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21, 2012

National Foundation Dev D6_052112.indd 1 5/4/12 12:43 PM


Conferences & Networking in Hollywood




The Unmatched Destination for Industry Professionals...

The Film Capital of the World

In Cannes: Riviera C8 • www.AmericanFilmMarket.com


Photo by Fitz Carlile

American Film Market_D6_052112.indd 1 5/14/12 4:01 PM

MAY 21, 2012




Debuts K-11

By Stuart Kemp


Stewart is in Cannes to

support the market debut

of her directorial debut K-11.

So far so normal except that

Stewart’s godfather Micky

Moore was Cecil B Demille’s

�rst AD, she has spent more

than 30 years in Hollywood as

a script supervisor and editor

with a resume boasting movies

including Little Giants, The

Phantom and The Flintstones:

Viva Las Vegas, and her debut

“introduces” her son Cameron

as an actor.

That and her daughter also

happens to be Twilight star

Kristen Stewart, who is due

in Cannes later this week to

support Walter Salles’ On The


McAlpine Returns

To Producing

By Stuart Kemp


Hamish McAlpine, one

of the movie industry’s

most �amboyant characters,

is back four years a�er he

personally lost £5 million

($8 million) when his

vertically-integrated company

Metro Tartan went into


A familiar face on the

international scene for more

than 20 years, McAlpine



South Africa, Ireland Sign

Co-Production Treaty

Kidman Drama to Be

Co-Produced by Foreign Firms


director Thierry Fremaux

had coyly scheduled

some of the weaker Competition

entries at the beginning so the

festival could been seen to gradually

improve as the days wore on,

the 65th Cannes Film Festival

began getting serious over the

weekend with weighty entries by

the venerable likes of Haneke

and Mungiu, with Kiarostami

and Resnais hot on their heels.

For some, the festival really

got started with Cristian

Mungiu’s aetheistic acid bath

administered to the devoutly

religious, Beyond the Hills. For

me, however, things �nally

kicked into gear with Michael

yet supremely elegant examination

of the �nal stages of life,

unerringly acted by French

greats Jean-Louis Trintignant

and Emmanuelle Riva.

Actually, the festival began

quite reasonably, if not with

home runs, at least with doubles

in the form of Wes Anderson’s

light yet aesthetically rigorous

Moonrise Kingdom, which opens

shortly in the United States.

Even more of the moment was

Jacques Audiard’s surprisingly

conventional but resourcefully

made and very well acted Rust

and Bone, which opened in

France day-and-date with the

festival showing.

But then came two bummers,


Video Diary With

Jean Paul Gaultier






Isabelle Huppert braves the heavy

rain as she scales the Palais steps

for the Competition screening of

Michael Haneke’s Amour.

Cannes Slowly Improves During Week

After a tepid start, Competition lineup is showing signs of life By Todd McCarthy

Battle, a didactic, undigested

and even unappealingly acted

examinantion of aspects of

last year’s Egyptian political

uprising, and Matteo Garrone’s

misguided and ho-hum Reality,

a serio-comedy about a reality

TV show wannabe that severely

disappointed in its conventionality

a�er the Italian director’s

sizzling prior feature, Gomorrah.

Ulrich Seidl’s rigorously

conceived and visually impeccable

Paradise: Love is an

undeniably provocative look at

large-format Austrian ladies of

a certain age partaking in young

black �esh at beach resorts in

Kenya. But what it means to say

about mutual exploitation is

Haneke’s Love, an un�inching Yousry Nasrallah’s A�er the


day6_news1,2,8,10.indd 1 5/20/12 9:34 PM



SquareOne Ups Its Game With Big Buys

German distributor

pushes for mini-major

status with Cannes buys

Grace of Monaco, Still of

Night By Scott Roxborough


SquareOne Entertainment,

which turns 10 this

year, is taking its operations to

the next level with several big

title purchases at this year’s

Cannes Marche du Film.

SquareOne nabbed all rights

in Germany and Austria to

Michelle Monaghan-starrer

Still of Night, director Jonathan

Mostow’s homage to his

1997 actioner Breakdown,

from Exclusive and to Grace

of Monaco, the biopic starring

Nicole Kidman as Grace Kelly,

from Inferno. Ahead of Cannes,

SquareOne picked up another

A-list title: the romantic caper

Love Punch starring Pierce

Brosnan and Emmy Thompson,

which Joel Hopkins is directing

and which SquareOne acquired

from France’s SND.

These kinds of �lms — big

mainstream movies — are

what we are focusing on now,”

SquareOne founder and president

Al Munteanu told THR.

“We want to take our company

to the next level as a theatrical

Shainberg to Direct Sturgess,

Sarandon in The Big Shoe

AngelWorld’s new $150 million fund will back the film By Pamela McClintock


TO the director’s chair for sexy comedic

drama The Big Shoe, starring Jim

Sturgess and Susan Sarandon.

The Big Shoe — featuring footwear

designed for the �lm by England’s Georgina

Goodman -- will be �nanced by a new $150

million equity �lm fund announced this

week by AngelWorld Entertainment.

Shainberg (Secretary, Fur: An Imaginary

Portrait of Diane Arbus) is set to start shooting

this fall from a script he co-wrote with

Mickey Birnbaum. The project reteams

Sarandon and Sturgess, who will be seen

in Focus Features’ Cloud Atlas, from Tom

Tykwer, Andy and Lana Wachowski.

Andrew Lazar’s Mad Chance Productions

will produce alongside AngelWorld’s

Darby Angel, Tykwer and the Wachowskis.

distributor in Germany and

there is no niche market anymore,

it’s all popcorn movies.”

SquareOne started as a buyer

of home entertainment and TV

rights for the German market but

it has been acquiring theatrical

projects for several years now. In

2010 the Munich-based company

raised its game via a new theatrical

cooperation with German

mini-major Universum, as the

two companies jointly released

box o�ce hit StreetDance 3D.

Another mainstream hit followed

this year with SquareOne and

Universum’s release of British

comedy The Inbetweeners Movie.

SquareOne’s commercial

success has allowed it to plow

its pro�ts back into production.

Munteanu has been an active

equity investor in new projects,


With films such as hit Brit

comedy The In Betweeners

Movie, Square One is making

a play for the big time.

joining forces with London-based

Vertigo Films as a co-producer

on the next StreetDance �lm and

co-developing and producing

the upcoming remakes of Jerry

Lewis’ comedies The Family Jewels,

Cinderfella, The Errand Boy

and Whose Minding The Store.

The German market is one

of the most competitive in the

world, but Munteanu isn’t shying

away from going toe-to-toe

with the territory’s big players.

“I don’t think in this business

it’s really about who has the

deepest pockets,” he said.

In ten years, SquareOne

has gone from start-up to

established players in arguably

the most crowded market

in Europe. Going forward, it

hopes to stand out even further

from that crowd. THR

HanWay Films will handle international

sales, while CAA negotiated the deal and is

representing North American rights (CAA

also reps WorldView).

The Big Shoe follows Nate (Sturgess), a

gi�ed shoe designer forced to break free from

a family who wants to cheapen his art for

their own commercial gain. His overbearing

mother Irene (Sarandon) hires a psychotherapist

and a muse to lure Nate back to work.

The Big Shoe provides the opportunity to

explore a playful romantic, sexy, intimate

connection just as Secretary did. The script

combines eorticism and humor in such a

unique way — where shoes are better than

sex,” Shainberg said.

Goodman recently designed a pair of

wedding shoes commissioned by the Royal


Doha Funds

23 Projects

By Georg Szalai


Institute has picked 23

feature �lms, documentaries

and shorts from the Arab

world and North Africa that

will receive funding under its

twice-yearly grants program.

In a change from previous

years, established directors

like Morocco’s Hakim

Belabbes and Lebanon’s

Dima El Horr are receiving

money in addition to emerging

directors, the Institute

said Sunday.

Funding is going to �lms

from the likes of Algeria,

Morocco, Tunisia, Libya,

Egypt, Palestine, Syria, Lebanon,

Jordan, Qatar and Kuwait.

The winning projects take

on such topics as Afghan cameleers

in Australia, the Arab

spring, civil unrest in Tunisia

and femalesoccer player

scouts in Libya.

More than 40 projects

from more than 10 countries

received Institute funding

in 2011.

There is an undeniable

increase in the quality, diversity

and volume of entries this

year,” said. Institute executive

director Amanda Palmer. THR

New World,

Winnol Release

Generation P.

By Pamela McClintock


Distribution is teaming with

Los Angeles-based Winnol to

release Russian box o�ce hit and �lm

festival favorite Generation P. on Sept. 12,

complete with a telecast message from

Russian director Victor Ginzburg and

the cast from Moscow.

The duo are planning to release the

movie on 1,500 screens for a two-day event,

followed by a more traditional limited

release. The pic, about the rise of gangsterism

and advertising in Russia, also will be

released on VOD and mobile platforms.

Based on the bestselling novel by Russian

writer Victor Pelevin, Generation is an

independent Russian-U.S. co-production.


day6_news1,2,8,10.indd 2 5/20/12 9:38 PM

Residence GR and Hotel, e ntR ee a lbatR os, 2nd FlooR

mail@parkentertainment.com +447775612651

l ine up includes


Malcolm McDowell in the true story of notorious serial killer Roy Fontaine


A $14 million coming-of-age comedy with Richard Dreyfuss and Helen Hunt


The conspiracy that brought Freddie Laker’s pioneering airline

crashing to the ground. Director Jonathan Lynn.

ParkEnt_Beast_day6.indd 1 5/20/12 5:03 PM

the RepoRt

Keating in Cannes to Support Goddess

Irish pop star makes

big-screen debut in

Aussie musical comedy

By Stuart Kemp

Irish pop star ronan

Keating is used to globetrotting

to perform. But even

by the singer’s standards, his trip

to Cannes to support the market

debut of the Australia-set musical

comedy Goddess, which also

marks his acting debut in the

Marche du Film, shows impressive


The Irish musician, currently

a judge on the X Factor in Australia,

jumped on a plane after

finishing up the auditions shows,

flying via Singapore and London

overnight to get to Cannes to

help create a song and dance for


But Keating, who had never

been to Cannes before, is keen to

add more film turns to his showbiz

career and hopes that his

inaugural screen performance

will give him an in for more.

“Music is my love and life

and I will never stop that,”

Keating told THR between

planes. “But this film is my foot

in the door and I can’t wait to

get there [Cannes] and support

this film.”

Keating, who has had numerous

hits and recorded a version

of “When You Say Nothing At

All” for the Julia Roberts starrer

Notting Hill, which hit No. 1 in

the U.K., is passionate about

moving into the movies.

But he doesn’t know what to

expect from the film industry. “I

Hurricane Readies Punk

Drama Two Sevens Clash

By Stuart Kemp

UK.-based production banner hurricane FilMs has

sealed a co-production deal with German outfit ostlicht

filmproduktion for a coming-of-age tale Two Sevens Clash

from writer and director Mark Jay (Dolphins).

Set in north London in 1977 against a backdrop of a divided

Britain, it details the story of 16-year-old Orthodox Jewish boy who

escapes family pressures by plunging into the love of punk rock.

Hurricane is run by producers Roy Boulter and Sol Papadopoulos

who brought Terence Davies’ Of Time And the City to the Cannes

Film Festival in 2008.

Boulter and Papadopoulos met ostlicht producers Marcel Lenz

and Guido Schwab via Full ON Production¹s Nigel Thew and Mark

Jay in Berlin and concluded the co-production pact during the

Marche du Film in Cannes.

Hurricane is also currently documenting Mick Jones of The

Clash’s latest project The Justice Tonight Band, of which Boulter is

also a member.

Boulter said: “To be playing and filming Mick is a great buzz

and honor and to hear him praise Two Sevens Clash after reading it

was an equal thrill, and he has pledged his support for

the project along with Don Letts legendary documenter of the

punk scene.”

Papadopoulos said: “The fact that Mark [Jay] was so involved in

the early days of punk (actually attending the infamous Sex Pistol’s

Jubilee boat party) brings a real authenticity to the material, which

was a huge attraction for us.” thr

Keating, who performs one song in the film, is hoping his performance

will lead to more work on the big-screen.


imagine it is quite like the music

industry,” Keating wondered.

The movie’s lead, Broadway

star Laura Michelle Kelly, is also

traveling the French Riviera for

the first time.

She told THR she is looking

forward to the “fun and hard

work” she is anticipating.

The musical theater star,

whose resume boasts Mary

Poppins and Tim Burton’s

Sweeney Todd, is also hoping

that more movie roles will be a

part of her future.

“To be honest I’ve got the film

bug now,” Kelly said. “I found

doing a movie so different to

doing Broadway or a West End

[London] show. Making a film

was really challenging and I can

honestly say it was the hardest

thing I have ever done. There

was a lot of pressure but I had so

much fun.”

Directed by Mark Lamprell,

Goddess is based on a screenplay

by Lamprell and Joanna

Weinberg with Judy Morris

(co-director of Happy Feet) as

musical director.

It details the story of a young

housewife’s unexpected path

to stardom and fortune which

leads to a very difficult choice

between fame and family.

Sales and finance banner Ealing

Metro International is selling

the movie that also features

Magda Szubanski (TV’s cult

comedy Kath & Kim).

The project’s executive

producers Village Roadshow will

distribute the film in both

Australia and New Zealand. thr

McAdams to Star in

Working Title’s About Time

Actress is in negotiations to star in the latest romcom

from Brit filmmaker Richard Curtis By Borys Kit

Rachel McadaMs is in

negotiations to star in

About Time, the latest

romantic comedy from

British filmmaker Richard

Curtis. Curtis, who wrote and

directed Love Actually and

penned Bridget Jones’s Diary,

wrote the About Time

script and is directing.

The story is described as

a fantastical feel-good

movie about a man

and his ability to travel

back in time. He eventually

meets the girl of his dreams.

Domhnall Gleeson, son of

actor Brendan Gleeson, will

play the male lead. Bill Nighy,

Tom Hollander, Margot Robbie,

Lydia Wilson and Vanessa

Kirby are set to co-star.

McAdams would play

the dream girl, a role Zooey


Deschanel had once been

attached to play. Production is

set to begin in London in June.

Working Title’s Tim Bevan,

Eric Fellner, Liza Chasin and

Amelia Granger are producing.

McAdams is coming off

a starring turn in The Vow,

the romantic drama

with Channing Tatum.

After she shoots About

Time, McAdams will

make Most Wanted Man,

a thriller that Anton

Corbijn is attached to direct.

That movie has a tentative

September start date.

She next will appear in

theaters in Terrence Malick’s

untitled latest project, whose

all-star cast also includes Ben

Affleck, Javier Bardem and

Rachel Weisz. McAdams is

repped by UTA. thr

day6_news4.indd 1 5/20/12 9:26 PM

The new iPhone app, free and trilingual

Unifrance D6_052112.indd 1 5/9/12 1:11 PM



Gets Renoir

By Gregg Kilday


Films has acquired U.S.

rights to Gilles Bourdos’

Renoir, which will have

its world premiere May 25 as

the closing-night-�lm of the

Cannes Film Festival’s Un

Certain Regard sidebar.

The �lm stars Michel Bouquet

as the famed painter

Pierre-Auguste Renoir, who

late in life �nds a new muse

in a young woman, Andree,

played by Christa Theret.

“I was captivated by the

script from the �rst page and

cannot wait to bring this �lm

to American audiences,” said

Peter Goldwyn, senior vp

acquisitions. “Pierre-Auguste

Renoir’s work speaks for itself.

He is one of the most gi�ed

painters the world has ever

seen, while his son Jean is one

of the most important �lmmakers

of our time.” He and

Ian Puente, general counsel

and vp development, struck

the deal with Carole Baraton

and Antoine\ Zylberberg of

Wild Bunch. THR

London Fest


By Stuart Kemp


Festival is making

two big changes to its

program sections under the

watchful eye of incoming festival

director Clare Stewart.

Stewart, in Cannes as the

BFI’s head of exhibition and

distribution, said she hopes

the changes will elevate the

pro�le of the festival’s existing

competition elements.

The plan is to boost its

competition and awards

elements with seven fresh

categories to its program

to reach new audiences.”

The festival, which attracted

audiences of 133,000 last

year, also sealed a three-year

partnership with Nintendo.

Each selection will be

open to international �lms,

with 10-12 �lms chosen for

each program section. THR

The 2012 Cannes Poster Awards

THR pays tribute to the most amusing

and over-the-top promotional materials

from the festival’s market



The Farm

Photographer “I just emailed

you those photos of my

grandparents’ farm.”

Designer “Thanks. Now I’m just

gonna put a layer of blood red

over it, bring down the opacity,

and….” (Beat.) “Voilà! A horror

movie poster!”




It’s unclear whether it’s 247°

Fahrenheit (119° Celsius, for

the rest of Earth) inside or

outside that door; either

way, common sense would

tell you to just push it open.

The disembodied naked arm

reaching for the handle clearly

isn’t dealing with a prison cell

door or fortress drawbridge.

Instead, it looks like the kind

of cheap pine door you’d �nd

on a sauna. Wait… 247°…

naked arm… cheap door. It’s

a horror movie about a sauna.





2-Headed Shark Attack

We’re gonna need two bigger

boats! Don’t think you’re getting

another mega-giant beast

rehash, because someone has

�nally changed things up with a

two-headed freak of nature. So

refreshing. We smell a sequel in

the water: 2-Headed Shark Attack

2: 3-Headed Shark Attack 3D.



100 Tears

A clown is the only profession

who is known for A) children’s

entertainment, and B) horri�c

murder. John Wayne Gacy

started the trend. Rob Zombie

added to it. 100 Tears grabbed

the torch. Anytime you depict

a clown holding a gigantic,

blood-spattered cleaver it probably

hurts the industry. But

who is shedding these 100 tears?

The killer clown? His victims?

Smokey Robinson? Or the innocent

clowns out there that have

never hacked someone to bits?

Uni Takes


Genghis Khan epic goes

to multiple territories,

including the U.K.

and France

By Scott Roxborough


International Entertainment,Universal’s

international home

entertainment division, has

snatched up Wang Ping’s

period drama An End to Killing

from Fortissimo Films for

multiple territories, including

the U.K. and France.

The Chinese/Mongolian

epic is set in the twilight

years of the Genghis Khan

era, when the Mongolian

conqueror pushed westward

to try and stretch his

kingdom from “the place

where the sun rises to the

city where the sun sets.” But

a Daoist priest, Quiu Chuji,

pursued Khan for three years

and convinced the ruthless

leader that he had to give up

killing and violence if he was

to achieve immortality.

An End to Killing stars

Zhao Youliang as the Daoist

priest and Tu Men as Genghis

Khan. Park Yejin, Geng

Le, Yu Shaoqun and Hideo

Nakaizumi also star. The

�lm was shot by cinematographer

Sun Ming with music

from Japanese composer

Kenji Kawai.

Producers of An End

to Killing include Shan-

Dong Film Studio, China

Film Group Corporation,

ShanDong WoHan Culture

and Media Co., Radio Film

and TV Administration of

ShanDong Province and

SCS Entertainment. Also

on board as International

Producers are Satoru Iseki

and Jooick Lee.

The �lm, currently in

postproduction, will bow in

China last this year.

The deal signed at Cannes’

Marche du Film, was

brokered by Fortissimo

Managing Director Nelleke

Driessen and UPIE’s Director

of International Acquisitions

Jasper Van Hecke. THR

day6_news6.indd 1 5/20/12 9:26 PM




22 MAY, PALAIS PALAIS 1 AT 14H00 14H00



based on on research by by GLENN R. R. HORTON, LINDSAY J. J. PEET and and MARGARET PRIOR, music composed by by MORITZ SCHMITTAT, cinematographer NATHALIE GRACE, production manager SUSAN MICHAELIS, production designer CHLOË POTTER,

art art director SUZI SUZI MORRIS, executive producers ADRIAN G. G. POP, IAN IAN RYDER SMITH, JOHN DAVISON, KEN KEN FITZPATRICK, ANDY JACOB, directed, produced and and edited by by TRISTAN LORAINE, a a FACT NOT NOT FICTION FILMS production,

supported by by PTTEP, THE THE COLLINGS FOUNDATION and and WGAC © 2012


Fact_Not_Fiction_Films_D6_052112.indd 1 5/16/12 11:07 AM




clear in about a quarter of the

time the whole thing takes to

play out, which gives one far too

much spare time to mull over

the more dubious aspects of

this undertaking, as well as to

ponder whether one really wants

to see the remaining two parts

of Seidl’s already-�lmed trilogy,

which will depict one woman’s

devotion to Jesus and another’s

stay at a weight-loss camp.

John Hillcoat’s quite watchable

but dour Prohibition crime

melodrama Lawless has an

awfully attractive cast portraying

a bunch of hillbillies and,

for my money, could have used

a belt of strong moonshine itself

to shake o� its self-seriousness

and provide a jolt of downhome,

hee-hawing, anti-Yankee


To some who had all but given

up on Thomas Vinterberg a�er

waiting 14 years for a worthy

follow-up to Festen, The Hunt

at least provides evidence of an

alert and dynamic directorial

hand. The witch-hunt basis of

the story is woefully familiar

— gossip, group-think and a

willingness to think the worst

of someone combine to ruin the

life of a good man, embodied in

an outstanding performance by

Mads Mikkelsen. Visually, the

Saoirse Ronan To Star In Movie

Based On Vera Brittain Memoir

Backed by BBC Films, project is produced by David Heyman By Stuart Kemp


Juliette Towhidi’s adaptation of Vera Brittain’s

heartbreaking First World War memoir.

Being mounted by producer David Heyman

and his production banner Heyday Films, the

project is backed by BBC Films and forms part

of a slate of projects in various stages at the

pubcaster’s standalone �lmmaking unit.

The slate also includes a slew of �lms that sees

the �lmmaking unit partner with people it has

worked with before including a fresh �lm with

Simon Curtis, having collaborated with him on

My Week With Marilyn.

BBC Films is backing Curtis’s The Golden Lady,

written by playwright Alexi Kaye Campbell to be

produced by former �lm unit chief David Thompson

via his production label Origin Pictures.

It tells the contemporary story of Maria

Altmann who, with young lawyer Randy

�lm is excitingly alive, making

even its most malign plot developments

worth getting past.

Mungiu’s �lms, up to now,

have rewarded their various

di�culties — length, despair,

pain — with endings that make

it all pay o� and then some.

On this score alone, Beyond

the Hills doesn’t provide the

insight, enlightenment or

sense of revelation the story of

modern convent dwellers would

seem to demand. It’s beautifully

composed and rigorously

rendered, to be sure, and I have

heard estimable critics invoke

such landmarks of religious

cinema as The Passion of Joan of

Arc and Day of Wrath as points

of reference. But, in my view,

such comparisons only put the

ultimate shortcomings of the

new �lm into more stark relief.

By contrast, Haneke has

accomplished everything he set

out to do in Love, a �lm that will


Says THR’s McCarthy: “Ulrich

Seidl’s Paradise: Love gives one

far too much spare time to mull

over the more dubious aspects

of this undertaking,

register deeply with anyone who

has observed at close quarters

the mental and physical deterioration

of a family member

or loved one. With Haneke,

the spectre of sentimentality is

never going to be an issue; in its

place is a watchful intelligence,

an exacting choice of incident,

an unerring sense of l’image

juste, in depicting an intelligent,

responsive and responsible

old man’s relationship with his

increasingly ailing wife. Set

virtually entirely in the couple’s

well-appointed apartment,

the �lm has moments when it

appears that Haneke may be

playing some of his old dramatic

tricks. But, no, it’s a sincere,

bracingly astringent work, shot

through with an awareness of

how impossible it is for anyone

to prepare for, or truly know

how to handle, the gradual

disappearance of a person one

loves and knows so well. THR

Schoenberg, fought to reclaim several world

famous Klimt paintings, including his most

famous golden portrait of Maria’s aunt Adele

Bloch-Bauer, that had been stolen from her family

by the Nazis.

There will also be a reunion with Oscarwinning

producer Jeremy Thomas who worked

on Glastonbury and now Julien Temple’s Kinks’

�lm You Really Got Me.

BBC Films is working with Thomas on Dom

Hemingway, the London-set black comedy

starring Jude Law and Richard E. Grant to be

directed by Richard Sheppard (Matador).

And Ralph Fiennes follows his directorial

debut with BBC Films Coriolanus with The

Invisible Woman.

Currently shooting and adapted by Abi Morgan,

the �lm stars Ralph Fiennes, Felicity Jones,

Kristin Scott Thomas and Tom Hollander. THR



Shoreline is representing

international rights.

NWD, a new distribution

venture, has acquired rights

to Generation for the U.S.

and India. The version to be

released in theaters will be

the director’s cut.

The release of Generation

will utilize Winnol’s innovative

digital advertising

model, designed to monetize

online content for its owners.

Generation recently

screened at Lincoln Center

and MOMA in New York,

and has also played in a

number of festivals, including


NWD partner and former

Paramount head Frank

Yablans said Generation, if

marketed correctly, can

become a “�lm event for

progressive audiences of all

languages around the world.”

Generation is supported by

the Russian Film Fund. THR



Mint to celebrate the Royal

Wedding. Only 11 pairs of the

shoes were produced, the �rst

going to Kate Middleton.

The project has all the

elements we were looking

for to satisfy our �nancing

model. The script is strong,

as is the cast and the creative

team, and it’s great to work

with an experienced and

reputable producer like

Lazar. The Big Shoe ticks all

the boxes, especially as our

investment criteria are nonnegotiable,”

said Angel.

AngelWorld’s new $150

million equity fund will

�nance six projects. The

Big Shoe is the �rst to be


Sturgess is represented in

the U.K. by Garricks, while

CAA represents Sarandon.

Shainberg is represented by

Industry Entertainment. THR

THR .com

To watch our exclusive

Cannes diaries with festival

VIPs go to thr.com/cannes.

day6_news1,2,8,10.indd 3 5/20/12 9:38 PM

adv reporter 11-05-12:Opmaak 1 11-05-2012 10:53 Pagina 1




Directed by Sergei Loznitsa

NL Co-prod: Lemming Film

Sales: The Match Factory



Directed by Joram Lürsen

Prod: BosBros • Sales: Delphis Films



Directed by Maarten Treurniet

Prod: Topkapi Films • Sales: Global Screen


Directed by Erwin van den Eshof,

Martijn Smits

Prod: Talent United • Sales: Kaleidoscope


Directed by Clare Sturges

Prod: TCF Film


Directed by Carlos Reygadas

NL Co-prod: Topkapi Films

Sales: NDM



Directed by Klaartje Quirijns

Prod: LEV Pictures • Sales: Hanway Films


Directed by Sacha Polak

Prod: Circe Films

Sales: Media Luna New Films



Directed by Froukje Tan

Prod: Flinck Film • Sales: Delphis Films


Directed by Threes Anna

Prod: KeyFilm

Sales: NonStop Sales


Directed by Gonzalo Tobal

NL Co-prod: NFI Productions

Sales: Urban Distribution



Directed by Dennis Bots

Prod: Rinkel Film, Bijker

Sales: Highpoint Films


Directed by Antoinette Beumer

Prod: Eyeworks Film & TV Drama


Directed by Steffen Haars, Flip van der Kuil

Prod: Eyeworks Film & TV Drama

Sales: Elle Driver


Directed by Rudolf van den Berg

Prod: Fu Works, Cadenza Films

Sales: Beta Cinema


Directed by Bassam Chekhes

NL Coprod: Bassam Chekhes Productions


Directed by Anna van der Heide

Prod: BosBros

Sales: Delphis Films


Directed by Boudewijn Koole

Prod: Waterland Film

Sales: Delphis Films


Directed by Reinout Oerlemans

Prod: Eyeworks Film & TV Drama


Directed by Jeroen van Velzen

Prod: SNG Film

Sales: EastWest Filmdistribution

EYE International in Cannes Village International #109 www.international.eyefilm.nl

Eye Film Institute D4_051912.indd 1 5/15/12 3:17 PM




Road In Competition.

But a�er years of working on

the movie and being immersed

in the cra�, Stewart aims to

build a directing career.

“Doing that at 50 is not the

easiest ting to do,” Stewart

candidly told THR.

Along with partner Tom

Wright, Stewart and casting

director Pam Dixon assembled

a cast including Goran Visnjic

(The Girl With The Dragon

Tattoo) to tell the tale of K-11, a



took a year out of the business a�er his beloved

company went into administration to recover and

take stock, before “operating under the radar for

the last two years or so,” McAlpine said.

“For the last two years I’ve been quietly buying

up �lm rights and I’ve made a �lm,” McAlpine

said. “I didn’t want to make any big announcements

until I actually had something concrete to

show for my e�orts.”

He is moving into �nancing and producing projects

in the venture with parter Carole Siller.

While he is yet to reveal his new Londonbased

venture’s name McAlpine, who have a

tapestry of private investors backing his activities

and is also raising money using the Enterprise

Investment scheme, is putting the �nal

touches to his �rst �lm as a co-producer Riot On

Redchurch Street.

Directed by Trevor Miller, the �lm details the

tale of a clash between the party-goers and fashion

types and the muslim community in London’s

fashionable east end district Shoreditch.

It stars Sam Hazeldine, Alysson Paradis, Jesse

secure unit of the Los Angeles

Country jail where transgender,

homosexual and transexual

inmates are placed to

separate them from the danger

they would face in the normal

prison population.

The movie made its world

debut during the Marche du

Film in Cannes via Londonbased

Intandem which is selling

the project worldwide.

It signals Stewart’s stated

ambition to aim to make movies

about uniquely di�erent subjects.

The whole point for me is to

tell stories that are di�erent and



Rain, thunder and howling winds on Sunday brought a London feel to Cannes and forced industry folks, including Diane Kruger

and Joshua Jackson, to bring out umbrellas. The unseasonable weather in the South of France left the Croisette much less

crowded during the film festival. Various industry events had to be moved to alternative locations or cancelled.

unique hence K-11,” Stewart said.

She co-wrote the script with

Jared Kurt and shot the $3

million budgeted movie for 25

days in Los Angeles. “It was a

union movie. Because I have

got access in Los Angeles and

even though I couldn’t pay

top dollar I wanted to make

sure everyone got the proper

medical insurances, you know,

I wanted everyone to be treated


She even put some of her

money into the project because

“I didn’t want to be judged on

someone else’s merit.” THR

Birdsall and Les McKeown and is produced by

McAlpine, Carole Siller, Paul Woolf and Sean

McLusky and aims to be locked down by the end

of June.

McAlpine said he plans to raise a slice of the

budget for each production he mounts through

pre-sales or the fees from sales companies looking

to hawk his titles, “on a project-by-project basis.”

He is also prepping Lost Girl, a �lm written by

Susan Everett to be directed by Rankin. Billed as a

contemporary ghost story, the movie is slated to go

into production in the Summer of 2013.

McAlpine is old friends with the fashion photographer

and distributed The Lives of the Saints

in 2006. The returning McAlpine also said he is

looking to mount television shows in addition to

making movies.

He has sealed a deal with novelist Magdelen

Nabb’s son Liam Nabb to develop and co-produce

�lms and television based on the author’s books.

McAlpine said: “I want to turn her work into

�lm or television depending on what is appropriate.

We’re [with Liam Nabb] developing a tv

show based on the book The Monster of Florence

and I think it will be a four part tv how,”

McAlpine said. THR



Names Cast

By Scott Roxborough


Payne and Stellen

Skarsgard have joined

the cast of the medieval

period drama The Physician,

based on the best-selling

novel by Noah Gordon about

a healer traveling across

Europe in the 11th century.

Payne, a regular on the

HBO series Luck and whose

credits include the BBC’s

Waterloo Road

and the feature

Miss Pettigrew

Lives for a Day,

Skarsgard will star as

the physician

Rob Cole, who

searches for the

scienti�c truth of

Payne illness and healing

in a medieval

world dominated

by religion and


Kingsley Gordon’s novel

has sold more than 21 million

copies worldwide.

Oscar-winner Ben Kingsley

will play Ibn Sina, the socalled

“doctor of all doctors”

while Stellan Skarsgard, seen

most recently in Disney/

Marvel blockbuster The

Avengers, will play Barber,

Rob Cole’s �rst mentor.

French actor Olivier Martinez

(Unfaithful, S.W.A.T.)

has also signed up to play the

Shah Ala ad-Daula.

German director Philipp

Stoelzl, whose credits include

the period dramas North Face

and Young Goethe in Love,

will lens The Physician script,

which Jan Berger (The Door)

is adapting for the screen.

The Oscar-winning postproduction

house Pixomondo

(Hugo) will handle visual

e�ects work for the �lm.

Shooting on The Physician

is set to start in Morocco and

Germany next month.

Beta Cinema is co-producing

The Physician with Ufa

Cinema. Beta is handling

world sales and selling the

project to buyers at Cannes’

Marche du Film. THR

day6_news1,2,8,10.indd 4 5/20/12 9:34 PM


















participating EFP members

© Lena Paaske







© Shahab Salehi









with the support of the EU MEDIA Programme EFP is supported by

project partners





at the Cannes International Film Festival 2012























Austrian Film Commission, Baltic Films, British Council, Bulgarian National Film Center, Croatian Audiovisual Centre,

Czech Film Center, Danish Film Institute, EYE Film Institute Netherlands, Finnish Film Foundation, Georgian National Film Centre, German Films, Greek Film Centre,

ICAA / Spain, Icelandic Film Centre, Irish Film Board, Luce Cinecittà/Italy, Macedonian Film Fund, Magyar Filmunió/Hungarian National Film Fund, Norwegian Film Institute,

Polish Film Institute, Romanian Film Promotion, Slovenian Film Centre, Swedish Film Institute, Swiss Films, Unifrance Films

European Film Promotion in Cannes +49 160 440 9595, in Hamburg/Germany Friedensallee 14 – 16 info@efp-online.com www.efp-online.com




European Film Promotions D3_051812.indd 1 5/15/12 9:29 AM

at the Cannes International Film Festival 2012 – part three

PRODUCERS ON THE MOVE is an initiative created by European Film Promotion in 2000. The aim of this initiative is to assist European producers, chosen in a

highly selective process by the respective EFP member, in finding partners for their upcoming projects, to strengthen industry networking opportunities and to

offer a platform where the producer’s potential can be recognised.

Arnar Knútsson


Filmus Productions


cell +354 824 3344

email addi@filmus.is, www.filmus.is

Arnar Knútsson founded Filmus

Productions in 1999 and placed

the focus for the first decade on

TV commercial production. In

2012, he released his first feature

film, Oskar Thor Axelsson‘s Black‘s

Game, which was selected for

the Tiger Award competition in

Rotterdam and has now become

the 2nd biggest grossing film in

Iceland‘s history. Arnar is currently

developing a new feature with

Axelsson, the film noir The Gold


Selected Films

The Gold Crash, 2015

by Oskar Thor Axelsson

(in development)

Anna Stands Up For Denmark, 2013

by Arnor Palmi

(TV series, in preproduction)

Black’s Game, 2012

by Oskar Thor Axelsson

Winterhouse, 2012

by Thorsteinn J. (documentary)

Iceland’s Top Athletes, 2009

by Hannes Halldorsson

(TV series)

A graduate of the Film Academy in Vienna, Constanze Schumann

produced Barbara Eder‘s Inside America in 2010. The film won the

Special Jury Award at the Max Ophüls Prize Film Festival and garnered

three nominations at the Austrian Film Awards. In 2011, she joined

Allegro Film and is currently developing Marie Kreutzer’s feature film

Gruber Is Leaving and Barbara Eder‘s Online Dating – How To Find

A Date By Friday.

Selected Films

Gruber Is Leaving, 2013

by Marie Kreutzer

(in development)

Online Dating – How To Find

A Date By Friday, 2013

by Barbara Eder

(documentary, in development)


The Netherlands

NFI Productions


phone +31 20 6060 774

phone +31 20 7715 293

email trent@nfi.nu, www.nfi.nu

Constanze Schumann


Allegro Film


phone +43 1 712 5036

email schumann@allegrofilm.at


Soul Spots, 2012

by Karl Bretschneider

(documentary, in postproduction)

Inside America, 2010

by Barbara Eder

Gray Zone, 2004

by Karl Bretschneider (short)

In 2005, Trent became the owner of the production company NFI

Productions to support new talents. Since then, he has produced

Esther Rots‘ debut feature Can Go Through Skin, and Gonzalo Tobal‘s

Villegas which was selected for a Special Screening in Cannes this

year. Trent also worked with Sander Burger on Hunting & Sons and

the new project Into The Flame. He is now preparing Jochem de

Vries’ debut Cornea.

Selected Films

Cornea, 2013

by Jochem de Vries

(in preproduction)

Bliss by Marcel Visbeen

(in financing)

Villegas, 2012

by Gonzalo Tobal (co-produced)

Hunting & Sons, 2010

by Sander Burger

Can Go Through Skin, 2009

by Esther Rots

Does It Hurt, 2006

by Aneta Lesnikovska

with the support of the EU MEDIA Programme EFP is supported by

project partners

Siniša Juričić


Nukleus Film


phone +385 1 4848 868

cell +385 91 502 1871

email sinisa@nukleus-film.hr


Siniša Juričić founded the

production company Nukleus Film

in 2009 (and its Slovenian outpost in

2012) and has produced such films

as Atanas Georgiev‘s Cash&Marry,

Vladimir Gojun‘s Cycles, and Petar

Oreškovic‘s short Get A Move ON!

He is one of the producers of Ilian

Metev‘s documentary Sofia‘s Last

Ambulance, which has its world

premiere in the Semaine de la

Critique section in Cannes this year.

Selected Films

Gates of Europe, 2013

authors Vicky Miha and

Siniša Juričić (cross-media,

in development))

Sofia‘s Last Ambulance, 2012

by Ilian Metev (documentary)

Perseverance, 2012

by Miha Knific (fiction)

Cycles, 2010, by Vladimir Gojun


Laundry, 2009

by Nicole Volavka (short)

Cash&Marry, 2008

by Atanas Georgiev (documentary)

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

European Film Promotions D6_052112.indd 1 5/15/12 3:26 PM



































Stephan Komandarev


Argo Film Ltd


phone +359 87 830 8238

email komandarev@abv.bg


Hélène Cases


Lionceau Films


cell +33 6 6681 4798

email hcases@lionceaufilms.com

Hélène Cases set up the production

company Lionceau Films in 2009

after 17 years at Why Not Productions,

producing Alix Delaporte‘s debut

Angèle and Tony which won two Césars

this year as well as the Film Français

Trophy 2012 Best Duo Producer and

Director. She is currently developing

new projects by Delaporte and Hélène

Angel’s next feature as well as feature

debuts by Frédéric Proust and Keren


Selected Films

Primary by Hélène Angel

(in development)

Memoirs Of A Disobedient Daughter

by Keren Marciano, co-written

by Eric Guirado (in development)

The Last Hammer Blow

by Alix Delaporte, co-written

by Alain Le Henry (in development,

shooting in 2013)

Angèle and Tony, 2011

by Alix Delaporte

Comment On Freine Dans Une Descente,

2006, by Alix Delaporte

(short, through Why Not Productions)

Peau d‘Homme Coeur De Bete, 1999

by Hélène Angel

Stephan Komandarev founded his production

company Argo Film in 1999, premiered his feature

debut Dog‘s Home in Berlin in 2001, and saw his

second feature The World Is Big And Salvation

Lurks Around The Corner being shortlisted for the

Selected Films

as director and producer

The Judgement, 2013 (in preproduction)

The Town of Badante Women, 2009, (documentary)

Alphabet of Hope, 2003 (documentary)

Morgan Bushe


Fastnet Films


phone +353 1 4789 566

email morgan@fastnetfilms.com


Morgan Bushe is one of the owners of Dublin-based Fastnet

Films whose credits include Nothing Personal, which received six

awards at the Locarno Film Festival and was nominated for two

European Film Awards, and Silent Sonata (Cirkus Fantastikus)

which received nine Slovenian Vesna Awards. Morgan is currently

financing the documentaries Icarus3D with Joel Conroy and Born

John Burke (Died Muhammad Omar) with Ross McDonnell.

Selected Films

Icarus3D, by Joel Conroy

(feature documentary,

in development)

Love Eternal, 2012

by Brendan Muldowney

(in postproduction)

The Other Side Of Sleep, 2011

by Rebecca Daly

Liisa Penttilä


Edith Film


phone +358 9 6124 9660

cell +358 40 505 0015

email liisa@edithfilm.fi


Silent Sonata

(Cirkus Fantastikus) 2010

by Janez Burger

Colony, 2009

by Ross McDonnell & Carter

Gunn (feature documentary)

Nothing Personal, 2009

by Urszula Antoniak


Liisa Penttilä has worked as a producer since 2001 on such

films as Lars Von Trier’s Dogville and Manderlay, Hendrik

Handloegten’s Summer Window, and Aku Louhimies‘ new

feature Naked Harbour last year. She is now in postproduction

on Simo Halinen‘s drama Pizza Desperata and raising finance

and looking for co-producers for Juha Lehtola‘s tragicomedy

Boy Upside Down and Louhimies‘ action drama Ultimate Fight.

Selected Films

Ultimate Fight, 2013

by Aku Louhimies

(in preproduction)

Boy Upside Down, 2013, by Juha

Lehtola (in preproduction)

Pizza Desperata, 2012, by Simo

Halinen (in postproduction)

Naked Harbour, 2012

by Aku Louhimies

Summer Window, 2011

by Hendrik Handloegten


Twisted Roots, 2009

by Saara Saarela

Best Foreign Language Film Oscar in 2009. He has

also directed-produced several documentaries and

is currently working on the preproduction of a new

feature project The Judgement.

as director

The World Is Big And Salvation

Lurks Around The Corner, 2008

Bread Over The Fence, 2002, (documentary)

Dog’s Home, 2000

David Epiney


Alina Film


cell +41 76 372 2196

email david@alinafilm.com, www.alinafilm.com

David Epiney and Eugenia Mumenthaler

founded Alina Film in 2008, making their

debut with Milagros Mumenthaler‘s

feature debut Back To Stay which won

the Golden Leopard, Silver Leopard

for Best Actress and FIPRESCI Prize

in Locarno. Alina Film is currently in

postproduction on the documentary

Le Clé de la Chambre à Lessive by

Fred Florey and Floriane Devigne and

is preparing Olga Baillif‘s debut Around


Selected Films

Around Luisa

by Olga Baillif (in preparation)

La Clé de la Chambre à Lessive, 2012

by Floriane Devigne, Fred Florey


Back To Stay, 2011

by Milagros Mumenthaler

Springtime in Sant Ponç, 2007

by Eugenia Mumenthaler,

David Epiney

(TV, animated documentary)

Amancay, 2005

by Milagros Mumenthaler (short)

El Patio, 2003

by Milagros Mumenthaler (short)

EFP cell in Cannes

+49 160 440 9595

Associated EFP members: Austrian Film Commission, Baltic Films, British Council, Bulgarian National Film Center, Croatian Audiovisual Centre,

Czech Film Center, Danish Film Institute, EYE Film Institute Netherlands, Finnish Film Foundation, Georgian National Film Centre, German Films,

Greek Film Centre, ICAA / Spain, Icelandic Film Centre, Irish Film Board, Luce Cinecittà/Italy, Macedonian Film Fund, Magyar Filmunió/Hungarian

National Film Fund, Norwegian Film Institute, Polish Film Institute, Romanian Film Promotion, Slovenian Film Centre, Swedish Film Institute, Swiss

Films, Unifrance Films

European Film Promotions D6_052112.indd 2 5/15/12 3:26 PM





As one of the most anticipated films

of the festival, TWC and FilmNation’s

premiere of John Hillcoat’s

Lawless did not disappoint — and

neither did the film’s exclusive

after-party at Baoli beach on

May 19. After receiving a nearly

10-minute-standing-ovation in the

Palais theatre (and as any veteran

fest-goer can attest, that’s a long

one), the cast and production team

were on cloud nine. In fact, the

audience didn’t even wait until the

end. During three of the film’s final

key turns, the crowd erupted into

three separate rounds of applause.

The warm reception actually moved

star Shia LaBeouf’s date to tears —

his mother, Shayna. “It was like a

big cast reunion,” said one insider,

who says the film was made so long

ago on such a slim budget that the

cast was very close while living in

condos in Georgia. Once LaBeouf

arrived at the party, he grabbed a

cigarette and immediately made his

way to a nearby pier to take in the

view and seemingly take a moment

alone to digest the evening’s events.

Jessica Chastain also arrived

early to the party and snacked on

the light passed appetizers being

served and danced with friends to

the music from a local French DJ.

Producer Harvey Weinstein didn’t

make his appearance at the soiree

until much later, having to stay on

at the Palais for the premiere of

his recently acquired Wayne Blair’s

Lawless stars

Jason Clarke and Shia

LaBeouf attend the after

party at Baoli Beach.

film The Sapphires (starring Chris

Dowd, who also popped by the

Lawless after-party). The elusive

Tom Hardy (who had to be coaxed

into removing his Oakley sunglasses

for the red carpet) even made a

cameo at the party with his date to

celebrate the film’s reception

the star jetted out the

following day to begin work

on his next project. Guy

Pearce and newcomer Jason

Clarke (who is expected

to explode this year between

Lawless and Baz Luhrmann’s

The Great Gatsby) holed up in a

corner, next to the soft-spoken Mia

Wasikowska, who was chatting

closely to co-star Dane DeHaan.

When photographers invaded the

corner, LaBeouf put his hand over

his face — clearly indicating he was

done with picture taking for the

night. The star’s weight was also a

Redfoo of LMFAO

performs on the

TV show Le Grand

Journal on the set of

French TV’s Canal +.


hot topic of conversation, with one

partygoer commenting to LaBeouf,

“You’re back down to your fighting

weight.” To which he responded,

“I know, right?” Also on hand we’re

the film’s producers Doug Wick

and Lucy Fisher. Despite being a

veteran production team (the pair

produced such films as Gladiator,

Girl, Interrupted and Memoirs of

a Geisha), this is the couple’s first

trip to Cannes. Wick largely credits

FilmNation CEO Glen Basner for really

rallying behind the film (Basner

screened the film at Cannes last

year under the title The Wettest

County). “Glen did such great things

with this movie,” Wick told THR.


It’s not just small talk. The weather

has become one of the hottest topics

of the 2012 Cannes Film Festival.

“It really messes me up,” said Sony

Pictures Classics co-president

Tom Bernard, who famously stays

at the Carlton and rides his bike

around town. The rainy conditions,

combined with cooler-than-normal

temps, have created disruptions. “It

keeps people off the street.”

On On the the few few days were the the

sun has managed to ap

pear, the the gusty winds

have become a head

ache for fest-goers.

Focus Features was


forced to move its


Kingdom after-party due to the

gusts, and people at the Carlton

hotel are fighting for tables at the

restaurant — because no one is sitting

on the terrace or eating at the

beach club. With rainy conditions

expected to persist through most

of the week, it might be time to put

your bathing suit away and invest in

an umbrella.


With rumors circulating that the

hyper-popular duo LMFAO are

embroiled in financial disputes and

the future of the group in question,

Redfoo (real name: Stefan Gordy)

was seen making the rounds at

the festival sans his performance

partner. The wild-haired singer was

seen having dinner at Nikki Beach

La Terrasse on the Rooftop of the

JW Marriott on May 17 with a group

of friends, before heading over the

VIP Room nightclub. It wasn’t long

before Redfoo decided to grab the

mic for an impromptu concert, performing

a handful of the duo’s most

popular songs — by himself. THR

Yoga —

Baldwin Style

By Rebecca Le�er


Festival heads into

its second week, it’s

about time for a detox. Yoga

instructor Hilaria Thomas,

in town with husband-to-be

Alec Baldwin — who is �lming

James Toback’s Seduced and

Abandoned — shared her insider

tips for surviving festival

madness. Thomas, who runs

Yoga Vida studio in NYC, gave

THR her survival strategy

over a vegan detox menu at

the Carlton. Watch Baldwin

and Thomas discuss their

yoga regimen at THR.com.

1. Do everything in moderation.

“Think before you drink,”

says Thomas. France is a

great place to keep those

calories in check. “The portion

sizes are great here,”

she says.

2. Stay active.

Between screenings, parties,

meetings and more parties,

�nding the time to exercise

during Cannes is a challenge.

Thomas has a simple rule:

“Make time.”

3. Sleep.

Slumber may be a luxury

during the festival, but when

you get to into bed, Thomas

says “make your sleep hours

count.” And don’t be afraid to

�t in a little nap. “The siesta

can be even more relaxing

than sleeping at night.”

4. Combat stress.

“When you come to events

like this, it’s all about participating

without hurting

yourselves so you don’t need

to detox. Just live moderately

and don’t forget to enjoy.” THR

day6_rambling.indd 1 5/20/12 5:46 PM


THR.indd Pontificia_D6_052112.indd 2 1 5/14/12 3:35 14-05-12 PM




Wallis is all

smiles at the

Beasts of the

Southern Wild



Model Barbara Palvin

wears Valentino

couture to the

Lawless premiere.


Actors James Woods and Robert De

Niro and producer Lawrence Bender at

the Vanity Fair and Gucci Party

CEO of DreamWorks Animation

Jeffrey Katzenberg, model Dominique

Piek and Brett Ratner attend the Vanity

Fair and Gucci Party at Hotel du Cap.

The Artist director

Michel Hazanavicius

and star Berenice Bejo

arrive at Vanity Fair

and Gucci Party.


Sarah Gadon and

Caleb Landry Jones

get friendly during

the photocall

of Antiviral.

Producers Lucy Fisher and

Douglas Wick flank musican and

screenwriter Nick Cave at Lawless

afterparty at Baoli Beach.

day6_redcarpet.indd 1 5/20/12 4:42 PM



Atom Cinema D6_052112.indd 1 5/13/12 11:23 PM


WHaT To buy, Wear aNd kNoW NoW

By Merle Ginsberg

Gucci and Vanity Fair

Cap Off Cannes

In Cannes, there are

parties every minute, ranging

all the way from 1 to 10 — and

every so often, there’s one that

reaches magical proportions.

Such was the swank affair

Vanity Fair thew with Gucci

in honor of Robert DeNiro and

the newly restored Once Upon


du Jour

a Time in America. Hosted by

Graydon Carter and Gucci’s Frida

Giannini and Francois-Henri

Pinault, it started with a dinner

at the Hotel du Cap’s Eden

Roc, followed by a bigger party

out on the Eden Roc’s deck.

My Week With Marilyn director

Simon Curtis, whose wife Elizabeth

McGovern had to return

to London after Once Upon a

blush seems to be the hot Cannes color this year, and what better? It’s not far from

the color of the rosé wine everyone drinks in the South of France. Jessica Chastain,

sometimes hit or miss in black tie, hit the bullseye in this Gucci nude flowy chiffon

gown with gold embellishments at the Lawless premier. definitely her best yet,

far beyond her oscar look. Gucci hit a double header on Saturday night,

also designing this one of a kind fall 2012 gold flapper look with feathers for

Naomi Watts to wear ar their party with Vanity Fair.


Supermodel Natasha Poly in Gucci; Frida

Giannini in Gucci with Mia Wasikowska

in J. Mendel; Francois-Henri Pinault and

Salma Hayek in Gucci.

Time’s Friday night premier

due to shooting having started

on season three of Downton

Abbey, shared that during the

screening, there’s a scene where

DeNiro says to McGovern’s

character, “We haven’t seen

each other in thirty years.”

“And,” Curtis told THR, “they

actually hadn’t seen each other

in exactly thirty years. It was

such an out of body moment!”

Alexander Payne was describing

to friends what it’s like to be

a jury member: “You want to

be diplomatic, but at the same

time, it’s a moment where you

should be the most honest and

the most opinionated.” James

Toback shot Alec Baldwin

negotiating the party for their

upcoming documentary on

Cannes. Paul Haggis was telling

Julie Huntsinger, director of the

Telluride fest, that he’s off to

Rome to direct and produce his

new film, Third Person, about

couples in three cities. So far,

he’s lined up Liam Neeson, Olivia

Wilde and Naomi Watts to star

— Watts floating through the

party in her Gucci glittery dress

like Eleanora Duse. Even though

they’ve been married a long

time, Paul Bettany kept staring

at wife Jennifer Connelly, saying,

“Darling, you look so beautiful.”

With supermodels in sheer

dresses in the room like Natasha

Poly, Anya Rubik and Bianca

Balti, it was quite a beautiful

crowd — but equalled by the

sheer power of DeNiro, Carter,

Michel Hazavanicius, Bryan

Lourd, David Geffen, Tom Freston,

Harvey Weinstein, Chris Albrecht,

Ron Burkle, Jim Gianopulos,

John Hillcoat, Jeffrey Katzenberg,

members of Sergio Leone’s

family, Max Mutchnik and Wendi

Murdoch. Mia Wasikowska, in a

purple J. Mendel, stuck close

to her stylist Ryan Hastings.

“You wouldn’t think I’d be

overwhelmed by all this at this

point,” she laughed. “But I’m

not quite jaded yet.”

Ines de La Fressange:

Model Designer

Ines de La Fressange is an iconic

French model who was the first

Chanel model ever on contract.

And still, at age 54, she’s lithe

and gorgeous and full of energy

as a L’Oreal spokesperson at

Cannes; she’s now charged with

reinventing the plush Roger

Vivier brand of shoes, with

designer Bruno Frissoni — the

original Vivier designed the

shoes for Belle de

Jour. “It’s a bit

ironic I’m working

with a beauty

company,” she

laughed “When I de La Fressange

came to Cannes

with Chanel years ago, I didn’t

care less how I looked — I didn’t

even bring makeup!”

Making Up With Tilda

Being the L’Oreal Paris official

makeup artist for the Cannes

Film Festival creating the faces

of a rainbow coalition of diverse

actresses and models for day

and night does not phase Karim

Rahman, based in Paris. For

Tilda Swinton’s red carpet look

for Moonrise Kingdom, he told

THR, “I mixed L’Oreal Electric

orange number 407 with coral

for her lip color, and a lot of

blush. But she doesn’t like to

wear anything on her eyes, not

even mascara — this way, her

face is monochromatic with her

orange hair.” thr

Tilda Swinton in a monochromatic makeup

look that matches her hair.

day6_fashtrack.indd 1 5/20/12 6:13 PM

MPI Media Group D6_052112.indd 1 5/17/12 4:58 PM



18-21 JUNE • 2O12

El CEntro dE ConvEnCionEs intErnaCional dE BarCElona (CCiB)

Barcelona • SpaiN

traDe ShoW • 19-21 JUne • 2o12


See Your peers and Meet important industry executives

at the largest and longest-running event Dedicated

to the european Cinema exhibition Community.

the offiCial

Convention of

Cine Europe_Cannes D1_051612.indd 1 5/14/12 10:10 AM


Anurag Kashyap

India’s iconoclastic helmer discusses epic Cannes entry, challenging

the status quo and his upcoming collaboration with Danny Boyle

By Nyay Bhushan


steadily in India with his own

brand of unconventional cinema

— starting out as a writer with the 1993

hit Satya — Anurag Kashyap, 39, is �nally

having a breakout year with two of his �lms

in the o�cial Cannes lineup. As a director,

his two-part drama Gangs of Wasseypur

features in the Directors’ Fortnight, while

Peddlers, which he co-produced via his

AKFPL banner, unspools in the Critics’

Week sidebar. Not bad for someone whose

directorial debut, 2003’s edgy youth drama

Paanch (Five), has still not been released

because of censorship concerns. The director

recently talked with The Hollywood

Reporter about �ghting the establishment.

What is Gangs of Wasseypur about?

It is a �lm spanning six decades, from

1941 to 2009, and set on the lower rungs of

the ma�a (in India’s eastern hinterlands).

Through the (characters) we learn the

history of that place. They are not very

educated and are totally obsessed with

Bollywood stars who inspire their lives. It is

about history, social issues, but it is also a

revenge drama. It was di�cult to �nd funding

since nobody could understand what

I wanted to do and why I wanted to make

such a long �lm. The challenge was to make

it in two parts that are independent of each

other, yet still create a complete story.

How do you see your entries at Cannes

validating what you’ve been striving to

do in India?

If you get validation from outside, then

suddenly everything you do at home is

justi�ed. We are brought up in a way

where we do what our fathers do. You are

not expected to rock the boat, you don’t

change the status quo, especially in �lms,

which have been traditionally controlled by

a handful of people, actually �lm families.

Outsiders are not supposed to change anything.

I can’t complain about that, but now

there is change happening. The young �lmmakers

really don’t give a damn about the

establishment. They want to do their own

thing, they are not star-struck, especially

if you see the other Indian �lms at Cannes

[director Ashim Ahluwalia’s Un Certain

Regard entry Miss Lovely and Vasan Bala’s

Peddlers]. I still have one foot in Bollywood

(the mainstream Hindi industry),

but these guys are totally independent of

that. They worked hard for years to get

their �lms made independently. My �lm is

still funded by a studio [Viacom18 Motion

Pictures]. My responsibility is now only to

Vital Stats

Nationality India

Born September 10, 1972

Film in Cannes Gangs of Wasseypur

Selected Filmography

That Girl in Yellow Boots,

Mumbai Cutting, Udaan

Notable Awards

2011 Filmfare Award for best screenplay: Udaan


my kind of cinema, but these new directors

will do more to change Indian cinema since

their �lms are very fearless.

So you don’t think Gangs of Wasseypur is


It is fearless only in its cost and casting [as

it has mostly non-marquee but great actors,

like Manoj Bajpai]. In terms of storytelling,

it is entertaining and mainstream, but not

that fearless. It is not a Bollywood �lm, but

about a place that is impacted by Bollywood,

so it makes it commercial. The West

sometimes doesn’t understand Bollywood,

but they can de�nitely understand how Bollywood

in�uences people.

What is your agenda at Cannes?

We want to reach out to as many people

as possible and try and sell our �lms as

widely as possible. We want to expand our

audience — that’s my main agenda. [Parisbased

international sales agent] Elle

Driver has taken on Gangs of Wasseypur

and Peddlers, and we are working closely

with them [via Kashyap’s banner AKFPL]

to expand the market for these �lms.

One of your upcoming projects is Bombay

Velvet starring top Bollywood star Ranbir

Kapoor. How are you exploring uncharted

waters with that?

It is not an o�eat �lm, but for me

Bombay Velvet is one that rede�nes the

mainstream. It’s a love story set in 1960s

Mumbai, showing the changing face of the

city, the subculture and the jazz age. It’s a

�ctional take on actual events. It’s a �lm

noir in the jazz underworld.

Wasn’t Danny Boyle involved with Bombay

Velvet? Your connection with him goes back to

Slumdog Millionaire, for which he extensively

referred to your 2004 film Black Friday.

In spirit, Danny Boyle is with Bombay

Velvet, but details as to what kind of participation

he will have are still to be �nalized

later with the studio [Viacom18 Motion Pictures].

Danny is always backing me. I keep

bouncing Bombay Velvet stu� o� of him.

How do you see an unconventional director

like you working with a mainstream star like

Ranbir. Is there a conflict in sensibilities?

I don’t think so. Today there is a new crop

of mainstream actors like Ranbir Kapoor,

Ranveer Singh and Arjun Kapoor, who are

of a di�erent sensibility. I think the Internet

has changed the world. Even in Hollywood,

directors such as the Coen brothers,

Chris Nolan and David Fincher were all

considered experimental. And now they are

the ones totally rede�ning the mainstream.

I mean The Dark Knight is a really good

movie that reached both critics and mainstream

audiences. In Indian cinema that is

missing, but now it is changing. THR

day6_qa.indd 1 5/20/12 4:01 PM


Tuesday 22nd 2pm (Private Screening – Contact Fortissimo for invite)

Thursday 24th 11am Debussy (Press Screening)

Thursday 24th 5pm Debussy (WORLD PREMIERE)



P: 33 4 9339 8731

hollywood_miss.indd 1 18/5/12 4:46 PM

Fortissimo Films D6_052112.indd 1 5/18/12 10:14 AM


Ashim Ahluwalia’s Un Certain

Regard entry Miss Lovely is

about C-grade films made by

the Bollywood film industry in

the 1980s.

Indian Cinema Moves

Beyond Bollywood

The song-and-dance epics of old are giving way To a

new generaTion of TalenT ThaT is redefining india’s film secTor

By Nyay Bhushan


curious thing happened

when cannes Film Festival

critics’ Week artistic director

charles tesson announced this

year’s final selections. “good

news,” said tesson “indian

cinema is now fearless.” tesson

went on to single out indian

critics’ Week sidebar entry Peddlers

as “something we’ve been

waiting for from indian cinema

for a long time.”



the fact that tesson

used the term

“indian cinema” and

not Bollywood was

telling and indicative of

the tectonic shift that is happening

in the world’s biggest

film industry. traditional Bollywood

fare — star-driven songand-dance

melodramas that

adhere to formulaic plots and

recognizable archetypes — are


Estimated overall

value of the

Indian film


now being challenged

by low-budget

indie productions

with auteur sensibilities

and decidedly edgy

subject matter.

that trend is well represented

in cannes this year. in

addtion to to Vasan Bala’s Peddlers,

a relationship drama set

in Mumbai, two other indian

titles are screening here: the

day 6_india feature.indd 1 5/20/12 6:07 PM

Mark Your Calendar!

Submit your fi lm now

for consideration!



Join the conversation.

Follow the Film Society on social media:



un certain regard entry

Miss Lovely from director

ashim ahluwalia is

set in Bollywood’s

exploitation film

world of the 1980s,

while anurag

Kashyap’s directors’

Fortnight title

Gangs of Wasseypur is

a two-part-epic about two

feuding families in an area



number of Indian

tickets sold in



of india dedicated to coal


insiders say the

indian film sector’s

move toward grittier

fare is a long

time coming.

“i think the

biggest myth that

has been shattered is

that you have to belong to

the film industry to be a part

Indian Pics

to Watch For

From gangland epics to critiques oF

contemporary liFe, these Five titles

all look at a rapidly changing india

Gangs of Wasseypur I & II

Indie champion Anurag Kashyap helms this two-part, five-hour epic

set in the mafia badlands in the eastern state of Bihar, where the lines

between politics and crime can be blurred. The films are expected to

tackle a variety of social issues in Kashyap's signature hard-hitting style.

Viacom18 Motion Pictures — which has a multiple picture deal with

Kashyap's banner AKFPL — is taking another creative gamble, given that

the film has no obvious marquee stars but powerhouse talent such as

actor Manoj Bajpai.

The Ship of Theseus

The directorial debut of playwright Anand Gandhi started making

waves even as a rough cut at last year’s indie market, the Film Bazaar

in Goa, organized by the government’s National Film Development

Corporation. Shekhar Kapur (Elizabeth) became an instant fan and

hailed Theseus as “a very significant film out of India.” Theseus explores

the moral dilemmas faced by three individuals who are unknowingly

connected. Proof of the film's traveling potential was cemented when

Europe/Asia sales outfit Fortissimo Films picked up worldwide rights

outside South Asia.


After assisting the likes of British director Michael Winterbottom (Trishna)

and Anurag Kashyap, Vasan Bala was ready to find his voice in his debut outing.

Featuring a cast of new and upcoming actors, some graduated from theater,

Peddlers revolves around the loss of innocence. The film also attempts

the near-impossible in portraying a bustling city like Mumbai as a “ghost

town, because its this whole idea of people being locked in,” says Bala.

day 6_india feature.indd 2 5/20/12 6:07 PM

Cannes Critics’ Week sidebar title Peddlers,

directed by Vasan Bala, above, was partially

crowd-funded via Facebook.

of it,” says Kashyap. “It’s now

great to see new talent coming

from outside, and they

are not in awe of big stars or


Kashyap should know.

The 39-year-old director has

been challenging convention

for years with releases

like 2004’s Black Friday,

about the 1993 Bombay

bombings, and 2009’s

Dibikar Banerjee’s

Shanghai is based

on the novel Z by

Vassilis Vassilikos.

stylish new noir DevD.

Kayshap is also coproducer

of Bala’s Peddlers

through his Films Private

Limited (AKFPL) banner.

In true indie spirit, the film’s

modest $500,000 budget

was also crowd-funded via


“What works for indie

cinema is that those who are

getting into it are not bound

by any rules,” says Bala, who

also handled assistant director

chores on Michael Winterbottom’s

recent Freida

Pinto starrer Trishna. “The

problem with [mainstream

Bollywood] is that those who

understand the rules get

stuck by them.”

It isn’t just Cannes programmers

who have noticed

the changes in the Indian

industry. Increasingly, nontraditional

films are receiving

major studio backing.

Miss Lovely

If you thought Indian cinema was only about storylines awash in colorful

song and dance, think again. Set in the 1980s, director Ashim Ahluwalia's

Miss Lovely is a journey into Mumbai's film underbelly where a slew of slasher

titles are churned out that cater to mostly hinterland audiences. This Ed

Wood-meets-Bollywood movie revolves around two brothers who make semipornos

against all odds. Miss Lovely is also a showcase for upcoming talent

such as actor Nawazuddin Siddiqui.


An adaptation of Greek author Vassilis Vassilikos’ acclaimed novel Z, director

Dibikar Banerjee’s Shanghai tackles India’s current obsession with how

India compares against China’s blistering growth. The film’s trailer quotes a

politician stating, “I will bring Shanghai to India.” The ensemble cast includes

actor Abhay Deol whom Banerjee also directed in the 2008 hit outing Oye

Lucky, Lucky Oye. Banerjee can be expected to push the envelope following

his previous outing, 2010’s Love, Sex Aur Dhokha (Love, Sex and Betrayal)

which explored India’s changing sexual mores.


In Cannes: Lerins R1

Mobile: + 44 7973 627 494


11 Denmark Street,

London, Uk WC2H 8LS

See Trailer at www.moviehouseent.com

Email: gary.phillips@moviehouseent.com

day 6_india feature.indd 3 5/20/12 6:27 PM


Tigmanshu Dhulia’s Paan

Singh Tomar, a biopic about an

athlete who became a notorious

bandit starring Irrfan Khan

(The Amazing Spider-Man), was

backed by Walt Disney-owned

UTV Motion Pictures, while

Sujoy Ghosh’s Kahaani, starring

Vidya Balan as a pregnant

woman investigating her

husband’s death, was produced

by Mumbai-vased Viacom18

Motion Pictures.

UTV was one of

the first majors to

also launch a special

offshoot, Spotboy,

to produce



The success of

smaller films has been a trend

for some years — but the penny

has dropped since last year,”

says UTV Motion Pictures CEO

Siddharth Roy Kapur. “Cinema

that was never considered

mainstream earlier is now


Amount Mission

Impossible — Ghost

Protocol made in

India in its opening


considered mainstream.”

Which means it is now possible

to mix genres, something

Viacom18 Motion Pictures

CEO Vikram Malhotra calls a

“trend intersection,” pointing

to Kashyap’s next project

Bombay Velvet, which stars top

Bollywood star Ranbir Kapoor,

as an example. “We don’t want

to be known as the producers

of the biggest film of the

country but rather the

smartest, most loved

and most profitable

movie,” says


Still, Miss Lovely

director Ahluwalia

isn’t convinced that

this approach always

works. “Honestly, when mainstream

marquee stars want

to deconstruct themselves by

playing the disabled school

teacher, they still end up playing

that as if they are doing

Ben Hur,” says Ahluwalia. “I


The Sujoy Ghosh-directed

Kahaani stars Vidya Balan as

a pregnant woman in search

of her missing husband.

mean, even in The

Tree of Life, the star [Brad

Pitt] dominates the frame.

I really don’t think you can

have the star and the director

together. It’s really either

one of them. I’d still prefer to

introduce new talent.”

For the time being, India’s

new generation of auteurs is

choosing to enjoy the fact that

there is finally a much-needed

alternative to mainstream

Bollywood. Says Kayshap: “The

mainstream is not mindless

anymore.” thr

day 6_india feature.indd 4 5/21/12 11:42 AM











Soho House RESIZED D5_052012.indd 1 5/18/12 10:20 AM



David Garrett


that Summit International

co-founder and chief David Garrett

was to leave the company in the wake

of the Lionsgate acquisition of Summit, few

in the industry doubted he would be gone

long. Garrett is regarded as one of the most

respected operatives in a business bu�eted

by economic turmoil and dealmaking pressures,

so it was a mark of respect that most

seemed to think he’d be able to establish his

own fresh venture. The man himself had no

such grand thoughts as he concentrated on

exiting Summit without a parachute. Cut

to Cannes less than four months later and

Garrett is here with Mister Smith Entertainment,

a joint sales operation launched

with Germany’s Constantin, and has mostly

sold out the world on its �rst two projects.

Garrett talked with The Hollywood Reporter

about the whirlwind setup, why establishing

a presence in LA is important and that exit

from Summit a�er almost 20 years.

How does it feel to be here in Cannes with a

new company?

Slightly dazed, I think. I feel a bit like one

of those pop-up restaurants that appear in

cities. I am genuinely excited by it all and

possibility a little surprised by the speed with

which it has all happened.

It’s a joint venture with Constantin and will get

involved in financing, co-financing and licensing

of movies. What will the split be between

financing and sales as the company gears up?

It’s very early days in the plans for the business.

We have e�ectively carved out stage

one in setting up the company and coming

to Cannes to sell two of Constantin’s movies.

The next goal is to build up a team and forge

relationships with other key producers and

�nanciers. We’re talking to various people.

Constantin is a cornerstone of the business

and a very signi�cant one.

You brought two projects — Cassandra Clare’s

best-selling book series adaptation The Mortal

Instruments: City of Bones and 3,096 Days,

based on the autobiography of Natascha Kampusch

to the market under Mister Smith

Entertainment. What was the very first deal

you did for MSE, and where was it done?

It’s hard to remember because there was

such a lot of dealmaking so quickly, but I

would say it was probably with Bloomaje-

Lotte in South Korea.

How did you come by the two films on Mister

Smith’s debut sales slate?

Those two projects are both productions

Constantin is involved in. Production

on 3,096 Days started last week and The

Mortal Instruments: City of Bones goes

before the cameras in August this year.

They represent the kinds of �lms I want to

represent at both ends of the spectrum. On

the one hand we have a very commercial,

franchise potential with Clare’s books, and

at the other we have a �lmmaker-driven

project so it is good to have one of each on

our very �rst slate.


Garrett, pictured in

his office in Cannes,

named his new

venture after Frank

Capra’s Mr Smith

Goes to Washington.

The sales titan talks about ramping up his slate, his new venture

and the importance of filmmaker relationships By Stuart Kemp

At the time of the launch, you said you hoped

to be involved in the financing, co-financing

and licensing of “mainstream feature films and

filmmaker-driven movies for the global market

place.” How hard is it to source in the current


I think it is exceptionally hard to �nd the

right material and it is the single biggest

challenge every company has in this business.

It is not impossible, I hasten to add,

but sourcing material and forging relationships

is what I want to do over the next

four months. There is a lot of competition

in the marketplace, which is why I feel it is

very important to me to establish a strong

presence in Los Angeles and being close

to the business there. Constantin already

has an established presence there, so I am

lucky to be able to build on that and want

to bring Mister Smith to the business there.

Are you looking to seal some exclusive

partnerships with filmmakers and talent if


That is one thing I would be looking at. I

am con�dent because I already have Constantin

and its relationships and that’s a

good start. Such relationships have always

been the cornerstone of those businesses.

It’s impossible to talk to you and avoid asking

about your departure fromSummit Entertainment

after almost 20 years. Your departure

from Summit Entertainment came after

almost 20 years. That must have been an

emotional moment?

The chemistry between Patrick [Wachsberger]

and Bob [Hayward] and myself

when we worked to set up Summit was

really special and I don’t think it will

ever be repeated. It was strange in Berlin

when I resigned because I felt I was at

my own funeral, so many people came to

see me and ask if I was OK. It was a hard

letter for me to write to Patrick and it was

emotional. It was a big wrench having been

partners with Patrick and Bob for 20 years

but also having been a part of the team for

all those years. It really was like a family

and we all grew up together along the

way and had a lot of fun and built up an

impressive business can honestly say there

were never any politics or bad odours, it

was always very positive so it was always

going to be di�cult. I le� without a parachute

which was a frightening prospect.

You’re what is known as a veteran of this hullabaloo.

Was there ever a moment when you

thought you might not do it anymore?

No. The trouble is I just have a singular

lack of imagination [laughs]. I genuinely

really enjoy it. I promised myself a long

time ago that I will never be jaded about

any of this, coming to Cannes, or working

in the �lm industry. It’s an immense luxury,

it really is, having a job like this. THR

day6_execsuite.indd 2 5/20/12 5:11 PM







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Mikkelsen, left, confronts

accusers in The Hunt.

The Hunt

Vinterberg’s best film since Festen is an unsettling psychological drama built

around a harrowing performance from Mads Mikkelsen By David Rooney

Thomas Vinterberg

burst onto the international

scene in 1998

at Cannes with Festen (The

Celebration), a malevolently

comic drama in which the

ugly truth of childhood sexual

abuse poisoned the air and blew

away the happy hypocrisy of a

family reunion. In the Danish

director’s most powerful film

since then, The Hunt, the charge

of pedophilia again plays an

explosive role, only this time the

allegation is based on an impulsive

lie, making it even more

bitter when the fallout spirals

violently out of control. It’s difficult

to watch but riveting.

Propelled by Mads Mikkelsen’s

shattering performance

as the blameless man whose life

threatens to be destroyed, the

film is superbly acted by a cast

that never strikes a false note

or softens the impact with consolatory

sentiment. The same

strengths distinguish Vinterberg

and Tobias Lindholm’s screenplay,

which spins a psychological

horror story rooted at every

step in credible reality.

The film is fundamentally

about the speed at which lies,

gossip and innuendo can become

cemented as fact in public

opinion, and about the disturbing

power of suggestion on young

minds. But it’s also about the

fragile nature of trust in communities

and among friends,

particularly men. It shows how

easily masculine bonds stretching

back years can be broken and

how willingly a band of brothers

can betray one of its own.

Lucas (Mikkelsen) is a

beloved member of one such

group of small-town deer-hunting

buddies, whose rowdy gettogethers

are fueled by booze

and bonhomie. Bouncing back

from the loss of his teaching job

and a messy divorce, he is just

starting to get on his feet again.

He has a new job at a local

kindergarten, begins a promising

relationship with a foreign

co-worker (Alexandra Rapaport),

and although he has had

limited access to his adolescent

son Marcus (Lasse Fogelstrom),

it appears likely the boy will be

moving back in with him.

Mikkelsen imbues Lucas

in his earliest scenes with

such warmth and compassion,

particularly around the

adoring kids at work, that it’s

heart-wrenching to hear the

alarm bells going off when the

drama’s nightmarish chain of

events is set in motion.

Klara (Annika Wedderkopp),

the young daughter of Lucas’

closest friend Theo (Thomas

Bo Larsen), develops an

innocent crush on him. But


when her displays of affection

overstep normal boundaries,

Lucas gently draws a line,

which she misinterprets as

a hurtful rebuff. Her imagination

sparked by a pornographic

image glimpsed on her

brother’s iPad, Klara responds

to the concerned questions of

kindergarten supervisor Grethe

(Susse Wold) by saying that

Lucas exposed himself to her.

The film stirs indignation

via the blind ineptitude with

which Grethe addresses the

allegation, involving a seemingly

under-qualified external

child psychologist, colleagues,

parents and eventually, police.

But what’s even more upsetting

is Lucas’ helplessness to correct

the misinformation, given that

Grethe refuses to tell him the

source or even the exact nature

of the charge. Parents advised

to look for signs of trauma in

their children suddenly begin

seeing them everywhere.

While witch-hunt stories

like this one peaked in the news

some 20 years ago and have

been dramatized on TV and film

before, The Hunt is still shocking.

That’s thanks to the skill with

which Vinterberg, Lindholm and

editors Anne Osterud and Janus

Billeskov Jansen modulate the

crescendo of paranoia, judgment

and injustice.

Adding to the sorrow at

the drama’s heart is Klara’s

confusion. Even when she

volunteers that it was a silly

thing she made up, her mother

(Anne Louise Hassing) muddies

her grasp of the situation

with leading talk about

the repression of unpleasant

memories. However, any sense

of individual responsibility

remains secondary to the sober

acknowledgement of the role

played by societal conditioning

and adults’ instinctive belief

in the innocence of children.

Following a painful resolution,

the film’s chilling coda makes

it clear that the damage can

never really be undone.

The elegantly framed

widescreen compositions of cinematographer

Charlotte Bruus

Christensen maintain a certain

detachment in the establishing

action, bearing witness to the

awful events with distressing

clarity. And Nikolaj Egelund’s

delicate music is used with

economy to punctuate the twomonth

ordeal, never to stoke

tension artificially as a heavier

hand might have done.

But while it’s crisply executed,

The Hunt is very much an

actor-driven film. As the child

who triggers the maelstrom and

then gets bundled out of its way,

Wedderkopp gives a performance

of uncanny naturalness

and vulnerability, while as the

teenager caught in the crossfire,

Fogelstrom is equally good.

Intense, wounded, wrung

out and pushed to the brink of

insanity, Mikkelsen’s Lucas is

a devastating characterization,

all the more so because his outbursts

of rage are so infrequent.

Continuing on from his impressive

work in A Royal Affair,

which premiered in Berlin,

this is a tremendous year for

the Danish actor, best known

to international audiences as

007’s nemesis in Casino Royale.

In Competition

Director Thomas Vinterberg

Production companies

Zentropa Entertainments, Film I

Vast, Zentropa Int’l Sweden

Cast Mads Mikkelsen, Thomas

Bo Larsen, Annika Wedderkopp,

Lasse Fogelstrom, Susse Wold,

Anne Louise Hassing

Sales TrustNordisk

day 6_reviews_A.indd 1 5/20/12 7:56 PM



Consummate acting helps ease a painful watch,

as Michael Haneke describes the ultimate

test of love in a profoundly honest study

of sickness and dying By Deborah Young

Magnificent in its

simplicity and its

relentless honesty

about old age, illness and

dying, Michael Haneke’s

Amour (Love) is a deliberately

torturous watch, one that is

going to weed the master’s fan

club of the lightweights who

went along for the ride with the

morbid mental puzzle-solving

of Hidden and Palme d’Or

winner The White Ribbon. No

riddles to figure out here in a

script that is utterly linear and

unfrilly but at the same time

executed with such clarity that

there is never a false step or

superfluous scene. Career-high

performances from Jean-Louis

Trintignant and Emmanuelle

Riva as a genteel Parisian

couple in their 80s illuminate

the difficult, oft-treated subject

matter, but however upscale

the trappings it’s hard to imagine

this downbeat study can

reach the same audiences as

Haneke’s recent work.

Accessibility is clearly not

the issue, as everything is laid

out in plain sight from the

bang-on opening scene: the fire

brigade breaks down the door

of a spacious Paris apartment

to find a long-dead old woman

lying in bed, her head surrounded

by flowers. The rest

of the film is a claustrophobic

flashback leading up to this


Switch to a classical music

concert in which only the

audience is seen from the stage

in a single elegant, long-held

shot. Among them are Anne

(Riva) and Georges Laurent

(Trintignant), two music aesthetes

long into retirement. He

hobbles a bit but they seem to

be a cheerful, alert and loving

pair who treat each other with

enormous civility. Coming

home that night, he makes an

offhand comment about how

pretty she looks that expresses

all the tenderness of a life-long


Then Anne has her first

stroke, a mild affair mistreated

with an operation (evidently at

Georges’ insistence) that leaves

her half-paralyzed and in a

wheelchair. And so begins their

terrible ordeal, whose outcome

is already known.


Pass the sick bag, there’s a new Cronenberg on the block

By Megan Lehmann

If imitation is the sincerest form of flattery, DaviD

Cronenberg should be feeling pretty chuffed with son Brandon’s

big-screen debut, a petri dish of high-concept perversity

and cultural commentary teeming with lo-fi ickiness.

A berth in the Un Certain Regard section at Cannes — a highprofile

debut — gives Cronenberg Jr. the nod as an embryonic

talent, a genre director with an added kink.

Clearly weaned on dad’s early body-horror films such as Shivers

and Scanners, the 32-year-old Canadian writer-director gives a

sardonic, Cronenbergian twist to a very au courant subject: the

sickness of celebrity worship. It’s a topic ripe with potential, and

the younger Cronenberg takes off down some gratifyingly weird

alleys as he follows the travails of a young man peddling the

viruses of ill celebrities to obsessed fans.

An overly mannered approach throws the pacing off, however,

and some ungainly tilts at exposition are more jarring than the

conventionally repellent close-ups of needles piercing skin.

An obsession with disease and decay is obviously encoded in


Moment by moment, the

actors delicately describe

Anne’s descent into physical

and eventually mental debilitation,

while Haneke focuses

with physician-like steadiness

on the test it puts on Georges’

love for his wife. When he steps

out of the apartment to attend

a funeral, she tries to jump out

the window. She feels humiliated

by her condition and hates

to be seen, but she can’t refuse

the agitated visits of their

daughter Eva (Isabelle Huppert,

star of Haneke’s The Piano

Teacher, another uncompromising

exploration of love.) Huppert

negotiates a persuasive

middle road, alternating hysteria

and a conventional, teary

reaction to Mom’s plight with a

little chat about investments.

All this serves as a stark

the family DNA, and here it

is visited upon a spindly clinic

worker named Syd March

(Caleb Landry Jones), who

theatrically deteriorates over

the course of the film after he

is infected with a mystery virus

harvested from the body of

starlet Hannah Geist (Sarah


Against a backdrop of

unhealthy celebrity mania

contrast with her father’s

measured words and behavior

as he tries to keep up Anne’s

spirits and preserve her personal

dignity. Looking back,

the two remember emotional

moments from the past, but

not the events themselves.

After Anne has a second

stroke, Georges bows to the

need for part-time nurses.

The degenerating nature of

her illness is very painful

to watch, as she gradually

loses the power of speech and

seems to return to a state of

early childhood, inarticulately

crying out in pain.

If Georges and Anne find

no emotional support from

family, there is not the slightest

vestige of religious comfort in

the household. Society is simple

absent, and even the funeral he

Landry Jones

studies celebrity

viruses in Antiviral.

— trashy magazines and nonstop TV coverage serve as wallpaper

— Syd and his cohorts at the Lucas Clinic work to exploit the

desire of the most rabid fans to get closer to their idols. They buy

strains of live viruses from the famous and inject them into paying

customers as the ultimate form of communion.

Cinematographer Karim Hussain shoots these early scenes

starkly, making them sterile and whiter-than-white, perfectly

primed for when the blood begins to flow.

Syd supplements his income by smuggling viruses out in his

own body to sell to black marketeer Arvid (Joe Pingue), owner of

a butcher’s shop that flogs celebrity cell steaks (best not to ask.)

day6_reviews_b.indd 1 5/20/12 8:25 PM

Trintignant comforts Riva

during the final days of

her life in Amour.

attends is a ludicrous flop — he

describes how everyone giggles

at the slowness of the urn

being mechanically lowered

into the grave. Thus the great

dignity of the film’s wrenching

final scenes soars high above

any kind of moral or ethical

debate, which other films have

dealt with extensively, and

beyond the questions of evil

and responsibility that Haneke

himself raises elsewhere. This

lack of familiar handholds will

make the film steep climbing

for many viewers, putting them

face to face with the nature of

love in its most unromantic and

weighty moments.

Trintignant and Riva are

consummate veterans of French

cinema but put aside their

baggage of famous films from

his And God…Created Woman

to her Hiroshima Mon Amour

to approach these roles with

concentrated freshness, making

each moment a deep plunge

into a heroic side of themselves.

In a special cameo, young classical

pianist Alexandre Tharaud

(who performs Schubert,

Beethoven and other music in

the film) appears as Anne’s brilliant

pupil, who has become a

world-famous recording artist.

With practically all the

action taking place in the Laurents’

apartment, production

designer Jean-Vincent Puzos

positions them in a falsely safe

world of refinement filled with

tapestries and bookshelves, Persian

carpets and a grand piano.

Darius Khondji’s rich, warm

cinematography echoes the

cocoon feeling of a world that

time catches up with, just as a

stray pigeon wanders behind

locked doors from time to time.

In Competition

Director Michael Haneke

Production companies Les

Films du Losange, X Filme Creative

Pool, Wega Film

Co-Production France 3

Cinéma, ARD Degeto, Bayerischer

Rundfunk, Westdeutscher


Cast Jean-Louis Trintignant,

Emmanuelle Riva, Isabelle

Huppert, Alexandre Tharaud,

William Shimell

Sales Agent Les Films du


He goes a step too far when he injects himself with an exotic virus

that has laid Hannah Geist low and wakes from a hallucinatory

trance to find the young starlet has died. Catapulting Syd into a

disorderly tumult of commercial espionage, double-crosses and

assassination attempts, Cronenberg loses his grip on the material,

interjecting some stomach-churning inspection of an orifice or

bodily fluid every now and then to jolt the narrative back on track.

Landry Jones (X-Men: First Class, Contraband) gives an unnerving

performance hauling round his freckled wreck of a body, and

Gadon (Jung’s perpetually pregnant wife in A Dangerous Method

who re-teams with Cronenberg pere for Cosmopolis) is porcelainperfect

as an object of desire. Malcolm McDowell pops up briefly

as the starlet’s personal medico, anchoring his few scenes with

veteran gravitas.

Creaking technology summons a defiantly 1980s vibe, echoed

in the thrum of E.C. Woodley’s subterranean soundtrack, discordant

with analogue synths.

Un Certain Regard

Writer/director Brandon Cronenberg

Cast Caleb Landry Jones, Sarah Gadon, Malcolm McDowell

Production company Rhombus Media

Sales TF1


The Sapphires

Aboriginal sisters are doin’ it for themselves in this

music-filled sparkler from Australia By Megan Lehmann

The times they may be troubleD, but the focus is

squarely on sing-it-sisters jubilation in this jewel-bright

charmer about four spunky indigenous women whose

powerhouse voices catapulted them onto the ’60s-era world

stage as Australia’s answer to The Supremes.

First-time filmmaker Wayne Blair has crafted an exuberant

celebration of Aboriginality that fizzes with humor and heart;

its soulfulness goes beyond the embrace of a jukebox full of

Motown, Stax and Atlantic Records hits.

Racial prejudice, social upheaval and the reverberating

shockwaves of the Vietnam War are all there in Keith Thompson

and Tony Briggs’ screenplay, based on a play Briggs wrote

in 2005 about his mother and three aunts and their true-life

journey from a far-flung Australian mission to war-torn Vietnam

to sing for the American troops in 1969, barely a year after

the referendum giving citizenship rights to Aborigines.

A determinedly upbeat mood prevails as the four Koori soul

divas, led by Australian

household names Deborah

Mailman and Jessica Mauboy,

shimmy and shine, fall in love

and reconnect as family.

A popping 1960s palette

definitely favors sparkle over

grit. Warwick Thornton, who

displayed a gift for the transcendent

image in his 2010

Camera d’Or-winning debut

Samson & Delilah, is on board

as director of photography

and he’s working pretty here,

with crystalline lighting and hyper-saturated colors.

The film’s easy humor and playful bounce are established

early during a scene set in a dusty outback pub, where lanky

boozer Dave (Chris O’Dowd) discovers sisters Gail (Mailman) and

Cynthia (Miranda Tapsell) singing in a local talent contest. The

bigoted townsfolk shun them, but Dave convinces them to swap

country music for soul, promising to make them over into stars.

With their mulishly ambitious younger sister Julie (Mauboy)

and quietly confused cousin Kay (Shari Sebbens) they leave the

mission where they grew up and head to Southeast Asia where

they dodge bullets and belt out show-stopping tunes by Otis

Redding, Marvin Gaye, The Four Tops and Linda Lyndell.

Aussie R&B singer and Australian Idol graduate Mauboy is

sexy and sure-footed as the feisty lead singer delivering roofraising

renditions of classic Motown tunes, while Mailman, a

superbly talented actress, is by turns flinty and tender as the

protective mama-bear of the group.

Following his endearing turn in Bridesmaids, O’Dowd asserts

himself as one of the most effortlessly funny actors working

today, his Mr. Congeniality demeanor yielding and snapping like

an elastic band in his banter with Mailman’s firebrand.

The storytelling is linear and expeditious, if occasionally a

little wooly. But try to keep the goosebumps at bay when the

far-from-home Sapphires harmonize on “Ngarra Burra Ferra,”

a gospel song in their native Yorta Yorta language, when on the

phone line to their mom.

Out of Competition

DirectorWayne Blair

Production company Goalpost Pictures

Sales Goalpost Film Limited

O’Dowd spots talent in

the Australian Outback

in The Sapphires.

day6_reviews_b.indd 2 5/20/12 8:25 PM


God’s Neighbors

A feisty, non-arty low-budget look at Israeli religious enforcers

will set off charged reactions By Todd McCarthy

What looks at the outset to

be a straightforward vigilante

movie about a trio of hot-headed

religious watchdogs in Israel turns into a

worthy study of personal maturation and

growth in God’s Neighbors. Shot in a punchy,

nervous style in sync with its impulsive

young characters, this impassioned lowbudget

production trades in tough-guybehavior

and rough street violence of a

sort that doesn’t fit comfortably with usual

international art house specifications. But

the film’s raw power and controversial content

make it a good festival item and will

ignite strong reactions among Jewish and

Israel-minded audiences.

A trio of twentyish skull-capped guys, Avi,

Kobi and Yaniv, have taken it upon themselves

to police their Bat Yam neighborhood

for transgressions against the letter of

religious laws. Handy with baseball bats and

their fists, they’re particularly hot to go after

Arabs who have the effrontery to play loud

music and otherwise disrupt the Sabbath,

but they’re also rough on more relaxed Jews

who keep their stores open too late on Friday

nights, don’t dress right and so on. (The

film’s Hebrew title can best be translated as

The Supervisors” or “The Monitors”).

While they pursue Torah studies seriously

with a notably inspiring and charismatic

rabbi, the boys aren’t exactly exemplars of

conservative behavior, as they smoke weed

regularly and are generally unruly, answering

only to their own overbearingly physical

interpretation of doing God’s will. Long

sections of the film play like a religiously

charged American buddy movie devoted to

noisy, rambunctious scenes of young bloods

getting high, horsing around, listening to

music and trying to find alternative outlets

for their raging hormones.


Neighbors features

Israeli youth acting

in ways that violate

their faith.

Director Meni Yaesh freely admits he grew

up loving Van Damme and Chuck Norris

action movies and there’s more than a trace

of this visible in his in-your-face style; if he

had come of age in the heyday of producers

Golan & Globus, there can be little doubt he

would have started his career with them.

Critics’ Week

Director Meni Yaesh

Production BiZiBi, Transfax, CNC, Israel

Film Fund

Cast Roy Assaf, Gal Friedman, Itzik Golan

day6_reviews_b.indd 3 5/20/12 8:25 PM


Absorbingly sensuous period drama from an exciting new

French writing-directing talent By Neil Young


Dangerous MethoD meets the elephant Man in

writer-director Alice Winocour’s absorbingly luminous

debut feature Augustine, which examines the unusual

relationship between a pioneering 19th-century neurologist and

his “star” teenage patient. The presence of top-billed Vincent Lindon

(Anything for Her) and the renown of his real-life character

Professor Charcot will aid the picture’s September bow in France

—though the main talking-point will be the breakout performance

of mono-monikered singer-turned-actress Soko in the demanding

title role. Overall, this is a handsomely mounted period picture

which transcends the stuffiness of costume drama with sufficient

aplomb to warrant arthouse exposure abroad. Festivals specializing

in up-and-coming talent, meanwhile, will swoon over Winocour’s

exciting promise.

The 36-year-old Parisienne has attracted attention via her

quirky shorts, including Cannes-competing Kitchen (2005). She’s

also contributed to the script of Ursula Meier’s Home (2008),

which like Augustine focused on a free-spirited woman in extreme

circumstances of restriction. The eponymous heroine here is a

quiet-spoken 19-year-old kitchen-maid in 1890s Paris. Her ill-timed

grand mal seizure while serving dinner sees her packed off to the

imposing Salpêtrière hospital. This facility’s all-female inmates

suffer a variety of mental and physical afflictions, some of which


25-year-old newcomer Soko

plays a woman suffering

from seizures.

are taken as symptoms of the mysterious disease “hysteria” by the

establishment’s most senior physician, Jean-Martin Charcot. He

takes special interest in Augustine, intrigued by her spectacular fits

— and, it’s implied, smitten by her raven-haired beauty.

Augustine provides a fine showcase for an actress. And Soko — a

25-year-old formerly known by her full name Stéphanie Sokolinski

— compellingly underplays an individual awkwardly caught

between girlhood and womanhood.

Critics’ Week

Director-Screenwriter Alice Winocour

Production company Dharamsala

Cast Soko, Vincent Lindon, Chiara Mastroianni, Olivier Rabourdin,

Sales Agent Kinology, Paris

day6_reviews_b.indd 4 5/20/12 8:32 PM

Festival screening guide

In Competition


8:30 Beyond The Walls, 98

mins., Films Boutique, Miramar,

Critics’ Week; You Ain’t

Seen Nothin’ Yet, 120 mins.,

Studiocanal, France, Grand

Théâtre Lumière, Alain

Resnais, In Competition

9:00, 3, 119 mins., Wide,

Uruguay, Théâtre Croisette,

Pablo Stoll Ward, Directors


9:30 Aqui Y Alla, 110 mins.,

Alpha Violet, Spain, Lerins

1, Antonio Méndez Esparza,

Critics’ Week; No, 108 mins.,

Funny Balloons, Chile, Star

4, Pablo Larraín, Directors

Fortnight; Beyond The

Hills, 155 mins., Wild Bunch,

Olympia 5, In Competition

9:45 Love, 125 mins., Les

Films Du Losange, France,

Palais K, Michael Haneke,

In Competition; After The

Battle, 122 mins., Mk2

International, France, Star

1, Yousry Nasrallah, In


11:00 The Pirogue, 97 mins.,

Memento Films International

(Mfi), Senegal, Salle Bazin,

Moussa Touré, Un Certain

Regard; Djeca (Children

Of Sarajevo), 90 mins.,

Pyramide, Théâtre Claude

Debussy, Un Certain Regard

11:30 Peddlers, 116 mins.,

Elle Driver, India, Miramar,

Vasan Bala, Critics’

Week; Granny’s Funeral,

100, Wild Bunch, France,

Arcades 1, Bruno Podalydes,

Directors Fortnight; Like

Someone In Love, 109

mins., Mk2 International,

France, Grand Théâtre

Lumière, Abbas Kiarostami,

In Competition; Love,

125 mins., Les Films Du

Losange, France, Salle Du

60ème, Michael Haneke, In


12:00 Sofia’s Last Ambulance,

75, Films Boutique,

Olympia 7, Critics’ Week;

La Sirga, 88 mins., Mpm

Film (Movie Partners In

Motion), Colombia, Olympia

3, William Vega, Directors

Fortnight; The Foster

Boy, 108 mins., Global

Screen Gmbh, Riviera 3,

Directors Fortnight; Hold

Back, 75 mins., Or Prod,

Théâtre Croisette, Directors

Fortnight; A Special Day,

52 mins., Films Distribution,

France, Lerins 2, Gilles

Jacob, Out Of Competition

12:15 Granny’s Funeral, 100

mins., Wild Bunch, France,

Olympia 5, Bruno Podalydes,

Directors Fortnight

13:00 Confession Of A

Child Of The Century, 125

mins., Wild Bunch, Salle

Bazin, Un Certain Regard

14:00 Augustine, 95 mins.,

Kinology, France, Olympia

5, Alice Winocour, Critics’

Week; God’s Neighbors,

98 mins., Rezo, France,

Olympia 6, Meni Yaesh,

Critics’ Week; The Hunt,

111 mins., Trustnordisk,

Denmark, Star 2, Thomas

Vinterberg, In Competition;

Polluting Paradise, 98

mins., The Match Factory,

Germany, Star 1, Fatih Akin,

Out Of Competition; White

Elephant, 120 mins., Wild

Bunch, Argentina, Théâtre

Claude Debussy, Pablo Trapero,

Un Certain Regard

14:15 Room 237, 104 mins.,

Film Sales Company, USA,

Théâtre Croisette, Rodney

Ascher, Directors Fortnight

14:30 The Hunt, 111 mins.,

Trustnordisk, Denmark, Salle

Du 60ème, Thomas Vinterberg,

In Competition

15:30 Like Someone In

Love, 109 mins., Mk2 International,

France, Arcades

1, Abbas Kiarostami, In


16:00 In Another Country,

89 mins., Finecut Co.

Ltd., Korea (South), Grand

Théâtre Lumière, Sangsoo

Hong, In Competition; Laurence

Anyways, 170 mins.,

Mk2 International, Canada,

Palais I, Xavier Dolan, Un

Certain Regard

17:00 Runaway Train, 111

mins., Park Circus Films,

USA, Salle Du 60ème,

Andrey Konchalovsky,

Cannes Classics; Peddlers,

116 mins., Elle Driver, India,

Miramar, Vasan Bala, Critics’

Week; 3, 119 mins., Wide,

Uruguay, Théâtre Croisette,

Pablo Stoll Ward, Directors

Fortnight; After Lucia, 93

mins., Bac Films, Mexico,

Théâtre Claude Debussy,

Michel Franco, Un Certain


17:15 Xica Da Silva (Xica),

114 mins., Festival De

Cannes, Brazil, Salle Buñuel,

Carlos Diegues, Cannes


17:30 Villegas, 98 mins.,

Urban Distribution Int. (Ex

Umedia), Argentina, Arcades

3, Gonzalo Tobal, Out Of


17:45 Confession Of A

Child Of The Century, 125

mins., Wild Bunch, Star 2, Un

Leos Carax’s Competition

title Holy Motors, stars

Eva Mendes, Kylie

Minogue, Michel Piccoli

and Denis Lavant as a

man living parallel lives.

Certain Regard

19:00 You Ain’t Seen

Nothin’ Yet, 120 mins.,

Studiocanal, France, Grand

Théâtre Lumière, Alain

Resnais, In Competition

19:30 Tess, 171 mins., Pathe

International (Fr), United

Kingdom, Salle Du 60ème,

Roman Polanski, Cannes


20:00 Me And Me Dad,

66 mins., High Point Media

Group, United Kingdom,

Salle Buñuel, Katrine Boorman,

Cannes Classics;

Maddened By His Absence,

98 mins., Films Distribution,

France, Miramar,

Sandrine Bonnaire, Critics’

Week; Hold Back, 75, Or

Prod, Théâtre Croisette,

Directors Fortnight; Rust &

Bone, 120, Celluloid Dreams

/ Nightmares, France,

Palais J, Jacques Audiard, In


22:00 Peddlers, 116 mins.,

Elle Driver, India, Miramar,

Vasan Bala, Critics’ Week;

Room 237, 104 mins.,

Film Sales Company, USA,

Théâtre Croisette, Rodney

Ascher, Directors Fortnight;

Like Someone In Love, 109

mins., Mk2 International,

France, Grand Théâtre

Lumière, Abbas Kiarostami,

In Competition

22:15 White Elephant,

120 mins., Wild Bunch,

Argentina, Théâtre Claude

Debussy, Pablo Trapero, Un

Certain Regard


22:30 A Respectable Family,

90 mins., Pyramide, Iran,

Arcades 1, Massoud Bakhshi,

Directors Fortnight

24:30 For Love’s Sake, 134

mins., Kadokawa Shoten

Co., Ltd., Japan, Grand

Théâtre Lumière, Takashi

Miike, Out Of Competition


8:30, Peddlers, 116 mins.,

Elle Driver, India, Miramar,

Vasan Bala, Critics’ Week

8:30, Maddened By His

Absence, 98 mins., Films

Distribution, France, Salle

Buñuel, Sandrine Bonnaire,

Critics’ Week; Killing

Them Softly, 100 mins.,

Inferno, USA, Grand Théâtre

Lumière, Andrew Dominik,

In Competition

9:00 Operation Libertad,

90 mins., Doc & Film

International, Switzerland,

Théâtre Croisette,

Nicolas Wadimoff, Directors


9:30 Dangerous Liaisons,

109 mins., Easternlight

Films, Lerins 1, Directors

Fortnight; The Repentant,

87 mins., Doc & Film International,

Algeria, Riviera 2,

Merzak Allouache, Directors


9:45, After The Battle, 122

mins., Mk2 International,

France, Star 1, Yousry Nasrallah,

In Competition

11:00 Le Grand Soir, 90

mins., Funny Balloons,

France, Théâtre Claude

Debussy, Benoît Delépine,

Gustave Kervern, Un Certain


11:15, You Ain’t Seen

Nothin’ Yet, 120, Studiocanal,

France, Salle Du

60ème, Alain Resnais, In


11:30, Aqui Y Alla, 110

mins., Alpha Violet, Spain,

Miramar, Antonio Méndez

Esparza, Critics’ Week;

Room 237, 104 mins.,

Film Sales Company, USA,

Arcades 1, Rodney Ascher,

Directors Fortnight; The

Angel’s Share, 106, Wild

Bunch, Grand Théâtre

Lumière, In Competition

12:00 God’s Neighbors, 98

mins., Rezo, France, Star 1,

Meni Yaesh, Critics’ Week;

Fogo, 61 mins., Ramonda

Inc., Canada, Théâtre Croisette,

Yulene Olaizola, Directors

Fortnight; Dracula 3D,

107 mins., Filmexport Group,

Italy, Arcades 2, Dario

Argento, Out Of Competition

13:00, Djeca (Children Of

Sarajevo), 90 mins., Pyramide,

Salle Bazin, Un Certain


13:30 Beasts Of The

Southern Wild, 93 mins.,

Entertainment One Films

International, USA, Arcades

1, Benh Zeitlin, Un Certain


14:00 Aliyah, 90 mins.,

Rezo, France, Star 1,

Elie Wajeman, Directors

day6_festscreeningguide 2.indd 1 5/20/12 11:08 AM

Fortnight; The Sapphires,

98 mins., Goalpost Film,

Australia, Salle Du 60ème,

Wayne Blair, Out Of Competition;

Our Children, 114

mins., Les Films Du Losange,

Belgium, Théâtre Claude

Debussy, Joachim Lafosse,

Un Certain Regard

14:15 Gangs Of Wasseypur,

320 mins., Quinzaine Des

Realisateurs, India, Théâtre

Croisette, Anurag Kashyap,

Directors Fortnight

14:30 Killing Them Softly,

100 mins., Inferno, USA,

Grand Théâtre Lumière,

Andrew Dominik, In


15:00 Maddened By His

Absence, 98 mins., Films

Distribution, France, Miramar,

Sandrine Bonnaire, Critics’

Week; White Elephant,

120 mins., Wild Bunch,

Argentina, Salle Bazin, Pablo

Trapero, Un Certain Regard

15:30 A Respectable Family,

90 mins., Pyramide, Iran,

Arcades 1, Massoud Bakhshi,

Directors Fortnight

16:00 Polluting Paradise,

98 mins., The Match Factory,

Germany, Olympia 5, Fatih

Akin, Out Of Competition

17:00 Journal De France,

100 mins., Wild Bunch,

France, Salle Du 60ème,

Raymond Depardon, Out

Of Competition; Le Grand

Soir, 90 mins., Funny

Balloons, France, Théâtre

Claude Debussy, Benoît

Delépine, Gustave Kervern,

Un Certain Regard

17:30 Cabra Marcado Para

Morrer, 120 mins., Festival De

Cannes, Salle Buñuel, Cannes

Classics; Aqui Y Alla, 110

mins., Alpha Violet, Spain,

Miramar, Antonio Méndez

Esparza, Critics’ Week; After

Lucia, 93 mins., Bac Films,

Mexico, Salle Bazin, Michel

Franco, Un Certain Regard;

White Elephant, 120 mins.,

Wild Bunch, Argentina, Star

1, Pablo Trapero, Un Certain

Regard; Djeca (Children

Of Sarajevo), 90 mins.,

Pyramide, Star 3, , Un Certain


18:00 La Sirga 88 mins.,

Mpm Film (Movie Partners

In Motion), Colombia, Palais

G, William Vega, Directors


19:30 Granny’s Funeral,

100, Wild Bunch, France,

Star 1, Bruno Podalydes,

Directors Fortnight; Killing

Them Softly, 100 mins.,

Inferno, USA, Grand Théâtre

Lumière, Andrew Dominik,

In Competition

19:45 The Music According

To Antonio Carlos Jobim,

84 mins., Regina Film Productions

Ltd, Brazil, Salle Du

60ème, Dora Jobim, Nelson

Pereira Dos Santos, Out Of


20:15 Trashed, 98 mins.,

Blenheim Films, United Kingdom,

Salle Buñuel, Candida

Brady, Out Of Competition

21:00 Operation Libertad,

90 mins., Doc & Film

International, Switzerland,

Théâtre Croisette,

Nicolas Wadimoff, Directors


21:45 Like Someone In

Love, 109 mins., Mk2 International,

France, Salle Du

60ème, Abbas Kiarostami,

In Competition

22:00 Aqui Y Alla, 110

mins., Alpha Violet, Spain,

Miramar, Antonio Méndez

Esparza, Critics’ Week

22:15, Our Children, 114,

Les Films Du Losange,

Belgium, Théâtre Claude

Debussy, Joachim Lafosse,

Un Certain Regard

22:30 3, 119, Wide, Uruguay,

Arcades 1, Pablo Stoll Ward,

Directors Fortnight; The

Angel’s Share, 106 mins.,

Wild Bunch, Grand Théâtre

Lumière, In Competition

May 23

8:30 Aqui Y Alla, 110 mins.,

Alpha Violet, Spain, Miramar,

Antonio Méndez Esparza,

Critics’ Week; On The Road,

142 mins., Mk2 International,

France, Grand Théâtre

Lumière, Walter Salles, In


9:00 Ernest & Celestine, 80

mins., Studiocanal, France,

Théâtre Croisette, “Benjamin

Renner, Vincent Patar,

Stéphane Aubier”, Directors


9:45 White Elephant, 120

mins., Wild Bunch, Argentina,

Star 1, Pablo Trapero,

Un Certain Regard

10:00 Mekong Hotel, 57

mins., The Match Factory,

Thailand, Arcades 2, Apichatpong


Out Of Competition

11:00 La Playa Dc, 90 mins.,

Doc & Film International,

Théâtre Claude Debussy, Un

Certain Regard

11:30 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar,

Critics’ Week; Operation

Libertad, 90 mins.,

Doc & Film International,

Switzerland, Arcades 1,

Nicolas Wadimoff, Directors

Fortnight; The Dream And

The Silence, 110 mins.,

The Match Factory, Spain,

Théâtre Croisette, Jaime

Rosales, Directors Fortnight;

Our Children, 114 mins., Les

Films Du Losange, Belgium,

Riviera 2, Joachim Lafosse,

Un Certain Regard; Le Grand

Soir, 90 mins., Funny Balloons,

France, Star 3, Benoît

Delépine, Gustave Kervern,

Un Certain Regard

12:00 Holy Motors, 116

mins., Wild Bunch, , Grand

Théâtre Lumière, In Competition;

Killing Them Softly,

100 mins., Inferno, USA,

Salle Du 60ème, Andrew

Dominik, In Competition;

The Angel’s Share, 106

mins., Wild Bunch, Star 1, In


13:30 Like Someone In

Love, 109 mins., Mk2

International, France, Star

4, Abbas Kiarostami, In


14:00 After Lucia, 93 mins.,

Bac Films, Mexico, Riviera 1,

Michel Franco, Un Certain

Regard; Djeca (Children

Of Sarajevo), 90 mins.,

Pyramide, Théâtre Claude

Debussy, Un Certain Regard

14:30 Programme Cinefondation

1, 21 mins., Festival

De Cannes, Salle Buñuel,

Cinéfondation; Ernest


& Celestine, 80 mins.,

Studiocanal, France, Théâtre

Croisette, Benjamin Renner,

Vincent Patar, Stéphane

Aubier, Directors Fortnight

15:00 In Another Country,

89 mins., Finecut Co. Ltd.,

Korea (South), Salle Du

60ème, Sangsoo Hong, In


15:30 Journal De France,

100 mins., Wild Bunch,

France, Star 3, Raymond

Depardon, Out Of


16:00 Me And You, 97

mins., Hanway Films, Italy,

Grand Théâtre Lumière,

Bernardo Bertolucci, Out Of

Competition; Le Grand Soir,

90 mins., Funny Balloons,

France, Salle Bazin, Benoît

Delépine, Gustave Kervern,

Un Certain Regard

17:00 Cleo From 5 To 7, 90

mins., Festival De Cannes,

France, Salle Du 60ème,

Agnès Varda, Cannes

Classics; Sofia’s Last

Ambulance, 75 mins., Films

Boutique, Miramar, Critics’

Week; La Playa Dc, 90

mins., Doc & Film International,

Théâtre Claude

Debussy, Un Certain Regard

17:30 Operation Libertad,

90 mins., Doc & Film

International, Switzerland,

Lerins 1, Nicolas Wadimoff,

Directors Fortnight

18:00 A Respectable Family,

90 mins., Pyramide,

Iran, Arcades 2, Massoud

Bakhshi, Directors Fortnight;

Rust & Bone, 120 mins., Celluloid

Dreams / Nightmares,

France, Star 2, Jacques

Audiard, In Competition;

Our Children, 114 mins.,

Les Films Du Losange, Belgium,

Salle Bazin, Joachim

Lafosse, Un Certain Regard

19:00 On The Road, 142

mins., Mk2 International,

France, Grand Théâtre

Lumière, Walter Salles, In


19:15 Jaws, 124 mins., Festival

De Cannes, USA, Salle Du

60ème, Steven Spielberg,

Cannes Classics;

The Dream And The

Silence, 110 mins., The

Match Factory, Spain,

Théâtre Croisette, Jaime

Rosales, Directors Fortnight

19:30 Journey To Italy, 97

mins., Coproduction Office

(Paris), Italy, Salle Buñuel,

Roberto Rossellini, Cannes


22:00 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar, Critics’


22:00 Sightseers, 95 mins.,

Protagonist Pictures, United

Kingdom, Théâtre Croisette,

Ben Wheatley, Directors

Fortnight; For Love’s Sake,

134 mins., Kadokawa Shoten

Co., Ltd, Japan, Salle Du

60ème, Takashi Miike, Out

Of Competition

22:30 Hold Back, 75 mins.,

Or Prod, Arcades 1, Directors

Fortnight; Holy Motors, 116

mins. , Wild Bunch, Grand

Théâtre Lumière, In Competition;

7 Days In Havana,

125 mins., Wild Bunch,

France, Théâtre Claude

Debussy, Benicio Del Toro,

Gaspar Noe, Pablo Trapero,

Julio Medem, Un Certain


May 24

8:30 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar, Critics’

Week; The Paperboy, 107

mins., Nu Image / Millennium

Films, USA, Grand

Théâtre Lumière, Lee Daniels,

In Competition

9:00 The King Of Pigs, 97,

Indiestory Inc., Théâtre Croisette,

Directors Fortnight

9:15 Peddlers, 116 mins.,

Elle Driver, India, Star 3,

Vasan Bala, Critics’ Week

9:30, Maddened By His

Absence, 98 mins., Films

Distribution, France, Lerins

1, Sandrine Bonnaire, Critics’

Week; On The Road, 142

mins., Mk2 International,

France, Star 1, Walter Salles,

In Competition

11:00 Programme Cinefondation

2, 6 mins., Festival

De Cannes, Salle Buñuel,

Cinéfondation; La Playa

Dc, 90 mins., Doc & Film

International, Salle Bazin,

Un Certain Regard; Miss

Lovely, 110 mins., Fortissimo

Films, India, Théâtre Claude

Debussy, Ashim Ahluwalia,

Un Certain Regard

11:30 The Dream And The

Silence, 110 mins., The

Match Factory, Spain, Star 4,

Jaime Rosales, Directors

Fortnight; Dangerous

Liaisons, 109 mins.,

Easternlight Films, Théâtre

Croisette, Directors

Fortnight; On The Road, 142

mins., Mk2 International,

France, Salle Du 60ème,

Walter Salles, In Competition;

A Special Day, 52

mins., Films Distribution,

France, Lerins 1, Gilles

Jacob, Out Of Competition


day6_festscreeningguide 2.indd 2 5/20/12 11:08 AM

market screening guide


8:30 Hors Les Murs,

Belgium, Films Boutique,

French, 98 mins., Miramar,


9:00 3, Uruguay, Wide,

Spanish, 115 mins., Theatre

Croisette, Premiere

9:15 Purge, Finland, Trustnordisk,

Finnish, 110 mins.,

Star 3, Premiere

9:30 Aqui Y Alla, Spain,

Alpha Violet, Spanish, 110

mins., Lerins 1, Premiere;

Beyond The Hills, Romania,

Wild Bunch, Romanian, 155

mins., Olympia 5, Premiere;

Charm, USA, Bleiberg

Entertainment LLC., English,

85 mins., Gray 2, Premiere;

For Greater Glory, USA,

Locomotive Distribution,

English, 143 mins., Olympia

9, Premiere; Home, Russia,

Films Boutique, Russian,

110 Riviera 2 Premiere; In

A Rush, France, Pyramide,

French, 93 mins., Arcades

3, Premiere; No, Chile,

Funny Balloons, Spanish,

115 mins., Star 4, Premiere;

Noor, Pakistan, Wide Other,

78 mins., Palais D; Officer

Down, USA, Red Sea Media

Inc., English, 96 mins.,

Gray 4, Premiere; Private

Screening Media Luna,

Media Luna New Films Ug,

92 mins., Palais F, Premiere;

Sky Force, China, Arclight

Films, 80 mins., Palais H;

The Heineken Kidnapping,

Netherlands, Global Screen

Gmbh, Dutch, 105 mins.,

Riviera 1; Thin Ice, USA, The

Exchange, English, 93 mins.,

Riviera 4, Premiere; Underground,

USA, Twinstar

Productions, English, 80

mins., Gray 3

9:45 After The Battle,

France, Mk2 S.A., Arabic,

122 mins., Star 1, Premiere;

Love, France, Les Films Du

Losange, French, 126 mins.,

Palais K, Premiere

10:00 All About My Wife,

South Korea, M-Line Distribution,

Korean, 110 mins.,

Palais C, Premiere; And If

We All Lived Together,

France, The Match Factory,

French, 96 mins., Olympia 4;

From Tuesday To Tuesday,

Argentina, Latido, Spanish,

90 mins., Palais I, Premiere;

Goat Island, USA, Aldamisa,

English, 90 mins., Gray 3,

Premiere; Green, Green,

Cuba, Icaic - Productora

Internacional, Spanish, 70

mins., Gray 5, Premiere; No

Rest For The Wicked, Spain,

Filmax International Spanish

104 Palais G; Papadopoulos

& Sons, United Kingdom, 7

& 7 Producers’ Sales Service

Ltd., English, 105 mins.,

Palais E, Premiere; Private

Screening Other Angle,

Other Angle Pictures, 100

mins., Olympia 7, Premiere;

The Day Of The Crows,

France, Le Pacte, French, 94

mins., Olympia 6, Premiere;

Wrong, France, Kinology,

English, 97 mins., Arcades 2 ;

Yossi, Israel, Films Distribution,

Hebrew, 84 mins.,

Lerins 2, Premiere; Your

Sister’s Sister, USA, Protagonist

Pictures, English,

90 mins., Gray 1

11:00 Miro/Miranda! USA,

Indie Pr, English, Palais H

11:15 Miro/Miranda! USA,

Indie Pr, English, Palais H

11:30 Bad Kids Go To Hell,

USA, Red Sea Media Inc.,

English, 110 mins., Gray

4, Premiere; Crawlspace,

Australia, Darclight Films,

English, 86 mins., Palais

H, Premiere; Everybody’s

Got Somebody...But Me,

Mexico, Mexican Film Institute

(Imcine), Spanish, 100

mins., Riviera 4, Premiere;

Germany Shorts 2012,

Germany, German Films/

Ag Kurzfilm, 100 Palais F;

Good Vibrations, United

Kingdom, The Works International,

English, 97 mins.,

Star 3, Premiere;

Granny’s Funeral, France,

Wild Bunch, French, 100

mins., Arcades 1, Premiere;

Hemel, Netherlands, Media

Luna New Films Ug, Dutch,

80 mins., Riviera 2; I

Against I, United Kingdom,

Kaleidoscope Film Distribution

Ltd., English, 82 mins.,

Lerins 1, Premiere; I Am His

Wife, Iran, Iranian Cinema,

Farsi, 100 mins., Palais B,

Premiere; Knife Fight, USA,

Myriad Pictures, English,

99 mins., Gray 2, Premiere;

Peddlers, India, Elle Driver,

Hindi, 116 mins., Miramar,

Premiere; The End Of Love,

USA, Visit Films, English, 90

mins., Palais J, Premiere;

The Third Half-Time,

Macedonia, Macedonian

Film Fund, 110 mins., Palais

D, Premiere; Twenty8k,

United Kingdom, Av Pictures

Limited, English, 102

mins., Star 4

12:00 A Special Day,

France, Films Distribution,

French, 52 mins., Lerins

2, Premiere; Barbara,

Germany, The Match Factory,

German, 105 mins.,

Palais G; Deep Within,

Italy, Filmexport Group,

Italian, 90 mins., Palais C; El

Fantastico Mundo De Juan

Orol, Mexico, Filmsharks

Int’l., Spanish, 90 mins.,

Gray 3, Premiere; El Gusto,

Algeria, Fortissimo Films,

French, 93 mins., Palais K;

God Save My Shoes, USA,

All Rights Entertainment,

Limited English, 72 mins.,

Gray 1; Hold Back, France,

Or Prod, French, 75 mins.,

Theatre Croisette, Premiere;

La Sirga, Colombia, Mpm

Film (Movie Partners In

Motion), Spanish, 88 mins.,

Olympia 3, Premiere; Lotte

And The Moonstone

Secret, Estonia, Sola Media

Gmbh, English, 73 mins.,

Riviera 1; Lotte And The

Moonstone Secret, Estonia,

Estonian Film Foundation,

Estonian, 73 mins., Riviera 1,

Premiere; Moon Man, Germany,

Le Pacte, English, 85

mins., Arcades 2, Premiere;

My Best Holidays, France,

Pathe International (Fr),

French, 95 mins., Palais I;

Sharqiya, Israel, Ez Films,

Arabic, 85 mins., Palais

E, Premiere; Sofia’s Last

Ambulance, Bulgaria, Films

Boutique, Bulgarian, 75

mins., Olympia 7, Premiere;

The Foster Boy, Switzerland,

Global Screen Gmbh,

Swiss-German, 108 mins.,

Riviera 3, Premiere;

The Second Death,

Argentina, Reel Suspects,

Spanish, 91 mins., Gray 5,


12:15 Granny’s Funeral,

France, Wild Bunch, French,

100 mins., Olympia 5,


13:30 30 Beats, USA, Films

Distribution, English, 88

mins., Riviera 4, Premiere;

Bear, Iran, Farabi Cinema

Foundation, Farsi, 103 mins.,

Palais D, Premiere; Chaos

Kids, Wild Bunch, 115 mins.,

Star 4, Premiere; Don’t

Stop Believin’: Everyman’s

Journey, USA, Visit Films,

English, 109 mins., Riviera

2, Premiere; Freeloaders,

USA, Myriad Pictures,

English, 80 mins., Gray 2;

Hush, Finland, Yellow Affair

Oy, Finnish, 90 mins., Gray

4, Premiere; My Joan Of

Arc, Canada, Id Communications

Inc., 78 mins., Palais

H; Operation Autumn,

Portugal, Alfama Films

Production, Portuguese, 90

mins., Arcades 3, Premiere;

Private Screening Golden

Network Asia 1, Golden

Network Asia Ltd., 75 mins.,

Lerins 1, Premiere; Storage

24, United Kingdom, Independent,

English, 90 mins.,

Star 3, Premiere; The Other

Son, France, Cité Films,

French, 105 mins., Palais J;

Tony Curtis, France, Wide

House, English, 96 mins.,

Palais B, Premiere; Villains,

United Kingdom, Palm Tree

Ents., English, 93 mins.,


Arcades 1, Premiere

14:00 Anton Corbijn Inside

Out, Netherlands, Hanway

Films, Dutch, 80 mins.

Arcades 2, Premiere; At

Silver Falls, USA, Outsider

Pictures, English, 90 mins.

Gray 1, Premiere; Augustine,

France, Kinology,

French, 102 mins., Olympia

5, Premiere; Bachelorette,

USA, Elle Driver, English, 91

mins., Palais C; Baikonur,

Kazakstan, M-Appeal,

Russian, 94 mins., Palais

G; City State, Iceland, Celluloid

Dreams / Nightmares,

Icelandic, 87 mins., Palais

K Premiere; Dark Hearts,

USA, Axel Pictures, English,

95 mins., Gray 3, Premiere;

Desert Ambush, France,

Film And Picture, French, 90

mins., Palais E, Premiere;

Glory - A Tale Of Mistaken

Identities, Germany, Global

Screen Gmbh, German, 99

mins., Riviera 3, Premiere;

Goats, USA, Echo Bridge

Entertainment, English,

100 mins., Palais I; God’s

Neighbors, France, Rezo

Hebrew 98, Olympia 6,

Premiere; Life Just Is,

United Kingdom, Patchwork

Productions, 102 mins.,

Gray 5, Premiere; Little

Glory, Belgium, The Little

Film Company, English,

104 mins., Lerins 2; Now Is

Good, United Kingdom, Tf1

International, English, 99

mins., Olympia 7; Polluting

Paradise, Germany, The

Match Factory, Turkish, 98

mins., Star 1, Premiere; Programme

Courts Metrages

2, Semaine De La Critique,

91 mins., Miramar Premiere;

The Hunt, Denmark, Trustnordisk,

Danish, 111 mins.,

Star 2, Premiere

14:15 Room 237, USA, Film

Sales Company, English, 104

mins., Theatre Croisette,


15:00 Gabin Le Mime,

Cannes Court Metrage, 20

mins., Lerins 1, Premiere

15:30 Alfie, The Little

Werewolf, Netherlands,

Delphis Films Inc., Dutch, 95

mins., Palais B; Check, Iran,

Farabi Cinema Foundation,

Farsi, 89 mins., Palais F Premiere;

God’s Own Country,

United Kingdom, Terramia

Ltd., English, 100 mins.,

Palais D, Premiere; Like

Someone In Love, France,

Mk2 S.A., Japanese, 109

mins., Arcades 1, Premiere;

Paradise : Love, Austria,

Coproduction Office (Paris),

English, 120 mins., Riviera

2, Premiere; Petunia, USA,

New Films International,

English, 90 mins., Palais

H, Premiere; Silent House,

USA, Elle Driver, English,

86 mins., Gray 2; Stitches,

Ireland, Mpi Media Group,

English, 85 mins., Star 3,

Premiere; The Lithium Conspiracy,

Italy, Intramovies,

Italian, 104 mins., Arcades 3


Tomorrow, Russia, Rise And

Shine World Sales, Russian,

90 mins., Gray 4, Premiere;

Violeta Went To Heaven,

Chile, Latido, Spanish, 110

mins., Palais J

16:00 Chaos, France,

All Rights Entertainment

Limited, French, 97 mins.,

Star 2, Premiere; Detachment,

USA Celluloid Dreams

/ Nightmares, English, 100

mins., Olympia 7; Frank &

Chip: The Olympic Experience,

USA, Upward Rising

Development, English, 60

mins., Gray 5, Premiere;

Harodim, Austria, Terra

Mater Factual Studios,

English, 90 mins., Arcades

2, Premiere; Have You Seen

Lupita, Chile, Latinofusion,

Spanish, 86 mins., Palais

C, Premiere; Impossible

Language, Spain, Eldorado

Internacional, Spanish, 90

mins., Palais E, Premiere;

Laurence Anyways,

Canada, Mk2 S.A French-

Canadian, 169 mins., Palais

I, Premiere; Legends Of

Valhalla — Thor, Iceland,

Global Screen Gmbh,

English, 83 mins., Riviera 1;

No Tell Motel, USA, Cinema

Management Group Llc,

English, 92 mins., Lerins 2,

Premiere; Robin Hood —

Ghosts Of Sherwood 3D,

Tomcat Films Llc, 110 mins.,

Olympia 6, Premiere; Runners,

United Kingdom, Kali

Arc, English, 77 mins., Palais

K, Premiere; Sea Shadow,

United Arab Emirates,

Fortissimo Films, Arabic 98,

Gray 1; Shun Li And The

Poet, Italy, Adriana Chiesa

Enterprises, Italian, 96 mins.,

Star 1; Soufflé Au Chocolat,

Canada, Cmhl Enterprises

Inc, French, 97 mins., Gray 3,

Premiere; Summer Outside,

Zum Goldenen Lamm Filmproduktion,

92 mins., Riviera

3, Premiere; The Big Heart

Of Girls, Italy, Filmexport

Group, Italian, 85 mins., Palais

G; Unfair World, Greece,

Films Boutique, Greek, 107

mins., Olympia 3

17:00 3, Uruguay Wide,

Spanish, 115 mins., Theatre

Croisette, Premiere; Peddlers,

India, Elle Driver,

Hindi, 116 mins., Miramar


17:30 Admiral Yamamoto,

Japan, Toei Company, Ltd.,

Japanese, 140 mins., Riviera

2; All Must Go, Brazil,

day6_market.indd 1 5/20/12 12:29 PM

Cinema Do Brasil, Brazilian-

Portuguese, 89 mins., Palais D,

Premiere; Among Friends, USA,

Aspect Film, English, 90 mins.,

Gray 4, Premiere; Charlie Zone,

Canada, Myriad Pictures, English,

103 mins., Lerins 1; Code 37, The

Movie, Belgium, Delphis Films

Inc., Dutch, 96 mins., Palais B;

Here’s A Different City, Iran,

Farabi Cinema Foundation, Farsi,

84 mins., Palais F, Premiere;

Maman, France, Other Angle

Pictures, French, 100 mins.,

Riviera 4 Premiere; Me @The Zoo

USA Memento Films International

(Mfi) English 88 Star 3 Premiere;

Sweet Candy Peach, USA, Film

Thru Sound, Llc., English, 102

mins., Palais J, Premiere; Villegas,

Argentina, Urban Distribution

Int. (Ex Umedia), Spanish,

98 mins., Arcades 3, Premiere;

World Go Round, South Africa,

Le Futur Image, English, 70 mins.,

Gray 2, Premiere

18:00 A Million Colours, South

Africa, Fries Films, Inc., English,

110 mins., Palais C; Approved

For Adoption, France, Wide

House French, 75 mins., Palais

G, Premiere; Battle Of Warsaw

1920, Poland, Vmi-Vantage

Media International/Vision

Music Inc., Polish, 115 mins.,

Star 1; Dead Shadows, France,

Dc Medias French, 75 mins.,

Palais K, Premiere; Dr Ketel,

Germany, Reel Suspects,

German, 80 mins., Gray 5; Goddess,

Australia, Ealing Metro

International, English, 104

mins., Olympia 8, Premiere; I,

Anna, United Kingdom, Global

Screen Gmbh, English, 105 mins.,

Riviera 1; Krapetz, Bulgaria,

Bulgarian National Film Center,

Bulgarian, 110 mins., Palais E,

Premiere; Kryptonite! Italy, Rai

Trade Department, Italian, 98

mins., Gray 3; La Bas A Criminal

Education Italy Minerva Pictures

Group Italian 100 Lerins 2;

Mercy, Germany, Beta Cinema

German, 132 mins., Riviera 3,

Premiere; Rezo Private Screening

1, Rezo 90 mins., Olympia 6,

Premiere; Süskind, Netherlands,

Beta Cinema, Dutch, 118 mins.,

Olympia 7; The Horde, Russia,

Rezo, Russian, 128 Arcades 2,

Premiere; Tunisians Stories,

Tunisia, Leyth Production, Arabic,

110 mins., Gray 1, Premiere

19:30 Awesome Like Albert,

South Africa, Le Futur Image,

English, 83 mins., Gray 4,

Premiere; Pablo, USA, Shoreline

Entertainment, English, 93 mins.,

Gray 2

20:00 Casa Nostra, France,

Acid, French, 94 mins., Arcades

1; Premiere; Germ, USA, Tomcat

Films Llc., English, 90 mins.,

Palais D, Premiere; Hold Back,

France, Or Prod, French, 75 mins.,

Theatre Croisette, Premiere;

Maddened By His Absence,

France, Films Distribution,

French, 90 mins., Miramar,

Premiere; Rust & Bone, France,

Celluloid Dreams / Nightmares,

French, 120 Palais J, Premiere;

Soulless, Russia, Art Pictures

Media, Russian, 97 mins., Palais

H; The Private Life Of Mr. & Mrs.

M, Iran, Visual Media Institute,

Persian, 80 mins., Palais F,

Premiere; This Ain’t California

Independent Festival Film Co. 90

Gray 3 Premiere

20:15 Ken & Mary: The Asian

Truck Express, Japan, Shochiku

Co., Ltd., Japanese, 87 mins.,

Gray 1, Premiere

20:30 Body Complete, Bosnia-

Herzegovina, Artdeluxe Gmbh,

German, 85 mins., Palais C, Premiere;

Codename Venus, United

Kingdom, Fifth Generation Ltd.,

English, 90 mins., Palais K, Premiere;

Joyful Reunion, Taiwan,

Creative Century Entertainment

Co., Ltd., Mandarin, 110 mins.,

Palais I, Premiere

22:00 Peddlers, India, Elle

Driver, Hindi, 116 mins., Miramar,

Premiere; Room 237, USA,

Film Sales Company, English,

104 mins., Theatre Croisette,


22:30 A Respectable Family,

Iran, Pyramide, Farsi, 90 mins.,

Arcades 1, Premiere


8:30 Peddlers India Elle Driver

Hindi 116 Miramar Premiere

9:00 Hey Krishna India Im

Global Hindi 117 Star 4 Premiere;

Operation Libertad Switzerland

Doc & Film International French

90 Theatre Croisette Premiere

9:30 Always In Your Dreams

India R S Infotainment Pvt Ltd

99 Riviera 4 Premiere; Blazing

Famiglia Japan “Toei Company,

Ltd.” Japanese 125 Palais C

Premiere; Breaking The Girls

USA Myriad Pictures 87 Gray 2

Premiere; Dangerous Liaisons

China Easternlight Films

Mandarin 110 Lerins 1 Premiere;

Filly Brown USA Indomina Media

English 101 Palais H Premiere;

Love In Motion Spain Eldorado

Internacional Spanish 92 Palais

D Premiere; Neander-Jin - The

Return Of The Neanderthalman

Germany Constant Flow Productions

English 81 Palais B; The

Repentant Algeria Doc & Film

International Arabic 87 Riviera

2 Premiere; The Rescuers USA

2 Bulls On The Hill Productions

English 94 Arcades 3 Premiere;

The Sleeping Voice Spain The

Match Factory Spanish 128

Olympia 3 ; Zincograph Bulgaria

Bulgarian National Film Center

Bulgarian 107 Gray 4 Premiere

9:45 After The Battle France

Mk2 S.A Arabic 122 Star 1

Premiere THR



11.OO - 12.3O

BFI International Strategy Consultation

An opportunity to hear the BFI’s proposed international strategy

as part of its five year plan for film in the UK - with Amanda Nevill

and Tim Cagney (BFI Chief Executive and Deputy Chief Executive)

13.3O - 15.OO

Market Forces: the Production Finance Market

Presented by Film London and the Production Finance Market

Angus Finney (Production Finance Market), Joe MacCarthy (Octopus

Investment) discuss the marketplace for independent films and the

process for European producers to attend the market.

15.3O - 16.3O

All the World’s a Stage

Presented by the British Council and Straight 8

Join British Council Film and UK filmmakers screening films across

the festival including the team behind The Curse (Directors’ Fortnight)

to talk about shorts, developing projects internationally,

and how a Cannes selection is just the beginning.

17.OO - 18.OO

The Inbetweeners: Reaching the 16-25s

Presented by 3 Mills Studios

Producers Christopher Young (The Inbetweeners Movie), Allan Niblo

(Streetdance 3D); Damian Jones (Fast Girls) on tapping into this

lucrative market.







SARGENT DISC 14:3O - 16:3O


1O.15 - 11.OO

Co-Production Hub

Why international producers are keen to work with Scotland with case

studies on Lore and Citadel and speakers Katie Holly (Blinder Films),

Paul Welsh (Edge City Films), Liz Watts (Porchlight Films), Jo Nolan

(North Sea Screen Partners)

First ONE-TO-ONE Surgery of the Day


Free events

Terrace café

Printing services

Free internet & Wi-Fi

Meet filmmakers and funders

Info about the UK film industry

For information and events updates visit www.ukfilmcentre.org.uk

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Cannes memories


Cruising on the Croisette

The Euro-star triumvirate of French actor Alain Delon, Italian

bombshell Sofia Loren and Austrian sweetheart Romy Schneider,

on their way to opening night of the 1962 festival. Cannes turned

up the star wattage in the ’50s and ’60s, establishing the

French fest as the global celebrity gold standard and

guaranteeing an annual mob of press would crowd the Croisette.

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afp/getty images


“Katharine is stunning,

and I loved it!”

“Like no other film out there,

I loved it!”

“We REALLY want this film!”


Booth B3, Riviera

Kathryn Gri� ths kgri� ths@industry-works.com

The most original film

I’ve seen in a long time”

“I love it!”


“I was so happy to see this movie!

It’s fresh and current and I loved it

and can’t wait to see it again!”

The Soska sisters are changing the

face of genre filmmaking”

Industry Works_American_D1_051612.indd 1 5/11/12 6:01 PM

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MONDay, May 21

12:00–1:00 PM | MaSTERCLaSS:


Moderated by Lucius Barre

Masterclass with acclaimed Russian director on his career and screening of

“Runaway Train” in the Cannes Classics Section, May 21 at 5pm



Nick LoPiccolo, Paradigm

Mark Ankner, William Morris Endeavor

Teddy Schwarzman, Black Bear Pictures

Peter Quoc Trinh, ICM | International

Creative Management



John Nein, Sundance Film Festival

Rose Kuo, Lincoln Center

Lane Kneedler, AFI

Frederic Boyer, Tribeca Film Festival




Ashok Amritraj, Chairman & CEO,

Hyde Park Entertainment

Moderated by: Pamela McClintock,

The Hollywood Reporter

Moderated by: Scott Macaulay,

Filmmaker Magazine

The Pavilion is open 8am–6pm daily during the Festival

Check ampav.com for our full schedule of panels and events



TUESDay, May 22




Scott Shooman, CBS Films

Peter Van Steemberg, Magnolia Pictures

Arianna Bocco, IFC

Rob Williams, Indominia Media

Moderated by: Dana Harris, Editor-in-chief, indieWIRE

3:00 PM | FILM PaNEL:


Benh Zeitlin, Director

Lucy Alibar, Screenwriter

Dan Janvey and Josh Penn, Producers

Ben Richardson, Cinematographer

Moderated by: John Cooper, Sundance Institute,

Winner of the 2012 Sundance Film Festival Grand Jury Prize,

and screening 2012 Cannes in Un Certain Regard

The American Pavilion is your full service business and

entertainment venue just steps away from the Palais.

The Pavilion is the focus of the American presence at the

Festival. Enjoy a relaxed seaside environment with all the

amenities and business services to make your time at the

Festival successful.


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