 

95 Min., Bazin, Films Boutique, 


Rams, Iceland, 93 Min., Debussy, New 

Europe Film Sales, Un Certain Regard 

11:30Irrational Man, USA, 96 Min., 

CJ Entertainment’s 

The Shameless 



Paulina, Argentina, 103 Min., Miramar, 

Versatile, Critics’ Week 

Mad Max: Fury Road, USA, 120 Min., 

Salle du 60eme, Festival de Cannes, 


12:15My Golden Days, France, 

123 Min., Theatre Croisette, Wild Bunch, 


14:00Rams, Iceland, 93 Min., 

Debussy, New Europe Film Sales, 


Tale of Tales, Italy, 125 Min., Salle du 

60eme, Hanway Films, Competition 

15:00By Sidney Lumet, USA, 103 Min., 

Bunuel, Cinephil, Cannes Classics 

The Anarchists, France, 101 Min., 

Miramar, Wild Bunch, Critics’ Week 


20:15La Historia Oficial, Argentina, 

112 Min., Bunuel, Pyramide 

International, Cannes Classics 

My Golden Days, France, 123 Min., 

Theatre Croisette, Wild Bunch, 


22:00The Shameless, Korea (South), 

120 Min., Debussy, CJ E&M Corporation/ 

CJ Entertainment, Un Certain Regard 

Paulina, Argentina, 103 Min., Miramar, 

Versatile, Critics’ Week 

22:30The Lobster, Ireland, 119 

Min., Lumiere, Protagonist Pictures, 

Competition 

TOMORROW (MAY 16) 

8:30Coin Locker Girl, Korea (South), 

110 Min., Bunuel, CJ E&M Corporation/ 

CJ Entertainment, Critics’ Week 

Mia Madre, Italy, 106 Min., Lumiere, 

Films Distribution, Competition 

Paulina, Argentina, 103 Min., 


9:00A Perfect Day, Spain, 

105 Min., Theatre Croisette, Westend 

Films, Directors’ Fortnight 


Bazin, Elle Driver, Un Certain Regard 

14:30Mia Madre, Italy, 

106 Min., Lumiere, Films Distribution, 

Competition 

14:45My Golden Days, France, 123 

Min., Theatre Croisette, Wild Bunch, 


16:00Rams, Iceland, 93 Min., 

Bazin, New Europe Film Sales, 


Steve McQueen: The Man & Le Mans, 

United Kingdom, 112 Min., 

Bunuel, Content Media Corporation, 

Cannes Classics 

Nahid, Iran, 105 Min., Debussy, 


17:00The Wakhan Front, 

France, 100 Min., Miramar, Indie Sales, 



Colombia, 122 Min., Arcades 1, Films 

Boutique, Directors’ Fortnight 

Arabian Nights Vol. 1, Portugal, 

125 Min., Theatre Croisette, 

The Match Factory, Directors’ Fortnight 


106 Min., Lumiere, Films Distribution, 

Competition 


CANNES 

2015 

IN POST-PRODUCTION. PROMO AVAILABLE 

IN PRE-PRODUCTION. 

SCREEN MEDIA FILMS PRESENTS IN ASSOCIATION WITH DREAMFACTORY ENTERTAINMENT INC. TM. A BILITCH-MONROE-ROCHA PRODUCTION 

A STEPHEN LANGFORD FILM MAUREEN MCCORMICK ANDREW LAWRENCE KEN DAVITIAN KIP GILMAN “BIG BABY” 

STARRING ALANA BAER ALSO STARRING GRANT MCCLELLAN NINA ANN NELSON BRANDON MIDDLETON KIM HAMILTON AND ALLAN STEPHAN 

MUSIC 

BY MISHA SEGAL EDITED BY RICHARD OKOTUROH PRODUCTION 

DIRECTOR OF 

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DESIGNER ANTONIO GARCIA PHOTOGRAPHY RYAN JACOB MORGAN PRODUCERS ALMIRA RAVIL SETH NEEDLE ROBERT DUDELSON 

STEPHEN LANGFORD PRODUCED 

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First AmericAn cinemA & GrAnd illusion entertAinment presents A BrYAn micHAel stoller Film “tHe AmAzinG wizArd oF pAws” 

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ericA HowArd leeAnn deArinG mAtHew deArinG AppeArAnce BY tommY “tinY” lister producers BrYAn micHAel stoller AleXAnder YurcHiKoV pHotoGrApHY Bruce AlAn Greene 

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TEGAN CROWLEY SCOTT MARCUS STEVEN KENNEDY DON BRIDGES NICHOLAS STRIBAKOS SARAH RANKEN LIZA DENNIS 

SOUND DESIGN 

BENJAMIN RIGBY “PLAGUE” AND MUSIC BY DREAM VAULT STUDIOS PRODUCTION 

DIRECTOR OF 

VISUAL 

DESIGNER LINUS GRUSZEWSKI PHOTOGRAPHY TIM METHERALL EFFECTS BY DARIUS FAMILY 

SPECIAL 

EFFECTS BY WOW FX PROSTHETICS DESIGNER DANIELLE RUTH EDITED BY NICK KOZAKIS ASSOCIATE 

PRODUCER BRIAN T. SMITH PRODUCED BY ALEXANDRO OUZAS 

WRITTEN BY KOSTA OUZAS DIRECTED BY KOSTA OUZAS & NICK KOZAKIS 

SCREENING TOMORROW: PALAIS B – 13 :30 

RIVIERA E.23 WWW.SCREENMEDIA.NET 

TEL: +33 (0)4 92 99 33 05

FESTIVAL SCREENING GUIDE 

18:30Panama, Serbia, 97 Min., 

Salle du 60eme, Wide, Out of 

Competition 

19:30Coin Locker Girl, Korea (South), 

110 Min., Miramar, CJ E&M Corporation/ 

CJ Entertainment, Critics’ Week 




21:00The Sea of Trees, USA, 110 Min., 

Lumiere, Bloom, Competition 

21:15La Legende de la Palme d’Or, 

70 Min., Bunuel, Festival de Cannes, 


Lumiere, Hanway Films, Competition 

14:00Journey to the Shore, 

Japan, 128 Min., Debussy, MK2 S.A., 


The Sea of Trees, USA, 110 Min., Salle 

du 60eme, Bloom, Competition 

14:30Coin Locker Girl, 

Korea (South), 110 Min., 

Miramar, CJ E&M Corporation/CJ 

Entertainment, Critics’ Week 

Green Room, USA, 95 Min., 

Theatre Croisette, Westend Films, 


15:00La Marseillaise, France, 

19:00Carol, United Kingdom, 118 Min., 

Lumiere, Hanway Films, Competition 

19:15Macadam Stories, France, 102 

Min., Salle du 60eme, TF1 International, 

Out Of Competition 

19:30The Brand New Testament, 

Belgium, 113 Min., Theatre Croisette, Le 

Pacte, Directors Fortnight 

20:00Programme Courts 

Métrages 1, 92 Min., Miramar, Semaine 

De La Critique, Critic’s Week 

21:45Journey To The Shore, 

Japan, 128 Min., Debussy, MK2 S.A., 

Certain Regard 

Inside Out, , 94 Min., 

Lumiere, Festival de Cannes, 


Mon Roi, France, 126 Min., Salle du 

60eme, Studiocanal, Competition 

11:30Green Room, Usa, 95 Min., 

Arcades 1, Westend Films, Directors’ 

Fortnight 

Land and Shade, Colombia, 94 Min., 

Miramar, Pyramide International, 


12:00Zangiku Monogatari, 



21:30Disorder, France, 100 Min., 

Debussy, Indie Sales, Un Certain Regard 

The Lady From Shanghai, 

87 Min., Salle du 60eme, Festival 

de Cannes, Cannes Classics 

22:00The Wakhan Front, France, 

100 Min., Miramar, Indie Sales, 



Colombia, 122 Min., Arcades 1, 


23:30Amy Winehouse Documentary, 

United Kingdom, 127 Min., Lumiere, 

Sunray Films, Out of Competition 

The Match Factory’s 

Cemetery of Splendor 

MAY 17 

8:30Mon Roi, France, 126 Min., 

Lumiere, Studiocanal, Competition 

The Wakhan Front, France, 100 Min., 


9:00Beyond My Grandfather 

Allende, Chile, 97 Min., Theatre 

Croisette, Doc & Film International, 


11:00Son of Saul, Hungary, 107 Min., 

Bunuel, Films Distribution, Competition 

The High Sun, Croatia, 118 Min., 

Debussy, Cercamon, Un Certain Regard 

11:30Chile Factory, Chile, 70 Min., 

Arcades 1, DW, Directors’ Fortnight 

Degrade, France, 84 Min., Miramar, 

Elle Driver, Critics’ Week 

The Brand New Testament, 

Belgium, 113 Min., Theatre Croisette, 

Le Pacte, Directors’ Fortnight 


106 Min., Salle du 60eme, Films 

Distribution, Competition 

12:00Carol, United Kingdom, 118 Min., 


Lumiere!, 90 Min., Lumiere, Festival 

de Cannes, Cannes Classics 

15:30Nahid, Iran, 105 Min., Bazin, 


16:15Amy Winehouse Documentary, 

United Kingdom, 127 Min., Salle 

du 60eme, Sunray Films, Out of 

Competition 

16:30The High Sun, Croatia, 118 Min., 

Debussy, Cercamon, Un Certain Regard 

17:00Beyond My Grandfather 

Allende, Chile, 97 Min., Theatre 

Croisette, Doc & Film International, 


17:15Degrade, France, 84 Min., 

Miramar, Elle Driver, Critics’ Week 

17:30Disorder, France, 100 Min., 

Bazin, Indie Sales, Un Certain Regard 

18:30Rocco et Ses Freres, 




22:00Dégradé, France, 84 Min., 

Miramar, Elle Driver, Critics’ Week 

22:15Mon Roi, France, 126 Min., 

Lumiere, Studiocanal, Competition 

Green Room, Usa, 95 Min., Theatre 

Croisette, Westend Films, Directors’ 

Fortnight 


Min., Arcades 1, Wild Bunch, Directors’ 

Fortnight 

MAY 18 

8:30The Measure Of A Man, France, 

93 Min., Lumiere, Mk2 S.a, Competition 

Degrade, France, 84 Min., Miramar, Elle 

Driver, Critics’ Week 

9:00Arabian Nights Vol.2, Portugal, 

132 Min., Theatre Croisette, The Match 

Factory, Directors’ Fortnight 

11:00The High Sun, Croatia, 118 Min., 

Bazin, Cercamon, Un Certain Regard 

Cemetery of Splendor, Thailand, 122 

Min., Debussy, The Match Factory, Un 

12:15Les Cowboys, France, 114 Min., 

Theatre Croisette, Pathe International 

(Fr), Directors’ Fortnight 

13:30Louder Than Bombs, Norway, 

103 Min., Lumiere, Memento Films 

International (MFI), Competition 

14:00The Chosen Ones, 

Mexico, 105 Min., Debussy, IM Global, 


Carol, United Kingdom, 118 Min., Salle 

du 60eme, Hanway Films, Competition 

15:00Talents Cannes 2015 - Adami, 


Two Friends, France, 100 Min., 


The Brand New Testament, Belgium, 

113 Min., Theatre Croisette, Le Pacte, 


16:30Les Ordres, , 108 Min., Bunuel, 


Cemetery of Splendor, Thailand, 122 

Min., Debussy, The Match Factory, Un 


The Measure of a Man, France, 93 

Min., Lumiere, MK2 S.A., Competition 


Paranormal Horror 



Character-driven Psychological Thriller 

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MARKET 

SCREENING 

GUIDE 

TODAY (MAY 15) 

8:30Sleeping Giant, Canada, 

89 Min., Miramar, Seville International, 



Bazin, Wild Bunch, Critics’ Week 

The Lobster, Ireland, 119 Min., Lumiere, 

Protagonist Pictures, Competition 




9:15Christ the Lord, USA, 110 Min., 

Gray 3, Hyde Park International, 

9:30A Perfect Man, France, 

103 Min., Star 4, SND - Groupe M6, 

Abattoir Footage, USA, 30 Min., 

Arcades 2, Versatile 

Arteholic, Germany, 86 Min., 

Riviera 4, Parkland Pictures, 

Crow’s Egg, India, 99 Min., Palais F, 

Fox Star Studios India Pvt Ltd., 

Eva & Leon, France, 85 Min., Palais J, 

Pyramide International 

From Green To White, Norway, 94 

Min., Palais B, Freedom From Fear A/S, 

I Am Michael, USA, 98 Min., Arcades 3, 

The Exchange, 

Song Of The Sea, Ireland, 

90 Min., Olympia 6, Westend Films, 

The Beauty Inside, Korea (South), 

127 Min., Lerins 2, Contents Panda Next 

Entertainment 

The Four Warriors, United 

Kingdom, 89 Min., Riviera 2, 

Metrodome International 

The Great British Mortgage Swindle, 

United Kingdom, 110 Min., Palais D, AFP 

The Hallow, USA, 95 Min., Arcades 1, 

Altitude Film Sales 

The Singing Shoes, Bulgaria, 130 Min., 

Gray 4, Bulgarian National Film Center 

The Survivalist, United Kingdom, 112 

Min., Olympia 3, K5 International 

The Wannabe, USA, 90 Min., 

Gray 2, Electric Entertainment 

You Can’t Save Yourself Alone, Italy, 

103 Min., Palais H, Beta Cinema 

9:45Pioneer Heroes, Russia, 

116 Min., Palais E, Alpha Violet 

10:00A Conversation With 

Ted Sarandos, , 110 Min., Bunuel, 

Next - Marche du Film 

All About Them, France, 90 Min., 

Arcades 2, Versatile 

Dogwoof Promo Reel, USA, 

110 Min., Palais C, Dogwoof 

Family For Rent, France, 97 Min., 

Olympia 1, Studiocanal 

Florida, France, 110 Min., Star 2, 

Gaumont 

Half Sister, Full Love, France, 

95 Min., Olympia 4, Le Pacte 

I’m Dead But I Have Friends, Belgium, 

96 Min., Riviera 1, Be For Films 

One & Two, USA, 91 Min., Olympia 5, 

Protagonist Pictures 

Road to Your Heart, South Africa, 

115 Min., Gray 5, Princ Films 

Sidetracked, Spain, 103 Min., Palais G, 

Wide’s Panama 

Film Factory Entertainment 

Standoff, USA, 88 Min., Gray 3, 

Voltage Pictures 

Take Down, United Kingdom, 108 Min., 

Gray 1, Radiant Films International 

The Sense of Wonder, France, 

101 Min., Star 1, Tf1 International 

The Summer of Sangaile, Lithuania, 

88 Min., Riviera 3, Films Distribution 

11:00One Floor Below, Romania, 

95 Min., Bazin, Films Boutique, Un 




The Croissant In The Moon, 

7 Min., Gray 4, Ghost Light 

11:3013 Minutes, Germany, 

108 Min., Riviera 4, Beta Cinema 

Afterthought, Israel, 105 Min., 

Star 3, The Match Factory 

Ally Was Screaming, Canada, 

88 Min., Arcades 3, Artist View 

Entertainment Inc. 

Clever, Uruguay, 83 Min., Gray 4, 

Habanero 

El Cinco, Argentina, 100 Min., 

Olympia 9, Films Boutique 

Feast of Varanasi, India, 97 Min., 

Palais B, Raafilms 

Glassland, Ireland, 93 Min., Palais D, 

Kaleidoscope Film Distribution Ltd. 

Infini, Australia, 105 Min., Gray 2, 

Kathy Morgan International 

Irrational Man, USA, 96 Min., 


Out Of Competition 

La Tierra Roja, Belgium, 104 Min., 

Riviera 2, Latido 

Mad Max: Fury Road, USA, 120 Min., 

Salle du 60eme, Festival de Cannes, 


Night Fare, France, 80 Min., 

Olympia 3, WTFilms 

Panama, Serbia, 97 Min., Palais H, 

Wide, Out of Competition 



Peggy Guggenheim: Art Addict, USA, 

97 Min., Olympia 6, Hanway Films 

Sming, Thailand, 105 Min., Palais F, 

Five Star Production (Thailand) 

Spooks: The Greater Good, 

United Kingdom, 104 Min., Arcades 1, 

Altitude Film Sales 

The Barber, USA, 95 Min., Lerins 1, 

The Little Film Company 

The True Cost, USA, 89 Min., Palais J, 

Film Sales Company 

11:45Last Cab to Darwin, Australia, 

123 Min., Riviera 3, Films Distribution 

12:00Blunt Force Trauma, Colombia, 

96 Min., Gray 3, Voltage Pictures 

First Growth, France, 90 Min., 

Palais K, Snd - Groupe M6 

Greenery Will Bloom Today, Italy, 

80 Min., Palais G, Rai Com 

In the Shadow of Women, 

France, 73 Min., Olympia 8, Wild Bunch, 


Just Jim, United Kingdom, 84 Min., 

Riviera 1, Visit Films, 

Manpower, Israel, 85 Min., Gray 5, 

Stray Dogs, 

Much Loved, France, 108 Min., 

Olympia 4, Celluloid Dreams / 

Nightmares, Directors’ Fortnight 

No Kids, Argentina, 100 Min., 

Palais E, Filmsharks Int’l 

Our Women, France, 93 Min., Gray 1, 

Kinology 


MEET ME at the 

AMERICAN PAVILION 

MAY 15, 2015 

TODAY AT THE AMERICAN PAVILION 

10:00–2:00 PM | 

INDUSTRY IN FOCUS: 

HOW ADVANCED IMAGING 

TECHNIQUES SHOULD IMPACT 

THE 3D MOVIE EXPERIENCE 

Workshop and reception sponsored by 3D 

Stereo MEDIA, with participation of the 

Advanced Imaging Society, and the support of 

UP3D and XPAND 3D. 

Walk-ins accepted if seats are available. 

2:00 PM | INDUSTRY IN FOCUS: 

THE CASTING PROCESS 

How can producers and directors collaborate with 

casting directors to secure the best possible cast? 

Nancy Bishop, Snowpiercer, Mission Impossible IV 

Luci Lenox, Traces of Sandalwood, Vicky Christina Barcelona 

Susan Shopmaker, Shortbus, Martha Marcy May Marlene 

Matthew Lessall, Chronic 

Moderated by Keith Simanton, Senior Film Editor, IMDb/IMDb Pro 

TOMORROW, MAY 16 

11:00 AM | FILM PANEL: 

THE TRUE COST 

The True Cost documentary with Director 

Andrew Morgan and Producer Livia Firth. 


STATE OF THE INDUSTRY 

Rena Ronson, UTA 

John Sloss, Cinetic Media 

Linda Lichter, Attorney 

Jean Prewitt, Independent Film & Television 

Alliance (IFTA) 

Tom Quinn, RADiUS-TWC 

Moderated by Matt Belloni, The Hollywood Reporter 

3:00–4:00 PM 

TIMESTALKS: TOM BERNARD & 

MICHAEL BARKER 

The New York Times 

presents the co-presidents 

and co-founders of Sony Pictures Classics, Tom 

Bernard and Michael Barker in conversation with 

Times contributor Logan Hill. 

SUNDAY, MAY 17 

12:00 PM 

TIMESTALKS: SALMA HAYEK 

The New York Times 

presents Oscar-nominated 

actress-producer Salma Hayek - Tale of Tales, 

Kahlil Gibran’s The Prophet - in conversation with 

Times contributor Logan Hill. 


AMERICAN PRODUCERS AT 

CANNES 

Ram Bergman, A Tale of Love and Darkness, 

upcoming Star Wars: Episode VIII and IX, Looper 

Justin Chan and Wilson Smith, Krisha 

Carly Hugo, Share, Bachelorette 

Ryan Zacarias, Mediterranea 

Moderated by Eric Kohn, IndieWire 

3:00 PM | FILM PANEL: 

THE OTHER SIDE OF THE WIND 

Orson Welles’ last film The Other Side of the Wind. 

With Peter Bogdanovich and Producer Filip Jan Rymsza. 

4:30–6:30 PM 

EMERGING FILMMAKER 

SHOWCASE / LGBTQ SHOWCASE 

Presented by American Express 

10:00 PM 

QUEER NIGHT 

With guest DJ John Cameron Mitchell 

MONDAY, MAY 18 

10:00–12:30 PM 

STUDENT FILMMAKER 

SHOWCASE 


1:00–3:00 PM 

EMERGING FILMMAKER 

SHOWCASE 


TUESDAY, MAY 19 

10:00–11:00 AM 

TIMESTALKS: DISNEY• PIXAR’S 

INSIDE OUT 

New York Times contributor 

Logan Hill interviews director 

Pete Docter, producer Jonas Rivera, and actors Amy 

Poehler, Mindy Kaling, Lewis Black and Phyllis 

Smith, who provide the voices of Joy, Disgust, Anger 

and Sadness in this original new movie. 

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MARKET SCREENING GUIDE 

Papa, USA, 90 Min., Lerins 2, Premiere 

Entertainment Group 

Peace to Us in Our Dreams, Lithuania, 

107 Min., Palais I, NDM, Directors’ 

Fortnight 

Songs My Brothers Taught Me, 

USA, 94 Min., Star 1, Fortissimo Films, 


Violent Shit: The Movie, Germany, 

80 Min., Palais C, DC Medias 


Min., Theatre Croisette, Wild Bunch, 


13:30Au Plus Pres du Soleil, France, 

103 Min., Olympia 9, BAC Films 

Body, USA, 75 Min., Gray 4, 

Archstone Distribution 

Cavanna, He Was Charlie, 

France, 90 Min., Riviera 2, The Bureau 

Sales/Le Bureau 

Chasuke’s Journey, Japan, 106 Min., 

Arcades 3, Films Boutique 

Dead Uncle, Italy, 95 Min., Star 4, 

Rai Com 

Face of the Devil, Peru, 87 Min., 

Palais B, Jinga Films 

I’m All Yours, France, 99 Min., 

Star 3, Indie Sales 

Loev, India, 90 Min., Palais J, Wide, 

Mara and the Firebringer, Germany, 

90 Min., Riviera 4, Sola Media GmbH 

Microbe & Gasoline, France, 

103 Min., Arcades 1, Studiocanal 

Pay the Ghost, USA, 91 Min., Olympia 7, 

Voltage Pictures 

Scout, USA, 92 Min., Palais H, 

Angel Grace Productions 

Seoul Station, Korea (South), 90 Min., 

Lerins 1, Finecut Co. Ltd. 

The Amazing Wiplala, 

Netherlands, 100 Min., Palais D, 

Attraction Distribution 

13:40Francis: Pray for Me, Argentina, 

100 Min., Palais E, Filmsharks Int’l 

14:00Atomic Eden, USA, 90 Min., 

Gray 5, Generation X Group GmbH 

Before I Wake, USA, 100 Min., Olympia 

1, Sierra / Affinity 

Emelie, USA, 80 Min., Gray 1, 6 Sales 

La Historia Oficial, Argentina, 

112 Min., Palais K, Pyramide 


Long Way North, France, 

81 Min., Riviera 1, UDI - Urban 

Distribution International 

Necktie Youth, Netherlands, 

86 Min., Gray 3, Premium Films 

Private Screening on Invitation Only, 

100 Min., Palais I, BAC Films 



Tale of Tales, Italy, 125 Min., Salle du 

60eme, Hanway Films, Competition 

The Fear of Darkness, Australia, 92 

Min., Lerins 2, Arclight Films 

The Nymphets, USA, 75 Min., Riviera 3, 

Visit Films 

The Parisian Bitch, France, 82 Min., 

Star 2, Gaumont 

The Propaganda Game, Spain, 

90 Min., Olympia 4, Memento Films 

International (MFI) 

Toho Promo Reel, Japan, 15 Min., 

Palais C, Toho Co., Ltd. 

Truman, Spain, 110 Min., Palais E, 

Filmax International 

Zutaboro, Japan, 110 Min., Palais G, 

Toei Company, Ltd. 

15:00By Sidney Lumet, USA, 103 Min., 

Bunuel, Cinephil, Cannes Classics 


Miramar, Wild Bunch, Critics’ Week 

Toho Promo Reel, Japan, 15 Min., 

Palais C, Toho Co., Ltd. 


France, 73 Min., Theatre Croisette, Wild 

Bunch, Directors’ Fortnight 

15:30Aurora, Chile, 86 Min., Gray 2, 

Films Boutique 

Belgian Rhapsody, Belgium, 100 Min., 

Olympia 7, Be For Films 

Bravetown, USA, 110 Min., Lerins 1, 

Lightning Entertainment 

Convergence, USA, 100 Min., Palais J, 

Tricoast Worldwide 

Die Windpomp, South Africa, 102 Min., 

Palais F, Zenhq Films 

Dynamite: A Cautionary Tale, USA, 95 

Min., Gray 4, Breaking Glass Pictures 

Front Cover, USA, 87 Min., Arcades 3, 

Fortissimo Films 

Howl, United Kingdom, 95 Min., 

Olympia 3, Metrodome International 

Initiation Love, Japan, 110 Min., Palais 

D, Nippon Television Network Corp. 

(NTV) 

Pod, USA, 90 Min., Palais B, Raven 

Banner Entertainment 

Sworn Virgin, Italy, 90 Min., Olympia 6, 

The Match Factory 

The Christmas Family, Denmark, 90 

Min., Riviera 2, Global Screen GmbH 

The Golden Horse, Latvia, 79 Min., 

Palais H, Rija Films 

The Pasta Detectives, Germany, 96 

Min., Riviera 4, Beta Cinema 

16:00Adderall Diaries, USA, 105 Min., 

Olympia 8, Kathy Morgan International 

Aferim!, Romania, 108 Min., Palais I, 

Beta Cinema 

An, Japan, 113 Min., Bazin, MK2 S.A., 


Blind Date, France, 90 Min., Palais K, 

Other Angle Pictures 

Bordering on Bad Behavior, 

South Africa, 105 Min., Gray 3, 

Montecristo International 

Deathgasm, USA, 85 Min., 

Arcades 2, Mpi Media Group 

Dragon Blade, China, 103 Min., Riviera 

3, Golden Network Asia Ltd. 

Hillsong: Let Hope Rise, USA, 104 Min., 

Gray 1, Relativity International 

Johnny Walker, Belgium, 84 Min., 

Gray 5, Zoffa 

Lucha Mexico, USA, 100 Min., 

Palais G, Wide House 

Pyramide Int’l Private Screening, 100 

Min., Star 1, Pyramide International 

Ratchet & Clank, Canada, 

94 Min., Olympia 5, Cinema 

Management Group LLC 

Son of Saul, Hungary, 107 Min., 

Lumiere, Films Distribution, 

Competition 

The Daniel Connection, United 

Kingdom, 91 Min., Palais E, California 

Pictures 

Winter Cicadas, China, 85 Min., 

Palais C, Shanghai Normal University 


Debussy, Elle Driver, Un Certain Regard 

Our Little Sister, Japan, 128 Min., Salle 

du 60eme, Wild Bunch, Competition 




Sembene!, USA, 88 Min., Bunuel, Film 

Sales Company 

17:30Absence, Brazil, 90 Min., 

Arcades 3, IM Global 

Backtrack, Australia, 90 Min., 

Star 4, Bankside Films 

Brand: A Second Coming, 

United Kingdom, 105 Min., Olympia 7, 

Myriad Pictures 

Breathless Time, Spain, 106 Min., 

Riviera 2, Latido 

Grasshopper, Japan, 119 Min., 

Palais B, Kadokawa Corporation 

Idyll, Slovenia, 83 Min., Gray 4, 

Slovenian Film Centre 

Kajaki: The True Story, United 

Kingdom, 108 Min., Gray 2, Metro 

International Entertainment 



Roar: Tigers Of The Sundarbans, 

India, 123 Min., Lerins 1, Fantastic Films 

International, LLC 

Streif - One Hell of a Ride, Austria, 

98 Min., Palais H, Red Bull Media House 

Taxi, Iran, 82 Min., Olympia 9, Celluloid 

Dreams / Nightmares 


Star 2, Wild Bunch, Critics’ Week 

The Faith of Anna Waters, USA, 100 

Min., Olympia 6, Highland Film Group 

The Midwife, Finland, 118 Min., Palais D, 

Picture Tree International GmbH 

The Misplaced World, Germany, 

101 Min., Riviera 4, Wild Bunch 

The Next Generation Patlabor 

-Tokyo War-, Japan, 93 Min., Palais F, 

Tohokushinsha Film Corporation 

The Taking Of Tiger Mountain, 

Hong Kong (China), 143 Min., Palais J, 

Distribution Workshop 

Victoria, Germany, 140 Min., Star 3, 

The Match Factory 

Wild Oats, USA, 100 Min., Olympia 3, 

The Exchange 

18:00Anton Checkhov - 1890, 

France, 96 Min., Lerins 2, Wide 

Bombay Velvet, India, 212 Min., Palais I, 

Fox Star Studios India Pvt Ltd. 

Diary of a Chambermaid, France, 

96 Min., Olympia 4, Elle Driver 

Don’t Tell Me The Boy Was Mad, 

France, 134 Min., Arcades 2, MK2 S.A., 


Drawers, Turkey, 110 Min., Gray 3, 

Cam Film Ltd. 

Intimate Witness, Argentina, 100 Min., 

Olympia 5, Blood Window 

Little Big Master, Hong Kong (China), 

112 Min., Palais E, Universe Films 

Distribution Co. Ltd. 

Liz In September, Venezuela, 

100 Min., Riviera 3, Cinema 

Management Group LLC 

Man Up, United Kingdom, 88 Min., 

Gray 1, Studiocanal 

Max & Lenny, France, 85 Min., 

Palais G, Alpha Violet 

One Wild Moment, France, 105 Min., 

Olympia 8, Kinology 

Soaked In Bleach, USA, 100 Min., 

Gray 5, Vmi Worldwide 

The Big Bee, Japan, 136 Min., Palais C, 

Shochiku Co., Ltd. 

Wind Walkers, USA, 85 Min., Riviera 1, 

Tricoast Worldwide 

18:45La Noire De..., 65 Min., Bunuel, 


19:30Ghosthunters - On Icy 

Trails, Germany, 99 Min., Riviera 4, 

Beta Cinema 

Irrational Man, USA, 96 Min., 



19:45L’esprit de l’Escalier, Israel, 

105 Min., Bazin, EZ Films, Out of 

Competition 

20:00A Cry From Within, USA, 94 

Min., Gray 5, Breaking Glass Pictures 

Abdullah, Pakistan, 90 Min., 

Olympia 3, International Multi 


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MARKET SCREENING GUIDE 

Les Films du 

Losange’s Amnesia 

Group of Companies 

Pauline, France, 88 Min., 

Arcades 1, ACID 

Shades of Truth, USA, 92 Min., 

Palais B, Condor Pictures 

The Magic History of Cinema, USA, 

54 Min., Palais H, Circa Film 

The Pearls of the Stone Man, Japan, 

125 Min., Palais D, Shochiku Co., Ltd. 

20:15La Historia Oficial, Argentina, 

112 Min., Bunuel, Pyramide 


My Golden Days, France, 

123 Min., Theatre Croisette, Wild 

Bunch, Directors’ Fortnight 

20:30American Hero, 

United Kingdom, 93 Min., Star 2, 

Protagonist Pictures 

Off Course, Spain, 102 Min., 

Palais G, Deaplaneta, 

21:00The Magic History of Cinema, 

USA, 54 Min., Palais H, Circa Film 

22:00Paulina, Argentina, 103 Min., 


The Shameless, Korea (South), 120 

Min., Debussy, CJ E&M Corporation/ 

CJ Entertainment, Un Certain Regard 

22:30The Lobster, Ireland, 

119 Min., Lumiere, Protagonist 

Pictures, Competition 

TOMORROW (MAY 16) 

8:30Coin Locker Girl, Korea 

(South), 110 Min., Bunuel, 

CJ E&M Corporation / CJ 

Entertainment, Critics’ Week 

Mia Madre, Italy, 106 Min., Lumiere, 

Films Distribution, Competition 






9:15Christ the Lord, USA, 110 Min., 

Gray 3, Hyde Park International 

9:30#Horror, USA, 100 Min., Gray 4, 

Submarine Entertainment 

Big Father, Small Father And Other 

Stories, Vietnam, 102 Min., Lerins 1, 

UDI - Urban Distribution International 

Crossing Point, USA, 90 Min., Palais 

B, Bleiberg Entertainment LLC 

Eisenstein in Guanajuato, Mexico, 

105 Min., Gray 2, Films Boutique 

Famous Five 4, Germany, 97 Min., 

Arcades 3, Beta Cinema 

Films Distribution Promo 

Reel, France, 35 Min., Riviera 2, 

Films Distribution 

Guidance, Canada, 81 Min., Palais J, 

Film Sales Company 

Hitchcock/Truffaut, USA, 

85 Min., Riviera 4, Cohen Media 

Group, Cannes Classics 

Hockney, United Kingdom, 112 Min., 

Star 4, Hanway Films 

Love at First Child, France, 95 Min., 

Olympia 7, TF1 International 

Mortadelo & Filemon: Mission 

Implausible, Spain, 89 Min., Palais F, 

Film Factory Entertainment 

Our Futures, France, 91 Min., 

Arcades 1, Gaumont 

Palio, United Kingdom, 90 Min., 

Star 3, Altitude Film Sales 

Umrika, India, 100 Min., 

Palais H, Beta Cinema 

Undercover, Netherlands, 

86 Min., Palais D, Dutch Features 

Global Entertainment 

9:45Admiral: Michiel De Ruyter, 

Netherlands, 151 Min., Palais C, 

Arclight Films 

Helios, Hong Kong (China), 119 Min., 

Olympia 4, Media Asia Film 

Spl 2 - A Time For Consequences, 

Hong Kong (China), 120 Min., 

Gray 1, Bravos Pictures Ltd. 

The Sweet Escape, France, 105 Min., 

Star 2, Wild Bunch 


ZenHQ D3 051515.indd 1 

5/11/15 11:27 AM

PROMOTION 

Kering & 

The Hollywood Reporter 

present 

A series of thought-provoking 

conversations with the leading 

women in film from the 

68th Cannes Film Festival 

NOW LIVE 

THR.COM/WOMENINMOTION 

#THRxKering 

#WomenInMotion

8 Decades of The Hollywood Reporter 

The most glamorous and memorable moments from a storied history 

Kristel at Cannes in May 

1974, just a month before 

the release of the first 

Emmanuelle in France. 

In 1974, Dutch Actress Sylvia Kristel 

Broke Taboos With Emmanuelle 

IT WAS A DUTCH ACTRESS WHO 

injected a shot of box-office adrenaline 

into the mid-1970s French box office. 

Sylvia Kristel, who was born in Utrecht, 

was 22 when she made Emmanuelle. The 

X-rated but relatively soft-porn film focused 

on the sexual adventures of a French diplomat 

and his young wife in Thailand. In its 1974 

review, THR called the movie a “lushly sensual 

film with music to match” and mentioned that 

the “French were flocking in droves.” The film, 

distributed in the U.S. by Columbia, was estimated 

to have made $100 million ($479 million 

today) in worldwide box office, plus it spawned 

six sequels and innumerable knockoffs. 

Among them were 24 hardcore porn films with 

“Emmanuelle” in the title (Emmanuelle vs. 

Dracula being one), seven French made-for-TV 

movies and one Alex Cox documentary about 

the film’s impact upon cinema. 

Before doing Emmanuelle, , Kristel had been 

a secretary, then the winner of the Miss TV 

Holland and Miss TV Europe beauty contests. 

A much older boyfriend persuaded her to 

make Emmanuelle by telling her it would be 

fun to film in Thailand and that the movie 

would never be seen by her parents in the 

Netherlands. (He was wrong about that.) In 

1982, THR wrote that after 369 weeks, the film 

still was playing in Paris and was about to sell 

its 3 millionth ticket. It’s safe to say that by 

then Kristel was over the whole Emmanuelle 

thing, but still was trudging on for financial 

reasons. The actress had been paid $18,000 

to do the first film and went on to appear in 

four of the official Emmanuelle sequels. She 

would tell interviewers a story about meeting 

Fred Astaire, who told her he really wanted 


to be a dramatic actor but the studios insisted 

he dance. “It’s the same way with me,” said 

Kristel. “I don’t really want to be the star in 

erotic movies, but that is the only way that 

most producers see me.” 

Kristel, who throughout her life had serious 

problems with alcohol and cocaine abuse, 

was 60 when she died from cancer in 2012. 

Her last performance was in the 2010 erotic 

Italian TV series The Swing Girls, in which she 

played an older woman who is transformed 

by a Brazilian plastic surgeon into the young 

Emmanuelle. — BILL HIGGINS 

GILBERT TOURTE/GAMMA-RAPHO VIA GETTY IMAGES

1A5kCfG

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