day5_cannes2014

THR.COM/CANNESCANNESDAILYMAY 18, 2014№5

MAY 18, 2014THR.COM/CANNES CANNES №5CANNESWEATHERAND HIGHTEMPSTODAY68° F20° CTOMORROW66° F19° CRED CARPETPRANKSTEREVADES JAILBy Rhonda RichfordFollowing pranks that disruptedthe Grammys andthe SAG Awards, notoriousred-carpet crasher Vitalii Sediukbrought his act to Cannes, divingunder America Ferrera’s gown asshe posed for a photo at the Howto Train Your Dragon 2 premiereMay 16. After the attack, Sediukwas tackled by festival security.Director Dean DeBlois toldpartygoers later that night thatSediuk had been “hauled off tojail,” but multiple inquiries withlocal police turned up no recordof him being booked or spendingthe night behind bars.CONTINUED ON PAGE 6CumberbatchFlips Over BirdsBy Borys KitBenedict Cumberbatch, TyeSheridan, and Will Poulterwill star in The YellowBirds, an adaptation of the KevinPowers novel being directedby Ain’t Them Bodies Saintsdirector David Lowery.The film, which is beingunveiled in Cannes, is thesecond project for CinelouFilms, which is financing withStory Mining & Supply Co.With a script by Lowery, Birdscenters around two soldiers,21-year-old Private Bartle and18-year-old Private Murphy,CumberbatchCONTINUED ON PAGE 6IN THIS ISSUEShooting of aMonaco heiressexposes a dark sideof paradise .................22Salma Hayek held up a signshowing support for acampaign calling for therelease of 300 kidnappedNigerian schoolgirls, as shearrived for the screening ofcompetition title SaintLaurent on May 17.Cannes’ Power Agents Go ShoppingDirectors are the ultimate prize, but the days of signing competition filmmakers are over,as representatives look to sizzle reels and shorts for the next big thing By Scott RoxboroughForget the divas strutting the red carpet: Forthe packs of U.S. talent agents scoutingCannes for the next big thing, the real starsare the directors.Teams from all of Hollywood’s major agenciesare spending the festival catching competition titlesand out-of-the-way market screenings, checking outstudent-made shorts and pestering sales agents forsizzle reels of features that will screen in Torontoor Telluride. With the business more competitivethan ever, agents can no longer count on competitiontitle directors to be looking for representation.Now the battle is to find talent before theystart generating buzz. The recent slowdown in theCannes market, partly caused by a bottleneck intop talent, has increased agencies’ focus on thefuture. All are looking for the next foreign helmerthey can build into an international player. LikeCanadian Denis Villeneuve, snapped up by CAA afterhis Incendies screened in Cannes in 2010, who wenton to direct Warner Bros’ Prisoners (worldwide gross$122 million). Or Norwegian Morten Tyldum, signedby WME at Cannes in 2012 on the back of markettitle Headhunters, who is in post on the red-hot AlanTuring biopic The Imitation Game starring BenedictCumberbatch and Keira Knightley.MAKING ASTATEMENTWhat an agent is looking for, according to UTApartner Rich Klubeck, is “a clarity of vision and aprecision of execution” in their films. SomethingKlubeck spotted in Italian auteur Paolo Sorrentinowhen his Consequences of Love screened in Cannescompetition back in 2004. But the process of signingthe director was less than straightforward.Sorrentino initially snubbed Klubeck and warmed tohim only gradually after the agent kept calling fromyear to year and film to film.“I had almost given up,” admits Klubeck. “Butthen, in Cannes in 2008 I saw [eventual Grand JuryPrize winner] Il Divo and called him up. We met andI ended up signing him. I think he thought I was themost persistent.” Sorrentino’s last film, The GreatBeauty, won the foreign-language Oscar. He now isshooting The Early Years, starring Rachel Weisz.These days, an agent who waits for a foreign directorto build up a reputation often sees the helmersnapped up by a rival. “It’s gotten very competitiveand very, very fast,” says WME agent Jerome Duboz.“You have to talk to sales agents, watch short films,hear what the international producers are saying” tostay a step ahead.Alice Rohrwacher, whose The Wonders screens inCONTINUED ON PAGE 6AP PHOTO/THIBAULT CAMUSTHE HOLLYWOOD REPORTER 1

theREPORTHEAT INDEXCELINE SCIAMMAThe 33-year-old French writerdirectorhas gotten strong reviewsfor her third feature, the Directors’Fortnight entry Girlhood,about underprivileged girls fromthe suburbs of Paris.RYAN REYNOLDSDirector Atom Egoyan promised hiscompetition entry The Captive would“completely redefine” the star’s career,but if early reviews are any indicationReynolds may need more redefining.KNOW YOUR DEALMAKERIshan SaksenaCEO, B4UThe Indian film and TV exec generatedbuzz May 16 with a joint ventureagreement with Relativity Media toproduce entertainment and sportscontent. The deal includes a $100 millionfund, which first will be tapped for aBollywood remake of an Owen Wilsonand Zach Galifianakis comedy.MEANWHILE, IN THE REAL WORLD …• Legendary and Warner Bros.’Godzilla is on track for a$98 million domestic debutweekend, vastly outperformingpredictions.• India’s elections swept someBollywood actors into parliament,with the winning partyvowing to encourage films thatpromote “cultural values.”• Barbara Walters retiredMay 16 after a 50 year careerin TV journalism.• Kim Kardashian and KanyeWest will marry May 24 in ahistorical fort in Florence, Italy.NEWS 24/7 AT THR.COMThe Edge (left) andBono will createmusic for the film.Weinstein Co. Ponies Up$3 Million for Sing StreetU2’s Bono and The Edge will collaborate with Once directorJohn Carney on the semiautobiographical musical projectBy Pamela McClintockThe Weinstein Co. is goingback into business withJohn Carney, pre-buyingU.S. rights to the Irishfilmmaker’s next movie,Sing Street. The price tagwas $3 million, accordingto sources.WME Global brokered thedeal at the Cannes Film Festival,where the project also is beingCarneyHannibal star Hugh Dancy has joined the castof The Happy Prince, the upcoming OscarWilde biopic that will be Rupert Everett’sdirectorial debut.Dancy will play Robbie Ross, the best friend andunrequited love of the iconic Irish writer. In additionto directing, Everett will write and star as Wildein an ensemble cast that includes Colin Firth, EmilyWatson and Tom Wilkinson.Happy Prince focuses on the finaldays of Wilde’s life as the oncecelebratedwriter and poet, in themidst of a very public meltdown,looks back on his life with characteristicdry wit.BBC Films, Lionsgate U.K. andRaindog Films, Firth and GedDoherty’s production shingle, havecome aboard as co-producers ofHappy Prince.DancyThe BBC will the U.K. broadcast-shopped to foreign buyers byGlen Basner’s FilmNation.It is the third high-profilepact struck by WME atCannes after Story ofYour Life, which sold toParamount for $20 million,and Nightcrawler, whichOpen Road Films has picked up(WME co-repped those two titleswith CAA).TWC already is distributingCarney’s Begin Again, whichopens in theaters July 4. Theromantic dramedy stars KeiraKnightley, Adam Levine and MarkRuffalo. The company also is circlinghot title The Coup starringPierce Brosnan and Owen Wilson.Carney is teaming withU2’s Bono and The Edge to makeSing Street, a semibiographicaltale inspired by the filmmaker’slove of music.Sing Street, set to beginproduction in Dublin this summer,tells the story of 14-yearoldCosmo, a kid growing up in1980s Dublin who is intenton breaking free of his difficulthome life. Cosmo writes a song,forms a band with schoolmates,writes more songs and shootsmusic videos. When he realizeshe can’t save his family, he runsoff with his 15-year-old wannabemodel girlfriend to London.Bono and The Edge, fellowIrishmen who have longtime tiesto Carney, will help create thefilm’s music, as well as serve asproducers on the film itself.Producer Anthony Bregmanand Carney, whose Oncewon its songwriter stars GlenHansard and Marketa Irglova anOscar for best song in 2006, areproducing in partnership withKevin Frakes, Raj Brinder Singh,Paul Trijbits and Christian Grass.Dancy Joins Oscar Wilde Biopic The Happy PrinceBBC Films and Lionsgate U.K. have boarded the feature, which stars Rupert Everett as Wilde andco-stars Colin Firth, Emily Watson and Tom Wilkinson By Scott Roxborough and Stuart Kemping partner for the $14 million production, whichLionsgate will release theatrically in the territory.Happy Prince has been set up as a Germany-U.K.-France-Belgium-Italy co-production with Germanshingle cine plus as lead producer and France’scine-@ and Britain’s Robert Fox co-producing.Producers include Jorg Schulze, Philipp Kreuzer andFrank Evers for cine plus; Philippe Carcassonne forcine-@ and Robert Fox in collaborationwith Bavaria Film Partners.Concorde has picked up themovie for theatrical release inGermany. Beta Cinema is handlingworld sales.Final casting is still underwayfor Happy Prince, with principalphotography set to start in Octoberat Bavaria Film Studios in Munichas well as on location in Italy,Belgium, France and the UnitedKingdom.THE HOLLYWOOD REPORTER 2

AMBI DISTRIBUTION PRESENTS AT CANNES 20142047 SIGHTS OF DEATH GENRE:SCI-FI/ACTIONIN POST PRODUCTIONTRAILER SCREENING IN OFFICETHERE’S NO WAY OUTDANNY TREJOMISCH a BARTONANDREY CHERNYSHOVMICHAEL MADSENDANIEL BALDWINARCTIC JUSTICETHUNDER SQUAD(IN DEVELOPMENT)DAVIL MAYCARE(PRE PRODUCTION)ANDRON(PRE PRODUCTION)EAST END(IN PRODUCTIONSELECTED SCENES SCREENING IN OFFICE)AMBI DISTRIBUTION CORP.9454 WILSHIRE BLVD., SUITE 208, BEVERLY HILLS, CA 90212OFFICE +1 310 274 2000VISIT US AT THE GRAND HOTEL, ALBATROS, 2ND FLOOR, APARTMENT 21WWW.AMBIDISTRIBUTION.COM

theREPORTReagan Drama Recruits Malkovich as KGB AgentProducers also are wooing Philomena’s Stephen Frears to direct the film from a Howard Klausner script By Stuart KempJohn Malkovich is in earlytalks to play a KGB operativein a movie about thelife of Ronald Reagan.The role in Reagan, froma script by Howard Klausner(Space Cowboys), would see theDangerous Liaisons star portray aRussian spy assigned to keep aneye on a young Reagan, alreadya committed anti communist crusader,as he arrives in Hollywoodas a wannabe actor beforeembarking on his journey to theU.S. presidency.Reagan’s story is told from thepoint of view of Viktor Petrovich,a veteran KGB agent, whorecounts Reagan’s ascent fromhometown hero in his nativeDixon, Ill., to his life as an actorto leading the Oval Office, upuntil the day of the attempt onhis life. The role of Reagan hasyet to be cast.The script is out to a list ofeight top directors with StephenFrears, whose résumé boasts TheQueen, Philomena and the upcominguntitled Lance Armstrongbiopic, currently leading the field,according to sources close tothe project.The script is based on twobest-selling books by author PaulKengor, God and Ronald Reagan:A Spiritual Life and The Crusader:Ronald Reagan and the Fallof Communism.The buzzy title is being toutedto international buyers by U.K.banner Manifest Film Sales,a division of Intandem led bydirectors Andrew Brown andMalkovichBilly Hurman, the British mediacompany listed on the stockexchange a year after a managementshakeup that saw formerDisney U.K. chief Robert Mitchellbecome CEO.Mitchell is in Cannes to meetwith financiers and talk up thecompany’s reinvention afterspearheading its refinancing.Intandem was carrying morethan $1 million in debt at the timeof Mitchell’s arrival.Mitchell tells THR he intendsto pull in financing for ReaganFrearsfrom high-net-worth individualsand expects to be fully financedby the end of June.“It’s a great project that has allthe elements,” says Mitchell. “Wecould raise the money easily frompresale proceeds, but I want totake it to my investors.”The $26 million picturearrived at the market with adeal for a U.S. release on 3,000screens and $35 million in printsand advertising pledge fromClarius Entertainment, whichacquired Rob Reiner’s And SoIt Goes starring Diane Keatonand Michael Douglas ahead ofthe market.Reagan is being producedby Mark Joseph, a producer onthe upcoming Jerry Lewis filmMax Rose who also producedthe rock soundtrack for ThePassion of the Christ, and RalphWinter, a producer on some ofFox’s X-Men movies includingX-Men Origins: Wolverine and theupcoming The Giver from TheWeinstein Co.Renner ScoresBacking FromFilm FundsBy Patrick BrzeskiThe Combine, the film and TV productioncompany founded in 2011by Jeremy Renner and writer-directorDon Handfield, has partnered with DemarestFilms and Kilburn Media.The deal will provide Combine with financingto cover its overhead and a substantialfund for acquisitions and development of newprojects. In exchange, Demarest and Kilburn,the private equity-backed film funds that haveinvested in Philip Seymour Hoffman’s A MostWanted Man, will receive first dibs on producingand financing all product originatedby Combine. Sam Englebardt and William D.Johnson of Demarest and Mark Manuel and TedO’Neal of Kilburn will work side by side withRenner and Handfield.Combine produced the upcoming Kill theMessenger with Bluegrass Films, to be releasedby Focus Features in the fall, and is developingSlingshot with FilmNation and EndgameEntertainment as a starring vehicle forRenner, along with King of Heists with BlackBear Pictures.Hell Non, We Won’t Go: French Creatives March on CannesAbout 250 demonstrators stormed the Croisette on May 17 before being turned back by police, as part of planned protests in 18 citiesacross the country intended to put pressure on culture minister Aurelie Filippetti while all the world’s eyes are on France’s filmfestival. CGT-spectacle represents 12 unions of entertainment creatives and technicians who are fighting a 20 percent proposed cut inthe culture budget as well as changes in labor laws that would limit unemployment benefits for directors, actors, screenwriters andcrewmembers. “In Cannes we can see that the film business has a lot of impact globally, and cuts would have a real impact on film workers aswell as on other sectors of the economy like hotels and restaurants,” union secretary-general Denis Gravouil tells THR.THE HOLLYWOOD REPORTER 4ARTHUR MOLA/INVISION/AP

theREPORTYOUNG ONESLANDS TRIOOF SALESBy Scott RoxboroughJake Paltrow’s Young Ones,a dystopian drama setin a desolate future, hassold to multiple territories,with Elevation taking Canada,Potemkine Films acquiringFrench rights and Signature takingthe film for the U.K..Michael Shannon (Man of Steel)and Nicholas Hoult (Clashof the Titans) star inYoung Ones as rancherswho betray each other ina struggle over what hasbecome the world’s most preciousresource: water. Elle Fanning(Somewhere) and Kodi Smit-McPhee(The Road) co-star.“We are excited to be involvedwith this film, with this greatdirector, stellar cast and engagingstoryline,” said Laurie Mayand Noah Segal, co-presidents ofElevation Pictures, in a statement.Young Ones was co-financedby Subotica, Spier Films andSaint Shadow, in association withBiFrost Pictures, Quickfire Films,Six Sales and The Exchange.It premiered at Sundance.Screen Media will release thefilm in the U.S., while 6 Salesand The Exchange are handlinginternational sales for Young Onesin Cannes.FanningPranksterCONTINUED FROM PAGE 1AgentsCONTINUED FROM PAGE 1Sediuk, a sometime-journalist for Ukraine TVstation 1Plus1, did have a valid press pass to accessthe carpet, according to festival organizers. After hisGrammys stage rush in 2013, during an acceptancespeech by British singer Adele, Sediuk is personanon grata at L.A. Live, and he now can add Cannesto the list. His press credentials were revoked and hewill be barred from future festivals, organizers say.This latest move may have repercussions for hisnews channel. Natali Pisnaya, a presenter for theKiev-based TV broadcaster, declined comment, butOleksandra Mykolyshyn, Ukrainian pavilion coordinatorat Cannes, says there are fears the channel hasoverstepped the mark this time. “We’ve heard thatthey are in urgent talks to ensure it does not costtheir entire Cannes team their accreditation to thefestival,” she tells THR.The professional stuntmaker also attempted to kissWill Smith at a premiere in 2012 and tackled BradleyCooper at the SAG Awards earlier this year.HOT CANNES SIGNINGS BY AGENTS ON THE PROWLCAAPABLO LARRAINENosigned following2012 CannesJUSTIN KURZELThe Snowtown Murderssigned after2011 CannesDENIS VILLENEUVEIncendiessigned following2010 Cannescompetition May 18, is one ofthe unrepped helmers who couldattract agency attention thisyear, as could Danish directorJonas Alexander Arnby, whosedebut When Animals Dreamscreened in Critics Week, andFrench filmmaker Celine Sciamma,whose Girlhood is in Directors’Fortnight.None has attracted attentionahead of Cannes, but Duboz saysfestival buzz and reviews play littlerole in his decision-making. “Itisn’t about the hot festival film orthe hot market title,” he says. “It’sabout the long term, about buildinga relationship with a directorto build a career together.”One of Duboz’ Cannes signingsfrom last year was Indianhelmer Ritesh Batra. His featureUTAZIAD DOUEIRIThe Attacksigned in Telluridein 2012DROR MOREHThe Gatekeeperssigned in Telluridein 2012PAOLO SORRENTINOIl Divosigned in Cannesin 2008CumberbatchCONTINUED FROM PAGE 1WMERITESH BATRAThe Lunchboxsigned in Cannesin 2013MORTEN TYLDUMHeadhunterssigned in Cannesin 2012NIKOLAJ ARCELA Royal Affairsigned in Cannesin 2012debut, The Lunchbox, ended upgrossing $3.5 million for SonyPictures Classics.In years past some foreigndirectors — particularly auteurtypes favored by Cannes — fearedsigning to a Hollywood agencywould mean compromising theirartistic integrity, but such internationaltitles as Tinker TailorSoldier Spy from the ICM-reppedSwedish helmer Tomas Alfredsonand Drive from WME-reppedNicolas Winding Refn, have shownforeign helmers they can combinecommercial success without sacrificingfestival acclaim.Says Klubeck: “When a filmlike Drive works in the U.S. andinternationally, I think it showsotherwise reluctant internationaldirectors that there is a spacefor them to work in the Englishlanguagesystem without subvertingtheir vision.”who meet in boot camp. Bartle has made a promiseto Murphy’s mother to guide him home safelyand thus takes the young private under his wing.But he soon finds that promise hard to keep asthey navigate a war where casual atrocity is adaily occurrence.Powers is a veteran of the Iraq War and his 2012novel garnered rave reviews; Tom Wolfe called itthe “All Quiet on the Western Front for America’sArab wars.”Story Mining’s CEO and president, Jeffrey Sharp,and production president, Evan Hayes, acquired therights to the novel and developed the script. The duowill produce the film alongside Cinelou’s CourtneySolomon and Mark Canton.Jim Kohlberg, chairman of Story Mining & SupplyCo., will executive produce.The Solution will handle foreign sales of the filmin Cannes. WME Global, CAA and UTA will handlethe domestic sale.Hazanavicius’The SearchSells to CanadaBy Etan VlessingCanadian rights to Oscarwinner Michel Hazanavicius’The Search have gone toindie distributors Remstar Filmsand Elevation Pictures.The companies acquired thefollow-up to the filmmaker’s TheArtist from CAA and Wild Bunch.The Search, a remake of FredZinnemann’s 1948 film of the samename, is a contemporary wardrama starring Hazanavicius’wife, Berenice Bejo, and AnnetteBening. The film is set set to debutin competition May 21.Remstar previously handledthe Canadian release of DallasBuyers Club. Elevation is an indiewith financial backing from TeddySchwarzman’s Black Bear Pictures.It is led by former EntertainmentOne distribution executives LaurieMay and Noah Segal.Said Remstar’s Pascale Hebertand Tim Ringuette in a statement:“Following our great adventurewith Dallas Buyers Club, we wantto keep on presenting qualityfilms with unique stories that willcaptivate audiences.”FREEMAN INCIVIL WARDRAMABy Borys KitMorgan Freeman has signedon to star in BeautifulJim Key, from CargoEntertainment. Robert Rodat, theOscar-nominated screenwriterof Saving Private Ryan, is makinghis directorial debut withthe project, whose internationalrights Cargo is selling in Cannes.Jim Key tells the true story of exslave,Civil War veteran and veterinarianWilliam Key who traineda horse named Beautiful JimKey to read, spell and do math.Because of his race, Key wasrelegated to carnival sideshowsuntil he recruited Albert Rogers, aone-time promoter for P.T. Barnum,to be his frontman. Mark Gordonis producing with Lori McCrearyof Revelations Entertainment,Freeman’s production banner.THE HOLLYWOOD REPORTER 6

film studiosNuBoyanawww.NuBoyana.comNU BOYANA STUDIOSWould like to congratulateMillennium on the completion of

theREPORTCANNESDEALSKA-CHING!WHO’S INKINGON THE DOTTED LINEAT THE FESTIVALJeon Do-yeonwill star in theKorean-languageromantic thrillerA BastardSpielberg, Scorsese toTalk Hitchcock for DocSteven Spielberg and MartinScorsese are among the directorsset to discuss Alfred Hitchcock forfeature documentary Hitchcock/Truffaut. Wes Anderson, DavidFincher, Richard Linklater and Lucand Jean-Pierre Dardenne also areamong the filmmakers set to beinterviewed. Produced by CohenMedia Group, Artline Films andArte, the doc is based on recordingsFrancois Truffaut used for his1966 book Cinema Accordingto Hitchcock.eOne Snaps Up Diorfor North AmericaEntertainment One Films haspicked up North American rightsto Dior and I, a fashion documen-Dragon NestChinese ToonShingle LaunchesL.A. OfficeBy Clifford CoonanEmerging China-based animation outfit Mili PicturesWorldwide has announced the launch of its Los Angelesoffice, headed up by veteran producer Bill Borden (MissionImpossible 3, High School Musical). It will unveil its firstmajor Hollywood co-production, the $22 million fantasyadventureDragon Nest: Warrior’s Dawn, July 31 at China’sbiggest video gaming convention, China Joy.Mili is nothing if not ambitious: Its chairman Jack Zhangsays he hopes to go head-to-head with top U.S. animatedfare aimed at worldwide family audiences.“While some other companies are exploring the strategyof releasing big-budget movies in the China market, we feelthere is even more potential in making family entertainmentat a reasonable cost that can travel all over the world,”says Zhang.“I saw their animation for Dragon Nest and was blownaway by the artistic quality,” adds co-founder Borden,who will serve as a linchpin between Hollywood and China.“I saw huge potential to do great work.”Distribution rights outside of China for Dragon Nest arebeing handled in Cannes by All Rights Entertainment. Themovie is based on the enormously popular online game ofthe same name, which has 100 million registered users and6 million daily users in Asia alone.Mili was formed by a group of animators in Shanghai whohad been working on commercials, short films and themepark features, after they received backing from China’s biggestonline gamer, the NASDAQ-listed Shanda Games.Shanda brought Dragon Nest to Mili and that collabora-tion will continue to give the studio access to some of themost popular game properties in the world.Additional financial backers for Mili include the country’slargest private equity firm, Shenzhen Capital Group, and theShanghai-based venture capital firm Ivy Capital.Mili also announced that its next production, thefamily-friendly comedy Ping Pong Rabbit, has begun pre-production in Los Angeles and is being directed byMike Johnson, who co-directed 2005’s Corpse Bride withTimBurton.tary from director Frederic Tcheng.The doc is a behind-the-sceneslook at Christian Dior’s newcreative director, Raf Simons, as hecreates his first haute couturecollection for the iconic label.Ip Man 3 to Well Go inNorth America, U.K.Well Go USA has acquired rightsfor North America, U.K. andother territories for PegasusMotion Pictures’ Ip Man 3, thelatest film in the action franchisestarring Donnie Yen.Donnie Yenin Ip Man 2South Korea to HonorCannes’ FremauxThe South Korean governmentwill award its Orderof Cultural Merit to Cannesartistic director ThierryFremaux for his “contributionsto the development ofKorea’s film industry.” Hewill receive the Eun-Gwan Medalat the Korean Film Night onMay 18.Warners GermanyPartners With Red BullWarner Bros. Germany has strucka distribution partnership withCineMater, the theatrical filmlabel of Red Bull Media House’sTerra Mater Factual Studios. Thedeal covers German-speakingcountries and starts with thePintoScorseseGerardo Olivares-directed The Wayof the Eagle, which is in produc-tion and set for a 2015 release.The film, starring Jean Reno,combines natural history filmfootage shot over four years inEurope with scripted narrative.Korea’s Jeon Do-yeonto Star in A BastardCannes award-winning SouthKorean actress Jeon Do-yeon(Milyang) has been confirmed forthe lead in Korean movieA Bastard, described as a “hard-boiled romantic thriller” thatexplores the relationships ofpeople whose lives are intertwinedby a murder case.Desert Dancer to OpenIschia Film & Music FestFreida Pinto starrer Desert Dancerwill be the opening-night film atthe Ischia Global Film & MusicFest held in July in Italy.The Little Vampireto Get Animated3D VersionThe best-selling The LittleVampire children’s bookseries by German authorAngela Sommer-Bodenburgis beingadapted into a 3D animatedfeature by producersChris BrouwerandRichard Claus.Mr. Perfect Sellsto Asian MarketsKorean firm Mirovision has soldits drama Mr. Perfect, about agolfer whose life spirals out ofcontrol, to several Asian territories,including Japan, Vietnam,Taiwan and Malaysia.THE HOLLYWOOD REPORTER 9

theREPORTTHR at CannesEXECUTIVE EDITORMatthew Belloni | matthew.belloni@thr.comPHOTO & VIDEO DIRECTORJennifer Laski | jennifer.laski@thr.comDESIGN DIRECTORPeter Cury | peter.cury@thr.comTHE 2014 CANNES POSTER AWARDSTHR PAYS TRIBUTE TO THE MOST AMUSING AND OVER-THE-TOPPROMOTIONAL MATERIALS FROM THE FESTIVAL’S MARKETZombieEditionNEWSKevin Cassidykevin.cassidy@thr.com | +1 213 840 1896Gregg Kildaygregg.kilday@thr.com | +1 310 528 3395Gary Baumgary.baum@thr.com | +1 213 840 1661Patrick Brzeskipatrick.brzeski@thr.com | +33 6 24 74 04 98Clifford Coonanclifford.coonan@thr.com | +86 186 101 93168Merle Ginsbergmerle.ginsberg@thr.com | +1 917 862 4453Stuart Kempstuart.kemp@thr.com | +44 79 7712 5676Pamela McClintockpamela.mcclintock@thr.com | +1 323 627 0670Rhonda Richfordrhonda.richford@gmail.com | +33 6 52 23 93 34Scott Roxboroughscott.roxborough@thr.com | +49 173 260 3692Georg Szalaigeorg.szalai@thr.com | +44 777 137 0103REVIEWERSTodd McCarthy | todd.mccarthy@thr.comDeborah Young | dyoung@mclink.itDavid Rooney | drooney@nyc.rr.comLeslie Felperin | lesliefelperin@gmail.comStephen Dalton | wetlabrador@yahoo.comJordan Mintzer | jpmintzer@mac.comBoyd van Hoeij | filmboyd@gmail.comClarence Tsui | clarence.tsui@thr.comBEST CAREER OPTION FOR DEAD WRESTLERSPro-Wrestlers vs. Zombies (USA)Wrestlers and zombies?! Great idea!Especially now that the Ultimate Warriorhas turned heel and switched to thezombie side! Sorry … too soon.BEST ATTEMPT TO EXPAND THE ZOMBIE POOLZombeavers (USA)The film industry already has giventhe world zombie chickens,zombie strippers and even zombie Nazis,so why not throw beavers into the mix?Zombies + Beavers = DAM!THR.COMRebecca Ford | rebecca.ford@thr.comPHOTO & VIDEOStephanie Fischette|stephanie.fischette@thr.comTess Gomet | tess.gomet@thr.comChelsea Archer | chelsea.archer@thr.comART & PRODUCTIONAmélie Cherlin | amelie.cherlin@thr.comEmily Johnson | emily.johnson@thr.comKelly Jones | kelly.jones@thr.com | +1 818 359 9747PUBLISHERLynne Segall | lynne.segall@thr.comSALES & MARKETINGAlison Smithalison.smith@thr.com | +44 7788 591 781Jonathon Aubryjonathon.aubry@thr.com | +1 323-397-3725Karen Uzelkaren.uzel@thr.com | +1 917-825-2526Debra Finkdebra.fink@thr.com | +1 213 448-5157Tommaso Campionetommaso.campione@thr.com | +44 7793 090 683Ivy Lamivy.lam@thr.com | +852 617 692 72MOST LIKELY TO BE SUEDZombie Pie (USA)Tara Reid, an apple pie, a diner, a big-ass truckand a bunch of zombies. Further proof Americanpop culture continues to cannibalize itself.BEST BRAIN DRAINZombie TV (Japan)This poster for a direct-to-DVD Japanesezombie movie is so gloriously bonkers that if youlook at it too long it slowly eats away at your brain.Which probably helps when you watch the movie.THE HOLLYWOOD REPORTER 12

About Town1 Charles Finch (left) joinedEdward Norton and hiswife, film producer ShaunaRobertson, at the annualCharles Finch FilmmakersDinner held at the Hotel duCap-Eden-Roc on May 16.2 “I’m over it,” said How toTrain Your Dragon 2 starAmerica Ferrera (with costarsDjimon Hounsou, left,and Jay Baruchel at thefilm’s Baoli Beach party) ofbeing a victim of pranksterVitalii Sediuk, who crawledunder her dress on thePalais red carpet earlier inthe evening.3 As Game of Thrones’Kit Harington walked thecarpet for Dragon 2 (hevoices Eret the dragontrapper), fans chanted“Jon Snow!”4 Rosario Dawson (in Dolce& Gabbana) at the premiereof her competition entryThe Captive.5 Jury member Gael GarciaBernal (left) and artistfilmmakerJulian Schnabelembraced at the CharlesFinch dinner.6 Naomi Watts hit theDragon 2 carpet inMarchesa.7 Amira Casar (left)and Aymeline Valade atthe photo call for theirPalme d’Or contenderSaint Laurent.8 From left: Saint Laurent’sGaspard Ulliel, BertrandBonello and Jeremie Renierat the film’s photo call.9 Jury member NicolasWinding Refn, a Palme d’Orcontender last year for OnlyGod Forgives, arrived at theCaptive screening.10 “I didn’t go to filmschool,” said TheDisappearance of EleanorRigby director NedBenson (right, with HarveyWeinstein at The WeinsteinCo. and Worldviewpress conference heldat the Majestic), “so theWeinstein canon educatedme on how movies couldbe and should be made.”TWC will release the film,playing in the Un CertainRegard section, in the U.S.11 The Salvation’sMads Mikkelsen, whosefilm is getting a Midnightscreening, posed withhis onetime Clash of theTitans co-star GemmaArterton at the CharlesFinch dinner.12 DreamWorks AnimationCEO Jeffrey Katzenberg(right) was joined by hisDragon 2 writer-directorDean DeBlois and producerBonnie Arnold at the partycelebrating the film’sworld premiere.51627110THE HOLLYWOOD REPORTER 14

31THR PARTY REVIEWS41HOW TO TRAIN YOUR DRAGON 2LOCATION Baoli BeachJeffrey Katzenberg upped the ante to celebrateDreamWorks Animation’s 20th anniversary:a gorgeous, gallery-like space displayingDragon art, waterfront couches for stars JayBaruchel and America Ferrera and a third baron the pier with a perfect view of the Carlton.A homemade pasta station pleased the crowd,which was kept deliberately smaller thanthe usual shoulder-to-shoulder throng.One knock: Co-star Cate Blanchett skipped.VERDICT A BEAUTIFUL PARTY FORA BEAUTIFUL NIGHT8911 112BUNGALOW 8/WORLDVIEW/WEINSTEINLOCATION 22 rue MaceThe first night of thepop-up from NYC partymaven Amy Sacco promiseda hot scene and music byGrandmaster Flash and BenjiBoko. But the tight spacefelt more like a dingy Sundancereception than a Cannes soiree celebratingnew financier Worldview’s partnership withThe Weinstein Co. No Harvey in sight, butWesley Snipes and Entourage’s Adrien Grenierheld court in VIP booths.VERDICT THREE NIGHTS OF THIS ARE SCHEDULED?BELVEDERE SILVER SABRE PARTYLOCATION JW Marriot rooftopThe huge space was almost empty forRita Ora’s 11:30 p.m. performance. Thoughshe gave it her all, gettingthe “crowd” dancing andsinging, event organizersrefused to let guests sit inabandoned booths reservedfor VIPs who never showed(1980s pop star Neneh Cherrydid drop in). The Belvederesponsoredevent served only premade,too-sweet cocktails. But even the overdose ofsugar couldn’t make this party sweet.VERDICT A REAL RITA BORE-ADAVID M. BENETT/GETTY IMAGES FOR CHARLES FINCH; ARTHUR MOLA/INVISION/AP; REX FEATURES VIA AP IMAGES; JOEL RYAN/INVISION/AP; AP PHOTO/ALASTAIR GRANTTHE HOLLYWOOD REPORTER 15

About TownRAMBLING REPORTERBy Gary BaumLundgren and his Expendablesco-stars are casting a brightlight on hotel guests.What Are YouDoing in Cannes,Ron Perlman?Known for playing superhero demonHellboy and a badass Sons of Anarchybiker, the 64-year-old is adding anew role to his repertoire: producerSleeping With DolphThose prominent Carlton hotel billboards forNu Image/Millenium’s massive Expendables 3ensemble — each star is placed between the windowsof the prime ocean-view rooms — have aserious drawback. At night, their backlights brightlyilluminate the interiors of the adjacent suites. Goodluck getting any sleep. Sighs a senior executive atanother studio (perhaps karmically, who heads marketing),“It’s like I’m sleeping with Dolph Lundgren.”Norton Flubs Sponsor Shout-OutBrand consultant Charles Finch, son of actorPeter, hosted another of his celebratorysunset dinners May 16 at the Eden-Rocrestaurant in Antibes, drawing the likes ofHarvey Weinstein, Naomi Watts, Gael GarciaBernal, Lea Seydoux, Alfonso Cuaron, MadsMikkelsen, Johnny Pigozzi and Julian Schnabel. Inhis speech, he said, “I want to thank Chivas, whocame in at the last minute and agreed to provide allthis whiskey and help us pay for this whole damnthing.” Unfortunately, Ed Norton, brought over byKavanaughShaken andstirred? Nortonmixed up hisliquors May 16.Chivas Regal to support the dinner’s charity partnerFilmAid — he handed a $100,000 check fromChivas to the charity — subsequently went a bitoff-script, thanking in his own spiel not Chivas butcompetitor Dewar’s … twice.Du Cap Bar: Where Ryan Gets RowdyThe lobby bar at the Hotel du Cap in Antibes is soludicrously Euro-refined that it’s hard to imagineit outside of a James Bond scene or a Slim Aaronsphotograph. But to some of its moneyed regulars,it’s more of a cross between Cheers and a raucouscollege dive. Take large-living Relativity Mediahead Ryan Kavanaugh, who arrived at 8 p.m. onMay 16, sunglasses perched atop his head,greeting a favorite cream-jacketed bartenderwith a bear hug and a hearty, “I’m back toharass you at 4 in the morning,” for all in theroom — including THR — to hear. Later, hangingout with five associates as HBO CEO RichardPlepler sat nearby, Kavanaugh recalled fondly ofthe employee, “Last time I was here he broke up afist fight between me and another guy!”So, why are you in town?I’m working on my tan, and I’mcoming this close to going too far,alcohol-wise. (Laughs.) Everythingcame into place for us to announceour company Wing and a PrayerProductions in conjunction with thefestival, which I have a long,beautiful history with. We’re circlingfour different projects.How’d you come up with the name?It’s how I feel every time you committo a creative endeavor. There’s afew ways to go right and a millionways to go wrong. I actually got achecking account called Wing and aPrayer Pictures in 1986. That’s howlong I’ve been dreaming about this.Are you developing any projectsthat you would star in?Some of the projects were sent tome to attach myself to as an actor.I have to be in them becauseeverybody else who is in my agerange has passed away. If you’re inyour 60s, with a craggy face and sortof overweight — I’m the only oneleft. So I will only be in these movieswhen I have to be, but I will produceall of them. — REBECCA FORD• FESTIVAL FOOD FACE-OFF •€1.10€1ZE BEST!Pain au Chocolat — TORDJMAN —Although Austria invented the croissant as early as the 13th century,France won the war of perception, as the relatively recent import —it took root, by many accounts, at Paris’ Boulangerie Viennoiserie in1839 — is considered the nation’s culinary gift to the world. In Cannes,the crescent-shaped pastry is everywhere yet there’s a surprisinglysmall number of independent boulangeries in town producing theirown. THR checked out two, honing in on their output of the croissant’ssweeter cuboid cousin, the pain au chocolat.Yes, the pastries at 12 rue du Marechal Foch aresupposed to be buttery. It’s inherent to theirnature, and a large part of their joy. But this is toomuch of that guilty thing. Downright obscene,actually — and enough to make you feel it throughyour pores after devouring just one. Not helping isthe chocolate, which is both too milky andtoo mushy: more the ideal material of cream pufffillings, not pain au chocolat.— BELLIARD —Here we go: still plenty buttery, and flaky,but not too much. There’s an alluringly tawnycoloring to the exterior of the output at 1 rueChaubaud. And the chocolate — laid downdouble-barreled, for better total coverage in everybite — the boulangerie has chosen is notablymore bitter, catalyzing that gratifying PB&J-stylecontrast with the yeast-leavened dough. This isthe way a pain au chocolat should be done.THE HOLLYWOOD REPORTER 16

STYLEWHAT TO BUY, WEAR AND KNOW IN CANNESby Merle GinsbergDRESSDUJOURSaint Laurentwith Catroux (left,played by Valade inthe film) and de laFalaise (played bySeydoux) in 1969.Will the RealSaint LaurentPlease Stand Up?In the battle of the two competingYves Saint Laurent biopics, BertrandBonello’s Saint Laurent — which debutedhere May 17 — has a secret weapon.While Jalil Lespert’s Yves Saint Laurent,which opened to good reviews inFrance in January and which TheWeinstein Co. will release in the U.S. onJune 25, had the seal of approval of thelate designer’s business partner PierreBerge and got full access to the officialYSL archives, Bonello had Parisianstylist and art director Olivier Chatenet.Chatenet holds such a large archive ofthe designer’s ready-to-wear pieces that theofficial Pierre Berge-Yves Saint LaurentFoundation often borrows from the passionateprivate collector.ValadeSeydouxTurns out, Chatenet boarded Bonello’sbiopic before Lespert’s competing film wasannounced, and though the Foundationwanted him to work with the second production,Chatenet stayed loyal to Bonello.According to Saint Laurent costumedesigner Anais Romand, she was able to dressstars Amira Casar, who plays Anne-Marie Munoz,YSL’s studio director for 40 years, andAymeline Valade, as supermodel and longtimeYSL intimate Betty Catroux, in authentichead-to-toe originals with Chatenet’s help.“Catroux was his muse, so it was just perfectthat all the clothes she wears for the filmwere actual Saint Laurent: including all theaccessories, belts and jewelry,” says Romand.The film focuses on the decade after YSLopened his Rive Gauche boutique in Parisin 1966, re-creating two groundbreakingcollections: the controversial World War IIinspiredcollection of spring 1971, scandalousat the time as it was thought to glamorize theNazi occupation, and his theatrical BalletsRusses collection.Poring over magazine and press photos ofthe time, Romand replicated other catwalklooks by sourcing silks from Italian factoriesnear Lake Como and reproducing or handpaintingthe actual prints herself.Dressing star Lea Seydoux as YSL’s otherfamous muse Loulou de la Falaise (“thequintessential Rive Gauche haute bohemienne,”The New Yorker called her),proved harder. The real-life de laFalaise, who started out a statuesqueFremar (left)and Mooremodel and embodied the Parisianfashion fantasy of the ’70s with herinsouciant style, was all height andandrogynous angles. “Lea is extremelyfeminine; she has breasts and hips,”says Romand, implying that curvyusually doesn’t cut it in high fashion— particularly in “Le Smoking,” thefamed YSL tux for women. “I tried to haveLea embody Loulou’s style and embrace theliberties she herself took with fashion.”— RHONDA RICHFORDBLAKE LIVELYin Gucci PremiereWe’ve seen illusion dresses before,but few on such a grand order.Lively’s 1950s-inspired strapless gownat the May 16 gala for The Captivefeatured a black slinky “body” shapeon top of a voluminous white frock.Crowning it with a retro chignon andred lips made the bombshell comeoff in a new, ultra-ladylike way.Designers Descend On CannesFamous fashion designers stay famous by turning up in all the right (photo op)places. Vivienne Westwood blew into Cannes to host the May 16 launch ofold pal Pamela Anderson’s foundation for animal rights and ecological issues(Westwood has her own such charity, Cool Earth). “I love Cannes!” Andersongushes. “It’s a dream come true to launch my foundation on the Riviera.”Agrees Westwood: “This is the perfect place to raise awareness about issuesthat are the opposite of glamorous.” Meanwhile, Dutch duo Viktor (Horsting)& Rolf (Snoeren) celebrated their new jewelry collection for Swarovski. Theavant-garde designers first walked the carpet of How to Train Your Dragon 2,then moved on to L’Erin to party with fashionistas like model Liya Kebede.From left: Horsting,Nadja Swarovski and Snoeren atthe How to Train YourDragon 2 premiere May 16.From left: Westwood’s husband,Andreas Kronthaler; Anderson;Westwood; and Anderson’s husband,Rick Salomon, at the Dragon 2 party.For more fashion coverage, go to pretareporter.comTHE HOLLYWOOD REPORTER 18

director | Q&A“There were manydays on the shootwhere I would turnaway from whateverwe’d just shot andthink, ‘This is such astrange movie,’ ” saysMichod of makingThe Rover.David MichodThe Australian writer-director of Animal Kingdom turns hisanger issues into a new dystopian nightmare By Ed GibbsFOUR YEARS AFTERwriting and directinghis acclaimed 2010crime drama AnimalKingdom, Australian filmmakerDavid Michod is in Cannes witha follow-up, The Rover, screeningat the Midnight strand May 18.A bleak, futuristic Western setin the unforgiving, sun-parchedoutback of Australia, it stars GuyPearce as a jaded ex-soldier whohas lost his farm and family andRobert Pattinson as his sidekick,a naive, injured, ex-gangmemberwith less-than-astuteinstincts. Michod, 41, talked toThe Hollywood Reporter abouthis new film, the post-AnimalKingdom offers he turned downto make it and why he prefers todirect his own screenplays.There must have been considerablepressure to do a follow-up quicklyafter Animal Kingdom. How did youreact to that?Yes, things were coming at mefrom a number of different angles— and I actively invited it. WhenAnimal Kingdom was received aswell as it was, I kind of wanted toknow what was out there. I didn’twant to just recoil from it andhide away in a corner. And yet, ina way, that’s kind of what I endedup doing for a couple of years.Was it a question of simply beingoffered more crime dramas, orwere there other ideas — howeveroutlandish — on the table as well?The weird thing is, no offer seemsthat ridiculous when it’s made.While many of the things thatwere offered didn’t necessarilyfeel right, I totally understandwhy I was being offered them.There were a number of horrorfilms, lots of gangster movies,quite a few espionage thrillers —and a number of things that wereconsiderably more interestingthan that, too. All that’s going onis that people are trying to findways to make commercial movies— and they want to employfilmmakers they like to do it, inthe hope that the end result willbe elevated somehow.So why not jump in and make one ofthose pictures?Well, I know what making a movieis like for me. It’s an emotionallyvolatile experience. The idea ofthrowing myself into somethingfor at least a year, year-and-a-half,that I didn’t completely love, wasjust frightening for me. EveryTHE HOLLYWOOD REPORTER 20time I vaguely contemplatedsomething, I found myself shudderingand running away.How did you stay active?I’d already written a draft of [TheRover], but I kept working onit during that time. I made onemusic video [for Australian bandChildren Collide] and one episodeof television, the Laura Dern-Michael White series Enlightened.But what I found after AnimalKingdom was that: a) I spent a lotof time traveling around the worldpromoting it and b) I spent evenmore time doing meetings andreading screenplays. And after ayear-and-a-half or two years ofthat, I realized my job was no longermaking movies, it was ridingthe industry merry-go-round.Was it important for you to directyour own work?Deep down, I always knew thatI wouldn’t be happy unless I wasmaking something that I hadbuilt from the ground up myself.And so, after a number of yearsof reading other people’s scripts— some of them I thought werereally quite good — I just couldn’tcontemplate what felt like to mewas finishing somebody else’smovie. Not just because of theneed for control, but because inorder to be on set making somethingI need to know the sourcematerial, as if it were in my DNA.I just don’t know if I’d be able todo that the same way with somebodyelse’s screenplay.Where did the idea for a dystopianoutback Western come from?[Australian actor] Joel Edgertonand I were in L.A. around 2007,and we were just hanging around,looking for something to do.And we started writing a film,which originally we thought Nash[Joel’s brother, a filmmaker andBY THE NUMBERS3Feature films Michod has directed$8MBox office of Animal Kingdom (2010),his highest-grossing film2Films with Guy Pearcestuntman] might direct. So wethought we’d write somethingabout cars in the desert. In theearly days, it wasn’t set in thefuture, and it wasn’t about adystopian Western economiccollapse. It just became that asmy DNA started feeding into it.It became a film about anger. I’msure it reflects my feelings aboutthe world. I don’t think there’s anysurprise that at the center of it isan angry man.One could say there are similar traitsin your next film, The Operators,about General Stanley McChrystal.You’re doing that for Brad Pitt’s Plan B— how did that come about?Even before Animal Kingdom,I had been talking to JeremyKleiner and Dede Gardner, whorun Brad’s company. I first spoketo them when they saw Crossbow[Michod’s 2007 short, whichinspired Animal Kingdom]. Andover the years, I’ve had a numberof conversations with them. Then,they brought [Michael Hastings’book] The Operators to me. And Iimmediately could see incrediblyrich material and an extraordinarycharacter in General StanleyMcChrystal [who was fired by theObama administration in 2010,following comments attributed tohim in a Rolling Stone article onthe war in Afghanistan]. Then Imet Brad, and we got along. I loveBrad Pitt. I think he’s wonderfullydexterous and very self-aware.What’s the plan with The Roverafter Cannes?It’s opening almost simultaneouslyin the U.S. and Australia— June 12 in one, June 13 in theother. I can’t remember whichone’s which.How do you feel, now that the film isabout to be unleashed?I don’t feel quite the same level offear and trepidation that I felt lasttime. Having said that, I have feltfor quite a long time that it looksgood, that I cast it right, that theperformances are really great.Now, the question, the greatunknown for me is, what peoplewill make of it, sitting in a darkroom, watching it begin and end.It’s strange how unnerving thatis. I finished it back in November.I’ve been waiting to find this outfor a while.KIKA PRESS/ZUMAPRESS.COM

THE SINISTERSIDE OF MONACO21In stark contrast to the glitz ofGrace of Monaco, a 77-year-oldheiress is shot in broad daylight aslocals wonder whether the crime everwill be solved: ‘It’s like we don’t wantto look at the reality that one ofus almost got their face blown off ’BY DANA KENNEDYIN A BRAZEN MAFIA-STYLE ASSASSINATIONattempt, two unmasked gunmen, in full viewof several bystanders, approached an heiress toone of Monaco’s richest family fortunes on theevening of May 6. One of them took aim witha sawed-off shotgun and fired at Helene Pastor, 77, andher chauffeur Mohammed Darwich, 64, as they wereleaving a Nice hospital, where Pastor’s son, Gildo, 47,has been confined since suffering a recent stroke.Even as the Cannes Film Festival’s opening-nightfilm Grace of Monaco presented the tiny principality ofMonaco as a glittery, fairy-tale kingdom, Pastor, heiressto the Pastor real estate fortune and a close friend toMonaco’s reigning monarch Prince Albert, was fightingfor her life at the Saint Roch Hospital, after being shotin the head and the heart. Darwich already had died ofhis injuries.During her lifetime, Princess Grace, portrayed inthe movie by an elegant Nicole Kidman, used all herstar power to burnish Monaco’s image. And that PR campaigncontinues in full force: On May 19, for example,filmmakers and press from Cannes will be bused toMonte Carlo’s Villa Nocturne for a gala dinner sponsoredby the Monte Carlo-based International EmergingFilm Talent Association, the Ethiopian Film Initiativeand the Better World Film Festival.But Monaco’s opulent surface has for decadeshidden a darker side with sinister elements — moneylaundering,an Italian (and now Russian) mafia presenceand residents who include international arms dealers.Not surprisingly, given the silence that long has surroundedcriminal activities in the south of France,1 Monaco’s Fontvielle port.2 The crime scene outside the Nicehospital, where Helene Pastor andher chauffeur were shot May 17.3 Pastor in 1998.3THE HOLLYWOOD REPORTER 22

Kelly and Rainier IIImarried in April 1956.“As usual, the fantasy about Monaco has gotten all the press.It’s always the underside of paradise that’s hidden from view.”nobody has been arrested yet for the Pastor shooting, noone even is talking, and residents have been left shaken.Says one Monaco resident who lives in the fabledseafront principality for six months out of every year fortax purposes, “It’s a huge shock for everybody here, butat the same time people aren’t saying much. It’s like wedon’t want to look at the reality that one of us almostgot their face blown off.” Joel Stratte-McClure, whocovered Monaco for People magazine in the late ’70s andearly ’80s when Grace and her daughters, Caroline andStephanie, were tabloid staples, adds, “As usual, the fantasyabout Monaco has gotten all the press. It’s alwaysKidman as Kelly in Grace of Monaco. The principality is “not what you see in themovies,” says Kelly biographer Lacey.the underside of paradise that’s hidden from view.”Though one eyewitness tells THR he was “terrified”by the sight of the shooter and his “big gun,” detailsabout the bloody ambush are sparse. Police and hospitalsources conflict as to whether Russian or Italianmobsters were to blame. In true film-noir fashion, a43-year-old Nice man was arrested May 16 for trying toextort millions from Pastor’s family in exchange for tellingthem who tried to kill her. Sources connected to theinvestigation believe the shooters are not from Franceand left Nice immediately after the attack. One Niceofficial says he is confident the mystery will be solved“rapidement” because of surveillance tapes; others arenot so sure.“It’s possible they might never really get to the bottomof this,” says Mark Dezzani, a documentary televisionproducer who has lived on the Riviera for 30 years.“That’s how it works in Monaco.”Some of Monaco’s residents are so paranoid aboutthe principality’s longstanding tradition of video andaudio surveillance that they refer to Albert and his wife,Princess Charlene, as “Number One” and “NumberTwo” when speaking on the phone or in public. “Youcan be deported within 24 hours without being told whyand I’ve seen it happen,” says an American woman whomoved to Monaco 15 years ago.In keeping with Monaco’s aversion to bad publicityand criticism of Albert and his family, the Pastors arewell-known inside the principality but otherwise havekept a low profile. Unlike the Grimaldi family (to whichAlbert belongs), who seized control of Monaco morethan 700 years ago when the pirate Francois Grimaldi,disguised as a Franciscan monk, led a small army inwhat amounted to a palace coup, the Pastors did notarrive until 1880.But the Pastors since have cornered the market onreal estate and property, with the words “J.B. Pastor”emblazoned on many of the construction cranes that dotthe Monaco skyline. If Helene Pastor, wholives a quiet life away from the day-to-daybusiness dealings of her family, was targeted,it could be because her family hasso much power. “The Pastor family have alot of enemies; many people really dislikethem,” says Pascal Fonquernie, owner ofthe Paris tourist website Parismarais.com,who grew up with his aunt in Monaco.Critics complain they’ve torn down beautifulold properties, replacing them withundistinguished buildings. “They havealmost a total monopoly on the place,”adds Fonquernie.Robert Eringer, who worked for PrinceAlbert as an intelligence adviser from2002 to 2007, tells THR he believes thePastor shooting stems from the growinginfluence of the Russian mafia in Monacoand may be related to the death of HelenePastor’s brother Michel, the powerfulhead of the family business, who died inFebruary at 70 after a long illness. He contendsthat Albert has been a weak rulerunable to stem the rise of the Russianmafia in the principality. “The police and investigativereporters in France aren’t doing their jobs properly whenit comes to this case,” says Eringer, who unsuccessfullysued Prince Albert for back pay in 2010 and writes ablog critical of him. “There’s a tendency to ignore badnews, especially when it pertains to Russians because ofFrance’s love affair with Russian money.”Monaco prefers to cast a shroud of silence over itsdarker realities, and journalists asking hard questionslong have found it an inhospitable environment. Britishwriter Robert Lacey, whose 1994 biography, Grace, isabout to be reissued, stayed in Monaco for only a weekwhen trying to uncover information about Kelly for hisbook. “People were terrified when I started asking questions,”he says. “The fear was palpable. Monaco is notwhat you see in the movies.”And so the mystery of who shot Helene Pastor, whoremains in critical condition, has gone unsolved. Ahigh-ranking police detective who spoke to THR in asomber office at the Police Judiciaire in Nice on May 14would not allow his name to be used and made copiesof this reporter’s passport and other identity cards in atension-filled interview that focused more on interrogatingthe reporter than discussing the case. “All I can say,madame,” says the detective coldly, “is that the dossieron this case has been transferred to Marseille.”House ofGrimaldi orHouse ofLannister?The history ofMonaco can sounda lot likeGame of Thrones1215 Italian faction the Ghibellinesbuilds a fortress on the Rock ofMonaco as protection against therival Guelfes. The Ghibellinesgive tax-free land to new arrivals toshore up the population.1297 Francois Grimaldi,a Guelfe, enters the fortressdressed as a monk, thenopens the gates to his soldiers.1304 Rainier I, Francois Grimaldi’scousin, founds the Grimaldi dynasty.1793 France annexes Monaco.1861 The Rock of Monaco becomesindependent.1910 The population revolts againstAlbert I and the next year Monacogets its first constitution.1949 Rainier III becomes King.1956 Rainier III marries Grace Kelly.1962 Sick of the rich fleeing tothe tax haven, French PresidentCharles de Gaulle orders customsblockades at the border.1982 Kelly dies in a car accident.1990 Stefano Casiraghi, husbandof Kelly’s eldest daughter, Caroline,dies in a boat-racing accident.1995 Caroline’s sister, Stephanie,marries her bodyguard, with whomshe already has two children.1998 Stephanie, now divorced,has a third child, reportedly withanother of her bodyguards.2003 Stephanie marries aPortuguese acrobat.2005 Rainier III dies. His and Kelly’sson, Albert II, inherits the throne.2011 Albert marries ex-Olympicswimmer Charlene Wittstock.2014 Caroline, Stephanie andAlbert denounce Grace of Monacoas “pure fiction.” — ELODIE MÉCHINTHE HOLLYWOOD REPORTER 24

EXECUTIVE SUITE”It’s easy for a company to physically include allemployees in discussions, but it’s not always easyfor everyone to speak up comfortably,” says Jang,photographed in his Seoul office May 7.PRESIDENT,NEXT ENTERTAINMENT WORLDJang KyungikSouth Korea’s newest moguldiscusses his company’s rapidgrowth, the value of giving everyonea say (even interns!) and why he’s inno hurry to conquer the worldBy Lee Hyo-wonTHE SOUTH KOREAN FILM INDUSTRY LONG HAS BEEN DOMINATED BY THREE GIANTS:CJ Entertainment, Lotte Entertainment and Showbox/Mediaplex. But in the past severalyears upstart production company/distributor Next Entertainment World (NEW)has become a surprisingly dominant force in the market. Capitalized at $2 million whenit launched in 2008, NEW earned a net profit of $20 million in 2013. Last year, it dominated18.1 percent of the local market with only 21 titles compared to CJ, which accounted for 21.2 percentwith twice the number of releases. NEW consistently has rolled out box-office hits, includingtwo of the biggest blockbusters in Korean cinema history, The Attorney ($81.1 million) andMiracle in Room No. 7 ($89.5 million). It also has released critically acclaimed, low-budget workssuch as Kim Ki-duk’s controversial Moebius. NEW president Jang Kyungik says the company’ssuccess has much to do with its uniquely inclusive corporate culture, which involves taking theentire staff on company trips.Sales banner Finecut will represent NEW product at the Cannes market, including Obsessed,an erotic romance starring Asian superstar Song Seung-hun; Haemoo, a maritime epic producedby Snowpiercer director Bong Joon-ho; and Fashion King, a teen drama based on the popular webcartoon of the same name.The 42-year-old father of two sat down with THR in his office, located in the now-famousGangnam district of Seoul, to discuss his company’s rapid rise in South Korea’s hypercompetitivefilm sector.Why did you launch NEW?I wanted to work with movies but also wantedto earn money with movies. I envisioned a systematicindustrialization of the local film scene,to turn it into a full-fledged industry. We’re notdirectors or producers but still love movies andthought we could develop viable and efficientinvestment/distribution models. Though we’vegrown fast, I’d like to emphasize that we tookbaby steps with one film project at a time. Ourannual net profit thus rose steadily each year,from $1 million, $2 million, $4 million and then$20 million last year. It’s our dream for NEWto become a firm that will endure a century;it’s difficult for any endeavor to last threegenerations, but we strive to be a company thatis created for and by passionate people, viablebusiness structures and a unique culture.How does NEW’s unconventional corporateenvironment help the business?We try very hard to have everyone feel like thecompany, and each film we work on, is his/herown. I know this sounds like a fairytale, but Itruly believe that one person’s dream can stopshort of being a dream, but the shared dreamof a group can turn into a reality. Everyonefrom the CEO to a summer intern is an activeparticipant from the start to end on each film,from choosing the script to watching previews.This can be inefficient, particularly as our staffgrows larger, but I think it’s really important tocultivate passion in every single person for eachproject. Going on regular trips together helpsbuild trust and honesty. Since we get inputfrom all levels of the company, from the middleagedsenior staff to young twentysomethings,we can get a variety of perspectives. There aretimes when there is unanimous consensus, andI disagree for the sake of throwing in new ideas.NEW doesn’t have its own chain of multiplexesthat would ensure a distribution channel. How doyou get around that?Because we don’t have anything to fall back on,we simply have to compete with good contentand good strategy. We really need to distributeand market films in a smart way, and I can confidentlysay we’re experts on choosing releasedates. My past experience programming at[major cinema chain] Megabox helps. It alsoboils down to choosing works the entire staffhas confidence in from the start. We simplydon’t choose works that we shouldn’t get ourhands on. In a way, not having cinemas to fill isa plus, because there are cases where companieswill distribute works just for the sake offilling the lineup quota.Why is Korean cinema booming right now?First of all this is possible because we have aconsumer demand of large audiences, and adistribution market via large multiplex cinemas.But another reason — a darker one — isthat local production companies take home anTHE HOLLYWOOD REPORTER 27PHOTOGRAPHED BY Jae-Hyun Kim

EXECUTIVE SUITEextremely high share, perhaps the highest ratein the world. Despite less-than-favorable conditions,a lot of people enter the film business outof pure love for cinema, but sadly only a smallportion of those involved are entitled to theprofit. Because of this business structure, localproduction companies can earn a lot of moneywith just one successful film. That’s why thesefirms have managed to survive [the economiccrisis of the mid-2000s] and expand the Koreanfilm industry to continue to create quality work.Lately a number of Korean directors have walkedoff sets due to creative differences with theinvestment/distribution side. What is your policywhen it comes to creative input?In order for films to succeed, it really boilsdown to choosing the right script. Thestrength of the original script almost alwaysdetermines the quality of the finished product.This is why we get the whole team involved,to pitch ideas and vote on the right piece inthe first place. But once production begins weleave things up to the director and producer,and we just focus on marketing and distribution.We leave the creative decisions at thediscretion of the creative people. I think it’smost important to stick to the basics.NEW distributes a lot of family-friendly dramas.What made you decide to back Kim Ki-duk’scontroversial Venice Golden Lion winner Pieta?1 21 A souvenir cake marked the10 millionth admission for NEWrelease Miracle in Cell No. 7.2 DVDs of NEW’s films sit alongsidecartoon figurines.3 The casting list for NEW’supcoming Chronicles of a BloodMerchant includes Korean A-listersHa Jung-woo and Ha Ji-won.4 In the corner are autographedposters for Pieta and Hello Ghost.34I think it’s really important to look at filmswithout prejudice. I’ve personally been afan of the director and approached himafter reading the script. Honestly we hadno idea it’d go on to win at Venice. We’rehappy that it did of course, and the filmdid achieve a high profit margin throughinternational sales. I think a clean, no-frillsapproach is best when it comes to films,whether they’re geared to be art houseor mainstream. Because in the film bizwhat worked before is never guaranteedto work again. I think it’s really importantto expand the pool, to give more filmsan opportunity.Now that NEW has become a major player inthe domestic market, what is the outlook forgoing global?What is going global for an investment/distribution company? It probably meansinvesting in Hollywood or Chinese projects,but it’s something we’re still mulling over.The Attorney was released in the U.S. throughan American distributor [Well Go USA]rather than, say, through CJ’s CGV Theaterin Los Angeles’ Koreatown. It was a great wayto test out ways to enter foreign markets, butwe’re still brainstorming. But it again boilsdown to doing something that we believe istruly meaningful, not for the sake of expandingoverseas.BoA (left) made herscreen debut oppositeDerek Hough in MakeYour Move 3D.TOP OF THE POPSA new generation of K-pop stars ismaking the leap to the big screenNOT TOO LONG AGO IT WOULD HAVEbeen unthinkable for a serioussinger in South Korea to try herluck at acting. But today manycasting decisions are made with young K-popartists in mind, particularly as many localpop singers have developed an internationalcult following.Suzy (one name only please, standard forK-poppers) of girl band MissA, continues tobe called “the nation’s sweetheart” after herbreakthrough role in the 2012 blockbusterArchitecture 101. Choi Seung Hyun aka TOPof the pop group Big Bang appeared in lastyear’s Commitment after winning both criticaland popular acclaim in the 2010 war epic71: Into the Fire, while Next EntertainmentWorld’s 2013 comedy The Attorney createdbuzz by casting Siwan of ZE:A alongside SongKang-ho (Snowpiercer) and other seasonedactors. Even art house auteur Kim Ki-dukpersonally sought out Lee Joon of MBLAQfor the lead role in his most commerciallysuccessful project to date as a producer, lastyear’s Rough Play.“Just 10 years ago the general attitudetoward entertainers who pursued both singingand acting was not very generous,” saysveteran actor Jung Woo Sung, who co-starredwith Lee Junho of the internationally popularboy band 2PM in the 2013 hit Cold Eyes.BoA, one of the first K-pop stars to gaininternational stardom, recently made herbig-screen debut in the dance drama MakeYour Move 3D. She says crossing over wasn’teasy. “I was discriminated against becauseI was ‘BoA,’ ” she says. “I wanted to startwith supporting roles [in TV series], butbroadcasters and co-stars alike seemed tobe uncomfortable with that. So I actuallymissed a lot of roles.”BoA next will be seen alongside screenveterans Lee Jung-jae and Shin Ha-kyun inBig Match, a much-anticipated actioner thatcurrently is in production.Nevertheless, BoA says she still findsherself explaining to the local press why shehas chosen to act. “This is not about strayingoff on a tangent [from singing],” she says,“but expanding horizons.” — H.L.THE HOLLYWOOD REPORTER 30

REVIEWSIN COMPETITIONSozen is inan unhappymarriage.Winter SleepThe rich and the poor clash in Turkish Cappadociain Nuri Bilge Ceylan’s epic of a marriageBY DEBORAH YOUNGTHE ESOTERIC WORLD OF MASTERFUL TURKISHfilmmaker Nuri Bilge Ceylan proves as vibrant anduneasy as ever in Winter Sleep, a Chekhovian meditationon a marriage that returns to the mood of the director’searly films like Climates and Clouds of May. This is notnecessarily good news for fans of his last two very particular murdermysteries, Three Monkeys and Once Upon a Time in Anatolia, where thebarest hint of genre offered viewers a tentative inroad into a long, slowmovingexploration of the human soul.Here things are different. The 3½ hour running time takes no prisonerseven among art house audiences and demands a commitment toattentive viewing that, despite the film’s sometimes terrible longeurs,pays off in the end. But the challengingly long dialogue scenes, shot inbrazenly elementary shot-counter-shot style, will further winnow downaudiences who lack excellent subtitle-reading skills. Its bow in Cannescompetition offers the kind of showcase that can make a difference,and some kind of award recognition could signal roomier niches lateron. Ceylan has already won the Grand Jury Prize (for Distant) and thebest director award (for Three Monkeys).The story is set in one of the most picturesque corners of the Earth,the steppes of Cappadocia, where ancient mushroomlike caves dotthe stony landscape. Aydin (Haluk Bilginer), a local landowner whohas retired from an acting career, has converted one of these intothe trendy Othello Hotel. The name turns out to be ared herring, because jealousy has nothing to do withthe quiet domestic crisis that follows between thegray-bearded Aydin and his lovely young wife, Nihal(Melisa Sozen).Driven to “the village” by his faithful factotumHidayet (a commanding Ayberk Pekcan), Aydin fallsvictim to a rock-throwing boy who nearly gets theminto a car accident. The boy’s father is a poor jailbirdand drunkard, and their meeting is highly unpleasant.Aydin retreats to the solitude of his tasteful studio,where he works on writing his high-principled weeklycolumn for the local gazette.Long-winded dialogues with his divorced sister Necla(Demet Akbag) offer painfully true insight into Aydin’sirritating, better-than-thou character and introduce oneof the film’s principal themes: the cynicism of the richtoward the poor. While Aydin tends to bury his head inthe sand on the gulf that separates his lifestyle (actuallymodest by most standards) and that of his dirt-poortenants in arrears with the rent, Nihal takes concretesteps to improve her community by collecting donationsfor the local school. When he finds out what she’s doing,Aydin butts in and tries to bully her out of her charitableintentions.Rather than showing Aydin and Nihal slugging itout, Ceylan and his regular co-scripter Ebru Ceylandescribe their clashing characters in dialogue, a riskyapproach that at times skirts somnolence. Yet theirbickering, nagging back-and-forth, which also involveshis unhappy sister Necla, is revelatory and wincinglyon target.Just as everything seems clear and black-and-white,the film tosses the characters up into the air and letsthem fall in quite different places. The final half hour isa joy to watch, as turning points follow in rapid succession.There are even a few moments of humor, like the foremanslipping on his icy boots, or a hilarious drunken revelry by the villageteacher (Nadir Saribacak) that are welcome breaks from the solemnmood of a marriage coming apart at the seams.Given the fact that Aydin is an actor, he appears in many guisesthroughout the film as husband, writer, philosopher and landowner,and Bilginer runs through a repertory of attitudes and postures, to theextent of looking very different from scene to scene. As the young wife,Sozen is smart and cool, every bit as analytical as her manipulativespouse, but not without her own faults and comeuppance. The wellchosensupporting cast is very fine, including extended scenes withthe simpatico local Imam Hamdi (Serhat Kilic) who is himself fightingdebt and poverty, and Nejat Isler as his proud, penniless brother whoshocks Nihal to tears in a superbly shot climax.As in all of Ceylan’s films, the landscape plays such a key role itshould have an agent. Here the unearthly panorama of giant stonesand blowing grass, dotted with Disney-like fairy tale houses, is home towild horses. At first the fog roles in, then it begins to snow, giving D.P.Gokhan Tiryaki a landscape of the soul to mold with light.In CompetitionCast Haluk Bilginer, Melisa Sozen, Demet Akbag, Ayberk PekcanDirector Nuri Bilge Ceylan // 196 minutesTHE HOLLYWOOD REPORTER 32

AsianFilm Market2014October 5 - 8, 2014Registration Starts July 1The Place to be for All Your Asian Film BusinessPROJECT ∙ LOCATION ∙ POST-PRODUCTION ∙ SALES ∙ ACQUISITION ∙ SEMINAR - WORKSHOPVenue BEXCO, Busan in KoreaAdvantages of Early Bird Registration (July 1 – 31)Sales Stand Early Bird 30% Discount off the Official Rate One Complimentary Hotel Accommodation for 5 Nights Free AccreditationMarket Badge Early Bird 50% Discount off the Official RateContact in CannesKOFIC Pavilion (Village Int’l #122)Daniel KIM General Managerdanielkim@asianfilmmarket.orgShelly KEUM Marketing & Salesshellykeum@asianfilmmarket.org

REVIEWSHow to TrainYour Dragon 2Technically stunning, and touchingly perceptive about therelationship between people and animals, this is an impressiveachievement but may be all a bit too much for younger viewersBY LESLIE FELPERINWhat will it take for DreamWorksAnimation to finally break itslosing streak? With How to TrainYour Dragon 2, the companythrows everything it’s got at thescreen. This sequel to the endearingoriginal film, which earnedclose to half a billion dollars in2010, has ladled on even moreexpensive state-of-the-art animationand stereoscopy technology,an elaborate script that expandsits fantasy world further, oodlesof action set pieces and a dragoncast of thousands — plus recentOscar winner Cate Blanchettin a key role. There’s even someGame of Thrones DNA splicedin, courtesy of the casting of KitHarington, along with thematicelements concerning power, rivalkingdoms, slavery and brokenfamilies scattered throughout.Will that do the trick? Probably,especially with an attendant blitzkriegof marketing, although ultimatelythis installment, despite itsbreath-sucking spectacle, is sometimesmore of a taxing assaultcourse than a playful trainingsession. Crowded with incident,frame-edge details and extra characters,and considerably scarierand more traumatic to boot, itmay all prove a little too rich forthe youngest of filmgoers, thatkey demographic which has keptthe franchise fresh in the memorysince 2010 through repeated viewings(endlessly repeated, someparents might report) on homeentertainment platforms.Two seasons of the seriesDreamWorks Dragons alreadyhave aired stateside, story materialthat substantially fills in howthe Viking village of Berk comesto integrate the dragons into thedaily lives. But although it is cleartime has passed, Dragons 2 feelsreasonably free-standing from allthat backstory and picks up withthe characters roughly four yearson from the first film.Clearly a bit of a late-bloomeror otherwise a beneficiary fromall that fresh-air while ridingthe skies, hero Hiccup (voicedonce again with warmth byJay Baruchel) has filled outand grown into a dorky kind ofhunk with Harry Styles hair andscratchy hipster stubble. Whilehis girlfriend, Astrid (AmericaFerrera), and the other graduatesof the Berk Dragon TrainingAcademy enjoy competitivegames of dragon-riding, Hiccupand his trusty fire-breatherToothless are off discovering newlands. His father. Stoick (GerardButler), wants Hiccup to take oversomeday as head of the clan, butHiccup doesn’t fancy the responsibilityand stress, laying thefoundation for a predictable whatit-means-to-be-a-leadernarrative.On their travels, Hiccup andAstrid run up against piraticalmercenary Eret (Harington),who’s trying to round up straysfor an army of slave dragonsruled by his shadowy boss DragoBludvist (Djimon Hounsou).They escape, thanks to Toothless’superior firepower, but not beforethey hear tell of another dragonridingdo-gooder who’s beentrying to thwart Drago’s evil plansfor regional domination.Soon enough, Hiccup meetsthis kindred (in every sense)spirit, Valka (Blanchett, whosehalf-Irish, half-Scottish accentsounds frankly a bit ropey, butthat may be intended to suggesther social isolation). She has beenliving among the dragons for 20years in a secret ice-bound aeriepresided over by a massive dragonnicknamed the Bewilderbeast,who somehow controls his flockthrough sound and gesture. Likesome kind of Dark Ages DianFossey or Jane Goodall, Valka hasbonded with the animals she lovesand learned much about theirnature and habits. In one of thefilm’s most magical sequences,she shows off to Hiccup her ownskill at airborne acrobatics, adisplay of exquisitely thoughtfulcharacter movement that illustratesValka’s serpentine poise.One of the core strengths ofthe original film was the way itinfused the dragons with personality,not just through the colorful,intricate character designs,but by making them relatable tohousehold animals. Dragons 2expands on this repertoire beautifully.Watch Toothless, for example,especially while he frolics inthe background or at the edge ofthe frame, and you’ll alternatelysee the playfulness and sinuousgrace of a cat, the pack-animalloyalty of a dog, and the powerand dignity of a horse. At thesame time, he and his cohortsalways have something uniquelydragonish, primal and reptilianabout them. Clearly, thesefilms are the work of people wholove animals. More important,though, going beyond the pateco-conscious message that everykids’ film has to have, Dragons 2touches on how complex theemotional bond between a personand an animal can be. This isbrought home with exceptionalnuance in what’s arguably thefilm’s most powerful scene, whenToothless accidentally kills one ofthe key supporting characters andHiccup struggles with feelings ofanger and the recognition thatToothless, poor bad dragon, can’thelp his nature.Cognizant that they can’t endthings on this painful lesson,the story moves on for anotherhalf-hour or so, but despite allthe pyrotechnics involved in theGodzilla-like attack on Berk,nothing packs as much punch asthe tragic interlude and the filmstruggles to right itself emotionally.Plus all that to-ing andfro-ing, endangerment and rescueHiccup (left) hangswith sidekick Toothless.stuff gets a little samey over thelong haul.At times it feels like directorDean DeBlois (who co-directedDragons 2 with Chris Sanders)and his team have jettisoned thatmarket altogether and retooledthis for a tween audience giventhe new emphasis on romanticrelationships. In this department,Dragons 2 gets its biggestlaughs out of the love-quadranglebetween Ruffnut (KristenWiig), rival Viking boys Fishlegs(Christopher Mintz-Plasse) andSnoutlout (Jonah Hill) and newcomerEret, whose pecs Ruffnuttakes a voracious fancy too. (“Melikee!” she rhapsodizes, finallyallowing Wiig, a much bigger starnow than she was in 2010, to flexsome comic voice muscles).There’s no gainsaying thefilm’s technical achievement. Thepainstaking attention to detailextends from the design of thebeasties and people (neatly splittingthe difference between themore cartoony figures of the firstfilm and a more photorealisticlook that’s popular these days), toJohn Powell’s rousing drum-ledscore, to the way light falls just soin every frame, thanks in part toconsultation from ace cinematographerRoger Deakins. Throughsheer budget firepower alone itshould roar its way through theworld’s box offices this summer,although the family audience canbe a fickle mistress and the competitionis stiff this year.Out of CompetitionCast Jay Baruchel, AmericaFerrera, Cate Blanchett,Gerard Butler, Kristen Wiig,Kit Harington, Djimon Hounsou,Christopher Mintz-Plasse,Jonah HillDirector Dean DeBlois101 minutesTHE HOLLYWOOD REPORTER 34

A FACT NOT FICTION FILMS Production – A Film By Tristan LoraineScreening19 May 2014 09:30 PALAIS JBOARDING CARD | BUSINESS CLASSCEQ19 May 09:30PALAIS JA DARK REFLECTIONADarkReflectionwww.ADarkReflection.com@ADarkReflection

REVIEWSComing HomeZhang Yimou and Gong Li reteam for a frequently tepid love story that also wantsto be an important commentary but is too weightless to be effective as eitherBY ELIZABETH KERRAfter a semi-detour into epic period drama(Curse of the Golden Flower), WWII drama(The Flowers of War) and pseudo-noir thriller(the Sino-Blood Simple and totally gonzoA Woman, a Gun and a Noodle Shop), Chineseauteur Zhang Yimou slips back into hiscomfort zone for what is essentially a tragicromance with Coming Home. Reuniting againwith his chief muse, Gong Li, Zhang flirtswith historical criticism and reflection on theimpact of past social policies but pulls upshort and settles for a plodding romance thatis as lightweight as it is aimless.Though Coming Home is stately and polished,typical of Zhang, the film’s lack of anyreal thematic thrust or significant commentarywill hamper its reception in marketsoutside of Mainland China. This is a film thatspeaks to a specific Chinese demographic,and so it likely will achieve moderate successat home. The above-the-title talent assuresit a spot on the festival circuit until modestart house releases overseas, though it’s notgoing to reach Raise the Red Lantern or To Liveheights of success.Based on a novel by author Yan Geling(whom Zhang adapted for The Flowers of War)Coming Home begins with academic Lu Yanshi(Chen Daoming) hiding near a Beijing railwaystation after escaping a labor camp. It is theChen is on the run duringthe Cultural Revolution.early 1970s and the Cultural Revolution isofficially waning, but for Lu’s budding ballerinadaughter Dandan (Zhang Huiwen in herdebut) it is very much part of her life. Calledinto the propaganda director’s (Guo Tao,in a cameo) office at her dance school oneafternoon, she finds her mother, Feng Wanyu(Gong), already there. They’re informed thatLu has escaped, and that if he contacts themthey should turn him in. The young, naiveDandan agrees, but Feng clearly is torn.Naturally, he shows up at their apartment,and though he doesn’t see Feng, Lu runs intoDandan — who promptly turns him in, bitterfor losing the lead role in a ballet due to politicsand appearances. The next day, Dandanand the authorities descend on Lu and Feng’strain-station rendezvous, which ends indisaster. Lu is taken back into custody, Fengsuffers a blow to the head and Dandan isolatesherself from her mother for years to come.Try as he might, Zhang fails to recapturethe searing emotional dramatics of his earlierwork, even though Coming Home is securely inhis wheelhouse. The train-station encountershould have an ominous sense of foreboding,but instead there is a feeling of predictableplot beats. It is simply a setup for morerote melodrama to come; the entire segmentis ultimately meaningless and is a waste of20 minutes.Zhang does manage a suitably tense nonencounterwith Lu lurking in the apartmenthallways, all gray shadows and deadeningconcrete stairwells, but it adds up to nothing.Feng’s hesitation in the propaganda director’soffice and her panicked indecision uponhearing Lu at the door are meant to conveythe couple’s devotion to each other, and Gongis typically affecting — with few words — inboth scenes. But beyond that, the relationshipdoesn’t really gel into a significant one.It remains an intangible idea rather than aneternal love story.When the Cultural Revolution finally ends,Lu returns to a radically different home.Dandan has given up dancing and worksat a factory. Feng is suffering psychogenicamnesia and has thrown Dandan out of thehouse. This is where the story truly begins.Devastated that his beloved (so we’re told)wife doesn’t remember him, Lu sets out tocoax her memory of their life together tothe surface. One of the few things she doesrecall is that she has to get Lu at the trainstation on the 5th of the month. That’s thelimit of character development as well. Luand Feng are more archetypes than living,breathing people. His dedication manifestsin his repeated tries to get through to Feng —photos, music, letters — and his better naturein forgiving Dandan her misguided youthfulfervor. Feng’s mental fracture comes out indoddering physicality and dewy-eyed sadnesswhen Lu doesn’t appear.There are myriad issues that Zhang andscreenwriter Zou Jingzhi dangle in the film:Dandan is drawn as a true believer, at leastinitially, who is willing to put her balletambitions ahead of her family. There’s noreal exploration of how she came to thesedecisions and other than a few tears over herparents’ shattered marriage, no reflection onthe consequences of her actions. The muddledtimeline does nothing to illuminate the sourceof Feng’s mental anguish: Was it the blowto the head the day Lu was recaptured? Theunwanted sexual advances of a bureaucrat?The power of unwanted memories to defineus and the timely specter of punishing socialdissent are among the other themes and issuesZhang skips over in favor of a weepy memorylosslove story.Credit must be given for not straining for afalse happy ending, though without the visualvibrancy of Lantern or even the straight-upweirdness of Noodle Shop, Coming Home sinksinto a conventional tragic romance rut thatnot even engaging performances by Gong andChen can save.Out of CompetitionDirector Zhang YimouCast Gong Li, Chen Daoming, Zhang Huiwen109 minutesTHE HOLLYWOOD REPORTER 36

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M A R C H E D U F I L M 2 0 1 4@ R I V I E R A E 1 8TEL +33 4 92 99 32 40FOR THE EMPERORCONFESSIONDirector : PARK Sang-junCast : LEE Min-ki, PARK Sung-woong, LEE Tae-imGenre : Crime ActionTeaser/PromoAvailableThe young naive man who gets recruited to the private loan ring becomes fascinatedby money and power. Now he tries to be an EMPEROR of the illegalprivate loan ring.Director : LEE Do-yunCast : JI Sung, JU Ji-hoon, LEE Kwang-sooGenre : Crime DramaTeaserAvailableThree best friends become estranged each other by the unexpected tragicaccident.MY BRILLIANT LIFEBIG MATCHDirector : E J-yongCast : GANG Dong-won, SONG Hye-kyoGenre : Human DramaStillAvailableThe touching story of the youngest parents and oldest child in the world.Director : CHOI HoCast : LEE Jeong-jae, SHIN Ha-kyun, BoAGenre : Fighting ActionPromoAvailableA star MMA fighter who gets selected as a new chess piece of an illegalgambling game must fight to save his brother.

REVIEWSThe RoverDavid Michod’s follow up to his acclaimed debut,Animal Kingdom, is an intense look into thenear future, and it’s not good BY TODD MCCARTHYFusing a hybrid of quasiapocalypticinfluences into a workwith a pungent character of itsown, The Rover suggests somethinglike a Cormac McCarthyvision of Australia halfwaybetween today and The RoadWarrior times.David Michod’s follow-up to hisinternationally successful debutwith the Melbourne gangstersaga Animal Kingdom is equallymurderous but more pared downto basics, as desperate men enacta survival-of-the-meanest scenarioin an economically guttedworld reduced to Old West outlawbehavior. Debuting as a midnightattraction in Cannes’s officialselection, this intense and bloodythriller, which A24 has locked upfor U.S. theatrical release, looksto find a responsive audience inspecialized play. As recycled asmany of the individual imagesmay be, Michod nonetheless hasdeveloped a very specific settingfor his elemental drama.It’s a time “10 years after thecollapse,” when the Australianeconomy has gone south andlocals are reduced to scavengerswhile Asian mining interests controlthe purse strings. Ruffians,many of them foreign, can’t findwork and so have turned to crime,no authority is in place to keeporder and people who might oncehave been warm and welcominghave turned wary; everyoneseems to have, and need, a gunat hand. While taciturn lonerEric (Guy Pearce) makes a pitstop in a ratty Asian roadsidelounge, three desperate characters— nasty old Archie (DavidField), young black man Caleb(Tawanda Maryimo) and hotheadedAmerican Henry (ScootMcNairy) — ditch their pickuptruck and steal Eric’s sedan.Jumping into the pickup, anincensed Eric gives chase and,after an unusual stop-and-startpursuit, ends up very much theworse for wear.As freshly staged as it is, thisscene-setter annoys with itsnumerous dramatic implausibilities,but those distractionssoon are kicked to the side ofthe road with the appearance ofthe badly wounded Rey (RobertPattinson), Henry’s youngerbrother, who was left behindafter a gun battle. Frazzled andfried, Rey speaks in a halting,fractured manner that suggestshe might not be quite all thereupstairs. But he wants to getHenry, so he and Eric, men nearthe end of their respective ropes,head further into the outback tosettle some scores.It’s a journey that writerdirectorMichod, who developedthe story with actor JoelEdgerton, uses to explore amultitude of extremes — of desperation,soullessness, viciousnessand environmental hostility. Themost friendly and humane personto turn up in the entire film, awarm-hearted woman (SusanPrior) who reflexively calls Eric“sweetheart,” doesn’t last long.As the two men scour thecountryside looking for Henryand his cohorts, Eric messeswith Rey’s head, insisting thathis brother left him to die andotherwise playing on the vulnerabilitiesof a sensitive butmentally challenged hick whoalmost could have stepped fromthe pages of a William Faulknernovel. His stubble, dirty yellowteeth and injuries muting hisphysical beauty, Pattinson deliversa performance that, despitethe character’s own limitations,becomes more interesting as thefilm moves along, suggesting thatthe young actor might indeed becapable of offbeat character work.And at the film’s center, Pearce,under a taciturn demeanor, givesEric all the cold-hearted remorselessnessof a classic Western orfilm noir antihero who refuses todie before exacting vengeance foran unpardonable crime. Michodeventually provides one significantemotional explanation forPearce (left) and Pattinsonreluctantly join forces.Eric’s hollow heart, much in theway that Sergio Leone woulduse one late-revealed incident todefine his antagonists’ villainy.At least as responsible forgiving The Rover its distinctivetone as the unnerving violence,edgy performances, parchedsettings and Natasha Braier’ssuperior cinematography (film,not digital) is the extraordinarysoundtrack, which, in itswild, idiosyncratic weirdness,is probably the most effectivelyeccentric and radical film scoresince Jonny Greenwood’s forThere Will Be Blood. Composed byAustralian Antony Partos, withheavy contributions from sounddesigner and additional composerSam Petty and existing sourcemusic, the track moans, cracksand wails with bizarre audibleelements that emanate frominstruments both identifiable andnot. The effect is both hypnoticand disturbing. It magnifies andenhances the already intensenature of the experience.Out of CompetitionCast Guy Pearce, Robert Pattinson,Scoot McNairy, David Field,Anthony Hayes, Gillian JonesDirector David Michod102 minuteswww.facebook.co./PIFILM2014Achilles Entertainment d5 051814.indd 15/12/14 12:11 PM

REVIEWSRed ArmyGabe Polsky’s jokey Eastern Blocumentary profiles SovietRussia’s star ice hockey team during their peakBY STEPHEN DALTONFetisov (left) andcoach Viktor Tikhonovgun for gold.One of the most effortlessly pleasurabledistractions in the Cannesfestival program so far, GabrielPolsky’s solo directing debut is aplayful documentary about theformer Soviet Union’s national icehockey squad, an all-conqueringmachine schooled under militarytraining-camp conditions as anideological propaganda weapon.A sometime producer for WernerHerzog, who returns the favorhere, Polsky previously codirectedthe well-regarded 2012indie drama This Motel Life withhis brother, Alan.Red Army is a slick, witty,fast-moving blend of sportsstory and history lesson withclear appeal beyond the hockeyfandemographic. The tone ismostly light-hearted, but withsplashes of personal tragedyand political intrigue to addgrit. Although Sony PicturesClassics recently signed up rightsfor North America, Asia andEastern Europe, this real-lifeCold War drama ultimately feelsmore suited to small screensthan theaters.Interweaving scratchy archivefootage from the 1970s and 1980swith handsomely shot contemporaryinterviews, Polsky talks toformer superstar players, retiredKGB officers, sports journalistsand veteran bureaucrats. His starinterview is Viacheslav “Slava”Fetisov, a former captain of theSoviet national team and doubleOlympic gold medal-winner,whose colorful life story gives thefilm its loose narrative spine.As the old USSR unraveled intopolitical and financial bankruptcy,Fetisov declined hugely lucrativeoffers to defect to the NHL inNorth America, partly because hewas being blackmailed to pay thebulk of his salary back to Russia.He finally was allowed to leave fora U.S. career with the New JerseyDevils and Detroit Red Wings,only to face red-baiting hostilityand homesickness.A man with no shortage ofego, Fetisov also is an enjoyablycombative interview, shruggingoff Polsky’s questions withdeadpan humor and sly sarcasm.Non-Russian audiences may besurprised by more recent developmentsin his career, revealed atthe close of the film. Without gettinginto spoilers, Vladimir Putinis one of his close friends.Incorporating jokey vintageclips of Ronald Reagan andMikhail Gorbachev, Red Armytells a juicy story with brioand bounce. The soundtrackof jaunty Russian folk musicalso is fun, even if it plays onwell-worn Eastern Bloc cliches.More personal and psychologicalbackground on the key playersmight have elevated this fascinatinghistorical drama beyondits slightly cartoonish elements.Even so, Polsky serves up a heartydish of comfort-food nostalgiafor the simple certainties of theCold War.Special ScreeningDirector Gabriel Polsky75 minutesTHE LEGENDISCOMING TO LIFETHE HUNT BEGINSMARKETSCREENINGTODAYMAY18th,2014LERINS 18.00 PMWorldwide Sales : M Thirty Ninetammyd@m-thirtynine.com / tammyd@m39studios.commore information : www.cinando.com/MthirtynineMthirtynine d5 051814.indd 15/13/14 11:51 AM

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MEET ME at theAMERICAN PAVILIONTODAY AT THE AMERICAN PAVILION11:00 AMSCREENADVANTAGEPANELDISCUSSIONProfessional Finance Plans for less than acup of coffee!Executive Producers charge thousands toput together finance plans and recoupmentwaterfalls that you, given the tools, coulddo for yourself.ScreenAdvantage® puts those tools in yourhands for less than the price of a cup ofcoffee a week.Since its launch, ScreenAdvantage® hastravelled the world. Users now range fromOscar® and Golden Globe® winningproducers to film students, from financiersto collection agents and from California toNew Zealand.To find out more, comeand meet the founderat our exclusivepresentation.2:00 PM | INCONVERSATION:PRODUCERJON KILIKFoxcatcher, The Hunger Games and the25th Anniversary of Do The Right ThingModerated by Anne Thompson3:00 PM |INDUSTRY INFOCUS:THE STATE OF THEINDIE FILMINDUSTRYTom Bernard, Sony Pictures ClassicsBob Berney, PicturehouseIra Deutchman, Emerging PicturesRena Ronson, UTABart Walker, ICMModerated by Anne Thompson4:00–6:00 PMDJI SPREADINGWINGSHAPPY HOUR10:00 PM–2:00 AMQUEER NIGHTSponsored by QueertyTOMORROW, MAY 1911:00 AM | INDUSTRY INFOCUS:FILM FINANCEJay Cohen, GershNick LoPiccolo, ParadigmHal SadoffJohn Sloss, CineticPeter Trinh, ICMModerated by Pamela McClintock,The Hollywood Reporter3:00 PMAMERICAN DIRECTORS INCANNESReinaldo Marcus Green, Stone CarsAnnie Silverstein, SkunkDavid Robert Mitchell, It FollowsGabe Polsky, Red ArmyModerated by Aaron Hillis,Filmmaker Magazine4:00–6:00 PMJ.P. CHENET HAPPY HOURMAY 18, 2014TUESDAY, MAY 2011:00 AMAMERICAN PRODUCERSIN CANNESRebecca Green, It FollowsDavid Kaplan, It FollowsNick Shumaker, Cold in JulyJason Blum, WhiplashModerated by Anne Lai, Sundance1:00–3:30PMSTUDENT FILMMAKERSHOWCASEPresented by American Express4:00–6:15 PMEMERGING FILMMAKERSHOWCASEPresented by American Express6:15–8:00 PMFILMMAKER AWARDSCEREMONY & RECEPTIONOPEN DAILY 8AM-6PM DURING THE FESTIVALRESTAURANT | BAR | BUSINESS CENTER | FREE WIFIASSOCIATE SPONSORSJOIN TODAY: AMPAV.COM

Production Starts:June 2014Production Starts:July 2014BOOTH: Lerins R6Tim Brown, Executive Vice President, Feature Films t 416.766.6588 x 234 tbrown@breakthroughentertainment.com35 Britain Street Toronto Ontario Canada M5A 1R7 f 416.363.9726 distribution@breakthroughentertainment.combreakthroughentertainment.com

REVIEWSIN COMPETITIONGrandinetti is a musiccritic who getshis comeuppance.Wild TalesArgentinian writer-director Damian Szifron takes his bowin the competition with this spiky portmanteau pieceBY DAVID ROONEYIt’s easy to see what drew Pedro and Agustin Almodovar to produceArgentinian writer-director Damian Szifron’s Wild Tales — the affinityis evident from the first of the six thematically connected storiesthat make up this subversive reflection on out-of-control behavior.It’s there in the off-kilter humor, in the stylish visuals and bold useof music, and in the affection for ordinary people pushed to extraordinaryextremes. But Szifron’s voice is nonetheless very much hisown, a mischievously blunt response to a culture of inescapable corruption,economic and social inequality and injustice.While Warner Bros. has the film in Latin America, Spain andFrance, Sony Pictures Classics closed a deal on the eve of its Cannespremiere for North America, Australia and New Zealand. SPChas a long and fruitful association with the Almodovars’ El Deseocompany. But it also seems a smart move to get into business witha maverick talent like Szifron, even if his first film to land a toptierinternational festival platform is uneven, occasionally curdlingwhen it turns dark. But Wild Tales opens and closes with a bang,and at its best is a riotously funny and cathartic exorcism of thefrustrations of contemporary life.The first three episodes, Pasternak, The Rats and Road to Hell, allgenerate huge laughs and share a delicious harmony despite beingquite different in tone. They run from wacky to macabre to pulpy,and all involve payback fueled by festering rage.Like Almodovar’s recent mile-high-club comedy I’m So Excited,the opener takes place aboard a plane, where a pretty runway model(Maria Marull) indulges the older music critic (Dario Grandinetti)sitting across the aisle with some harmless flirtation. It turns outthey share a connection via one Gabriel Pasternak, an aspiringmusician who was the model’s first boyfriend and whose confidenceonce was crushed by a withering critique from her new acquaintance.In an inspired bit of comic absurdism, seemingly everyoneon the plane has crossed paths with underachieving Pasternak, whoremains unseen but gets his moment of glory. It’s a wicked vignetteabout the revenge of the perennial loser, and the perfect pre-titlesbite to kick off the movie.Those titles themselves also are sublime, with each credit backedby a gorgeous animal-kingdom image — some ferocious and someCONTINUED ON PAGE 50Fondazione Sardegna d5 051814.indd 15/13/14 12:02 PM

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REVIEWSWild TalesCONTINUED FROM PAGE 48meek. It seems apt that Szifron’swriter-director card is a sly foxcrouched down ready to pounce.His prey is everything that’s brokenin 21st century Argentina.In The Rats, a waitress (JulietaZylberberg) at a roadside divefinds herself serving the arrogantloan shark (Cesar Bordon) whodrove her father to suicide andprompted her mother to packthem off to another town. Nowhe’s in line for mayor. “Bastardsrun the world,” says the takechargecook (Rita Cortese), whichis all the justification she needs tospice up his egg and chips with anunorthodox ingredient.Road to Hell has a touch ofRobert Rodriguez and QuentinTarantino in its escalating violence,though the kinship neverfeels like imitation. The motherof all road rage episodes, it startswhen a self-satisfied, slick-suited,Audi-driving jerk (LeonardoSbaraglia) shouts “Redneck!” atthe guy (Walter Donado) who’sbeen crawling along in front,blocking him from overtaking ona quiet stretch of mountain road.Big mistake, and not just becauseof a defecation scene that makesthe one in Bridesmaids seem tame.The next two stories, Bombitaand The Bill, are consistent withthe film’s themes. But bothinvolve a shift to a more sobertone that lets the air out ofthe balloon of delirious mayhemcreated by the openingthree episodes.Bombita centers on a demolitionengineer (Ricardo Darin)whose car keeps getting towedfrom streets without visible noparkingsignage. This gets underhis skin, convincing him that thecity is running an extortionateracket, and he’s not going to takeit anymore. This story is the firstto offer something approachingredemption, when he becomes anunlikely folk hero. But the payofflacks punch and the satiricalcomedy feels a touch too mutedafter the earlier peaks.The darkest of the stories is TheBill. A wealthy patriarch (OscarMartinez) determines to buy hisfamily’s way out of trouble bypaying an employee (Germande Silva) to take the fall for ahit-and-run accident in whichhis pampered son (Alan Daicz)was the driver. The plotlinerecalls Turkish director NuriBilge Ceylan’s 2008 feature ThreeMonkeys, as well as the RichardGere thriller Arbitrage. Butfamiliarity is less a problem thanthis being tonally just too muchof an odd man out. The satisfactionof watching privileged folkssquirm keeps it absorbing, butthe episode ultimately becomesa downer.Szifron turns things around inthe hilarious kicker, ’Til Death DoUs Part, during which the festivewedding reception of Romina(Erica Rivas) and Ariel (DiegoGentile) dissolves into chaoswhen the bride discovers hergroom’s infidelity. An anarchiccomic energy runs through thisconcluding story, and the morescarily messed-up the wrongedwoman gets, the more endearingRivas becomes.The cast is strong throughout,and the good-looking filmis crafted in high style, withlots of eye-catching touchesfrom production designer ClaraNotari and unconventionalcamera angles from cinematographerJavier Julia. It also hasa wonderful sense of place, fromthe loneliest backwaters to thedensest pockets of Buenos Aires.Wrapping it all up is a terrificspaghetti Western-flavored scorefrom Oscar winner GustavoSantaolalla, mixed with invigoratingpre-existing music choices.In CompetitionCast Ricardo Darin, OscarMartinez, Leonardo SbaragliaWriter-DirectorDamian Szifron122 minutesWE ARE OPPORTUNITIESFree events at the UK Film Centre, Cannes 2014TODAY11.00 – 12.00Talent Talk : Catch Me Daddy13.30 – 14.30The PFM and the International Marketplace15.00 – 16.30Filming around the UK (hosted by the BFC)TOMORROW14.15 – 15.15The Magic £10m: The key to producing a£10m+ feature film15.30 – 16.30One in 700: How to stand out in theUK distribution marketTUESDAY15.00-16.00Talent Talk: Snow in ParadiseFor full event listings and info go toweareukfilm.comFollow us@weareukfilmDirectors’ Fortnight:Pride(Dir. Matthew Warchus)British Film Institute d5 051814.indd 15/13/14 11:45 AM

Festival Do RioOfficial SelectionCINEMAVAULT prEsENTs AN ã O2 FILMEs, pArIs FILMEs prODUCTION, GLOBO FILMEs & TELECINE prEsENTATION “BETWEEN Us” CAIO BLAT CArOLINA DIECKMANN pAULO VILHENA MArIA rIBEIrO JULIO ANDrADE MArTHA NOWILL LEE TAYLOrCINEMATOGRAPHY GUsTAVO HADBA, ABC ART DIRECTOR FrEDErICO pINTO EDITOR LUCAs GONzAGA MUSIC BETO VILLArEs SOUND MIXER GUILHErME AYrOsA CASTING FrANCIsCO ACCIOLY, ANNA LUIzA pAEs DE ALMEIDA & CECíLIA HOMEM DE MELLO COSTUME DESIGNER ANDrEA sIMONETTIMAKE-UP ANDré ANAsTáCIO SOUND ALEssANDrO LArOCA, EDUArDO VIrMOND LIMA & ArMANDO TOrrEs Jr. PRODUCTION SUPERVISOR GUsTAVO rIBEIrO DIrECTOr OF prODUCTION ANATALIA LYrIO EXECUTIVE PRODUCER CrIsTINA ABI&FOR WORLDWIDE SALES, CONTACT GRAND CRU FILMSRIVIERA LEVEL, BOOTH G7-H10, +1.416.363.6060 EXT. 200

adv prod on the move-09-05-14_Opmaak 1 12-05-14 13:03 Pagina 1EYE INTERNATIONALIS PROUD TO PRESENTDAVID BIJKEROF BIJKER FILM & TVREVIEWSIN COMPETITIONSaint LaurentA diffuse and uneven look at the life of one ofFrance’s greatest designers BY BOYD VAN HOEIJUlliel’s YSL admits tohaving “disorders.”PRODUCER ON THE MOVE 2014FROM THE NETHERLANDSProducer of the award winning filmCOOL KIDS DON’T CRY by Dennis BotsContact David Bijker @ CannesCell: +31 6 5579 8167 | david@bijker.tvwww.bijker.tvyour Dutch film connectionDutch Pavilion | Village International #116 | Ph: +33 4 9259 0214international@eyefilm.nl | www.international.eyefilm.nlThe time period covered and the title may be shorter than JalilLespert’s Yves Saint Laurent from five months ago, but Frenchdirector Bertrand Bonello’s stab at a YSL biopic, simply titledSaint Laurent, runs a whopping 47 minutes longer, to no apparentbenefit.Though stylistically quite dissimilar — in part because PierreBerge, Saint Laurent’s business and former life partner, did notgive this project his blessing or grant access to the YSL archives ordresses — there’s little content here that might suggest that thisnarratively diffuse film will do better business than the 1.6 millionFrench admissions the first managed in January, though the cast,which includes Gaspard Ulliel (Hannibal Rising), Lea Seydoux(Blue Is the Warmest Color) and Louis Garrel (The Dreamers), certainlyis more high-profile than Lespert’s. Sony Pictures Classicsbought this item for the U.S., while The Weinstein Co. has rightsto the rival film.Saint Laurent opens in 1974, with the designer (Ulliel) checkingin to a Paris hotel and agreeing to a phone interview in which headmits he has “disorders” before backtracking to 1967, when thecamera drinks in the minutiae of preparing a couture collection. Itthen introduces two of Saint Laurent’s muses, Betty Catroux (modelAymeline Valade) and Loulou de la Falaise (Seydoux), and in aquick split-screen montage piece combines the 1968 student protestsand violent happenings around the world with the designer’s1968-71 collections being modeled, though it’s unclear what thejuxtaposition of these images is supposed to suggest. Both womenalso quickly fade into the background.Indeed, the screenplay, by Bonello and France’s star screenwriter,Thomas Bidegain (Rust and Bone, Our Children), seems to generallylack a throughline or focus, coasting from party scenes full of drugsand alcohol to work-related stuff but rarely managing to get insidethe head of the self-destructive character the designer had becomeby the 1970s.Ulliel is a great physical fit for YSL, and he’s mostly convincing,even if his work is a far cry from Pierre Niney’s embodiment of thedesigner in Lespert’s film. All others essentially have supportingroles, fading in and out of the narrative around the title character.In CompetitionCast Gaspard Ulliel, Jeremie Renier, Lea Seydoux, Louis GarrelDirector Bertrand Bonello // 151 minutesEye Film Institute d4 051714.indd 15/12/14 12:09 PM

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VMI CANNESPREMIERESVANTAGE MEDIA INTERNATIONAL / VISION MUSIC, INCSCREENING TODAY2014REVIEWSGlobus (left)and Golan inCannes in 1987.The Go-Go BoysMenahem Golan and Yoram Globus, the prolific Israeli duobehind Cannon Films, get a little love in this documentaryBY TODD MCCARTHYParanormal IslandSunday, May 18 th 10:00Gray 3RIVIERASUITE G22EXECUTIVES ATTENDING:ANDRE RELIS, PRESIDENTARELIS@VMIWORLDWIDE.COMSOHA SALEH, DIRECTOR OF SALESSSALEH@VMIWORLDWIDE.COMSTANLEY MONAHAN, ACQUISITIONS & DEVELOPMENTSMONAHAN@VMIWORLDWIDE.COMVMI1419 WILCOX AVENUE LOS ANGELES, CA 90028 USAPHONE: 323.703.1115 FAX: 323.207.8024SALES@VMIWORLDWIDE.COMWWW.VMIWORLDWIDE.COMThe last of the brash, shameless, old-school, ingratiatingly crasspirates to streak across the cinematic firmament before the adventof the suits and bean counters, Menahem Golan and Yoram Globus,get a lively and largely sympathetic hearing in The Go-Go Boys.Made with the full cooperation of the subjects and loaded withclips from the first cousins’ generally tacky library of films, HillaMedalia’s documentary will serve to those who were around duringCannon Films’ 1980s heyday as a fun reminder of some high-flyinglow-brow times and will prove amusing to younger viewers with aretroactive soft spot for Chuck Norris and Charles Bronson at theirmost archetypal. The nicely constructed piece will play well at festivalsand extensively on TV internationally.Medalia does a very good job of establishing the men’s Israeli rootsand the early nature of their relationship. Single-mindedly obsessedwith movies from an early age, Golan became a prolific producerdirectorof legitimate repute in Israel in the 1960s; his productionSallah was Oscar nominated for best foreign film in 1964, and one heactually directed, Operation Thunderbolt, was similarly honored in1977. Globus, on the other hand, developed business expertise workingat a cinema owned by his father and was, so everyone says, alwaysgood at making money. So when the cousins joined forces in the mid-1960s, it followed that Globus would handle the financial side whileGolan would choose the projects and personnel.Cannon specialized in action/exploitation fare, and clips featuringNorris, Bronson and Jean-Claude Van Damme serve as a quickreminder of how lame those films were. Golan and Globus becamethe kings of Cannes in the mid-1980s, dominating with their billboards,endless trade ads for productions real and imaginary andblow-out parties that, appropriately enough, felt cheaply produced.Engaging as the film is, it ignores two major issues. First, Cannonhad very bad taste in movies. Second, there’s little discussion ofthe company’s suspected financial shenanigans. There are manyindustry stories about the Cannon way of doing business that nevercome up here. A second documentary on the same subject, ElectricBoogaloo: The Wild, Untold Story of Cannon Films, by Australianfilmmaker Mark Hartley, is due to surface soon and reportedly digsdeeper into the company’s modus operandi. A double-bill of thetwo films could provide a reasonably dimensional portrait of a verycolorful, if not distinguished, chapter in Hollywood history.Cannes ClassicsDirector Hilla Medalia // 84 minutesVantage Media Paranormal d5 051814.indd 15/12/14 1:30 PM

CINEMAVAULT PRESENTS A CASTEL FILM AND DOUBLE 4 STUDIOS PRODUCTION “PUZZLE” DAN NUTU ADRIAN TITIENI IOANA PAVELESCU SkOVRAN TUNDE SERBAN IONESCU CATALINA MUSTATA RODICA MANDACHE VLADIMIR GAITAN ALIN PANC DEBORA FELDMANCREATIVE DIRECTOR DAN ALEXANDRU EDITOR SERGIU ARSENIE AND DAN NANOVEANU SOUND DRAGOS STANOMIR PRODUCTION DESIGNER CALIN PAPURĂA AND GLORIA PAPURA COSTUME DESIGNER OANA PAUNESCU OANA DRAGHICI MUSIC DANIEL MANOIU AND PETRU MARGINEANUEXECUTIVE PRODUCER JOEL SOISSON PIERRE SPENGLER ALINA DAVID CO-PRODUCĂER ANDREI ZINCA PRODUCER VLAD PAUNESCU WRITER ANDREI ZINCA AND ADRIAN LUSTIG DIRECTOR ANDREI ZINCA CENTRUL NATIONAL AL CINEMATOGRAFIEIWITH THE PARTICIPATION OF SOCIETATII ROMANE DE TELEVIZIUNE FINANCED BY BV MCCANN ERIkSON DISTRIBUTED BY CASTEL FILM AND GENERAL DISTRIBUTIONFOR WORLDWIDE SALES, CONTACT GRAND CRU FILMSRIVIERA LEVEL, BOOTH G7-H10, +1.416.363.6060 EXT. 200

FESTIVAL SCREENING GUIDETODAY MAY 1800:30 The Salvation,Out of Competition,Denmark, 90 mins.,Lumiere, Trustnordisk8:30 It Follows, Critic’s Week,USA, 100 mins., Miramar, VisitFilms; The Homesman,Competition, USA, 120 mins.,Lumiere, Europacorp9:00 A Hard Day, DirectorsFortnight, Korea (South),111 mins., Theatre Croisette,Showbox / Mediaplex, Inc.;National Gallery, DirectorsFortnight, France, 174 mins.,Palais G, Doc & FilmInternational10:00 Insecure, ACID,France, 83 mins., Riviera 1,UDI - Urban DistributionInternational; Next to Her,Directors Fortnight, Israel,90 mins., Riviera 3, FilmsBoutique; Party Girl, UnCertain Regard, France,95 mins., Palais I, PyramideInternational11:00 Turist, Un CertainRegard, Sweden, 120 mins.,Debussy, CoproductionOffice (Paris)11:30 Fantasia, Un CertainRegard, China, 85 mins.,Lerins 1, Les Films du Losange;Gente de Bien, Critic’s Week,Colombia, 90 mins., Miramar,Evidencia Films Y ProduccionesLtda.; Nordic Factory,Directors Fortnight, 60 mins.,Arcades 1, Quinzaine desRealisateurs; Saint Laurent,Competition, France,150 mins., Salle du 60eme,Europacorp12:00 Refugiado, DirectorsFortnight, Argentina, 93 mins.,Theatre Croisette, MementoFilms International (MFI); Run,Un Certain Regard, France, 100mins., Olympia 1, Bac Films;The Homesman, Competition,USA, 120 mins., Lumiere,Europacorp13:00 Run, Un CertainRegard, France, 100 mins.,Bazin, Bac Films13:30 Timbuktu,Competition, France, 100mins., Lerins 1, Le Pacte13:45 White God, Un CertainRegard, Hungary, 119 mins.,Star 1, The Match Factory14:00 Beautiful Youth,Un Certain Regard, Spain,106 mins., Debussy, NDM;Catch Me Daddy, DirectorsFortnight, United Kingdom,110 mins., Olympia 1, AltitudeFilm Sales; Gett, The Trial ofViviane Amsallem, DirectorsFortnight, France, 115 mins.,Riviera 1, Films Distribution;It Follows, Critic’s Week, USA,100 mins., Palais I, Visit Films;Rules of the Game, ACID,France, 106 mins., Riviera 3,Doc & Film InternationalBac Films’ Run14:30 Wild Tales,Competition, Spain, 122 mins.,Salle du 60eme, Film FactoryEntertainment15:00 Breathe, Critic’s Week,France, 91 mins., Miramar,Gaumont; Les Combattants,Directors Fortnight, France,98 mins., Theatre Croisette,Bac Films; Les MontagnesBleues, Cannes Classics,91 mins., Bunuel,Festival de Cannes15:30 Amour Fou, Un CertainRegard, Austria, 96 mins.,Riviera 2, Coproduction Office(Paris)15:45 Les Ponts de Sarajevo,Out of Competition, 114 mins.,Arcades 2, Festival de Cannes16:00 That Lovely Girl,Un Certain Regard, Israel,97 mins., Gray 3, Other AnglePictures16:30 Jauja, Un CertainRegard, Argentina, 108 mins.,Debussy, NDM; Le Meraviglie,Competition, Italy, 110 mins.,Lumiere, The Match Factory17:00 Gente de Bien, Critic’sWeek, Colombia, 90 mins.,Miramar, Evidencia Films YProducciones Ltda.17:30 A Hard Day, DirectorsFortnight, Korea (South),111 mins., Theatre Croisette,Showbox / Mediaplex, Inc.;Les Violons du Bal,Cannes Classics, 104 mins.,Bunuel, Festival de Cannes;White God, Un Certain Regard,Hungary, 119 mins., Bazin,The Match Factory18:00 In the Name of MyDaughter, Out of Competition,France, 120 mins., Olympia 5,Elle Driver; Le Meraviglie,Competition, Italy, 110 mins.,Olympia 1, The Match Factory;Red Army, Out of Competition,USA, 85 mins., Star 1, WildBunch19:30 The Homesman,Competition, USA, 120 mins.,Lumiere, Europacorp19:45 The Owners, Out ofCompetition, Kazakstan,93 mins., Salle du 60eme,UDI - Urban DistributionInternational20:00 Brooklyn, ACID,France, 83 mins., Arcades 1,ACID; La Vie de Chateau,Cannes Classics, 90 mins.,Bunuel, Festival de Cannes;Programme Court-Metrages,Critic’s Week, 140 mins.,Miramar, Semaine de laCritique20:30 Refugiado, DirectorsFortnight, Argentina, 93 mins.,Theatre Croisette, MementoFilms International (MFI); WildTales, Competition, Spain,122 mins., Olympia 6, FilmFactory Entertainment22:00 Beautiful Youth,Un Certain Regard, Spain,106 mins., Debussy, NDM;Gente de Bien, Critic’s Week,Colombia, 90 mins., Miramar,Evidencia Films Y ProduccionesLtda.; La Chienne, CannesClassics, 95 mins., Bunuel,Festival de Cannes; TheSalvation, Out of Competition,Denmark, 90 mins.,Salle du 60eme, Trustnordisk22:30 Gett, The Trial of VivianeAmsallem, Directors Fortnight,France, 115 mins., Arcades 1,Films Distribution; The Rover,Out of Competition,Australia, 102 mins., Lumiere,Filmnation Entertainment LLCTOMORROW MAY 198:30 Foxcatcher,Competition, USA, 130 mins.,Lumiere, Panorama Media/Annapurna; Gente de Bien,Critic’s Week, Colombia,90 mins., Miramar, EvidenciaFilms Y Producciones Ltda.9:00 Mange Tes Morts,Directors Fortnight, France,94 mins., Theatre Croisette,Capricci Films9:30 The Tale of thePrincess Kaguya, DirectorsFortnight, Japan, 137 mins.,Olympia 4, Wild Bunch;Tu Dors Nicole, DirectorsFortnight, Canada, 90 mins.,Riviera 4, Seville International9:45 In the Name of MyDaughter, Out of Competition,France, 120 mins., Olympia 6,Elle Driver; Turist, Un CertainRegard, Sweden, 120 mins.,Riviera 3, CoproductionOffice (Paris); White God,Un Certain Regard,Hungary, 119 mins., Olympia 5,The Match Factory10:00 Timbuktu,Competition, France, 100mins., Gray 1, Le Pacte11:00 A Girl at My Door, UnCertain Regard, Korea (South),119 mins., Debussy, CJ E&MCorporation/CJ Entertainment11:10 The Tribe, Critic’s Week,Ukraine, 130 mins., Riviera 4,Alpha Violet11:15 Girlhood, DirectorsFortnight, France, 112 mins.,Riviera 2, Films Distribution11:30 Hope, Critic’s Week,France, 91 mins., Lerins 1,Pyramide International;Refugiado, DirectorsFortnight, Argentina, 93 mins.,Arcades 1, Memento FilmsInternational (MFI); WhenAnimals Dream, Critic’s Week,Denmark, 84 mins., Miramar,Gaumont11:45 Cold in July, DirectorsFortnight, USA, 109 mins.,Theatre Croisette, MementoFilms International (MFI)THE HOLLYWOOD REPORTER 58

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MARKET SCREENING GUIDETHERE’S NO WAY OUTDANNY TREJOMISCHa BARTONANDREY CHERNYSHOVMICHAEL MADSENDANIEL BALDWINTODAY MAY 1800:00 The Incident, Mexico,104 mins., Star 1, Yellow Films00:30 The Salvation, Out OfCompetition, denmark, 90 mins.,Lumiere, Trustnordisk8:30 It Follows, Critic’s Week, USA,100 mins., Miramar, Visit Films; TheHomesman, Competition, USA, 120mins., Lumiere, Europacorp9:00 A Hard Day, Directors Fortnight,South Korea, 111 mins., TheatreCroisette, Showbox / Mediaplex, Inc.;National Gallery, Directors Fortnight,France, 174 mins., Palais G, Doc &Film International9:30 A Night in Old Mexico,Spain, 104 mins., Palais D, ImaginaInternational Sales; Bibi & Tina,Germany, 101 mins., Riviera 4, BetaCinema; Dawn Patrol, USA, 96 mins.,Gray 2, Red Sea Media Inc.; Fever,Luxembourg, 90 mins., Riviera 2,Eastwest Filmdistribution Gmbh;Iceman 3D, China, 100 mins., Lerins1, Easternlight Films; v, Belgium,86 mins., Palais B, Sick Screen;Moonwalking Distance, Italy, 84mins., Gray 4, Rai Trade; MorrocanGigolos, Belgium, 90 mins., PalaisF, Filmoption International; Outpost37, South Africa, 110 mins., Arcades 1,Altitude Film Sales; Violent, Canada,100 mins., Arcades 3, Media Darling;Searching for Sugar Man, 83 mins.,Star 1, Protagonist Pictures9:45 Casanova Variations, France,118 mins., Arcades 2, Alfama Films; TheMidnight After, Hong Kong, 124 mins.,Olympia 4, Fortissimo Films; WalkingWith the Enemy, USA, 126 mins.,Olympia 8, Koan Inc.mins., Riviera 3, Films Boutique;Nightlight, USA, 85 mins., Olympia2, Synchronicity Entertainment;Paranormal Island, USA, 82 mins.,Gray 3, Vmi Worldwide; Party Girl,Un Certain Regard, France, 95 mins.,Palais I, Pyramide International;Viktoria, Bulgaria, 155 mins., Gray 5,Bulgarian National Film Center11:00 Turist, Un Certain Regard,Sweden, 120 mins., debussy,Coproduction Office (Paris)11:30 A Separate Wind, Mexico, 100mins., Riviera 2, Mexican Film Institute(Imcine); Anita B., Italy, 88 mins.,Star 4, Adriana Chiesa Enterprises;Canada: Not Short on Talent,Canada, 110 mins., Palais F, TelefilmCanada; Fair Play, Czech Republic, 100mins., Gray 4, Intramovies; Fantasia,Un Certain Regard, China, 85 mins.,Lerins 1, Les Films Du Losange; Gentede Bien, Critic’s Week, Colombia,90 mins., Miramar, Evidencia Films YProducciones Ltda.; Love Is Strange,USA, 100 mins., Star 3, FortissimoFilms; Marie’s Story, France, 94 mins.,Arcades 3, Indie Sales; New ChineseFilm Talents Pitch Session, 110 mins.,Palais J, Champs Lis International Ltd.;Nordic Factory, Directors Fortnight,60 mins., Arcades 1, Quinzaine desRealisateurs; El Americano 3D: TheMovie, 15 mins., Riviera 1, FilmsharksInt’l ; Promo Reel Filmsharks, 15mins., Riviera 1, Filmsharks Int’l; SaintLaurent, Competition, France, 150mins., Salle Du 60Eme, Europacorp;Stereo, Germany, 95 mins., Riviera4, Beta Cinema; The Mystery ofHappiness, Argentina, 95 mins., PalaisD, Filmsharks Int’l; The Tree, Slovenia,90 mins., Palais H, Slovenian FilmCentre; Today, Iran, 87 mins., Palais B,Dreamlab FilmsMundial’s GuerosMemento Films International (MFI);Run, Un Certain Regard, France,100 mins., Olympia 1, Bac Films;Superchondriac, France, 107 mins.,Olympia 4, Pathe International (Fr);The Crocodile Of Botswanga,France, 88 mins., Palais C, FilmsDistribution; The Easy Way Out,France, 98 mins., Olympia 6, Be ForFilms; The Homesman, Competition,USA, 120 mins., Lumiere, Europacorp;The Night, 95 mins., Riviera 3,Coproduction Office (Paris); Trapped,France, 100 mins., Gray 3, Other AnglePictures; You’re Not You, USA, 103mins., Olympia 2, Myriad Pictures12:45 Ratchet & Clank, Canada, 20mins., Lerins 2, Cinema ManagementGroup LLC13:00 Run, Un Certain Regard, France,100 mins., Bazin, Bac FilmsD I S T R I B U T I O N10:00 Ab Negative, United Kingdom,85 mins., Palais E, Jinga Films; Amongthe Living, France, 87 mins., Olympia3, Snd - Groupe M6; Ariane’s Thread,France, 90 mins., Olympia 6, FilmsDistribution; Ballet Boys, Norway,75 mins., Palais C, Wide House;Bodybuilder, France, 100 mins.,Olympia 5, Wild Bunch; Coming In,Germany, 104 mins., Lerins 2, GlobalScreen Gmbh; Gazelles, France,100 mins., Gray 1, Other AnglePictures; Insecure, Acid, France,83 mins., Riviera 1, UDI - UrbanDistribution International; Maestro,84 mins., Olympia 1, Rezo; Next toHer, Directors Fortnight, Israel, 9012:00 Big in Japan, USA, 99 mins.,Olympia 9, Outsider Pictures;Blood Moon, United Kingdom, 90mins., Palais E, Jinga Films; FrenchDolls, France, 95 mins., Olympia 5,Wild Bunch; Harvest, France, 90mins., Gray 1, Jour2fete; Illusion,Germany, 93 mins., Palais G, WtpInternational Gmbh; Kelly & Cal,USA, 107 mins., Olympia 3, ElectricEntertainment; Monument toMichael Jackson, Serbia, 95 mins.,Palais K, Films Boutique; Ratchet& Clank, Canada, 20 mins., Lerins2, Cinema Management Group LLC;Refugiado, Directors Fortnight,Argentina, 93 mins., Theatre Croisette,13:30 Bullet, USA, 90 mins., Star 4, ScFilms International; Dark Awakening,USA, 95 mins., Palais D, The LittleFilm Company; Dinosaur 13, USA,105 mins., Palais H, Dogwoof; GlobalPlayer, Germany, 95 mins., Riviera4, Beta Cinema; Hooked Up, Spain,78 mins., Arcades 3, Raven BannerEntertainment; Kingdom of Dreamsand Madness, 120 mins., Star 3, WildBunch; Patchwork Family, France,90 mins., Riviera 2, Films Boutique;Romanian Short Waves, Romania,103 mins., Palais F, Short Film Corner;Showrunners, 90 mins., Gray 4,Submarine Entertainment; SoulBoys of the Western World, United

Kingdom, 103 mins., Arcades 1,Metro International Entertainment;Standby, Ireland, 83 mins., Gray 2,Magnolia Pictures & Magnet Releasing;The Great Hypnotist, China, 100mins., Palais J, Wanda Media Co.,Ltd; Timbuktu, Competition, France,100 mins., Lerins 1, Le Pacte; Tragedy,Iran, 107 mins., Palais B, FarabiCinema Foundation13:45 White God, Un CertainRegard, Hungary, 119 mins., Star 1,The Match Factory14:00 A Cry From Within, USA, 94mins., Lerins 2, 7 & 7 Producers’ SalesService Ltd.; Another Me, 86 mins.,Arcades 2, Fortissimo Films; Banana,Italy, 90 mins., Palais E, PremiumFilms; Beautiful Youth, Un CertainRegard, Spain, 106 mins., Debussy,Ndm; Catch Me Daddy, DirectorsFortnight, United Kingdom, 110 mins.,Olympia 1, Altitude Film Sales; DarkSummer, USA, 90 mins., Olympia 7,Content Media Corporation; FlowerAnd Snake: Zero, Japan, 113 mins.,Palais C, Toei Company, Ltd; Get WellSoon, France, 110 mins., Olympia 4, Snd- Groupe M6; Gett, The Trial of VivianeAmsallem, Directors Fortnight, France,115 mins., Riviera 1, Films Distribution;It Follows, Critic’s Week, USA, 100mins., Palais I, Visit Films; My Summerin Provence, France, 105 mins., Star 2,Gaumont; Noble, Ireland, 100 mins.,Olympia 3, Continental Media; Out ofInferno 3D, Hong Kong, 106 mins.,Olympia 6, Universe Films DistributionCo. Ltd; Rules of the Game, Acid,France, 106 mins., Riviera 3, Doc & FilmInternational; Stones for The Rampart,Poland, 112 mins., Gray 1, Picture TreeInternational Gmbh; Supernova,Netherlands, 102 mins., Palais G, Wide;Syrup, USA, 95 mins., Gray 5, T Films;The Last Impresario, Australia, 86mins., Gray 3, Dogwoof14:30 Wild Tales, Competition,Spain, 122 mins., Salle Du 60Eme,Film Factory Entertainment15:00 Breathe, Critic’s Week, France,91 mins., Miramar, Gaumont; LesCombattants, Directors Fortnight,France, 98 mins., Theatre Croisette, BacFilms; Les Montagnes Bleues, CannesClassics, 91 mins., Bunuel, FestivalDe Cannes; The Disappearance ofEleanor Rigby: Him & Her, USA, 119mins., Bazin, Myriad Pictures15:30 Amour Fou, Un CertainRegard, Austria, 96 mins., Riviera 2,Coproduction Office (Paris); CuatroLunas, Mexico, 95 mins., Palais F,Habanero; Gueros, Mexico, 106 mins.,Palais J, Mundial; Little Buddho,95 mins., Star 4, Film Center Serbia;Miraculum, Canada, 109 mins.,Arcades 3, Item 7 Inc.; On The Wingsof Imagination, Iran, 100 mins., PalaisB, Visual Media Institute; Parasyte Part1, Japan, 120 mins., Lerins 1, Toho Co.,Ltd.; Shirin In Love, USA, 104 mins.,Palais D, Vision Films; The Vineyard,Chile, 106 mins., Palais H, Devilworks;The Whole Shebang, Germany, 124mins., Riviera 4, Arri Worldsales; TwoStep, USA, 90 mins., Gray 2, FilmsBoutique; Volantín Cortao, Chile, 76mins., Gray 4, Latido15:40 In The Courtyard, France,97 mins., Star 3, Wild Bunch15:45 Les Ponts de Sarajevo, Out OfCompetition, 114 mins., Arcades 2,Festival De Cannes16:00 Aibou: The Movie 3, Japan,114 mins., Palais C, Toei Company,Ltd.; Dead Snow 2: Red Vs. Dead,Norway, 105 mins., Star 2, ElleDriver; International Financing forDocumentaries, France, 120 mins.,Palais I, Marche Du Film; Marseille,France, 90 mins., Olympia 4, Snd -Groupe M6; November Man, USA,108 mins., Olympia 5, The SolutionEntertainment Group; On Any Sunday,USA, 90 mins., Palais G, Red Bull MediaHouse; Plastic, United Kingdom, 93mins., Lerins 2, Cinema ManagementSIGHTS OF DEATHFIGHT. SURVIVE. KILLDANNY GLOVERDARYL HANNAHRUTGER HAUERMICHAEL MADSENSTEPHEN BALDWIND I S T R I B U T I O NVISIT US AT THE GRAND HOTEL, ALBATROS, 2ND FLOOR, APARTMENT 21C A N N E SWWW.AMBIDISTRIBUTION.COM

MARKET SCREENING GUIDETHERE’S NO WAY OUTDANNY TREJOMISCHa BARTONANDREY CHERNYSHOVMICHAEL MADSENDANIEL BALDWINGroup LLC; Rudderless, USA,3 mins., Gray 1, Radiant FilmsInternational; Save Oz!, Mexico,90 mins., Palais E, Filmsharks Int’l;Serial (Bad) Weddings, France, 98mins., Olympia 1, Tf1 International;That Lovely Girl, Un Certain Regard,Israel, 97 mins., Gray 3, Other AnglePictures; The Garden Of Words,Japan, 46 mins., Gray 5, Viz MediaEurope; The Guest, USA, 99 mins.,Olympia 7, Hanway Films; Top Dog,United Kingdom, 102 mins., Olympia6, Manifest Film Sales; Wild Canaries,USA, 98 mins., Olympia 3, CelluloidDreams / Nightmares16:15 The Dark Valley, Austria, 105mins., Riviera 1, Films Distribution16:30 Jauja, Un Certain Regard,Argentina, 108 mins., Debussy, Ndm;Le Meraviglie, Competition, Italy, 110mins., Lumiere, The Match Factory;The Eternal Zero, Japan, 144 mins.,Lerins 1, Toho Co., Ltd.17:00 Gente de Bien, Critic’s Week,Colombia, 90 mins., Miramar,Evidencia Films Y Producciones Ltda.;On Any Sunday, USA, 90 mins., PalaisG, Red Bull Media House; The Gardenof Words, Japan, 46 mins., Gray 5, VizMedia Europe17:30 A Hard Day, Directors Fortnight,South Korea, 111 mins., TheatreCroisette, Showbox / Mediaplex, Inc.;Ablations, France, 93 mins., Star4, Funny Balloons; Fievre, France,85 mins., Palais F, Reel Suspects;Hirngespinster, Germany, 100 mins.,Gray 2, Global Screen Gmbh; LesViolons Du Bal, Cannes Classics, 104mins., Bunuel, Festival De Cannes;Merry-Go-Round, Poland, 92 mins.,Gray 4, Filmexport Group; PiranhaSharks, USA, 100 mins., Riviera 2, RedSea Media Inc.; Song for a Landscapeof Dreams, Switzerland, 82 mins.,Palais H, New World Cinemas, Inc;Stranger, Iran, 90 mins., Palais B,Visual Media Institute; The 100-Year-Old Man Who Climbed out of TheWindow and Disappeared, Sweden,115 mins., Arcades 1, Studiocanal;Three Night Stand, Canada, 92 mins.,Arcades 3, Myriad Pictures; WhiteGod, Un Certain Regard, Hungary, 119mins., Bazin, The Match Factory; YouAre Not Alone, USA, 115 mins., PalaisD, Dc Medias17:45 Pinocchio, Germany, 100 mins.,Riviera 4, Global Screen Gmbh18:00 Bad Hair, Venezuela, 93 mins.,Palais G, Centro Nacional AutonomoDe Cinematografia; Ghost Rituals,China, 85 mins., Lerins 2, DarclightFilms; Hamlet’s Ghost, USA, 85 mins.,Palais E, Swimming Wings ProductionsInc; Hector and the Search forHappiness, Canada, 118 mins.,Olympia 8, Bankside Films; Hellion,USA, 94 mins., Gray 3, Vmi Worldwide;In the Name of My Daughter, OutOf Competition, France, 120 mins.,Olympia 5, Elle Driver; Kamasutra3D, India, 100 mins., Olympia 6, GjEntertainments Mfze; Le Meraviglie,Competition, Italy, 110 mins., Olympia1, The Match Factory; Pretty Rosebud,USA, 82 mins., Gray 5, WonderphilEntertainment; Red Army, Out OfCompetition, USA, 85 mins., Star1, Wild Bunch; Roseville, Bulgaria,120 mins., Palais I, Wide; The First,USA, 90 mins., Riviera 3, StripedEntertainment; The Last 5 Years, USA,94 mins., Olympia 4, The Exchange;The Magic Aster, China, 99 mins.,Palais K, Shanghai Animation FilmStudio; Track 143, Iran, 95 mins.,Palais C, Irib Media Trade; What Wedid on Our Holiday, United Kingdom,96 mins., Olympia 7, Independent;Wind of Change, France, 96 mins.,Olympia 3, Tf1 International18:30 Wolfy, The Incredible Secret,France, 80 mins., Riviera 1, FilmsDistribution19:30 The Homesman,Competition, USA, 120 mins.,Lumiere, Europacorp; West,Germany, 102 mins., Riviera 4,Picture Tree International Gmbh19:45 The Owners, Out OfCompetition, Kazakstan, 93 mins.,Salle Du 60Eme, UDI - UrbanDistribution International20:00 3Am (3D), Thailand, 96mins., Palais J, Five Star Production(Thailand); 4 Minute Mile, USA,96 mins., Palais B, Double DutchInternational; Brooklyn, Acid, France,83 mins., Arcades 1, Acid; Committed,Cyprus, 90 mins., Gray 5, WonderphilEntertainment; Extraterrestrial,Canada, 104 mins., Star 4, CargoEntertainment; Finding Fela, USA,119 mins., Palais H, Dogwoof; God’sNot Dead, USA, 112 mins., Star 3, PureFlix Entertainment; Killers, Japan,137 mins., Palais D, XYZ Films; La Viede Chateau, Cannes Classics, 90mins., Bunuel, Festival De Cannes;Programme Court- Metrages, Critic’sWeek, 140 mins., Miramar, SemaineDe La Critique; Sming, Thailand, 105mins., Lerins 1, M Thirtynine Co., Ltd;The Elephant Village, Thailand, 25mins., Riviera 2, Urbanice Co., Ltd.;The Heart of Bruno Wizard, Norway,100 mins., Palais F, Virgil Films AndEntertainment20:15 Next Generation ShortTiger 2014, Germany, 110 mins.,Star 2, German Films Service &Marketing GmbhD I S T R I B U T I O NFilmsharks Int’l’sOf Horses and Men20:30 A Little Heart of Muaythai,Thailand, 25 mins., Riviera 2, UrbaniceCo., Ltd.; Refugiado, DirectorsFortnight, Argentina, 93 mins.,Theatre Croisette, Memento FilmsInternational (MFI); Say “I Love You,”Japan, 103 mins., Palais G, Shochiku

Co., Ltd; Sotto Voce, Morocco, 93mins., Palais K, New Tree Productions;Summer Of Blood, USA, 86 mins.,Palais C, New Europe Film Sales; TheDesert, Argentina, 98 mins., PalaisE, Curator Films; The Physician,Germany, 150 mins., Arcades 3, BetaCinema; The Woods Are Still Green,Austria, 107 mins., Palais I, ArtdeluxeGmbh; Wild Tales, Competition,Spain, 122 mins., Olympia 6, FilmFactory Entertainment22:00 Beautiful Youth, Un CertainRegard, Spain, 106 mins., Debussy,NDM; Dragon Nest, China, 100 mins.,Olympia 5, All Rights EntertainmentLimited; Gente de Bien, Critic’sWeek, Colombia, 90 mins., Miramar,Evidencia Films Y Producciones Ltda.;La Chienne, Cannes Classics, 95mins., Bunuel, Festival De Cannes;The Salvation, Out Of Competition,Denmark, 90 mins., Salle Du 60Eme, Trustnordisk22:30 Gett, The Trial of VivianeAmsallem, Directors Fortnight, France,115 mins., Arcades 1, Films Distribution;The Rover, Out Of Competition,Australia, 102 mins., Lumiere,Filmnation Entertainment LLC22:45 Dragon Nest, China,100 mins., Olympia 5, All RightsEntertainment Limited23:15 Dragon Nest, China,100 mins., Olympia 5, All RightsEntertainment LimitedMONDAY MAY 1900:00 Fallen Cape, Spain, 88 mins.,Star 1, Magno Entertainment Sl;George A. Romero’s “Dawn of theDead” 3-D, USA, 128 mins., Star 2,New Amsterdam Entertainment, Inc.8:30 Foxcatcher, Competition, USA,130 Mins., Lumiere, Panorama Media/Annapurna; Gente de Bien, Critic’sWeek, Colombia, 90 Mins., Miramar,Evidencia Films Y Producciones Ltda.;Song One, USA, 90 Mins., Palais C,Lotus Entertainment9:00 Halfway, Belgium, 90 Mins.,Palais H, Films Boutique; Mange TesMorts, Directors Fortnight, France, 94Mins., Theatre Croisette, Capricci Films9:15 Casanova Variations, France, 118Mins., Arcades 1, Alfama Films; RockPaper Scissors, Canada, 117 Mins.,Palais F, Filmoption International9:30 A Dark Reflection, UnitedKingdom, 110 Mins., Palais J, FactNot Fiction Films; Ghadi, Lebanon,100 Mins., Star 4, Fortissimo Films;Innenkind, Germany, 75 Mins.,Arcades 3, Sakura FilmproduktionE.k.; Kingston Paradise, Jamaica,84 Mins., Palais D, California Pictures,Inc.; Lindenfeld, Romania, 95 Mins.,Palais B, Romanian Film Centre; Mr. X,71 Mins., Riviera 2, Films Distribution;Piranha Sharks, USA, 100 Mins.,Gray 4, Red Sea Media Inc.; PleasureIsland, United Kingdom, 98 Mins., Gray2, Achilles Entertainments; The Taleof the Princess Kaguya, DirectorsFortnight, Japan, 137 Mins., Olympia 4,Wild Bunch; Tu Dors Nicole, DirectorsFortnight, Canada, 90 Mins., Riviera 4,Seville International9:45 In the Name of My Daughter,Out Of Competition, France, 120Mins., Olympia 6, Elle Driver; Turist,Un Certain Regard, Sweden, 120Mins., Riviera 3, Coproduction Office(Paris); White God, Un Certain Regard,Hungary, 119 Mins., Olympia 5, TheMatch Factory10:00 Beijing, New York, China, 110Mins., Lerins 2, Easternlight Films;Children 404, Russia, 76 Mins., PalaisC, Rise And Shine World Sales; ClubSandwich, Mexico, 82 Mins., Olympia7, Funny Balloons; Filmage: The Storyof the Descendents / All, USA, 90Mins., Gray 5, Vmi Worldwide; La Tirisia,Mexico, 110 Mins., Riviera 1, Media LunaNew Films Ug; Mexico’s Most Wanted(El Charro Misterioso), Mexico, 100Mins., Palais K, Mundial; Of Horsesand Men, Iceland, 85 Mins., Palais E,Filmsharks Int’l; Paranormal Bad Trip3D, France, 72 Mins., Palais I, ArtusFilms; Pulp, United Kingdom, 93 Mins.,Arcades 2, Altitude Film Sales; The NewRijksmuseum - Feature, Netherlands,54 Mins., Gray 3, Autlook Filmsales;Timbuktu, Competition, France, 100Mins., Gray 1, Le Pacte11:00 A Girl at My Door, Un CertainRegard, South Korea, 119 Mins.,Debussy, CJ E&M Corporation / CJEntertainment11:10 The Tribe, Critic’s Week, Ukraine,130 Mins., Riviera 4, Alpha Violet11:15 Fack Ju Goehte, Germany,119 Mins., Arcades 3, Picture TreeInternational Gmbh; Girlhood,Directors Fortnight, France, 112 Mins.,Riviera 2, Films DistributionSIGHTS OF DEATHFIGHT. SURVIVE. KILLDANNY GLOVERDARYL HANNAHRUTGER HAUERMICHAEL MADSENSTEPHEN BALDWIND I S T R I B U T I O NVISIT US AT THE GRAND HOTEL, ALBATROS, 2ND FLOOR, APARTMENT 21C A N N E SWWW.AMBIDISTRIBUTION.COM

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8 Decades of The Hollywood ReporterThe most glamorous and memorable moments from a storied historyFrom left: Lelouch, his starsTrintignant and Aimee, andAimee’s then-husband PierreBarouh (also the writer of thefilm’s theme song) celebratedtheir Palme d’Or in 1966.For Claude Lelouch, the 1966Palme d’Or Was His Golden TicketMAY 1966 KICKEDoff what would be11 exceptionallygood months fordirector Claude Lelouch, startingwith a Palme d’Or at age 28for his love story A Man and aWoman, starring Anouk Aimeeand Jean-Louis Trintignantand made for $125,000. In shortorder, it racked up a flurry ofnominations and wins on theawards circuit, including twoGolden Globes and a BAFTA, aspree that culminated with twoAcademy Awards in April 1967,for best screenplay and foreignfilm. The film grossed $14 million($99 million today) in theUnited States alone. “Since thatwin at Cannes, I’ve been a freefilmmaker,” Lelouch, now 76,told The Hollywood Reporter duringan April visit to Los Angelesfor the COLCOA Film Festivalcelebrating French cinema. “Itafforded me freedom. I’ve beenable to make 40 films any way Iwanted to.” Asked if his seventhfilm’s success did more thanmake him financially independent,the writer-director said,THE HOLLYWOOD REPORTER 68“The night it won at CannesI started to believe in God.Now I’m a big believer,” thenlaughed. Though his filmsshared some characteristicswith the New Wave movement(shooting on location, hand-heldcameras, improvised dialogue),Lelouch was not a fan of whatwas then the dominant forcein French filmmaking. “I don’tlike French cinema and I’vesaid so,” he wrote in 1967. “It’srun by cliques.” Now he says he“always loved French cinema,”but what he specifically didn’tlike was the New Wave. “From1895 to now, cinema has beena complicated thing, which ispart of its charm.” Lelouch’slatest film, We Love You, YouBastard, described by THR as“an unwieldy family drama withflashes of energy and a totallyincredulous third act,” had itsU.S. release April 3. — BILL HIGGINSFRANCOIS PAGES/PARIS MATCH VIA GETTY IMAGES

part one*Since 2000, European Film Promotion (EFP)has been offering support and guidanceto European producers during the CannesInternational Film Festival. This year, themembers of EFP have chosen 24 outstandingup-and-coming producers from 24 Europeancountries to participate in the networkingplatform PRODUCERS ON THE MOVE. A highlyfocused working environment involvesproject pitching, one-to-one meetings andsocial events.ELODIE BRUNNER SWITZERLANDBox ProductionsCH – 1020 Renensphone +41 21 312 64 11cell +41 76 458 99 67elodie.brunner@boxproductions.chwww.boxproductions.chselected filmsPause, release Fall 2014by Mathieu Urfer (Switzerland)Iranien, 2014by Mehran Tamadon (France, Switzerland)documentary, assistant producerPuppylove, 2013by Delphine Lehericey (Belgium, Switzerland, France,Luxembourg) co-producedAté ver a luz, 2013, by Basil da Cunha (Switzerland)Os vivos tambem choram, 2012by Basil da Cunha (Switzerland) shortHENNING KAMM GERMANYDETAiLFILMD – 20259 Hamburgphone +49 40 6094 0944cell +49 151 23 000 204kamm@detailfilm.dewww.detailfilm.deselected filmsMahan, 2015, in developmentby Mohammad RasoulofPraia do Futuro, 2014by Karim Ainouz (Brazil, Germany)co-producedKuzu – The Lamb, 2014by Kutlug Ataman (Turkey, Germany)The Special Need, 2013by Carlo Zoratti (Germany, Italy) documentarySharqia, 2012by Ami Livne (Israel, France, Germany) co-producedTERÉZ HOLLO-KLAUSEN NORWAYAnna Kron FilmN – 4014 Stavangercell +47 913 16 75terez@hollo.noselected filmsDryads, 2014, in preproductionby Sten Hellevig (Norway)It’s Only Make Believe, 2013by Arild Østin Ommumdsen (Norway)executive produced through ChezvilleCasper And Emma – Best Friends, 2012by Arne Lindtner Næss (Norway)produced through Cinenord KidstoryTotally True Love, 2011by Anne Sewitsky (Norway, Germany)produced through Cinenord KidstoryOGNEN ANTOV MACEDONIADream Factory MacedoniaMK – 1000 Skopjephone +389 2 311 1125cell +389 70 255 888ognenantov@gmail.comhttp://dfm.mkselected filmsMonument To Michael Jackson, 2014, in postproductionby Darko Lungulov (FYR of Macedonia, Serbia, Germany)co-producerNot An Ordinary Monday, 2014by Andy Deliana (Albania, USA, FYR of Macedonia) co-prod.Mission London, 2012by Dimitar Mitovski (Bulgaria, UK, Hungary, FYRof Macedonia, Sweden) co-producedPunk Is Not Dead, 2012by Vladimir Blazevski (FYR of Macedonia)associate producedDAVID BIJKER THE NETHERLANDSBijker Film & TVNL – 1031 EK Amsterdamphone +31 20 22 60 100cell +31 65 57 98 167david@bijker.tvwww.bijker.tvselected filmsSuperteacher!, 2015, in developmentby Remy van Heugten (Netherlands, Belgium, Germany)Falko – Letter Of Fire, 2015, in preproductionby Dennis Bots(Netherlands, Germany, Belgium)The Sword Of D’Artagnan, 2014by Dennis Bots (Netherlands, Germany)Secrets Of War, 2012by Dennis Bots (Netherlands, Belgium, Luxembourg)Cool Kids Don’t Cry, 2011by Dennis Bots (Netherlands, Belgium)MIKOŁAJ POKROMSKI POLANDPokromski StudioPL – 00-513 Warsawphone +48 22 115 33 73cell +48 502 587 387mikolaj@pokromskistudio.plwww.pokromskistudio.plselected filmsMarie Curie, 2014, in developmentby Marie Noelle (Poland, Germany, France)Ethiopiques, in developmentby Maciej Bochniak (Poland)documentaryWhale From Lorino, in developmentby Maciej Cuske (Poland) documentaryFuck For Forest, 2012by Michał Marczak (Poland, Germany) documentaryWinter Daughter, 2011by Johannes Schmid (Germany, Poland) co-produced

VANJA JAMBROVIĆ CROATIARestartHR – 10 000 Zagrebphone +385 1 5573 860cell +385 91 8930 675vanja@restarted.hrwww.restarted.hrselected filmsGangster Of Love, 2013by Nebojša Slijepčević (Croatia, Germany, Romania)documentaryBoxed, 2013by Nebojša Slijepčević (Croatia) shortMama Europa, 2013by Petra Seliškar (Slovenia, Macedonia, Croatia)documentary, co-executive producedThe Blockade, 2012by Igor Bezinović (Croatia) documentary, assistantproducerNUNO BERNARDO PORTUGALbeActive EntertainmentP – 1000-138 Lisbonphone +351 21 3100142nuno@beactivemedia.comwww.beactivemedia.comselected filmsGet Happy, in developmentby Paul O‘Rourke, Pat Connolly, Nuno Bernardo(Ireland, Portugal)Road To Revolution, 2014by Dânia Lucas (Portugal) documentaryCollider, 2013, by Jason Butler(Ireland, Portugal)Beat Girl, 2013by Mairtín de Barra (UK, Ireland, Portugal)The Knot, 2012by Jesse Lawrence (UK, Portugal) co-producedMÁTYÁS PRIKLER SLOVAK REPUBLICMPhilmsSK – 83152 Bratislavacell +421 904 674 408mphilms@mphilms.skwww.mphilms.skselected filmsWithout Guardian Angels, in developmentby Róbert Lakatos (Slovak Republic, Romania, Hungary)Mirage, 2014, in postproductionby Szabolcs Hajdu (Hungary, Slovak Republic)co-producerChildren, 2014, in postproductionby Jaro Vojtek (Slovak Republic)Slovakia 2.0, 2014by ten Slovak directors (Slovak Republic) omnibus filmFine, Thanks, 2013by Mátyás Prikler (Slovak Republic)MARTA VELASCO SPAINÁralan FilmsE – 41015 Sevillaphone +34 955 45 2590cell +34 676 02 87 57marta@aralanfilms.comwww.aralanfilms.comselected filmsWhen Angels Sleep, in developmentCranberry Sauce, in developmentby Patricia Ferreira (Spain, France)Innocent Killers, 2014, in postproductionby Gonzalo Bendala (Spain)The Extraordinary Tale, 2013by José F. Ortuño and Laura Alvea (Spain)Me, Myself And Mum, 2012 by Guillaume Galliene(France, Belgium, Spain) co-executive producedThe Wild Ones, 2012by Patricia Ferreira (Spain)PETTER LINDBLAD SWEDEN© Morten HultumSnowcloud Films ABSE – 118 27 Stockholmcell +46 733 321 600petter.lindblad@snowcloud.sewww.snowcloud.seselected filmsThe Golden Horse, 2014, in postproductionby Reinis Kalnaellis & Valentas Askinis (Lithuania, Latvia,Luxembourg, Denmark) co-producerBeyond Beyond, 2014by Esben Toft Jacobsen (Sweden, Denmark) animationThe Great Bear, 2011by Esben Toft Jacobsen (Denmark) animationThe Apple & The Worm, 2009by Anders Morgenthaler, Mads Juul & Josef Fares(Denmark, Sweden) animationTRISTAN GOLIGHER UNITED KINGDOMThe Bureau Film CompanyUK – London W1B 5DWphone +44 20 7439 8257cell +44 7779 307252tg@thebureau.co.ukwww.thebureau.co.ukselected films45 Years, in productionby Andrew Haigh (UK)The Goob (part of iFeatures2), 2014, in postproductionby Guy Myhill (UK)executive producerNorfolk (part of iFeatures2), 2014, in postproductionby Martin Radich (UK), executive producerLe Capital, 2012by Costa Gavras (France, UK) co-producedWeekend, 2011by Andrew Haigh (UK)contact in Cannes+49 160 440 9595European Film PromotionFriedensallee 14 – 1622765 Hamburg, Germanyinfo@efp-online.com* part two on May 18Denmark Eva Jakobsen, Ireland John Keville, Bulgaria Maya Vitkova, France Mathias Rubin, Finland Mark Lwoff, Georgia Tinatin Kajrishvili, Greece KonstantinosKontovrakis, Italy Olivia Musini, Czech Republic Tomáš Hrubỳ, Hungary Eszter Gyárfás, Montenegro Ivan Djurović, Iceland Árni FilippussonParticipating EFP members: British Council, Bulgarian National Film Centre, Croatian Audiovisual Centre, Czech Film Center, Danish Film Institute, EYE International/The Netherlands, Finnish Film Foundation, Georgian National Film Center, German Films, Greek Film Centre, ICA I.P. /Portugal, ICAA/Spain, Icelandic Fim Centre, Irish FilmBoard, Istituto Luce-Cinecittà/Italy, Macedonian Film Agency, Magyar Filmunió/Hungarian National Film Fund, Ministry of Culture of Montenegro, Norwegian FilmInstitute, Polish Film Institute, Slovak Film Institute, Swedish Film Institute, Swiss Films, Unifrance filmsEFP is supported byproject partnerswww.efp-online.com