from Cannes - The Hollywood Reporter
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from Cannes - The Hollywood Reporter

ParklandPicsHC_D5_05_18_08 5/14/08 5:32 PM Page 1day5dailythe> from CannesSunday,May 18,2008PARKLAND PICTURES PRESENTSStarringHugo WeavingRose ByrneMatt Le NevezDirected & Written byJonathan OgilvieStarringGary StretchStephen ReaVinnie JonesShannyn SossamonDirected & Written byMarcus WarrenStarringBrian CoxLauren BacallJames FoxDirected byRobert YoungWritten byHugh JanesStarringIsabelle HuppertGreta ScacchiMélanie LaurentOlivier GourmetDirected byAlessandro CaponeWritten byLuca D'Alisera &Alessandro CaponeIn Cannes at Lerins R1 c/o The Little Film Company +33 4 92 99 88 22John Cairns +44 787 262 7911 • john@parklandpictures.comIvo Fiorenza +44 795 836 7159 •

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day5_p1,60_news_b 5/17/08 8:41 PM Page 1day5q&awith Matteo GarroneSee page 8dailythe> from CannesSundayMay 182008THR.comHigh finance: WMAbows $100 mil fundBy Steven Zeitchikand Gregg GoldsteinWilliam Morris isjumping into thefilm fund game,joining with media-financierScreen Media Internationalfor a $100 millionproduction and financingentity called IncentiveFilmed Entertainment.The fund will be run separatelyfrom WMA via anindependent board. WMI,the agency’s independentdivision, will package filmsfor the fund and rep boththe entity and its movies.J.P. Morgan is taking thelead in providing capital,with film financier Aramidand private investors alsoproviding funds.Conceived a year ago,before the tightening creditcrunch, the fund givesWMA a new, ready pool offunds for its projects and avenue for talent, which willWMA continues on page 60WHAT’S INSIDE>Digest. PAGE 6>Reviews. PAGE 13, 14, 16, 50>“Gomorra” review.PAGE 64>Screening Guide. PAGE 20>Party Line. PAGE 48>About Town. PAGE 62SPECIAL REPORTLatinAmericaPAGE 29Bullish Euros make a runBy Scott Roxboroughand Stuart KempAll the Cannes buyerswant “Fame,” but“Fame” costs and thisis where they startpaying.Lakeshore’s musical adaptationof the 1980s TV seriesabout students at New York’sAcademy of Performing ArtsBy Charles Mastersand Stuart KempWhat will they do in thewake of New Line’s disappearance?The absorption of the highpoweredlabel into the WarnerOLÉ!: Penelope Cruz bravesthe rain for Saturday’s galapremiere of Woody Allen’s“Vicky Cristina Barcelona.”has sparked bidding wars acrossseveral territories.Deals were close acrossEurope, with Metropolitan inFrance and Universum in Germanyamong the local buyerstipped to grab the title.Buoyed by a strong euro,Continental distributors havebeen the most aggressive so farfor U.S. indie titles here, withMid-market continues on page 60With New Line gone, distribs look for new sources“There have been a lotof very enthusiasticbuyers. I was expectinga continuation of whathappened in Torontoand Sundance, but it’sbeen crushing.”— Keith Kjarval,Unified PicturesBros. fold is triggering a radicalshake-up among foreign distributorswho had output dealswith the mini-major.Down the road, WarnersInternational will take over distributionof major New Linetitles, but first existing arrangements— whether film-by-filmpacts or overall output deals —have to run their course.“We all want to know what’sgoing to happen,” muttered aninsider at Italian distributorMedusa, which released theNew Line continues on page 60‘Vicky Cristina Barcelona’By Kirk HoneycuttIf Woody Allen’s geographical REVIEWshift from Manhattan toLondon caused some to see a more seriousand philosophical side to him, his progression toBarcelona for “Vicky Cristina Barcelona” may,for others, represent a welcome return to theneurotic, impetuous romances of his “AnnieHall” and “Manhattan” and even his “Husbandsand Wives” periods. Not that “Vicky” is in thecategory of those Allen classics. But he is nottaking himself too seriously here and he is notimposing a story on a foreign city with scantregard for its culture. Boxoffice results shouldfollow the usual pattern with Allen’s more successfulcomedies.Barcelona and Spanish culture is integral to thestorytelling in “Vicky.” Which is not to say Allenisn’t functioning as a well-informed tourist.“Vicky Cristina” on page 56

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day5_p8_Garrone_b 5/17/08 4:49 PM Page 8q&, May 18, 2008 | day 5atteo Garrone’s Rome loft is dominated by two oversizedMpaintings he made, dating back to his early career as an artist.And though the 39-year-old director says he has not seriouslypicked up a paintbrush in nearly a decade and a half — “At a certainpoint I had to decide between painting and cinema, and I chosecinema,” he says — the influence of art over his cinema career isapparent. Garrone says that he looks at film as telling a storythrough a series of images rather than a series of events or dialogue,and the studio within the apartment still includes a 15-footwidepanel with about a hundred photos from In Competition title“Gomorra” tacked to it, color-coded for each of the six stories intertwinedwithin the film. Garrone sat down with The HollywoodReporter’s Eric J. Lyman to discuss the film and the festival.THE HOLLYWOOD REPORTER:How does the importance of seeinga film as an artist reveal itselfin your work?MATTEO GARRONE: One thing isthat I think I tend to use a fixedcamera rather than one thatmoves around a lot. I don’t wantpeople to be aware of the devicesfilmmakers have at their disposal.I don’t want them to thinkabout what I can do as a director.I’m much more interested intheir becoming part of the story,like an extra person who happensto be standing there.THR: What appealed to you aboutthis project?GARRONE: The images!(Laughs) No, really, it’s just agreat story. I’ve read a fair bitabout organized crime in Italy,but when I read the book it reallychanged the way I looked at thevital statsMatteo GarroneNationality: ItalianBorn: Oct. 15, 1968Festival Entry: “Gomorra,” InCompetitionSelected Filmography: “PrimoAmore” (2004), “L’ Imbalsamatore”(2002), “EstateRomana” (2000), “Ospiti”(1998), “Terra di Mezzo” (1996)Notable Awards: Bestdirector/film David di Donatellonominations, Berlin Golden Bearnom for “Primo Amore” (2004);Venice Film Festival FEDIC awardfor “Ospiti” (1998); TorinoInternational Festival of YoungCinema’s Cipputi prize for “Terra diMezzo” (1996).Camorra (Naples’ version of theMafia), the way it looks at thestory from the inside. I discovereda reality I never knewabout, something that was takingplace as I read about it only200 kilometers (124 miles) away.But I also knew immediatelythat it would make a great moviebecause I could easily see thestory being told in images.THR: There is no shortage of filmsmade about organized crime.What makes this story particularlyinteresting?GARRONE: There’s no point inmaking another film aboutorganized crime — or about anysubject — unless it does somethinginteresting. There’s nopoint in re-telling a story that’salready been told many times.But there’s no doubt that thisfilm is original. Beyond that, Ithink a good story about a grouplike the Camorra resonatesbecause it touches on universalthemes like war, death, friendship,loyalty, love. From oneperspective, it’s about organizedcrime. But from another it’sabout the human condition.THR: When the book was releasedin 2006, it was a huge bestseller.What are the advantages and disadvantagesof making a film froma story so many people arealready familiar with?GARRONE: I don’t see any disadvantagesat all. People who haveread the book are familiar withthe stories, but this book is complexenough that a hundred filmscould be made from it. Peoplewho loved the book will notknow which aspects were pickedfor the film, and that eliminatesany element of predictability.Another big advantage is thateveryone already knows the bookand so there’s an automatic buzzabout the film it inspired.THR: Did Roberto Saviano (thebook’s author) have any issuewith leaving large parts of thebook out of the movie?GARRONE: Not at all. We bothagreed on how to do it from thebeginning. To try to tell the wholestory of the book would be tomake a report for television, not afilm. This film has its roots in theItalian style of neo-realism. Itstarts with reality but then transformsit into a narrative.THR: Some critics in Italy have saidthat between “Gamorra” andPaolo Sorrentino’s “Il Divo” (the InCompetition title about controversialpolitical figure Giulio Andreotti)the Italian selections combineto show the negative side of Italy.Do you think that’s correct?GARRONE: I really think that’s acoincidence. It’s not like we gottogether and agreed to look atItaly from a certain perspectivethis year. I think good films tendto reflect the current reality andI think “Gamorra” does that andI would guess “Il Divo” doesthat, and I suppose it’s possiblethat that says something aboutthe way Italy is evolving. Butthere are many different ways toapproach that reality. Next year,two different films may chooseapproaches that imply somethingmuch different.THR: What would you like peoplewho see the film to take awayfrom it?GARRONE: I think I would wantpeople to understand that thesethings are really happening. Didyou know someone is murderedin Naples every three days? It’sreal. But I would like people toalso understand that these peopleare regular people, not monsters.You and I could be doingthe same thing if we had beenborn into that situation. It’s acomplex set of points, muchmore complex than simple goodversus evil.For more Q&Awith MatteoGarrone, go to | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)8

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THE DEAD GIRL’S FEAST(A FESTA DA MENINA MORTA)Directed by: Matheus NachtergaeleFor the last 20 years, the people of a remote River Negro community celebrate the feast of the tragicDead Girl and flock to hear her words channelled through the mysterious “Saint” who lives among them.OFFICIAL SCREENINGS: May 21st 14:00 DebussyMay 22nd 17:00 BazinMay 22nd 18:15 Salle du 60emeMARKET SCREENINGS: May 18th 10:00 Olympia 3 (by invitation only)May 19th 12:00 Olympia 6 (by invitation only)FUJIAN BLUEDirected by: Robin WengThe Neon Knights - Amerika, Roppongi and their friends, so named because of the homes of theiremigré fathers — use their imported digital video-cameras to film wealthy remittance widows (leftbehind by their emigrant worker husbands) in trysts with their local lovers.SCREENINGS May 14th 18:00 Riviera 1May 18th 20:30 Arcades 3CIAO BELLADirected by: Mani Maserrat-Aghat.A passionate teenage encounter brings out drastic comic situations around ethic stereotypes andsexual peer pressure.SCREENINGS May 14th 16:00 Lerins 1May 18th 20:30 Lerins 1May 19th 20:30 Arcades 2CORRECTION(DIORTHOSI)Directed by: Thanos AnastopolousA man gets out of prison and begins to follow a mother and her daughter. Why is he following? What arehis intentions? How will the past shape their future? The second film from Thanos Anastopolous weavesmystery into a story of violence and its traumatic legacy.SCREENINGS May 14th 14:00 Lerins 1May 19th 20:30 Riviera 3www.spierfilms.comCANNES: Riviera Stand G27 +33 677 44 8337 sales@spierfilms.comLONDON: +44 207 326 8461SpierFilms_D5_05_18_08.indd 15/14/08 12:10:52 PM

day5_p13_reviews_c 5/17/08 5:38 PM Page 13reviewssunday, 18, 2008 | day 5‘Linha de passe’By Deborah YoungTwelve years after codirecting“ForeignLand,” filmmakers WalterSalles and DanielaThomas have returnedto update their portrait of urbanBrazil, which they left in the economicthroes of President FernandoCollor. “Linha de passe” isa far more successful film, both asa drama and in depicting the realityof growing up poor without nofuture in sight.Using a mainly non-pro castand a deeply realist style, itrelies on a strong screenplayand a hard-driving rhythm tokeep viewers interested in theinterwoven stories of fourbrothers and their single mom.Comparisons to Luchino Visconti’s“Rocco and His Brothers”are inevitable, but withoutname actors in the cast, this isnot going to be as easy a commercialride as Salles’ cultish“The Motorcycle Diaries.”On the plus side, “Linha depasse” (a soccer term) has a greatdeal of strength and sinceritygoing for it, which should attractthe kind of audiences whoadmired the sociological line of> IN COMPETITIONBOTTOM LINE PFour brothers from the slums offer aconvincingly intense portrait ofBrazil today.CAST: Sandra Corveloni, JoaoBaldasserini, José Geraldo Rodigues,Vinicius de Oliveira, Kaique de JesusSantos. DIRECTORS: Walter Salles,Daniela Thomas . SCREENWRITERS:George Moura, Daniela ThomasLondon. 115 minutes.“Central Station.” Set on thepoverty-stricken outskirts of theSao Paulo megalopolis, it tracesone summer in the lives of Cleuza(Sandra Corveloni), a pregnanthousemaid, her three teenagesons and her young Reginaldo(Kaique de Jesus Santos), son of ablack bus driver. If you think ofthis remarkable child actor as thetransformed character of theyoung Alain Delon, you begin tosee how radically Visconti’s filmhas been rethought.Most audiences won’t makethat connection, of course, butwill be caught up in the psychologicalstruggles of the brothers,each battling his owndemons. Dario (Vinicius DeOliveira, who played the lead in“Central Station”) is a goodsoccer player who wants to gopro; Dinho (José GeraldoRodrigues) plies the dangerousprofession of motorcycle courieron Sao Paulo highways andhas a baby with one of his girlfriends.The born-again ChristianDenis (Joao Baldasserini),meanwhile, escapes into theunreal optimism of religion,while plucky little Reginaldorides buses all day and night insearch of his unknown father.In this fatherless society, whereviolence lurks around everycorner, brotherhood becomes apath to salvation.A growing sense of anxietyaccompanies the boys as theyspin through the cycle of footballtryouts, work, sex, drugs androbberies, against an apocalypticbackground of burning busesand stadium mania. While theexciting camerawork stays closeto the action, a reflective musicalcomment pulls viewers back intoreflectiveness. The film’sclimactic scenes achieve realpower as each of the five charactersis tested in rapid cutaways, toan ambiguously suspended endingthat is still satisfying. Hatsoff to the fine ensemble acting,which is neverover-stated andrenders eachExpanded listof creditsfamily memberintensely individual.∂“On War”> DIRECTOR’S FORTNIGHTBOTTOM LINE: Fascinatingpremise self-destructsthrough self-indulgence.The superb and ubiquitousFrench actor MatthieuAmalric, whodeserves better,plays afilm director,significantlynamedBertrand —just like thedirector of the film we’rewatching! — who’s havinga bit of a mid-life crisis.On a new location he’sscouting, through circumstancestoo complicated togo into, he’s accidentallylocked in a coffinovernight. The experiencechanges him profoundly,and shortly thereafter hemeets a mysterious man(Guillaume Depardieu)who offers to take him to“The Kingdom,” a specialplace that is presided overby Uma, played by a surprisinglyprimly dressedAsia Argento. In this sylvanretreat, he will learn how torecapture joy and grace. Sofar so good.At this point, however,the producers and moneymen must have stoppedreading the script, or elsedirector Bertrand Bonellois one helluva salesman.Things go from bad toworse and Bonello seemsto toss into the mix everyidea he’s ever had, whetherit works or not.An ill-fitting motif ofwar and warriors, neverreally explained, takes overand will throw even themost attentive viewers fora loop. Ultimately, the130-minute movie (whichdesperately needs to loseat least 30 minutes),descends into a profoundand interminable sillinessthat will virtually assuresparse returns worldwide.— Peter | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)13

day5_p14_reviews_b 5/17/08 5:13 PM Page 14day 5 | sunday, may 18, 2008 | reviews‘Tyson’By Ray BennettWhen he’s not poundingvery large men to theground, ex-fighter MikeTyson speaks directly to thecamera in James Toback’s film“Tyson” and it’s hard not toflinch. More a testimony for thedefense than a documentary, it’sa sympathetic portrait of a complexman driven by an anger thatstill bubbles beneath the surface.The former world champion’seyes, which were as devastatingas his piston-fast fists inthe boxing ring, reveal little,but his self-serving words telleverything. His candor appearssometimes unwitting, but theresult is a powerful film thatwill appeal to sports fans andthose who respond to the visceralclamor of the fight world.Using split screens, over-dubsand a mixture of interior closeupsand exterior long shots,Toback allows the boxer to portrayhimself as a gentle soul bornon mean streets where constantbullying forced him to employhis brute strength to survive. Abroken home, crime, correctionfacilities and finally the boxingring — it’s a familiar tale.Not so familiar were thefighter’s extraordinary dedication,steeped in the lessons ofthe great champions, and hisunflinching impulse to drivetoward and destroy his opponent.Toback shows nearly all ofTyson’s knockouts and trackshis rise to the big titles, bigmoney and world fame, and> UN CERTAIN REGARDBOTTOM LINE PIron Mike Tyson comes out of hiscorner fighting … for approval.CAST: Mike Tyson. DIRECTOR: JamesToback. DIRECTOR OFPHOTOGRAPHY: Larry McConkey.MUSIC: Salaam Remi. EDITOR: AaronYanes. PRODUCERS: James Toback,Damon Bingham. EXECUTIVEPRODUCERS: Mike Tyson, HarlanWerner, Nicholas Jarecki, Henry Jarecki,Bob Yari. SALES AGENT: Wild Bunch.No MPAA rating, running time 90 mins.then the falls from grace includingfailed marriages, a spell inprison on a rape conviction, andultimately the loss of his titlesand most of his money.In every circumstance in hislife, Tyson believes himself tobe the innocent party. Hebecame a ferocious fighter toavoid being humiliated. Hismarriage broke down becausethey were both kids. His rapecharge was “false” and the victimwas “a wretched swine of awoman.” A big-time boxingpromoter was “a slimy reptilianmotherfucker.” He bit opponentEvander Holyfield’s ear offbecause the man kept headbuttinghim and made himinsane in the ring.But Tyson says he made surehis six kids got some of all thatmoney; he found Islam inprison; and he’s been throughrehabilitation. Now, he says, hisanger is directed only towardhimself. “I’m not an animalanymore,” he says in his highpitchedlisp staring at the camerathrough a dramatic Maorifacial tattoo.For some reason, Toback nevermentions Tyson’s voice, not thatyou can blame him. ∂IN THIS CORNER:Former boxer Mike Tyson attendsthe documentary “Tyson” photocallat the Palais Saturday‘Soi Cowboy’By Maggie LeeThe dynamics of a mixedracerelationship based onthe transaction betweeneconomic security and emotionalor sexual gratificationhave seldom been addressedfull-on, until “Soi Cowboy.” Toscreenwriter-director ThomasClay’s credit, he neither sensationalizesthe relationship norglamorizes its underworldbackdrop. To the film’s detriment,he does not dramatizethem compellingly either.Debuting in Cannes’ Un CertainRegard provides sufficientcachet to boost “Soi Cowboy’s”festival life elsewhere. Commercialprospects are anotherstory. Despite the hints of racinessin the subject, Clay bringsnothing new to the table. Thelow-key delivery and languishingpace will consign publicrelease to small, intimate affairsin Europe, and not necessarilyin Thailand at all.The film is sharply dividedinto two parts. The first, whichis longer, is in black-and-white.The austere beauty of monochromeand the formal compositionsof Sayombhu Mukdeeprom(“Syndromes and aCentury”) lendsubtlety to thedocumentarylikerepresentation.Theincongruity ofExpanded listof credits> UN CERTAIN REGARDBOTTOM LINE PA British director retains aforeigner’s distance to his story ofinterracial relationships in Thailand.CAST: Nicolas Bro, PimwaleeThampanyasan, Petch Mekoh, NateeSrimanta. WRITER-DIRECTOR: ThomasClay. PRODUCERS: Joseph Lang, TomWaller. No rating, 117 minutes.the relationship is not conveyedthrough conversations, butaccentuated by physical differences:one being a corpulent“farang,” the other a petite,pregnant Thai girl. A scene in arestaurant where tensions aboutinterracial liaisons flare up ismost interesting, but annoyingwithout English subtitles.The second part follows thehomecoming trip of two cityboundbrothers, which turns outto be a mafia assignment. Shotwith a handheld, in saturatedcolors, events may or not be theprequel to the first story, addingto the overall air of uncertainty.There are traces of influenceby Thai auteurs, most visiblyApichatpong Weerasethakuland, at a further remove, Pen-ekRatanaruang. Only Clay hasblanched the enigmatic aura ofthe former and the sensuousinsouciance of the latter to makeit more basic and transparent forWestern consumption. Like“Som Tum” (Thai papaya salad)with chili — it still tastes goodbut without the bite. ∂TYSON PHOTO: PASCAL LE SEGRETAIN/GETTY | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)14

LDM FILMS presents“The boldest decision of mankind”Jane CAMPIONAbderrahmane SISSAKOMira NAIRJan KOUNENGael GARCIA BERNALGus VAN SANTGaspar NOEWim WENDERSThe Millennium Development GoalsTo attend a screening in Cannes - Carlton HotelCall: Marc Obéron +33 (0)6 12 08 96 09 marc.oberon@ldmproductions.frLissandra Haulica +33 (0)6 87 36 43 61 lissandra.haulica@ldmproductions.frDelivery of material : Fall 2008in association withwww.8themovie.comACE D5 05_18_08.indd 15/16/08 4:14:34 PM

day5_p16_revs_b 5/17/08 4:22 PM Page 16day 5 | sunday, may 18, 2008 | reviews“The Seven Days”By Ray BennettThe rule imposed on thefamily spending a week inmourning in Ronit andShlomi Elkabetz’s “The SevenDays” requires a demonstrationof pious grief lest people talk.But there is so much talk in theIsraeli siblings’ sophomore outingas writers and directors thatit’s hard to see how breaking therules could make things worse.Intensely observed, smartlychoreographed and very wellacted by a large ensemble cast,the film, which opened theCritics’ Week sidebar at theFestival de Cannes, will attractattention at festivals and arthouses but its lack of humormay test audiences’ patience.About 20 members of thefamily, including six brothersand two sisters, are confined tothe home of a widowed sisterin-lawand nearly all of them> CRITICS WEEKBOTTOM LINE PSomber account of a week’sdevotional mourning lacks afunny bone.CAST: Ronit Elkabetz, Simon Abkarian,Gil Frank, Keren Mor, Hanna AzoulayHasfari. DIRECTOR-SCREENWRITERS:Ronit Elkabetz, Shlomi Elkabetz.PRODUCERS: Jean-Philippe Reza, EilonRatzkovsky, Yochanan Kredo, YossiUzard, Guy Jacoel, Eric Cohen, ElieMeirovitz. No MPAA rating,running time 115 mins.fall out with one another in theclaustrophobic and stultifyingatmosphere. It becomes sorelentless that you wish somebodywould just slap someone,and then somebody does. It’sone of the few moments ofcomic relief in the picture.Ronit Elkabetz and SimonAbkarian play spouses Vivianneand Eliyau — first seen in theElkabetz’s debut film, “To Takea Wife” — although now theyare fighting and on the verge ofdivorce. Vivianne is being pursuedby the very eligible Ben(Gil Frank) and is inclined torespond.They dance around theirattraction while the rest of thefamily, cloistered unpleasantlyday and night according to therules of mourning, engage in aseries of encounters having todo with money, envy andresentment.The roundelay is well writtenand managed by the directors,but the situation — which takesplace in an Israel threatened bythe first Gulf War — while profoundlyserious, cries out forsome satirical touches.The depiction of familialdevotion that puts up with religiouslyinspired regulationsrequiring that no one maybathe and everyone must sleepon the floor in one room for aweek is fiercely conservative.Those of a more secular bentmay be reminded of Sartre’sobservation that hell is otherpeople. ∂Dernier Maquis> DIRECTOR’S FORTNIGHTBOTTOM LINE: A sober depictionof exploitation in thename of religion.This Mao doesn’t have alittle red book but, similarto the megalomaniac formerchairman of China, hehas grandiose designs. And,like his namesake, heexploits his workers toaccomplish his glories.Set amid a grim industrialParisien netherworld, thisDirectors’ Fortnight entryilluminates the vanity of abusinessman who seeks towin the acceptance of Allahby erecting a mosque in hishonor. In part, it’s a nobledesign in that it will give hisMuslim workers a place topray and worship, but it’sdone at their personalexpense: Mao pays them onlysubsistence wages, using theriches he gains from theirlabor for his religious grandstanding.Filmmaker RabahAmeur-Zaimeche hasinvigorated this insight intofalse religiosity withwarmth and raw humor.“Dernier Maquis” is particularlypowerful in its eruptivetextures: blasts ofindustrial sounds, hideouslandscapes and images ofdegradation incite ourindignation over Mao’scruel megalomania. Unfortunately,the film’s humanimpact is sometimes diminishedby the over-archedtedium of the storytelling —conversations stop asplanes fly over — which,unfortunately, dilute thefilm’s impact.— Duane Byrge“Boogie”> DIRECTOR’S FORTNIGHTBOTTOM LINE: Nothinghappens, then nothinghappens some more.oogie” is the kind of“Blong-take, slice-of-lifemovie that gives long-take,slice-of-life movies a badname. One imagines thatRomanian director RaduMuntean felt that he hadembedded subtle but deep significancein this endless nightout with the boys, but there’sno there there, and whatresults is an excruciating exercisein audience alienation.Obviously influenced bysuch recent Romanian masterpiecesas “The Death of Mr.Lazarescu” and “Four Months,Three Weeks, Two Days,” “Boogie”shows what can happenwhen this particular aesthetic,which requires a superb senseof pregnant nuance, is taken upby someone with less talent.The overworked but financiallysuccessful Bogdan (Boogie)is on holiday at the beachwith his wife and young sonwhen he runs into a couple offormer high schoolchums who’ve notprospered. The restof the film documentsin painfuldetail their boyishhorsing around andjejune conversations,which turnout to be even moreboring on the screenthan in real life.Near the very end, there’sthe obligatory look at whatthey think might be deposeddictator Ceausescu’s villa —presumably inserted to providesome thematic heft abouttroubled post-CommunistRomanian youth — but it’smuch too little, much too late.— Peter | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)16

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day5_020_screenings_b 5/17/08 12:56 PM Page 1>>>> Competition screenings in gold: * Private screening Sunday, May 18, 2008 | day 5> sunday08:30 Better Things, U.K.,Critics Week, CelluloidDreams, Bunuel; Gomorrah(Gomorra), Italy, InCompetition, FandangoPortobello Sales, Lumiere09:00 Anne of GreenGables — A New Beginning,Canada, SullivanEntertainment Inc., Palais F;Eldorado, Belgium, DirectorsFortnight, Films Distribution,Palais Stephanie09:15 Gachi Boy: WrestlingWith a Memory, Japan, PonyCanyon Inc, Star 409:30 Secrets of State(Secret Défense), France,Ugc International, Riviera 1;All the Days BeforeTomorrow, USA, MontecristoInternational, Riviera 4;Partners: The Movie(Aibou), Japan, ToeiCompany Ltd., Riviera 4;Gene Generation, USA,Bleiberg Entertainment Inc.,Riviera 4; Football UnderCover, Germany, Flying MoonFilmproduktion Gmbh,Riviera 2; Exodus, UnitedGaumont, Palais I10:00 The Red Inn(L’auberge Rouge), France,Roissy Films, Lerins 2;Destiny Ride (Sans EtatD’ame/La Donna DiNessuno), France,Filmexport Group, Olympia 4;Dead Girls Feast (A FestaDa Menina Morta),Brazil,Spier Films, Olympia 3; UnConte De Noel, France, InCompetition, Wild Bunch,Star 2; Cash, France, Tf1International, Olympia 1; ThyKingdom Come, Italy,Fantastic Films InternationalLlc, Gray 3; Back Soon,Iceland, Bac Films, Palais C;Bitter & Twisted, Australia,Odin’s Eye Entertainment,Gray 5; Three Kingdoms:Resurrection of theDragon, China, EasternlightFilms, Riviera 3; Baby Love(Comme Les Autres),France, Films Distribution,Lerins 1; Casual Day, Spain,Latido, Olympia 6; Love MeNo More (Deux Jours ATuer), France, Studiocanal,Olympia 5; Frozen River,USA, Rezo, Arcades 2; MusicBox (Ja’beh Musighi), Iran,Cima Media International-Irib, Palais E; A Whole LifeStephanie; Modern Life (LaVie Moderne), France,Certain Regard, FilmsDistribution, Debussy; LaSangre Brota, Argentina,Critics Week, Coach 14,Miramar11:15 Cherry Blossoms -Hanami (Kirschblüten -Hanami), Germany, BavariaFilm International, Riviera 211:30 Fluke (Mázli),Hungary, Hungaricom Ltd.,Gray 2; Slave’s Island (AIlha Dos Escravos),Portugal, Apc - CinemaProducers Association, PalaisB; 4 Nights With Anna (4Noce Z Anna), Poland,Directors Fortnight, ElleDriver, Star 3; Made In Italy,France, PyramideInternational, Arcades 3;Fatal Move, Hong Kong(China), Easternlight Films,Gray 4; What If...? (NotreUnivers Impitoyable),France, Films Distribution,Star 4; Kung Fu Dunk,Taiwan, Emperor MotionPictures, Palais H; WindBlows On the Meadow(Bad Dar Alafzar Mi-Pichad), Iran, Farabi CinemaFoundation, Palais D; Blind5; Anton, Ireland, I4iProductions Ltd, Palais K“Bory”; Dead Wood, UnitedKingdom, Horizon MotionPictures, Palais E;Tennessee, USA, ElephantEye Films, Star 1; Sorry If ILove You (Scusa Ma TiChiamo Amore), Italy,Adriana Chiesa Enterprises,Olympia 1; The YellowHouse (La Maison Jaune),Algeria, Med-Screen, Riviera3; Meet Bill, USA,Greenestreet FilmsInternational, Gray 1; TheNeighbor, USA, CurbEntertainment InternationalCorp, Palais I; Summer ofthe Flying Saucer, Ireland,Telepool Gmbh, Lerins 1; APolice Romance (A RomanPolicier), France, WideManagement Enterprise,Palais G; Aparecidos (TheAppeared), Spain, ThinkfilmInternational, Olympia 3;Csny/Deja Vu, USA,Fortissimo Films, Olympia 4;Adventures of Power, USA,Shoreline Entertainment,Gray 3; Rumba, Belgium,Critics Week, Mk2 S.A,Olympia 5; My MightyPrincess, Korea(South),Prime Entertainment,Olympia 6; Welcome To theKingdom, Jinga Films, PalaisB; The AccidentalHusband, USA, Yari FilmGroup & Syndicate Films Int’l,Arcades 3; Poker Run, USA,Cinemavault, Palais J; TonyManero, Chile, DirectorsFortnight, Funny Balloons,Palais H; The Butcher, USA,Boll Ag, Gray 4; Good Dick,USA, The WorksInternational, Star 3; NtvPromo Reel, Japan, NipponTelevision Network Corp.,Palais E; Shochiku PromoReel, Shochiku Co.Ltd., Gray209:45 Mr 73, France,Ahead (Tutta La VitaDavanti), Italy, AdrianaChiesa Enterprises, Olympia7; Hunger, United Kingdom,Certain Regard, IconEntertainmentInternationalm, Star 1;10:10 Shochiku PromoReel, Shochiku Co.Ltd, Gray210:50 Shochiku PromoReel, Shochiku Co.Ltd, Gray211:00 Programme Courts-Metrages 1, Unknown,Directors Fortnight, PalaisLoves (Slepé Lásky),Slovak Republic, DirectorsFortnight, Autlook Filmsales,Arcades 1; The ListeningProject, USA, ForwardMotion Entertainment, PalaisJ; Programme Onf,Unknown, Short Film Corner,Palais F11:45 Soi Cowboy, Thailand,Un Certain Regard,Coproduction Office, Riviera1; Kino Lika, Croatia,Croatian Audiovisual Centre,Palais C12:00 Longing For Future,Russia, Sovexportfilm, GraySticks (Bienvenue ChezLes Ch’tis), France, PatheDistribution, Olympia 9; Vice,USA, New FilmsInternational, Arcades 212:30 24 City (Er Shi SiCheng Ji), China, InCompetition, Mk2 S.A, SalleDu 60eme; Tokyo Sonata,Japan, Certain RegardFortissimo Films, Bazin13:00 Indiana Jones andThe Kigdom of the CrystalSkull, USA, Out ofCompetition, ParamountPictures, Lumiere;Baby(Ies), France, | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)20

day5_020_screenings_b 5/17/08 12:56 PM Page 2>>>> Competition screenings in gold: * Private screening Sunday, May 18, 2008 | day 5Studiocanal, Palais J“24 City”13:30 I Want To See (JeVeux Voir), France, CertainRegard,FilmsDistribution/Films Boutique,Star 4; Short RomanianWaves, Unknown, Short FilmCorner, Palais F; PrivateScreening, Fortissimo Films,Arcades 1; Short Film,Unknown, Ze Monkiz TribeProduction, Palais E; TheHuman Contract, USA,Lightning Entertainment,Riviera 4; As Simple AsThat (Be Hamin Sadegi),Iran, Hozeh Honari, Palais D;Forever (Za Vedno),Slovenia, Mdc International,Palais B; The Seven ofDaran, Battle of PareoRock, Netherlands, AaaPictures, Palais H; Hope,USA, Idream IndependentPictures, Gray 4; Buy BorrowSteal (Miss Conception),Germany, Sola Media/AtrixFilms, Riviera 2; Immigrants,USA, Hungaricom Ltd., Gray2; Ballast, USA, CelluloidDreams, Star 3; OnBroadway, USA, ShorelineEntertainment, Arcades 314:00 On War (De LaGuerre), France, DirectorsFortnight, Maximum FilmsInternational, Olympia 7;Carmo, Hit The Road(Carmo), Spain, ImaginaInternational Sales, Palais C;4bia (Seeprang), Thailand,Gmm Tai Hub CompanyLimited (Gth), Arcades 2;Seven Crosses, UnitedKingdom, Palm Tree Ents,Gray 5; Woman’s Heart(Corazones De Mujer), Italy,Filmsharks Int’l, Gray 3;Acné, Uruguay, DirectorsFortnight, Rezo, PalaisStephanie; I Demoni Di SanPietroburgo, Italy, Rai Trade,Palais I14:45 Vicky CristinaBarcelona, USA, Out OfCompetition, Wild Bunch,Salle Du 60emeFireflies In the Garden,USA, EssentialEntertainment, Star 3;Mermaid (Rusalka),Russia, Central Partnership,Riviera 4; Chiko, Germany,The Match Factory, Riviera 2;School’s Out (Nos 18 Ans),France, Tf1 International,Arcades 1; A Tale ofLegendary Libido(Garujigi), Korea(South),Fortnight, Films Distribution,Lerins 2; Man On Wire,United Kingdom, The WorksInternational, Gray 1; TheCoffin, Thailand,Easternlight Films, Riviera 3;The Lucky Ones (TheReturn), USA, QedInternational, Star 2; Noodle,USA, Bleiberg EntertainmentInc., Lerins 1; One Day You’llUnderstand (Plus Tard, TuComprendras), France,Roissy Films, Palais E; Inju,The Beast In the Shadow(Inju, La Bête DansL’ombre), France, UgcInternational, Olympia 4;Boogie, Romania, DirectorsAdriana Chiesa Enterprises,Olympia 5; Bottle Shock,USA, Odd Lot International,Olympia 9; Alone In theDark II, USA, Boll Ag,Olympia 1; Tabarly, France,Pathe International, Olympia3; Promoreel, Wild Bunch,Unknown, Wild Bunch, PalaisK “Bory”; The Other End ofthe Line, USA, Hyde ParkInternational, Star 1; MuayThai Chaiya, Thailand, FiveStar Production, Palais G;Afterschool, USA, CertainRegard, Coproduction Office,Debussy; Papelucho AndThe Martian (Papelucho YEl Marciano), Chile,15:00 Il Etait Une Fois ...Lawrence D’arabie, USA,Cannes Classics, Bunuel15:15 I Want To See (JeVeux Voir), France, CertainRegard, Films Distribution/Films Boutique, Bazin15:30 Tracing Aleida(Trazando Aleida), Mexico,Latinofusion, Palais B;Gospel Hill, USA, 6 Sales,Star 4; No Man’s Land: TheRise of Reeker, USA,Cinema Management GroupLlc, Palais J; Saving God,Canada, ArrowEntertainment, Palais F;Showbox/Mediaplex Inc.,Palais H; I Dreamt UnderThe Water (J’ai Reve SousL’eau), France, WideManagement Enterprise,Palais D; ShadowsFormless, India, La LunaProductions, Gray 2; God’sForgotten Town (IntrusosEn Manasés), Spain,Imagina International Sales,Gray 415:52 This Happy Breed,USA, Cannes Classics,Bunuel16:00 Lora, Hungary, Newcontinues on page | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)21



Big Screen Enter D5 5_18_08.indd1 15/15/08 4:43:42 PM

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LIGHTNING ENTER HUM D5 5_18_08.i1 15/16/08 10:52:17 AM

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5-18_cannes_latinamerica d 5/17/08 10:49 AM Page 1worldSunday,special report:Latin 18, 2008 | day 5“Blindness”After years of struggle, a vibrant,resourceful film sector isemerging south of the borderLatin AmericanSpiritBy John Hecht and Brian ByrnesMEXICO CITY — Festivalgoers can expect plenty ofLatin American flavor on the Croisette this year, courtesyof the region’s top film-producing nations: Argentina,Brazil and Mexico.In all, about a dozen films from Latin America arescreening In Competition at the 61st Festival de Cannes,including four Palme d’Or contenders and an eclecticmix of sidebar entries. Brazil’s “Blindness” kicks thingsoff as the opening-night film.Adding even more regional spice, director StevenSoderbergh has brought “Che” to the In Competitionsection, a two-part biopic about Argentine revolutionaryChe Guevara.Argentina, Brazil and Mexico have seen a dramaticincrease in production over the past decade. Homegrownfare in most countries is gradually gaining market share,yet problems of old persist as local distributors continueto battle for screen time against the Hollywood moviemachine.Some of the smaller markets like Colombia, Chile andVenezuela have also ramped up production as they lookto follow in the footsteps of the territory’s leading | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)29

5-18_cannes_latinamerica d 5/17/08 10:49 AM Page 2day 5 | sunday, may 18, 2008 latin america | worldtries. Even tiny Uruguay has experienced a significant turnaround asof late.While most producers in the region lean heavily on state financing,in recent years the private sector is showing growing interest inlocal production as Latin American cinema continues to mature.Here’s a closer look at the industries:ARGENTINAArgentina’s film industry has been enjoying an unprecedentedperiod of international critical acclaim in recent years. Further signsof that success came with the selection of two Argentine films forthe Official Competition of this year’s Festival de Cannes, a historicfirst for the country.Argentina has always had one of the most storied and respectedfilm industries in South America, and long served as a referencepoint for other filmmakers on the continent. And now more andmore producers, directors and actors from other parts of the worldare looking to Argentina for ideas and inspiration, and even work.Leading the wave of the so-called “new Argentine cinema” aredirectors like Pablo Trapero, whose feature “Leonera” is In Competitionat Cannes, along with Lucrecia Martel’s “La Mujer sin Cabeza.”Other notable Argentine names include Daniel Burman, Adrian Caetanoand Lucia Puenzo. Many of their films touch directly or indirectlyon Argentina’s tumultuous recent past, from the military dictatorshipof the 1970s to the crippling economic crisis of 2001. Butthat’s not to say that all Argentine films are dark and brooding, or thatthey even share a similar aesthetic.“What I think characterizes this movement is the personal relationshipbetween the director and the story that he or she wants totell. A force that binds the idea and the way the story plays outonscreen,” says Trapero.And while critical praise can often translate into foreign distributiondeals and future investment funds, some think that a new newwave of filmmakers needs to emerge in order for Argentina to continueproducing intriguing movies.“What concerns me is that the names that show up are always thesame ones who have been making internationally recognized filmsfor the past 10 years. You don’t see many 25-year-olds gettingnoticed,” says Diego Lerer, film critic for Clarín, Argentina’s largestnewspaper. “In Mexico, for example, you see new and young directorsall the time. But here in Argentina we have this elite group of fiveor 10 directors. There isn’t much rejuvenation,” Lerer adds.An average of 75 feature films are produced in Argentina everyyear, thanks in large part to the government, which provides subsidiesto qualified films. But as well-received as many of these moviesare on the overseas film circuit, they often have a hard time findingan audience in Argentina. Just 12% of boxoffice sales in Argentinaare attributed to homegrown features; Hollywood blockbusters arestill the biggest draw.“I think Argentine cinema is in something of a crisis. It is producingmore and more films that are seen by less and less people. Sothey are trying to reinvent themselves after the big boom that happenedfollowing the 2001 crisis,” says Swiss director Tomi Streiff,whose Buenos Aires-based Streiffschuss Films will preselect filmsfor the upcoming New World Cinema Series, which will screen LatinAmerican films in the U.S. in 2009.“Everyone in the Argentine film industry needs to sit down andthink how we can maintain a space for Argentine films here, whilealso making our audience happy,” adds Trapero.“Leonera”“The Elite Squad”BRAZILBrazil is having a breakthrough year on the festival circuit, and itsfilms are increasingly becoming more exportable to meet a growinginternational demand.In February, Jose Padilha’s action-packed police drama “The EliteSquad” won the Golden Bear at the Berlin film fest.Now all eyes are on Fernando Meirelles’ drama “Blindness,”which grabbed the prestigious opening-night slot at Cannes.“Blindness,” an English-language adaptation of Jose Saramago’scritically acclaimed novel, stars Mark Ruffalo, Julianne Moore,Danny Glover and Gael Garcia Bernal in a story about a city hit by amysterious blindness epidemic.“Blindness” will screen alongside the Competition entry “Linhade Passe,” from Brazilian directors Walter Salles and DanielaThomas. Salles, one of Brazil’s most prominent helmers, hasdirected such films as 2004’s “The Motorcycle Diaries” and 1998’s“Central Station.”In the Un Certain Regard sidebar, actor-turned-directorMatheus Nachtergaele is bowing his feature film debut, “A Festa daMenina Morta” (The Dead Girl’s Feast).As production surges and quality improves, Brazilian films aredrawing strong interest in the international marketplace. Titles like“The Elite Squad,” Chico Teixeira’s “Alice’s House,” Paulo Morelli’s“City of Men” and Marcos Jorge’s “Estomago” have landed distributiondeals in numerous territories.“We’re in a good moment right now,” says Alberto Flaksman,head of international affairs at state-run financing agency Ancine.“Brazilian films have been selling really well in internationalmarkets.”At home, domestic fare captures a relatively high percentage ofthe boxoffice market share when compared with most Latin Americannations. Nevertheless, slow theater development continues tostifle growth in the exhibition sector.Jorge Peregrino, senior vp distribution for Latin America and theCaribbean at Paramount, says Brazil’s underserved exhibition marketsorely needs more investment.“It’s ridiculous,” he points out. “Brazil has 190 million inhabitantsand about 2,300 screens. Compare that with Mexico, whichhas 107 million inhabitants and 4,200 screens.”Most theater complexes are concentrated in well-to-do neighborhoodsin Brazil’s largest cities.On the production front, O2 Filmes, the shingle founded bydirectors Meirelles, Morelli and producer Andrea Barata Ribeiro,has numerous projects in the works. Currently in production | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)30

InternationalNewLatin_D5_05_18_08.indd 15/14/08 12:07:00 PM

5-18_cannes_latinamerica d 5/17/08 10:49 AM Page 3day 5 | sunday, may 18, 2008 latin america | worldHeitor Dhalia’s drama “Adrift,” starringVincent Cassel and Camilla Belle. “Adrift”is the first of five features slated under athree-year co-production agreementbetween O2 and Focus Features.Brazil consistently ranks among the topfilm-producing nations in Latin America.Thanks to fiscal incentives created for filmfinanciers, the industry receives considerablesupport from public companies likedevelopment bank BNDES, oil firm Petrobrasand privately owned TV broadcasters.CHILEFrom 1973 to 1990, under the militarydictatorship of Augusto Pinochet, Chile’sfilm industry was teetering on the brink ofextinction. Directors were fleeing the country,film schools were shutting down andproduction plummeted.In 1992, with democracy in full swing, thestate launched a film fund that would play acrucial role in Chile’s cinema revival. Chilenow releases about 10 local films annually,and it expects to produce 18 features thisyear. Currently, some 30 projects are inpostproduction — not too shabby for acountry that was releasing just one film ayear in the early ’90s.Chile has co-production agreements inplace with France, Canada, Argentina, Brazil“Radio Corazon”and Venezuela. Pablo Larrain’s sophomorefeature “Tony Manero,” a Chile-Brazil coproduction,is participating in the Directors’Fortnight section. “Tony Manero” centerson an aging dancer intent on living out his“Saturday Night Fever” fantasies.Another recent production that has beengarnering awards is Jose Luis Torres Leiva’sdrama “El Cielo, la Tierra y la Lluvia,” whichgrabbed the FIPRESCI Prize at this year’sedition of the Rotterdam Film Festival andbest feature film at the Mexico City InternationalContemporary Film Festival.Over the past decade, Chile has madeconsiderable investments in film productionfacilities, and state funding is rising. Thefilmmaking community was delighted in2006 when it got word that Chile had beenselected as one of several nations to participatein the Cannes World Cinema section.“Things are definitely improving,” saysDiego Valenzuela, producer of the 2007 hit“Radio Corazon.” “Distribution is still themajor problem in the industry — if we cancall it an industry just yet. But there’s verygood infrastructure here.”COLOMBIAA federal law established in 2003 jumpstartedColombia’s struggling film industry.Prior to the measure, the country was producingabout four features annually, yet inrecent years output has tripled.More importantly, domestically producedmovies are faring extraordinarily well at theboxoffice. According to state-run film entityProimagenes en Movimiento, Colombiancinema has captured 22% of the marketshare so far this year. Leading the way areSimon Brand’s immigrant-themed “ParaisoTravel,” Dago Garcia’s comedy “Muertos deSusto” and Carlos Moreno’s crime drama“Perro Come Perro.”“In the first four months of the year, | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)32

5-18_cannes_latinamerica d 5/17/08 10:49 AM Page 4day 5 | sunday, may 18, 2008 latin america | world“Paraiso Travel”Colombian films have had unprecedentedadmissions,” says Proimagenes directorClaudia Triana de Vargas.Bogota-based CMO Producciones, one ofthe nation’s most important productioncompanies, produces two films a year andreceives up to eight scripts a week.Currently, CMO is producing the Colombia-CostaRica co-production “Del Amor yOtros Demonios,” an adaptation of a GabrielGarcía Márquez novel. The shingle also isdeveloping numerous screenplays withfirst-time directors, among them CarlosMario Urrea’s “Una Nina Llamada Jairo.”“Everything is much better now that itwas several years ago,” says CMO executiveproducer Ana Pineres. “Now, we have a lotof talented young filmmakers and a fantasticfilm law.”As Colombia establishes itself as one ofLatin America’s fastest-growing productionhubs, the current administration is making astrong push to lure more foreign shoots,especially after it saw the $15 million impactthat Mike Newell’s “Love in the Time ofCholera” had on the local economy in theCaribbean coastal city of Cartagena.One of the strongest proponents of drawingmore runaway production is Vice PresidentFrancisco Santos. He acknowledgesthat some producers have gone into Colombiawith apprehension due to security concernsand a U.S. State Department travelwarning, yet he insists that the nation’snotorious crime situation has vastlyimproved over the past five years.Colombia is presenting its upstart filmcommission at this year’s edition of Cannes.MEXICONot since the Golden Age of Cinema inthe ’30s and ’40s has Mexico enjoyed such aremarkable production boom. Last year thenation produced 70 features, and if the“Los Bastardos”industry stays on course, it could churn outnearly 80 films this year.A tax incentive known as Article 226 hashad a major impact on production. Outputis increasing, fresh talent is emerging andthe slate of productions is growing evermore diverse.“I think this is one of the best eras forMexican cinema, and it’s all because of thediversity that you’re seeing now in productionschemes and subject matter,” sayswriter-director Fernando Eimbcke, who isreceiving this year’s FIPRESCI Revelation | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)33

5-18_cannes_latinamerica d 5/17/08 10:49 AM Page 5day 5 | sunday, may 18, 2008 latin america | worldthe Year award at Cannes for his coming-of-age drama “Lake Tahoe.”Up-and-coming Mexican filmmakers have been picking up a slewof awards on the festival circuit lately. Among the promising directorsthat have been grabbing headlines are Eimbcke, Ernesto Contreras,Rodrigo Pla and Cannes favorite Carlos Reygadas, whose Mennonitelove story “Silent Light” won the Cannes Jury Prize last year.This time around, Reygadas’ protege Amat Escalante is presentinghis sophomore feature “Los Bastardos” in the Un Certain Regardsection. Produced by Reygadas’ shingle Mantarraya, “Los Bastardos”tells a tale about two Mexican immigrants in the U.S. hired tocarry out a contract killing.Mexico also has one of the world’s leading exhibition markets, withtheater chains raking in more than $500 million last year, an all-timehigh. Unfortunately, local producers usually fail to recoup theirinvestments, as they only get about 15% of the boxoffice take.As Mexico undergoes a cinematic renaissance, many small indiedistributors have been cropping up lately. Shingles like Reygadas’Mantarraya and Canana, the production company of Mexican actorsGael Garcia Bernal, Diego Luna and producer Pablo Cruz, launcheddistribution arms last year.The Canana release “El Violin,” a small black-and-white picturethat screened at Cannes in 2006, stood out as Mexico’s biggest boxofficesurprise last year. Cruz says the Fernando Vargas-directedfilm had one of the highest per-theater averages in the history ofMexican cinema.Mexico’s 2008 release schedule looks very promising. Eimbcke’s“Lake Tahoe,” Pla’s “Desierto Adentro,” Gerardo Naranjo’s “Voy aExplotar” and Carlos Cuarón’s “Rudo y Cursi,” which reunites “Y tuMama Tambien” co-stars Garcia Bernal and Luna, have generatedconsiderable buzz.“I think we are going to see a lot of surprises on the screens thisyear,” says Victor Ugalde, head of Mexican film fund Fidecine.“Acne”URUGUAYUruguayan cinema offers proof that big things can indeed come insmall packages. After all, we’re talking about a nation with a populationof 3.4 million — roughly the equivalent of Montreal.As one might expect, financing a full-length picture in Uruguaypresents some serious difficulties, forcing most producers to turn toforeign co-production partners.As Control Z Films executive producer Fernando Epstein says, “Itwould be impossible to produce a feature without partners.”Control Z co-produced 2001’s “25 Watts” and the deadpan comedy“Whisky,” the latter winning the Un Certain Regard FIPRESCIPrize at Cannes in 2004. In the Directors’ Fortnight section, theMontevideo-based shingle is debuting “Acné,” a coming-of-agestory about a boy dealing with hormonal swings and the hardshipsof adolescence. Mexico’s Goliat Films, Argentina’s Rizoma Films andSpain’s Avalon Productions co-produced.Martin Papich, head of the National Audiovisual Institute, saysUruguayan cinema has made extraordinary progress in recent years.“About 15 years ago, there were no Uruguayan films in theatershere,” he points out. “This year, we expect to produce seven featuresand have five releases.”And there’s more good news on the horizon. Congress is set topass a film law that will create a $1.2 million production fund, asmall amount but a step in the right direction nonetheless. Additionally,the law aims to establish tax breaks of up to 25% for domesticproducers.Still, Uruguay’s exhibition market is so small that local producersmust line up projects that can travel well, films like last year’saward-winning drama “The Pope’s Toilet.”“It’s key for us to produce films that target the international marketplace,”Papich says.“13 Segundos”VENEZUELASince the 2006 launch of state-run film facility La Villa del Cine,Venezuela’s filmmaking community has become notably dividedbetween those working within the studio system and those on theoutside looking in.Many industry figures have sharply criticized La Villa del Cine,claiming it serves as a propaganda machine to promote PresidentHugo Chavez’s so-called “cultural revolution.”Jonathan Jakubowicz, who directed Venezuela’s all-time boxofficeleader “Secuestro Express” (2005), believes it has becomemore difficult in recent years to secure private financing.“It’s always been hard and it’s certainly harder now,” he says.“Some filmmakers have been left with no choice but to work at LaVilla del Cine because they feel it’s the only way to make movies inthat environment.”La Villa del Cine director Lorena Almarza insists the facility getsa bad rap. “Those who suggest that La Villa del Cine is doing (propagandistic)films are expressing political opinions that do not permitthem to see that these films are allowing us to develop anindustry,” she says.Venezuela produced more than a dozen features last year, mostreceiving financing from La Villa del Cine. Among the studio’sreleases this year are “Bambi C4,” a political thriller about an anti-Castro terrorist, and “Libertador Morales,” which centers on a SimonBolivar-quoting motorcycle-taxi driver seeking social justice.Many local filmmakers have lashed out at the government for itsdecision to provide $28 million in financing to actor-turneddirectorDanny Glover. A longtime Chavez supporter, Gloverreceived the money to make a biopic about Toussaint Louverture,the leader of an 18th century slave revolt in Haiti.Producers’ association Caveprol estimates the money for theGlover picture could have partially financed about 56 Venezuelanfeatures.Despite the financing woes, a talented group of new filmmakershas emerged from Venezuela in recent years. Some of the nation’sbiggest contemporary hits include Jakubowicz’s “SecuestroExpress,” Eduardo Arias-Nath’s “Ellipsis” (2006), AlbertoArvelo’s “Cyrano Fernandez” (2007) and Freddy Fadel’s 2007 boxofficechamp “13 Segundos.” ∂ | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)34

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day5_p42_news_b 5/17/08 2:25 PM Page 1day 5 | sunday, may 18, 2008 | newsTurin festoffers hand$1.5 mil fund will helpdirectors get startedBy Eric J. LymanROME — The Turin FilmCommission has unveiled anew €1 million ($1.56 million)fund for helping up-andcomingdirectors.The TurinFilmLab will differfrom most film funds in that itwill spend between €50,000-€200,000 ($78,000-$312,000) each to help developdirectors’ first or second featuresregardless of whether theprojects are filmed in Italy.The budget will be spent inthree main areas: training —focusing on an advancedscriptwriting course; development— helping emerging directorsdevelop their projects; andfunding — helping secure fundingfor selected projects.According to Savina Neirotti,the newly appointed director of“We know this isn’t aprocess that willhappen in a singleyear, but we arelooking to help developnew talents.— SavinaNeirottithe TurinFilmLab, the aim is tofoster more high-quality filmsand to further establish Turin asa world film center.“We know this isn’t aprocess that will happen in asingle year, but we are lookingto help develop new talents,”Neirotti said.The TurinFilmLab will workon cooperation with other Italianand European film fundsand will be associated with theTorino Film Festival, whereprojects selected by the Turin-FilmLab’s advisory board willbe presented to producers, salesagents and distributors. ∂For news,reviews Q&As,screening guide and Cannesparty coverage. THR.com_cannesFor love of countryPhotographer Depardon’s UCR pic a portrait of rural FranceBy Charles MastersThere’s somethingdeeply French aboutthese peasants, theirway of grumbling,always being a bitpessimistic, being waryof showing happiness.— Raymond DepardonSix years after countryschool portrait “Etre etAvoir” wowed Cannesaudiences, veteran agency photographerand documentarianRaymond Depardon is bringinganother slice of French rural lifeto the Croisette.Un Certain Regard entry “LaVie Moderne” (Modern Life) isthe last part in a tryptch of filmson peasant life that Depardonhas shot over the past decade.The subject sees Depardon, cocounderof the Gamma agency,go back to the roots he walkedaway from when he left home tofind fame as a photographer.“I was born on a farm,”Depardon recounts. “My parentswere peasants. I left andtraveled all around the world.Then one day I did some photosand showed them to some majorAmerican newspapers and I wasvery touched by their reaction.They said, ‘This is your story,it’s fantastic, it’s quintessentiallyFrench.’ ”Depardon shot in several lowmountainous regions of centraland eastern France — all isolated,wild areas. Instead of setting outto capture a dying way of life,Depardon sought to portray peoplewho are resiliently holdingout despite their tough existince.“I said to myself, ‘How canone photograph the peasants oftoday in a modern way withouttransforming them into nostalgicsand things of the past?’”the helmer said. The key to thiswas taking the time to interact.“Above all, don’t show up with aLeica and snap away,” he said.“They’re convinced you’ll sellthe shots as postcards. It was insome ways easier as a filmmakerthan as a photographer. At onepoint, I realized that I could talkto them; that I didn’t have tostay behind the viewfinder; thatI had to remain an individualand never become a machine.”The other rule Depardonlearned was not to film thesefarmers while they were working.“It was better to film them“La Vie Moderne”while they’re talking,” he said.“They’re very chatty. It’s almostcloser to theater, with a wholemise-en-scene. In winter, theyspend a lot of time in thekitchen, discussing, listening,observing. Of course, you hearthe accents and it can be a bitpittoresque, but nonethelessthey always seek le mot juste.There’s something deeplyFrench about these peasants,their way of grumbling, alwaysbeing a bit pessimistic, beingwary of showing happiness.”For the third film in his trilogy,pubcaster France Televisioncame on board as a partner, givingthe director a more comfortablebudget of €1.2 million($1.8 million). “For the first one,people thought I was mad, andnow people are interested, soyou can see there’s been achange in attitude,” Depardonsaid. International sales arehandled by Films Distribution.So does “Modern Life” havethe potential to match “Etre etAvoir’s” runaway success bothon French turf and overseas?“It’d be great to reach such awide public,” Depardon said.“There’s a tenderness in thefilm. You have the true French— a bit caricatural maybe, butwith lots of generosity.” ∂ | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)42

Last year... Anthony Hopkins, Masahiro Kobayashi,Robert Rodriguez, Hou Hsiao-hsien, Frank Oz, Carmen Maura,Mike Leigh, Michel Piccoli, Romuald Karmakar, Jia Zhang-ke,Fredi M. Murer, Daniele Luchetti, Anna Mouglalis, ChristianSlater, Hiner Saleem, Gaston Kaboré, Corso Salani, PauloRocha, Chris Fuller, Mijke de Jong, Benedek Fliegauf, MarcoTullio Giordana, Nikki Blonsky, Bruno Todeschini, AdrianSitaru, Eugène Green, Tobias Nölle, Dario Fo, Lita Stantic,Kenneth Bi, Bertrand Bonello, Christopher Buchholz,Alina Marazzi, Denis Lavant, Lech Kowalski, Nina Menkes,Jacob Berger, Diego Lerman, Adam Shankman, SaverioCostanzo, Rose McGowan, Denis Côté, Jaycee Chan, IrèneJacob, Michele Venitucci, Shaji N. Karun, Jaime Marques,Laurent Lucas, Fumihiko Sori, Philippe Ramos, VittorioRifranti, Carole Laure, Martin Gypkens, Andy Serkis, LailaPakalnina, Noh Dong-seok, Mylène Demongeot, MarcoBellocchio, Aktan Abdikalikov, Khalil Joreige, Marian Alvarez,Walter Carvalho, Samuel Benchetrit, Kornél Mundruczó, RajaAmari, Maya Sansa, Robert Guédiguian, Ulrike von Ribbeck,Amor Hakkar, Matías Bize, Vanessa Beecroft, István Szabó …Join us! This year along with... Nanni Moretti, Amos Gitai,Christine Vachon, Benedek Fliegauf, Albertina Carri, CaoGuimarães, Bertrand Bonello, Franz Treichler, Corso Salani,Cristi Puiu, Marianne Slot …Locarno_D5_05_18_08.indd 15/14/08 3:39:03 PM

day5_020_screenings_b 5/17/08 12:56 PM Page 3day 5 | sunday, may 18, 2008 screening guideHOLLAND FILM ISPROUD TO PRESENTREINIER SELENOF RINKEL FILM & TV PRODUCTIONS BVPRODUCER ON THE MOVE 2008FROM THE NETHERLANDSProducer of the featuresBLOOD BROTHERS, OFF SCREENand GODFORSAKENContact Reinier Selen at Cannescell +31 6 2248 7048 • info@rinkelfilm.comwww.rinkelfilm.comHolland Film Pavilion nr 106Village Internationalph: +33 492 590 255, hf@hollandfilm.nlwww.hollandfilm.nlFilms International,Palais K“Bory”; Intramovies PrivateScreening, Intramovies,Palais C; Surviving MyMother, Canada, FunfilmDistribution Inc., Palais G;Billa, India, Ananda PicturesCircuit, Gray 3; Filth andWisdom, Katapult FilmSales, Gray 5; EverybodyDies But Me (Vse Umrut AJa Ostanus), Russia, CriticsWeek, Rezo, Arcades 2; TheBox Collector, Belgium,Corsan World Sales, Olympia6; Harvest, Canada, ArrowEntertainment, Palais F;Gunnin’ For That #1 Spot,USA, Oscilloscope Pictures,Gray 1; Captive, Russia, NewCinema Distribution, Olympia3; Captain Abu Raed,Jordan, Fortissimo Films, Star1; Hush, United Kingdom,Pathe Distribution, Olympia5; Dance of the Dragon,Singapore, EasternlightFilms, Lerins 1; After School,Japan, TBS(TokyoBroadcasting System Inc.),Lerins 2; Switch, Norway,Nonstop Sales Ab, Olympia4; Luftbusiness,Switzerland, Media Luna,Riviera 3; The Boxer,Germany, American CinemaInternational, Palais E; TheVisitor, USA, K5International, Palais I; LowQuality People (Gente DeMala Calidad), Spain, NotroFilms, Riviera 116:30 Serbis, Philippines, InCompetition, FortissimoFilms, Lumiere16:45 Tokyo Sonata, Japan,Certain Regard, FortissimoFilms, Salle Du 60eme17:00 Modern Life (La VieModerne), France, CertainRegard, Films Distribution,Debussy; Cloud 9(Wolke 9),Germany, Certain Regard,The Match Factory, Bazin;40x15, France, DirectorsFortnight, Palais Stephanie17:30 The Rest of the Night(Il Resto Della Notte), Italy,Directors Fortnight, FilmsDistribution/Films BoutiqueStar 3; The Pleasure ofBeing Robbed, USA,Directors Fortnight,Submarine Entertainment,Arcades 3; Diamond DogCaper, USA, VisionFilms/Vision Music, Palais J;Promoreel, Unknown, FilmsDistribution, Gray 4; Run ForYour Life — From Junkie ToIronman (Lauf Um DeinLeben — Vom Junkie ZumIronman), Germany, BetaCinema, Riviera 2; SwingVote, USA, Kathy MorganInternational, Arcades 1;Victim, USA, Film SalesCompany, Gray 2; La SangreBrota, Argentina, CriticsWeek, Coach 14, Miramar;Nak, Thailand,SahamongkolfilmInternational Co.Ltd., PalaisB; It Is Hard Being Loved ByJerks (C’est Dur D’etreAime Par Des Cons),France, Out Of Competition,Pyramide International,Riviera 4; Seven Days (LesSept Jours), France, CriticsWeek, Les Films Du Losange,Palais H; Jack Hunter: TheLost Treasure of Ugarit,USA, American CinemaInternational, Palais D;Linha De Passe, Brazil, InCompetition, PatheDistribution, Star 4; La VidaLoca, France, WideManagement Enterprise,Palais F18:00 The Babysitters,USA, Peace ArchEntertainment, Lerins 2;Ashes of Time Redux, HongKong(China), Out OfCompetition, FortissimoFilms, Olympia 1; GloriousExit, Switzerland, AdrianaChiesa Enterprises, Gray 1;Fighter, Denmark, DelphisFilms Inc., Olympia 3;Restless, Israel, Bavaria FilmInternational, Riviera 3;Where Is Winky’s Horse?,Netherlands, Holland Film,Palais I; Le Voyage AuxPyrénées, France, DirectorsFortnight, Celluloid Dreams,Star 2; The King of PingPong, Sweden, NonstopSales Ab, Palais C;Bioscope, India, NationalFilm DevelopmentCorporation Nfdc, Riviera 1;No Control (SemControle), Brazil,Tropicalstorm Entertainment,Gray 5; Second HandWedding, New Zealand, NewZealand Film Commission,Star 1; Tokyo!, Japan,Certain Regard, Wild Bunch,Olympia 4; Tribe (Tribu),Philippines, Iaiá Filmes, Gray3; Zhouzhou, China, ChinaFilm Promotion Int’l, Palais E;The First Day of the Rest ofYour Life (Le Premier JourDu Reste De Ta Vie), France,Studiocanal, Lerins 1; Fate(Sook-Myung),Korea(South), CjEntertainment Inc., Arcades2; How To Lose Friends AndAlienatePeople,UnitedMore festivaland marketscreeningguide online.Kingdom,IntandemFilms, | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)44

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day5_p48_party_b 5/17/08 2:04 PM Page 48party lineSunday, 18, 2008 | day 5DANISH PARTY PHOTOS: MICHAEL BUCKNER/GETTY IMAGESMEIFFCentury BeachFriday night’s schmooze laid on by the MiddleEast International Film Festival in Abu Dhabiwas a well-paced evening in the exclusive environmentcreated by the Cannes off-shoot ofLondon’s members-only Century Club. The soiréebuilt from a relaxed and refined dinner buffetwith live jazz trio into a pretty wild rave-up, withpumped-up punters pounding the planks intothe small hours under a giant disco ball.>Attendees: Hosts Mohamed Khalaf AlMazrouei, director general of the Abu DhabiAuthority for Culture and Heritage, andNashwa AlRuwaini, directorof the festival,welcomedWoody Harrelsonand GoldieHawn, whomthey hope to entice to the Abu Dhabi event,which runs Oct 10-19. Ray Winstone alsodropped in, but made an early exit.>Cuisine: A full free bar all evening includingchampagne kept revelers well-fueled.Sadly no strong Middle Eastern theme to thecuisine, but still a generous spread of hotdishes including rolled lamb, seared salmonand chicken kebabs complemented withrice, tabouleh, grilled aubergine and salad.The only Oriental touch was the pastries,including sweet baklava-style bites and“gazelles’ horns.”>Highlights/lowlights: Once the promotionalniceties were over and the tables werecleared from the dance floor about 11p.m.,the well-heeled crowd suddenly switchedfrom industry networking to serious partying.Huge black balloons periodicallydetached themselves from the ceiling to bebounced round the dancefloor until theyburst. The twin DJs — including Kinky D,who no doubt has the best Afro on theCroisette — played consistently rockingmusic from Blondie and remixes of Abbaand Bob Marley tracks before moving on tomuscular techno. Some punters were soexuberant it was like watching a four-houraerobic work-out with smiles.— Charles MastersCanal PlusLe Suquet4 martinisCanal Plus showed guests why they call it“pay” tv with the ubiquitous Cannes mediagiant’s annual Cannes bash a star-studded,under-the-stars start to the fest’s first weekend.Choo-choo trains brought partygoers up awinding street to the oldest church in Cannes.The panoramic view from the hilltop proved anice escape from the Croisette craziness.> Attendees: Every Pierre, Jean and Louis-Philippe this side of the French border. VincentCassel arrived late, but “derailed” everylady at the party with his charming smile.Frenchiewood“it” coupleactress AliceTaglioni andactor beauJocelyn Quivrinmade agrand entrance. Jean-Claude Van Dammeand the “JCVD” team added some Belgianbling . Canal Plus CEO Bertrand Meheutwelcomed directors Claude Lelouch, TonieMarshall and Cedric Klapisch.>Cuisine: It was all about the meat andgreet as hungry guests lined up to samplethe delectable steaks and beef kabobsgrilling at a central island. Those looking fora bit of Spanish flavor before tomorrow’sofficial “Vicky Cristina Barcelona” screeningsampled paella, while others stuck toFrench tradition and dined on bread andcheese or the mini cheese-olive bruchettas,ratatouille-filled puff pastries and tomatocakes floating around on trays all evening.Dessert standouts included mini pine nuttarts, lemon squares, chocolate-coveredstrawberries and mini brownies.>Highlights/lowlights: The panoramicview of Cannes from the hilltop church wasbreathtaking./Descending from said hilltopproved nearly fatal as one train headingdownhill and another uphill blocked eachother’s paths and unfortunate passengerswere forced to make the long trek back tocentral Cannes by foot.— Rebecca LefflerTysonPort Canto LaCapitainerieW4 martinisith very in-yourfacesponsorship 3 martinisin the form of Nike andGrey Goose Vodka, the party for James Toback’sMike Tyson documentary felt more like aSundance bash than a Cannes event but thecrowd was up for it and a music mix heavy onhip hop and R&B kept everyone bouncing.>Attendees: Iron Mike and director JamesToback were the stars of the show, huddlingwith some local talent in the party’s tiny VIParea.>Cuisine: Fitting for a bash celebrating thetoughest man in boxing, the bar served onlythe hard stuff — but plenty of it. The fingerfood, such as it was, ran out almostimmediately.>Highlights/lowlights: The presence ofTyson, who initially refused to come butwas finally coaxed out of his hotel room byToback./The lonely Nike sponsorship area,which featured golf video games, a replicasoccer pitch and a baseball memorabilia areabut, bizarrely, not a single boxing reference.— Scott RoxboroughHenrik BoNielsen, left,and AndreasStroelDanish Films(Scandinavian Terrace)The Meet the Danes event resembled aDogme 95 film — with little artificial lighting,do-it-yourself sets and no music. Though thecompany was pleasant enough, the party’smain attraction — the view of the Croisette —was spoiled by the wet weather.>Attendees: A who’s who of the Scandinavianindustry including such luminaries asDanish Film Institute CEO Henrik Bo Nielsenand TrustNordisk execs Rikke Ennis andSusan Wendt as well as some non-Nordicslike Munich Film Fest head Andreas Strohl>Cuisine: A mini smorgasbord of veggies,fruit, meatballs and sandwichestook the edge offstarvation. Liquid entertainmentcame in the form ofDanish Faxe Beer and winesin all three colors.2 martinis>Highlights/lowlights: The event showedall the variation in pitch of a fine-tunedBang & Olufsen stereo. Highlight? Lowlight?Who could tell the difference?— Scott RoxboroughRatings Range: 0-5 | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)48


day5_p50_review_Chaser_b 5/17/08 12:58 PM Page 50day 5 | sunday, may 18, 2008 | reviewsThe ChaserIt’s no fluke that “The Chaser” enjoyed a long run at Korea’s slumminglocal market and got snapped up by Warner Bros. for aremake. The subject of “The Chaser” — a serial killer who hammersa chisel into prostitutes’ heads — is morbidly fascinating. Italso plays a wily game with theaudience, satisfying their bloodlustwhile frustrating expectationsof how such crimes shouldbe solved, and indeed how suchfilms should be made.It should easily pin down theatricaldates around Asia andniche markets in the West, inaddition to hitting the nail on thehead for overseas DVD sales.Usually, serial killer films keepthe audience guessing till theend, but director Na Hong-jinreveals his identity in 20 minutes.There are no red herrings,> OUT OF COMPETITIONBOTTOM LINE PA disturbing murder thriller withhaunting mood play and high-strungtension.CAST: Kim Yun-seok, Ha Jung-woo, SeoYeong-hie, WRITER-DIRECTOR: NaHong-jin, EXECUTIVE PRODUCER: ChinHee-mon, DIRECTOR OFPHOTOGRAPHY: Lee Sung-jePRODUCTION DESIGNER: Lee Min-bokEDITOR: Kim Sun-min, SALES:Showbox/Finecut/Dire/Haut et CourtNo rating, 125 minutes.and the script even dispenses with the other rule in the book —solving the mystery of motive. The protagonist also is unconventional— a frazzled ex-detective turned pimp who gets his adrenalinfrom guilt over the prostitutes’ plight.The film branches out to touch on human fallibility and systemfailure. For this reason, it has been compared with Bong Joon-ho’ssuperior “Memories of Murder” but comes closer to “Zodiac” in itscynicism and resistance to closure.The climax is in the first act. It contains a chilling mis-en-sceneof dark foliage that is a veritable fallen eden, a thrilling montage thatcrosscuts between the killer’s attack and the pimp’s frantic search,and the action lives up to its title with a heart-stopping and brilliantlyedited chase through alleys and steps. The narrative losessteam midway and only clicks into place when the pimp’s race tofind the survivor converges with the killer’s comeback.“The Chaser” is a not flawless gem. The script is pierced throughwith improbabilities and, like many Korean films, just when the finaleis in sight, the plot runs through at least five more endings beforereaching the finishing line. Nonetheless, the tight time-frame gives theexcellent cast a chance to play with intensity, making even old genrehands hold their breath and feel their minds sufficiently shaken up.— Maggie | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)50

FEST 200873 films, 35 countries, 158 screenings, 94.739 tickets soldPrograms: Europe out of Europe (FEST Competition), Horizons, A Map,Facts and Puzzles, Sincerely from Russia, FantAsiaWELCOME TO BELGRADE INTERNATIONAL FILM FESTIVAL37th FEST: Feb 20th - March 1st,, Majke Jevrosime St. 11 000 Belgradephone: +381 11 33 46 946welcome to FEST Industry event4th B2B Industry MeetingsFeb 27th - March 1st 2009B2B 200882 film project submitted for pitching, 12 selected, 3 awarded,60 participants from 18 countries, 50 participants from SerbiaFilmCentra_D5_05_18_08.indd 15/14/08 12:04:21 PM

day5_052_producersmove 5/17/08 11:00 AM Page 1day 5 | sunday, may 17, 2008 newsSUNDAY 18 MAYEVENTS PROGRAMMEFDMX NETWORKING BREAKFAST 08:00 - 10:00Networking event to launch FDMX’s Continuing ProfessionalDevelopment course. RSVP to FILMS FORMAJORITY AUDIENCES 10:30 - 11:30Babylon programme director Gareth Jones chairs a panel ofestablished and emerging British talent in a debate about thecolourful future of British film.FINANCE BY TENON MEDIA 11:00 - 13:00Book 1-2-1 meetings at the information desk for advice onthe new UK tax credit system, co-productions and more.MAXIMISING YOUR RIGHTS 11:00 - 13:00Book 1-2-1 meetings at the information desk for advice fromsolicitor and author Andrew Sparrow on maximising thepotential of your film project utilising the internet.DEVELOPING AND FUNDINGDOCUMENTARY FEATURES 12:00 - 13:00Elizabeth Karlsen, Chris Atkins and Beadie Finzi featurein a panel chaired by Jess Search, Chief Executive of Channel 4British Documentary Film Foundation, to discuss how best todevelop and fund a documentary project.SECRETS OF CO-PRODUCTION SUCCESSEMERGING COUNTRIES 14:00 - 15:00FDMX present a guide to co-production in emerging countries such asIndia and South Africa, hosted by Alan Harris of Atlantic Film Group.LEGAL BY HILL DICKINSON LLP 14:00 - 16:00Book 1-2-1 meetings at the information desk for advice on legal issuesaffecting the film, performance art and production industries.THE UK AND CANADA: THE PRAGMATICCO-PROS FROM THE SCRIPT UP 15:30 - 16:30In an international market where financial incentives to win productionare now the name of the game, how can the UK co-productions stillwork? Screen International Editor Michael Gubbins presents a casestudy of The Hum featuring the film’s writers and producers IsabelleRaynauld, David Pearson, Pierre Even and Elizabeth Morgan Hemlock.HOW TO QUALIFY AS A BRITISH FILM 16:00 - 18:00Book 1-2-1 meetings at the information desk, for advice on working withthe UK and receiving tax relief, from the UK Film Council’s SamanthaPerahia and Isabel Davis.Seats are not bookable in advance. If you are interested please come along.The 1-2-1 surgeries are bookable in person through the UK Film Council desk.Information available on: UK companies and delegatesBritish films on sale in CannesOpening hours 09:00 to 18:30 Tel: +33 (0) 4 93 99 86 Oana GiurgiuBorn: July 29, 1975Nationality: RomanianSelected Filmography: “Delta” by Kornel Mundruczo(production manager); “Love Sick” by Tudor Giurgiu(producer); “The Death of Mr. Lazarescu” by Cristi Puiu(location manager); “Spider Web” (director)iurgiu has extensive experi-as a producer of televi-Gencesion programs, music videos andevents as well as organizing theTransylvania International FilmFestival. After working as a cinematographerand documentaryfilmmaker, she was locationmanager on Cristi Puiu’s Cannesawardwinner “The Death of Mr.Lazarescu” and produced TudorGiurgiu’s feature debut “LoveSick,” a boxoffice success inRomania in 2006. Oana was theRomanian producer on behalf of Libra Film for the Hungarian-German co-production “Delta,” which screens here In Competition.What has been the most challenging production you have worked on?I’ve been involved in a lot of challenging productions, but the mostextreme film experience was the production of “Delta.” The mostcomplicated issue was dealing with the fact that there are no roadsat all in the remote location where it was filmed, the Danube Delta,but you’re surrounded by water. It was a complicated production.How do you think being part of Producers on the Move will benefit you?In this business, the more you go out in the market and the moreyou meet as many people as possible, the more you’ll be successful.It’s all about being around, riding the wave and finding the rightpartners for specific projects.Do you think Romania is a good place to be making films these days,given the recent international recognition Romanian films have gained?This international recognition is like a flame, it burns for a while,but it’s up to the next films to keep the interest going. Anyway,Romania is a hot territory and we have to take advantage of it.There is a great bunch of talented people, enthusiastic and willingto be involved in new film projects. Overall, I think Romania hasgreat creative energy now.What are the biggest challenges of producing in your country?The biggest challenges of producing in Romania are related to lackof financial incentives. Soft money and limited TV investment arestill the only financial sources we can get as independent producers.Just now there are plans to redraft the Cinema Law to includean incentive system similar to some other European countries.Can you pitch to me your next project?“Kino Caravan” — Romania, early 1960’s. An old truck transformedinto a so-called Kino Caravan is visiting a remote, isolatedmountain village in Transylvania to screen Russian propagandafilms. It’s the first official propaganda job for our young hero.—Charles | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)52

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day5_p56_review_Vicky_b 5/17/08 4:48 PM Page 56day 5 | sunday, may 18, 2008 | reviews‘Vicky Cristina’> OUT OF COMPETITIONBOTTOM LINE PAllen rediscovers his comic andromantic side in sunny Spain.CAST: Javier Bardem, Patricia Clarkson,Penelope Cruz, Rebecca Hall, ScarlettJohansson. WRITER-DIRECTOR: WoodyAllen. PRODUCERS: Letty Aronson,Gareth Wiley, Stephen Tenenbaum. Norating, 96 minutes.continued from page 1The two most hilarious characters,played by Spain’s twomost famous actors, Javier Bardemand Penelope Cruz, arenothing if not clichés abouttempestuous Latin lovers. But,boy, does Allen have fun withthose clichés.Two young American womenfriends — no innocents abroadthese — fall into a heady whirlwindof romance, lust and partnervariations during a sultrysummer in the Catalonian capital.Vicky (Rebecca Hall) is thesensible and structured one,already engaged to an equallysensible businessman. Cristina(Allen’s current muse, ScarlettJohansson) is fleeing yet anotherdoomed romance in her perpetualsearch for a happinessshe cannot define.Each falls under the romanticsway of “intense” painter JuanAntonio (Bardem). At first glancethe epitome of “Eurotrash,” it isto Allen’s credit that, over thecourse of the movie, he deepensthis character, giving Juan Antonioa dignity and integrity absentin his initial well-oiled moves onthe young women.Juan Antonio and Cristinaappear made for each other, buta surprising and unplannedencounter between Juan Antonioand Vicky devastates her lifetrajectory. Suddenly, all thatsense and structure tumblesinto a puddle of liquid desire.Juan Antonio and Cristina dosettle into a live-in relationship,but this romance stumbleswhen his mercurial ex-wife,Maria Elena (Cruz), re-entershis life following a failed suicideattempt.But strange is the magic thathappens next: The couple thatcould never work as a duo suddenlyblossoms as a ménage-atrois!Allen’s love for Barcelonashines in every immaculateimage, stunning vista, tenderglance down an expansiveboulevard or tiny street, reverentialgaze at buildings by Gaudiand quick dives into picturesquetaverns. Allen imagines aBohemian subculture of artistsand poets, like Parisafter World War I orGreenwich Village afterWorld War II, whereinits denizens drink wineand make love into theFor full listof creditsintoxicating night.Does Allen in his advancingyears see in Barcelona a chanceto re-create his Manhattan ofold, a city not of Gershwin butof Spanish melodies and guitarmusic, where once again youngneurotics can experiment withlifestyles and embrace art?Whatever, the film belongs toBardem and Cruz. This is aSpanish version of “PrivateLives,” a couple that cannot liveapart or together, whose lovewill always burst into fierycombat. Their scenes are someof the funniest Allen has everput on film, and the culminationof this love/hate tango isnot to be missed.A voice-over narration foronce actually works, urging thestory on and slipping us past talkof art and poetry. JavierAguirresarobe’s cinematographyand Alisa Lepselter’sediting are unusuallysharp, even by Allen’s highstandards. ∂May 18 16:00 Olympia 4 Switch / Ole Martin Hafsmo / drama / 89 minMay 19 10:00 Olympia 4 Manhunt / Patrik Syversen / horror / 76 minMay 19 22:00 Star 1 The Kautokeino Rebellion / Nils Gaup / drama / 96 minMay 20 12:00 Star 1 O’Horten by invitation / Bent Hamer / drama / 90 minMay 21 16:00 Palais C The Man who Loved Yngve / Stian Kristiansen / drama / 98 minMay 21 11:00 Debussy O’Horten / Bent Hamer / drama / 90 minMay 21 16:30 Debussy O’Horten / Bent Hamer / drama / 90 minMay 22 11:30 Arcades 3 O’Horten / Bent Hamer / drama / 90 minMay 22 15:00 Bazin O’Horten / Bent Hamer / drama / 90 minFor further information:NORWEGIANFILMINSTITUTE | Cannes: Scandinavian Terrace | 55 la Croisette | tel: 04 93 38 31 85 | | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)56

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day5_p5,58_news_c 5/17/08 7:51 PM Page 58day 5 | sunday, may 18, 2008 | newsSkullcontinued from page 5chicken compared with theother star of “Indiana Jones andthe Kingdom of the CrystalSkull,” namely the eponymousskull, which dates back to the19th century.From May 20-Sept. 7, theMusee du Quai Branly in Pariswill exhibit the famous 11 centimeter-high,2.5 kilogramParis-based crystal skull, parallelto the release of the longawaitedfourth installment inthe Indiana Jones saga.According to legend, thecrystal skull is one of 12 locatedacross the globe. The skullsallegedly corresponded to the 12worlds where human life waspresent, with the land alsoforming its own skull, making13 total. The Olmecs, theMayans and then the Aztecskept the skulls in a great pyramidand the objects were said tobe able to speak and sing whenall were together.Crystal skulls such as that atthe Musee du Quai Branly havebeen displayed in museums allover the world (the BritishMuseum and the Smithsonian,for example) but all have provento be fakes, more likely constructedin the late 19th century.So why such a fuss if they’reall fakes?“In the end, everyone is freeto believe what they want tobelieve,” the Musee du QuaiBranly’s director of permanentcollections Yves Le Fur said ashe unveiled the eerily beautifulartifact at a recent ceremony atthe museum.“The meaning and value ofthe skull has changed over theyears. Just the fact that there’s amajor movie being made aboutit today shows that the value ofan object is relative to our owninterest,” Le Fur said.Paramount says that Spielbergmay stop by the Paris‘Cowboys’continued from page 5Svarog-Afterburner Films’Dave Riggs and Nickolai Suslovand YFG CEO Bob Yari will producethe “Top Gun”-style feature,centering on tough pilots inan elite Naval attack squadron.The film will be shot in the U.S.and Russia, using the U.S. NavyFighter Weapons School for the“The meaning andvalue of the skull haschanged over the years.Just the fact that there’sa major movie beingmade about it todayshows that the value ofan object is relative toour own interest.”— Yves Le Furexhibit on his way back fromCannes after presenting thefilm Out of Competition..The skull, however, will notbe walking the red carpet for thefilm’s Cannes world premiere.“We couldn’t find a tuxedo forit,” Paramount France bossCamille Trumer said. ∂Senatorcontinued from page 5ging along nicely — he recentlygreen-lighted videogame adaptation“Clock Tower” and SamuelL. Jackson starrer “Unthinkable”— fresh cash will be needed.“With our current set up weare seeing a flattening curve andthere is an upper limit to ourgrowth,” Sasse told THR. “Whatwe are concerned with at themoment is the question of how toget Senator quantitatively toanother level. I definitely see thechance for us to grow massivelyin the future if we can correctlyposition ourselves in the market.”Senator has most of the strategicpieces in place — includingTVproduction operations and athree-year production deal withWolfgang Petersen’s RadiantProds. Senator also is expectedto sign a U.S. distribution dealfor its English-language slate.Sasse forecasts that, twoyears from now, Senator’s revenuewill be in triple-digit millionsof euros. ∂first time in two decades andRussian air force aircraft.First-timer Adam Princewrote the script based on RandyArrington’s 2007 “KeroseneCowboys: Manning the Spare”and a treatment by Riggs andSuslov. David Glasser of YFG armSyndicate Films will rep foreignsales. The Collective’s ShaunRedick, who negotiated the dealwith YFG’s Bill Immerman, willexecutive produce. ∂Cajuncontinued from page 5cane Katrina and nearly a yearafter the city established theEntertainment Initiative andnamed Marcus Brown to head it.“Following Katrina, theentertainment industry evacuatedto the north of Louisiana,”Durel said. “They took a glancinglook at Lafayette, but all thehotels were full of evacuees andbonding companies weren’tinsuring during hurricaneseason.”Now, however, Durel saidLafayette is the only parishsouth of Interstate 10 beinginsured as if it were north ofInterstate 10, a man-made geographicdivide separatingsouthern and northernLouisiana.In addition to the 25% statetax credits offered for movieproduction, digital media forvideo gaming and sound recordingand additional 10% for usinga local crew, Lafayette offers aculturally rich and aggressivelyentrepreneurial city.Lafayette also offers theFrench the added bonus of“more French heritage andFrench-speaking citizens thananywhere else in America,”Durel said.According to Durel, the city’sstate-of-the-art LouisianaImmersive Technologies Enterprise,the $27 million 70,000 sq.foot high pre-visualizing complexcoupled with the broadbandconnection to allow for 100MB/sec capacity, makes Lafayettethe ideal place to set up shop.“We’re a technological hub,so production can get out of thecommunity better, faster andcheaper than anywhere else inthe state,” the mayor said.According to Brown, companiesalready have started takingadvantage of Lafayette's infrastructureand three servicecompanies.In addition to French directorBertrand Tavernier’s “In theElectric Mist” which shot in thearea, Glenn Ficarra and JohnRequa are presently shooting “ILove You Phillip Morris.”Since the state tax credits wereintroduced in 2002, the state hassteadily attracted more high profileprojects. Last year, more than40 productions filmed inLouisiana, a number expected togrow. While Oliver Stone’sGeorge W. Bush biopic is shootingthere now. ∂CannesDaily EditionHotel Palais Stéphanie(formerly the Noga Hilton)50 boulevard de la Croisettephone: Mika,PublisherElizabeth Guider,EditorE D I T O R I A LDavid Morgan (Deputy Editor),Gregg Kilday (Film Editor),Stuart Kemp (U.K. Bureau Chief),Scott Roxborough (Germany BureauChief), Charles Masters (AssociateEditor), Gregg Goldstein (N.Y. FilmReporter), Steven Zeitchik (N.Y. SeniorWriter), Pamela Rolfe (Spain BureauChief), Rebecca Leffler (FranceCorrespondent), Eric J. Lyman (ItalyCorrespondent), Chad Williams(Int’l News Editor), Ralf Ludemann(Copy Editor), Isabelle Ramsden(Proofreader)A R T + D E S I G NDeeann J. Hoff (Director – Art+Design),Emily Johnson (Senior Designer)R E V I E W SKirk Honeycutt (Chief Film Critic),Ray Bennett (U.K. Film Critic),Deborah Young (Chief Int’l Film Critic),Duane Byrge (Film Critic),Maggie Lee (Film Critic),Peter Brunette (Film Critic)A D V E R T I S I N GTommaso Campione (InternationalExecutive Director), Alison Smith(International Sales Director),Damjana Finci Baskot (AccountManager, Eastern Europe), Ivy Lam(Asia Sales & Marketing Manager),Andrew Goldstein (Acct. Manager,Independent Films), Nina Pragasam(International Marketing Manager)O P E R A T I O N S + I TKelly Jones (Production Director),Gregg Edwards (Senior ProductionManager), Armen Sarkisian(Network Administrator)G E N E R A LSylvie Tucker (Office Manager),Julie Brown (Office Manager)Gerry ByrneSenior Vice President,The Entertainment GroupCopyright ©2008 Nielsen Business Media, Inc.All rights reserved. No part of this publicationmay be reproduced, stored in any retrievalsystem or transmitted, in any form or by anymeans — electronic, mechanical, photocopying,recording or otherwise — without theprior written permission of the | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)58

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day5_p1,60_news_b 5/17/08 8:35 PM Page 60day 5 | sunday, may 18, 2008 | newsMorena, Telecinco dial up ‘211’By Pamela RolfeMid-marketcontinued from page 1Lakeshore, Mandate and Summitfielding a number of apparentlytasty titles.Summit’s “Tree of Life,” fromdirector Terrence Malik, alreadymay have closed for France, withEuropaCorp the likely buyer.Mandate apparently has severaloffers on the table for DrewBarrymore’s directorial debut“Whip It,” which has Ellen Pageattached to star.“It’s pretty early days but weare going to sit down and startstrategizing on the offers wehave,” Mandate Internationalpresident Helen Lee Kim said.As for other English titles notnecessarily American-produced,StudioCanal’s sci-fithriller “Babylon A.D.” has soldto Moviemax in Italy and Concordein Germany. Mars Distributionsecured French rights toTommy Lee Jones’ “Islands inthe Stream,” which Intandem isselling.“There’s product in the marketfor the kind of films we’reafter,” said Mars head StephaneCelerier, who also acquiredDarren Aronofsky’s “TheWrestler” just prior to Cannes.Berlin-based A Companypicked up several titles for Russiaand Eastern Europe, includingLionsgate’s “Saw 5,” EmirKusturica’s “Maradona” docand Omega’s Betty Anne Watersbiopic starring Hilary Swank.Halcyon Pictures has U.K. rightsto Julie Delpy’s “The Countess,”sold by Celluloid Dream.U.S. buyers may not be openingtheir wallets as readily asthe Europeans, but titlesattracting interest for dealsStateside include JamesToback’s boxer docu “Tyson”and Charlie Kaufman’s surreal“Synecdoche, New York”.Morena Films andTelecinco Cinema havetheir follow-up to InCompetition title “Che,”entering a co-production pactwith Vaca Films on DanielMonzon’s high-energy “Cell211.”Frances’ La Fabrique 2 alsois co-producing, with Galicia’sregional Xunta governmentand broadcaster andAXN are also backing theproject.The $5.4 million productionstars Luis Tosar as the leaderof a prison riot, with AlbertoAmmann playing a youngprison guard trapped in therevolt, who tries to pass aprisoner to survive on theinside.“SummerHours”The animated war drama“Waltzing with Bashir” and thetriptych “Tokyo!” are generatingslow-burn talks amongsmaller indie buyers.“There are some internationalfilms worth distribution, butgiven the uncertainty in theU.S. marketplace, the deals willtake a while to happen,” RoadsideAttractions co-presidentHoward Cohen said.But IFC Films snapped upOliver Assayas’ “SummerHours” from MK2 and theRussian drama “Mermaid”from Central Partnership.Strand Releasing hasacquired U.S. rights to AnthonyByrne’s comedy “How AboutYou” starring Vanessa Redgraveand Imelda Staunton.Hot Asian titles at Cannesinclude “The Chaser,” which isbeing sold by Korea’s Finecut,CJ Entertainment’s “The Good,the Bad and the Weird” andJohn Woo’s “Red Cliff,” reppedby Summit.“There have been a lot ofvery enthusiastic buyers. I wasexpecting a continuation ofwhat happened in Toronto andSundance, but it’s been crushing,”Unified Pictures CEOKeith Kjarval said.“There seem to be fewer people,but those that are here havea very clear idea of what theyare looking for,” said BarcelonabasedFilmax’s Carlos Rojano.Gregg Goldstein, Pamela Rolfe,Rebecca Leffler, Charles Mastersand Liza Foreman contributed tothis report.New Linecontinued from page 1“Lord of the Rings” trilogy.Those companies mostimmediately impacted are universallyreluctant to talk abouthow the New Line demise willaffect business.Croisette crawlers are abuzzwith what brothers Nigel andTrevor Green, whose EntertainmentFilms is a top indie distributorin the U.K., will do toreplace their New Line deal.The press-averse duo is quietlyconfident that their buyingpower, bolstered by a pay TVdeal they have in place, meansthey can usually outbid othersin the U.K. for product.Entertainment may very wellbe here to ink an output dealhere. The pair have strongexisting links, for example, withLakeshore Entertainment, havingdistributed several of thatcompany’s hit titles in the past.“They’ll be fine. They’ll justgo out there and buy the topproduct to replace the numberof titles they were getting fromNew Line,” said one U.K. buyer.The duo also has some timebefore the absence of New Lineproduct starts to bite. Entertainmenthas product fromNew Line through 2009.Meanwhile in France, MetropolitanFilmexport, one ofFrance’s most voracious independentdistributors, has an outputdeal for New Line titles thatruns until at least “Four Christmases”at the end of this year.“They had a supply line andbuilt the rest of their slatearound that. What happens nextis a question for them,” said arival distributor. Metropolitanco-chiefs Victor and SamuelWMAcontinued from page 1come from both WMA andother agencies. “This is anattempt to be forward thinking,”WMA chairman and CEOJim Wiatt said.It will finance between 8-10movies per year in the sub-$15million range. A Griffin Dunnedirectedproject called “ThePosition” will kick off a slatethat will include everythingfrom supernatural thrillers tocomedies with overseas appeal.The company also may look totake on studio-level projects atHadida would not comment.“Entertainment and Metropolitanboth existed before theyhad New Line output deals, andthey’ll continue to flourish oncethose deals have ended,” oneobserver said.The Spanish were more verbal.Felipe Ortiz, president ofSpain’s Tripictures which hasNew Line titles there through2008, said: “It doesn’t reallyaffect us. Now we have to substitutethe six annual titles we gotfrom New Line.”As for Germany, the end ofthe New Line pipeline will havelittle effect on the German market,where the label’s titles alreadyfunnel through Warners.In North America, Canadiandistributor Alliance Films istalking to Relativity Mediaabout a deal to distribute Relativity’stitles in Canada.Though the talks are still in thevery early stages, a new supplyof U.S. films would benefitAlliance, which is set to lose itslongtime distribution pact withNew Line at the end of 2008.It’s still unclear what proportionof New Line future outputwill be channeled throughWarner’s foreign circuit, andhow much will be available tolocal independents.“It’s a question for JeffBewkes, but I think big NewLine titles will become Warnerfilms,” one insider said.To maintain continuitybetween the old New Line andthe new New Line, Warners hasjust retained New Line vetCamela Galano, who has beennamed president, New LineInternational Releasing.Pamela Rolfe, Scott Roxborough,Etan Vlessing and Steven Zeitchikcontributed to this reportmore manageable budgets.Screen Media’s Noel lohr andDavid Molner and producer BobSimonds will constitute Incentive’sboard.WMI already packages andsecures financing for a range offilm projects, and both ScreenMedia and Aramid fund moviesas well. But the creation of anestablished fund will streamlinepackaging and production.“You’re going to see in thenext five years an explosion inthe distribution business,” WMItopper Cassian Elwes predicted,adding, “I feel all the (specialtyfilm) companies will be strongerin the next five years.” ∂ | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)60

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day5_062_abouttownb 5/17/08 6:34 PM Page 13 Monkeys PREMIEREAhmet Rifat Sungar, Hatice Aslan, director Nuri BilgeCeylan, Ebru Ceylan and Yavuz Bingol walk the red carpet.APSA COCKTAIL PARTYBarack Obama’s brother in law Konrad Ng, actress-musicianNatalie Imbruglia and the Asia Pacific Screen Awards chairmanDes Power toast the event’s upcoming second edition.A Christmas Tale PREMIEREActors Anne Consigny and Mathieu Amalric stroll down the red carpet; model PetraNemcova poses for photographers; and Catherine Deneuve is all smiles at “A ChristmasTale’s” red carpet gala.Overture & Paramount Vantage PARTYOverture Films COO Danny Rosett andCEO Chris McGurk, director MichaelMoore and Paramount Vantage presidentNick Meyer firm up their partnershipat the Overture and ParVantage cocktail party | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)62PHOTOS: BONO, SEAN GALLUP/GETTY IMAGES; NOSEBLEED, JOHN SHEARER/WIREIMAGE-; PAINTED SKIN, MICHAEL BUCKNER/GETTY IMAGES; J.C.V.D, FRANCOIS DURAND/GETTY IMAGES; CHRISTMAS TALE, PASCAL LE SEGRETAIN/GETTY IMAGES; NEMCOVA, FRANCOIS DURAND/GETTY IMAGES; OVERTURE, MICHAEL BUCKNER/GETTY IMAGES; 3 MONKEYS, PHOTO BY KRISTIAN DOWLING/GETTY IMAGES

day5_062_abouttownb 5/17/08 6:35 PM Page 2PHOTOS: BONO, SEAN GALLUP/GETTY IMAGES; NOSEBLEED, JOHN SHEARER/WIREIMAGE-; PAINTED SKIN, MICHAEL BUCKNER/GETTY IMAGES; J.C.V.D, FRANCOIS DURAND/GETTY IMAGES; CHRISTMAS TALE, PASCAL LE SEGRETAIN/GETTY IMAGES; NEMCOVA, FRANCOIS DURAND/GETTY IMAGES; OVERTURE, MICHAEL BUCKNER/GETTY IMAGES; 3 MONKEYS, PHOTO BY KRISTIAN DOWLING/GETTY IMAGESabout townsunday, 18, 2008 | day 5Wave of parties wash ashoreNosebleed COCKTAIL PARTYActress Mischa Barton and director Jeff Vespa setsail at the “Nosebleed” cocktail party held on the BudLight Yacht.Painted Skin PARTYEastern Mordor Films Kathy Lan and Cannes Market saleshead Myriam Arad present their best face at the “PaintedSkin” cocktail party.Linha de Passe PHOTOCALLPASSION PROJECTJury president, Sean Penn andmusician Bono salute thephotogs on the red carpet at “TheThird Wave” screening.Actor Vinicius de Oliveira, actor Kaique de JesusSantos and director Walter Salles flash smiles at thephotocall for their “Linha de Passe.”J.C.V.D PHOTOCALLJean Claude Van Dammeshows off his moves at the“J.C.V.D.” photocall.More abouttown | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)63

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day5_p64_rev_Gomorra_b 5/17/08 7:56 PM Page 64reviewsSunday, 18, 2008 | day 5WALKING SHOTGUN:The young criminalsof Garrone’s title arenot exactly role models.‘Gomorra’By Natasha SenjanovicROME — Powerful, strippedto its very essence and featuringa spectacular cast (of mostlynon-professionals), MatteoGarrone’s sixth feature film,“Gomorra,” goes beyond Tarrantino’sgratuitous violenceand even Scorsese’s Hollywoodsensibility in depicting theeveryday reality of organizedcrime’s foot soldiers.The characters of the film’sfive stories all work for theCamorra — the Neapolitan“mafia” behind more than 4,000murders in 30 years in Italy, andcountless illegal activities —andbesides being extremely dangerousare relentless, petty andanything but wise.Success at home is virtuallyguaranteed for “Gomorra” as> IN COMPETITIONBOTTOM LINE POne of the most realistic films onorganized crime to hit the big screen.CAST: Toni Servillo, Gianfelice Imparato,Maria Nazionale, Salvatore Cantalupo,Gigio Morra, Salvatore Abruzzese, MarcoMacor, Ciro Petrone, Carmine Paternoster.DIRECTOR: Matteo Garrone.SCREENWRITERS: Maurizio Braucci,Ugo Chiti, Garrone, Massimo Gaudioso,Roberto Saviano. PRODUCER: DomenicoProcacci. No rating, 135’s based on Roberto Saviano’seponymous 2006 bestseller (1.2million copies sold, translatedinto 33 languages) and thebuild-up to its release, alongwith selection In Competitionat Cannes, have created a hugebuzz in Italy. Internationally,the film has sold to a handful ofEuropean territories so far, aswell as Canada, though buyersare expected to grow significantlyafter Cannes.“Gomorra” is one of the raredramatic films to come out ofItaly in recent years that has theappeal to play well theatrically,at least in Europe, and in festivalsworldwide. In the U.S., itshould play to the widest possiblerange of art-house audienceslooking for a thinkingperson’s mafia movie.At times slow and documentary-like,“Gomorra” is tension-filledand highly realistic.(Author and co-screenwriterSaviano, 29, has been underpolice escort even since thebook was published.) Shot predominantlyin Naples’ Scampianeighborhood — an architecturalnightmare of enormousrundown apartment blocks -the film never caters to thoselooking for the kind of adrenalineor over-the-top humor orglamor that’s come to be associatedwith the genre.Garrone neither judges noridolizes in his sober approach,and restrains from too manyother indulgences, artistic orformulaic, beyond handheldcamera work and numerousclose-ups. And the faces hechooses, predominantlypeople plucked from the streetson which he films, make mostmovie mafiosos look likemodels.Even the film’s soundtrack(Neapolitan pop music, sparinglyused) adds to the overallfeel of background rather thanimposing a mood. Garrone alsomakes use of total silence and,rather than coming across as amanipulative film-school trick,it only enhances particularlyemotional scenes.Apart from the film’s mostnotable star, Toni Servillo, otherstandout performances comefrom Gianfelice Imparatore,Salvatore Cantalupo, Carminepaternoster and 13-year-oldSalvatore Abruzzese. ∂ | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)64

Produced by Promoted by Main partnerTHEBUSINESS STREETTHIRD EDITIONAUTUMN IN ROMETHE KEYPLACE FOR YOURBUSINESSMEET US AT THEROME FILM FESTIn cooperation withItalianTradeComm_D3_05_16_08.indd 15/13/08 1:09:30 PM

Drive your content business forwardMIPCOM - The world’s audiovisual content market13 - 17 October 2008Palais des Festivals, Cannes, Francewww.mipcom.comReed Midem D3 05_16_08.indd 15/14/08 10:07:19 AM

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