CJ Enter HC D3 05_16_08 - The Hollywood Reporter


CJ Enter HC D3 05_16_08 - The Hollywood Reporter

CJ Enter HC D3 05_16_08 5/8/08 4:54 PM Page 1day3dailythe> from CannesFriday,May 16,2008

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day3_p5, 92_news_c 5/15/08 8:01 PM Page 5newsFriday,THR.com/cannesMay 16, 2008 | day 3Going to extremesLeconte provokes with ‘Jerks’ docu“LEONERA” PHOTO: FRANCOIS DURAND/GETTY IMAGESBy Charles MastersDo we have the right tocaricature God? Thisand other questionsinvolving religion andfreedom of speechraised by the controversial Danishcartoons depicting theprophet Mohammed are examinedby “It’s Tough Being Lovedby Jerks,” a documentary byFrenchman Daniel Lecontewhich unspools today as a specialscreening.Leconte says his aim is toprovoke healthy debate, even ifthat upsets some people due totheir faith. “We have to havethis debate, because when wedo, we win the argument,” hesaid. “As soon as you explain‘Totally,’ dude: Teenspies going big screenBy Rebecca LefflerJames Bond will get a runfor his money whenFrench production powerhouseMarathon Mediaand Studio 37, the film armof Gallic telecom Orange,bring Beverly Hillsteenagers-turned-secretagents “Totally Spies!” tothe big screen.The €8 million ($12 million)production based onthe hit series is being targetedfor a summer 2009release date in Gaul,through Mars Distribution.The mix of traditional animationand 3D, tentativelytitled “Totally Spies! TheMovie,” already has beenpre-sold to Benelux (filmsde l’Elysée), Italy (Mikado)and Eastern Europe (SPI).Daniel Marquet’s GroupeSpies continues on page 92that it’s not Muslimsthat are targeted(in the caricatures),butthose who kill inthe name of thatreligion, it’s different.It’s likeLecontethe differencebetween the Inquisition and allother Catholics. I wouldn’t putTorquemada in with Francis ofAssissi. The extremists knowthey’ll lose in debate, so theyspread terror to widen the gapbetween East and West,between Islam and democracy.”The film follows the unprecedented2007 trial of a Frenchnewspaper for allegedly insultingthe Muslim people, and with“Jerks” continues on page 92Hayter mutatesinto helmer roleBy Gregg GoldsteinCrystal SkyPictures hassigned “X-Men” scribeDavid Hayter tomake his directorialdebut withtwo genre films Hayterhe will write. Italso has nabbed ultimate fightingchamp Roger Huerta for itsHayter continues on page 92‘Leonera’ lineupCast members, from left, Elli Medeiros, Rodrigo Santoro and Martina Gusman joindirector Pablo Trapero on the red carpet for Thursday afternoon’s premiere.Maybury’s ‘Wuthering’ has its HeathcliffBy Stuart KempAt least one half of thecasting crisis facingJohn Maybury’s“Wuthering Heights” hasbeen solved in the wake ofNatalie Portman’s suddendecision to pull out of theheadline role of Cathy.Ecosse Films, the productionhouse run by RobertBernstein and Douglas Rae,which is producing the picture,said they have securedMichael Fassbender for therole of Heathcliff.Fassbender stars in SteveMcQueen’s “Hunger,” whichheralded the beginning ofBy Stuart KempAaron Schneider’s “Get Low”starring Robert Duvall andSissy Spacek has sealed a cofinancingdeal with K5 International,the Germany and U.K.-based worldwide sales andfinancier run by Bill Stephens,Cannes sidebar Un CertainRegard on Thursday.Bernstein described theHeathcliff role as “one of themost powerful and iconicromantic roles” in cinema.Finance and sales outfitHanWay reps the title here.Portman’s exit left the financiers,sellers and producersrattled just days before the fest.HanWay Films is hoping tohave a replacement for Portman“within days” in the roleof Cathy.Written by Olivia Hetreed(“Girl With a Pearl Earring”),the new adaptation plans tosteer away from “the stuffycostume drama” format.∂‘Get Low’ picks up financing from K5 Int’lDuvallSpacekDaniel Baur and Oliver Simon.Produced by Richard Zanuck,Dean Zanuck and Harrison Zanuck,“Low” is written by Schneider,C.Gaby Mitchell and Chris Provenzanoand details the story of realliferecluse Felix Bush.The movie is being pre-soldinternationally by K5 here. ∂THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)5

day 3 | friday, may 16, 2008 | newsdigestHigh spirits at Ko Lik FilmsEdinburgh-based stop-frame animationoutfit Ko Lik Films hasdrawn backing from BBCScotland and executive producerBob Last for a feature-length versionof the half-hour adventuresof ghost hunters Jeff andThurston, who debuted on theBeeb’s Scottish outlet. The filmversion will feature the return ofPeter Capaldi and Alex Norton,who voiced the original shorts.The as-yet-untitled comedy willbe helmed by the writer-producerteam of Cameron Fraser and Neil Jack.Quartet join Celluloid on ‘Rabia’Celluloid Dreams is teaming with Spain’s Telecinco Cinemaand Monfort Producciones, Colombia’s Dynamo and Mexico’sTequila Gang on “Rabia,” written and directed by SebastianCordero, whose previous film, “Cronicas,” was presented atUn Certain Regard in 2004. The $5.3 million romantic thrillerbegan principal photography in May on locations near SanSebastian, for eight weeks. Mexican actor Gustavo SanchezParra and Colombian actress Martina García lead the cast.HustonRibisiHuston, Ribisi takewalk in ‘Forest’Anjelica Huston, Giovanni Ribisi,Sean Austin and Ron Perlmanare lending their voices to theEnglish version of Dygra Films’animated “Spirit of the Forest.”Manga Films will handle distributionin Spain, with a release date set for Sept. 5.Hollywood Fantastic Films International handles internationalsales of “Spirit,” with its environmentally aware message.The film already has sold to 30 countries.Myriad operating at full ‘Capacity’Myriad Pictures has picked upworldwide rights to TerryKinney’s “Diminished Capacity”starring Matthew Broderick, AlanAlda, Virginia Madsen, DylanBaker and Bobby Cannavale. Thecomedy centers on a man withmemory problems who heads ona sick-leave road trip with his Madsensenile uncle. IFC holds U.S. rightsto the film and Myriad will rep it in Cannes.BroderickCanal Plus sews up Dis, NL titlesPay TV group Canal Plus has grabbed multiyear broadcastingrights in France for catalog titles from Disney-ABC and NewLine Cinema. Canal Plus will hold rights for TV, VOD and itsnew “catch-up TV” online viewing service broadcast for allupcoming titles from Disney, Miramax and TouchstonePictures in addition to future seasons of its ABC series such as“Desperate Housewives.” The pay TV network also will inheritrights to air New Line’s latest titles including “The GoldenCompass” and “Sex & The City: The Movie.” The deal complementsCanal Plus’ previous pacts with Universal, Fox,Paramount, Dreamworks and Sony-Columbia.Bavaria back to basicsRitter eyes return to firm’s successful formulaBy Scott RoxboroughAfter a turbulent couple ofyears that have seen theloss of two top executivesand the rise of such local competitorsas the Match Factoryand Beta Cinema, Germany’sBavaria Film International isgoing back to its roots.Thorsten Ritter, the sole headof Bavaria since the Februaryexit of co-director ThorstenSchaumann, is moving to refocusthe company by returning tothe kind of “accessible arthouse” and “ambitious mainstream”films that made itsreputation.“If you look back at the historyof Bavaria, our biggest successeshave been with titlesthat, while they may have anart-house sensibility, have morecrossover appeal. Films like‘Run Lola Run,’ ‘Goodbye,Lenin!’ or ‘The Man Without aBy Stuart KempEveryone knows investing inmoviemaking is more dangerousthan even realestate, but U.K. property entrepreneurRobert Whitton is upfor a gamble.Whitton has teamed with producerJo Gilbert (“Closing theRing”) to launch new banner theReal Holywood Production withsome £20 million ($39 million)behind it, based in Holywood,Belfast in Northern Ireland.By Stuart KempAustralia’s fledgling film cofinancingmarket and thecountry’s only one heldduring a festival — 37 South:Bridging the Gap — is launchinga new section to cater to localscreenwriters and directors hopingto meet the event’s handpicked70 producers from acrossAustralia and New Zealand.Organizers are extending thehighly targeted meet and greetas part of the Melbourne InternationalFilm Festival. ThePast,’ ” Rittersaid.Ritter points toupcoming literaryepic “Buddenbrooks—Decline of a Family”starringRitterArmin Mueller-Stahl as examples of this newmainstream approach, whileDorris Dorrie’s “Cherry Blossoms”and Daniel Burman’sArgentinean hit “Empty Nest”exemplify the kind of art-housecrossover Bavaria plans to domore of.Ritter says that Bavaria also islooking to regain its position asthe “No. 1 sales agent of choicefor German filmmakers,”recently extending its longrunningassociation with Hans-Christian Schmid by picking upthe director’s new doc with theworking title “The WonderfulWorld of Washing.” ∂Whitton rolls dice on new shingleThe first production will beGerry Lively’s “Yankee King,”starring Bill Campbell, ClaireForlani and Rosemary Harris.The shingle’s debut slateincludes the directorial debut ofBritish thesp Simon Callow,with a big-screen version ofstage play “That Good Night.”Callow also is lined up to direct“In the Wings,” with DerekJacobi on the roster to star.The company aims to producethree movies a year alongsideTV dramas and docs. ∂Oz market bridges gap for scribesevent will kick off a day beforethe festival begins on July 25.The new section will be titled 37South: Postscript & Direct.Organizers also told THR ithas given Mark Hartley’s “NotQuite Hollywood” finishingfunding from its Victoria statebackedPremiere film fund.Premiere fund manager MarkWoods is currently in Cannes tospeak to sales agents about theco-production event, butstresses that only decisionmakerswith cash get on the invitationlist for the event. ∂THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)6

TaorminaFilmFest_D3_05_16_08.indd 15/12/08 6:38:08 PM

day3_p8_Salles_c 5/15/08 4:14 PM Page 8q&aTHR.com/cannesFriday, May 16, 2008 | day 3alter Salles’ career has been characterized by implausibilities.WIn 1998, a small Brazilian drama he directed called “CentralStation” came out of nowhere to become an indie sensation andgarner two Oscar noms, including one for best actress. His foreignlanguage“The Motorycle Diaries” defied the odds and earnednearly $17 million in more than four months of U.S. release. Andnext he’s taking on an iconic book, “On the Road,” that no U.S.director has succeeded in getting made. The HollywoodReporter’s Steven Zeitchik spoke to the director Thursday morningafter an all-night subtitling session in Paris for his latest movie,“Linha de Passe,” a picture he co-directed with Daniela Thomasabout four brothers facing challenges in modern day Sao Paulo.THE HOLLYWOOD REPORTER:First off, we should say congratulationsfor getting the film done intime for the festival.WALTER SALLES: I hope we didget it done. I hope we put thesubtitles all in the right places.Otherwise, it’s going to becomemore of an experimental film.That could make for a veryinteresting review in the Cahiersdu Cinema.THR: That would be a problem. Ofcourse, this film is not experimentalbut a slice of life in moderndayBrazil.SALLES: This is a project thattries to go back to the roots ofBrazilian film. It’s about fourbrothers trying to break socialbarriers in four very differentways, and all four stories arebased on real events. It’s a storywe wanted to do with real spontaneity,and that’s why you’llfind 95% of the actors are makingtheir screen debut. It aimsfor the urgency and freshness ofyouth trying to find a way out.THR: But it doesn’t revel in thoseconditions as much as othermovies have.SALLES: This isn’t a film thatcan be linked to other films youmay have seen in Braziliancinema about drug-dealing, orwhere there’s a conflict betweenpolice and kids. If you look atBrazil, the temptation for violenceand crime is there becausethere’s a high rate of unemployment.But only a very small percentagewill opt for violence andcrime — yet these are the oneswho are portrayed. We wantedto make a movie about the kidswho save themselves.THR: So there’s a kind of sociallyconscious element to it?SALLES: What films like “Cityof God” did is very importantbecause it brought to the surfacea complex drama and createdawareness for problems thatwere there but were not seen bymany people. But if all filmsresemble “City of God,” you’llend up with a biased understandingof a society that’smuch more complex. I liked thatfilm a lot. But it reflected a certainreality, and the reality ofBrazil changes every two days.THR: One of your previous films,“The Motorcycle Diaries,” trackeda Latin America that was in asense also under construction.How do Latin Americans view thatperiod now?SALLES: “Motorcycle Diaries”was about the story that precededhistory. But the positionwe’re in now is not that differentfrom the one 50 years ago. Whenwe shot, we were able to inhabitscenes as if we were doing thefilms in the ’50s. We didn’t haveto re-enact anything. It’s acountry that still needs to bediscovered. At the same time,that affords a wealth of cinematicopportunities.THR: Such as Steven Soderbergh’sChe movies, which take onthe same character you did andwill be at the festival, too. How doyou feel about his undertaking?SALLES: I don’t know Steven. I’dlike to applaud the fact that hedid these movies in Spanish,because Ernesto Guevara foughtfor cultural independence andlanguage is a big part of that.Very few directors would havevital statsWalter SallesNationality: BrazilianBorn: April 12, 1956Festival Entry: “Linha dePasse,” In CompetitionSelected Filmography: “AGrande Arte” (1991), “CentralStation” (1998), “Midnight”(1998), “Behind the Sun” (2001),“The Motorcycle Diaries” (2004),“Dark Water” (2005)Notable Awards: BAFTA forbest non-English-language film;Spain Film Critics Assn. Award for“Central Station” (1999); LittleGolden Lion at Berlin for “Behindthe Sun” (2002); Prize of theEcumenical Jury at Cannes for“The Motorcycle Diaries” (2004);BAFTA for best non-English-languagefilm for “The MotorcycleDiaries” (2005).taken that courageous step.THR: Switching gears, do you lookback at the earlier part of your career,especially “Central Station,”and find yourself surprised by howit’s all gone?SALLES: The funny thing is thatwhen we were shooting “CentralStation” in the middle of nowhere,Fernanda Montenegro andI would look at each other and say‘will anyone be interested? I hopeour families will watch.’ It was anice surprise to see the impactthe film had. ... Cinema is linkedto risk and instability, and thedesire for discovery.THR: That discovery is somethingthat seems to happen a lot here.SALLES: If there is one place thatstill fights for and preserves acinema with vision, it’s Cannes.It’s a place where you have amuch better understanding ofthe world. Sometimes I wishpoliticians could stop whatthey’re doing and come. They’dwatch films from Iran and Turkeyand China and maybe go backand do their jobs differently.For more Q&Awith WalterSalles, go to THR.com/cannesTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)8

Kimmel D3 05_16_08.indd 15/14/08 9:44:19 AM

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LIGHTNING_HC_D3_05_16_08.indd 15/13/08 12:48:55 PM

day3_p12, 16_revs_c 5/15/08 5:01 PM Page 12reviewsFriday,THR.com/cannesMay 16, 2008 | day 3‘Leonera’By Deborah Young> IN COMPETITIONBOTTOM LINEPowerful, emotional filmmakingand acting give a lift to the familiarwomen-in-prison film.MAGNIS.CAST: Martina Gusman, Elli Medeiros,Rodrigo Santoro. DIRECTOR: PabloTrapero. SCREENWRITERS: AlejandroFadel, Martin Mauregui, Santiago Mitre,Pablo Trapero. PRODUCERS: PabloTrapero, Youngjoo Suh, Walter Salles.Admittedly, its womenin-prisonstory is notan instant attraction,but it doesn’t takemore than a few minutesinto “Leonera” (Lion’s Den)to realize this film is several cutsabove the genre standard. VersatileArgentine helmer PabloTrapero shakes off the leisurelylethargy of his recent “Born andBred” in a riveting, high-pitcheddrama blessed by the extraordinarilyedgy performance ofactress/producer Martina Gusmanas a middle-class collegegirl who finds herself pregnantand in prison for murder.Remake rights could be attractive,though this Spanish-lingofilm co-produced by Argentina,Brazil (with the involvement ofWalter Salles) and South Koreaworks perfectly with its ownauthorial blend of police procedural,documentary realism andengrossing drama.Julia (Gusman) wakes up onemorning beside two blood-coveredbodies. Her boyfriend hasbeen stabbed to death and hismale lover Ramiro (Rodrigo Santoro)is barely alive. Julia, prettybeaten up herself, can't rememberwhat happened, and bothshe and Ramiro are arrested onsuspicion of murder. This lightning-swiftopener is an ablehook that ushers viewers intothe main body of the story,which takes place in the filthybut colorful chaos of a specialprison for female inmates withbabies and small children. Onthe outside, it could pass for afriendly place, if every motherdidn’t know that her child wouldbe taken away when he or sheturns four. Trapero’s fascinationwith the nitty-gritty horrors ofthis open-cell Third World jail,whose immense dimensions arenot revealed until the lastscenes, link it to a long traditionof Latin American cinema, notleast his own police story “ElBonaerense.”As important as the prison isas a backdrop, with its cursing,lustful, hair-pulling inmatesand their hordes of tiny tots,Julia remains a solid axis for thestory. Gusman, who has beeninvolved on the production sideof all Trapero’s films since “ElBonaerense” and who alsoplayed in “Born and Bred,” has amodern intensity that blowsaway the rest of the cast. She isnever banal as she evolves froma helpless victim who hates herunborn child, to a survivor whofinds happiness in little Tomasonce he is born. When her ownestranged mother (ElliMedeiros) suddenly turns upand tries to take him away fromher, Julia brings out her clawsand makes the toughness shehas learned in prison pay off.Unexpected touches include asprightly opening children'sMartina Gusman is amiddle-class college girlimprisoned for murder.song and an engaging parade ofbaby strollers through the prisonas the proud moms escort theiroffspring to kindergarten class.Guillermo Nieto's hand-heldcamerawork mimics Julia'snervous energy and keeps theaudience locked up along withher, working in symbiosis withFederico Esquerro’s forcefullyrealistic sound design. ∂“Four NIghts With Anna”BOTTOM LINE: Three nightstoo many.Alas, even fans of legendaryPolish director JerzySkolimowski (1982’s “Moonlighting”),who’ve been waitingsince 1991 for the master’snext film, will be disappointedby “Four Nights With Anna,”the barren fruit of that longgestation period.A hyper-minimalist storyabout Leon Okrasa, a sad sackwho works in the crematoriumof a hospital in a small Polishtown, the film is an exercise intedium marked by only thetiniest of redeeming moments.Okrasa develops an obsessionwith Anna, a nurse whomhe spies on from afar. He finallydecides to make his move,but unfortunately he can onlyapproach the object of hisdesire when she is in a state ofdrugged sleep.During each of his four clandestinevisits, Okrasa markshis presence by a little gift,such as sewing a button on hersweater, painting her toenails,or fixing her cuckoo clock. Butthese dramatic highlights areso sparse that they come toseem like manna in the desert,greedily scooped up by a famishedaudience.Some narrative “experimentation”with chronology(it is difficult to tell whetherthey are flashbacks or flashforwards)only serve to underlineall that the film lacks inenergy or dash.— Peter BrunetteTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)12

SCREENING TODAYFIRST CUT - ONE SCREENING ONLYFRIDAY 16TH MAY4:00 PM - OLYMPIA 2RSVP ESSENTIAL:rsvp@youandithemovie.comor +33 (0) SALES OFFICE:RAMCO Hotel Majestic, Room 128Marius Vilunassales@youandithemovie.comTel: +33 (0) new film by Palme D’Or winningdirector Roland Joffé, starringMischa Barton (The OC, St Trinian’s),Anton Yelchin (Charlie Bartlett, Star Trek,Terminator 4) & introducingShantel VanSanten (Final Destination 4).Angels Kiss D3 05_16_08.indd 15/12/08 5:23:13 PM

Marathon D3 05_16_08.indd 15/6/08 5:11:42 PM

Marathon D3 05_16_08.indd 25/6/08 5:11:44 PM

day3_p12, 16_revs_c 5/15/08 5:02 PM Page 16day 3 | friday, may 16, 2008 | reviewsPANDA FU:Sweet, clumsy Po must transforminto a warrior capable of saving athreatened village.‘Kung Fu Panda’continued from page 1> OUT OF COMPETITIONBOTTOM LINEYes, Virginia, a panda can become akung fu hero!PRODUCTION COMPANIES: ParamountPictures, DreamWorks AnimationCast: Angelina Jolie, Jack Black, DustinHoffman, Jackie Chan, Lucy Liu, SethRogen, Ian McShane, David Cross.DIRECTORS: John Stevenson, MarkOsborne. SCREENWRITERS: JonathanAibel & Glenn Berger. STORY BY: EthanReiff & Cyrus Voris. PRODUCER: MelissaCobb. EXECUTIVE PRODUCER: BillDamaschke; Rated PG, 90 minutes.Certainly the sustainedapplause at its Palais debut herein Cannes bodes well for internationalboxoffice success.The stroke of genius is, ofcourse, the film’s hero — thebig, lovable bear that is the Chinesepanda. Sweet looking, perhapsa bit clumsy, seeminglyunflappable, what could be anodder hero for a kung fu movie?Transforming a panda namedPo — voiced by big, lovable JackBlack — into a kung fu fighter tosave a threatened village inancient times is essentially theentire movie.He does not start with a lot ofpromise, only a boundlessenthusiasm for the disciplineand a seeming inability to performits simplest tasks. His dad,a goose named Mr. Ping (JamesHong) — that discrepancy isnever clarified — runs a noodleshop and expects his son to followin his web steps.But Po longs to train underMaster Shifu (Dustin Hoffman)and alongside his heroes, theFurious Five: Tigress (AngelinaJolie), Viper (Lucy Liu), Mantis(Seth Rogen), Crane (DavidCross) and Monkey (is thatJackie Chan?). He miraculouslyfulfills this impossible dreamwhen the inventor of kung fu,Oogway the turtle (Randall DukKim), anoints him the longprophesiedDragon Warrior.Comic calamities pile on topof one another until Shifu recognizesPo’s true driving force— his insatiable appetite.A bun or a cookie snatchedfrom his grasp has Po performingfeats of remarkable agility and nolittle ferocity. He is soon ready toface the villainous Tai Lung (IanMcShane), a snow leopard whodescends on the fearful village toexact revenge for his own rejectionas the Dragon Warrior.Like most chop-sockymovies, “Panda” strays not atall from its twin goals of actionand comedy. Whatever pointsthe script by Jonathan Aibel &Glenn Berger wants to make tochildren about pursuing goals, itdoes so quickly and gets back tothe fights. A battle along a ropebridge between the Furious Fiveand Tai Lung and Po’s showdownwith his adversary dominatethe final third of the filmafter the mostly comic run-upto those battles.The animation is clean andvivid: Backgrounds and sets areappreciative tributes to Chineselandscape art and architecture;the fighting style of each animal,whether a snake, a tiger ora monkey, is subtly rendered;and the filmmakers have clearlystudied the best Asian martialarts films to spark inspirationfor those gravity-defyingstunts. ∂“The Guard Post”BOTTOM LINE: Thriller set at aKorean border guard post poursbucketfuls of blood but throwsscant light on psyche ofNorth-South divide.Ahorror-thriller that takesplace entirely in the confinesof one of many guardposts dotted along the North-South Korean border’s DMZ,“The Guard Post” effectivelyconveys a murderously claustrophobicatmosphere surroundingan investigation ofthe bizarre deaths of an entireplatoon.It can stir up expectationsamong European buyers forDVD release through its superficialresemblance to “JSA.”However, it has but a fraction ofthe latter’s piercing politicalinsight and powerful characterization.Instead, it goes in forthe easy thrill of mind-numbingbloodshed and violence.The tension starts to falterafter the initial enigma of thedeaths gives way to a viralinfection plot that steals fromthe formula of the zombie film,literally going out with a blastthat wipes out any logicalexplanation. This is exacerbatedby the confusing structureof cutting back and forth intime, when the cast is madeindistinguishable by the sameuniform, haircuts and even thesame facial outbreaks.— Maggie LeeTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)16

Videovision D3 05_16_08.indd 15/13/08 4:31:37 PM

day3_018_screenings 5/15/08 1:05 PM Page 1>>>>festival+marketscreeningsTHR.com/cannesIn Competition screenings in gold: * Private screening Friday, May 16, 2008 | day 3> friday08:30 Moscow, Belgium,Belgium, Critics Week,Bavaria Film International,Bunuel; Un Conte De Noel,France, In Competition,Wild Bunch, Lumiere09:00 Boogie, Romania,Directors’ Fortnight,Maximum FilmsInternational, PalaisStephanie09:15 The Viceroys, Italy,Rai Trade, Star 3; The 3Little Pigs (Les 3 P’titsCochons), Canada, ChristalFilms, Palais B; FemaleAgents (Les Femmes DeL’ombre), France, TF1International, Arcades 1; TheTrue Story of Puss’n Boots,France, MK2 S.A, Palais K“Bory”09:30 Paris, France,Studiocanal, Arcades 2;Khalass, Lebanon, Med-Screen, Palais F; PromosPathe, Pathe International,Palais J; Promoreel, FilmsDistribution, Gray 2; ASimple Heart (Un Coeur(Chomsky et compagnie),France, Les Mutins DePangée, Gray 5; Forever theMoment, South Korea,Golden Network Asia Ltd,Riviera 1; Mr 73, France,Gaumont, Star 2;Jerusalema, South Africa,Moviehouse Entertainment,Star 1; Melody’s Smile (LaChambre Des Morts),France, BAC Films, Palais C10:00 My Mighty Princess,South Korea, PrimeEntertainment, Olympia 9;Destiny Ride (Sans etatd’ame/La Donna di nessuno),France, FilmexportGroup, Olympia 3;Borderline, Canada, MaxFilms Inc., Lerins 2; GoldDiggin’: For Love of Money(The Motherlode), USA,Brass Ring Enterprises, Gray3; Chaotic Ana (CaóticaAna), Spain, Sogecine &Sogepaq, Palais G; Summer,U.K., The Works International,Olympia 6; Midnight MeatTrain*, MandateInternational, Olympia 7;Lemon Tree, France, FilmsDistribution, Lerins 1; Inju,The Beast in the Shadow(Inju, La Bête DansL’ombre), France, UGCBavaria Film International,Miramar; Soi Cowboy,Thailand, Un Certain Regard,Co-production Office,Debussy11:15 Adhen (DernierMaquis), France, Directors’Fortnight, Umedia, PalaisStephanie11:30The Escapist, U.K., GoalpostFilm, Arcades 1; PromosPathe Unknown, PatheInternational, Palais J;Programme Onf, Short FilmCorner, Palais F; SouthernGothic, USA, Strategic FilmPartners, Gray 2; Down tothe Dirt, Canada, NewfoundFilms, Palais B; Calling AnAngel (Llamando A AunAngel), Mexico, FilmsharksInt’l, Gray 4; Black, France,Wide ManagementEnterprise, Palais D;Apocalypse Code, Russia,Central Partnership, Riviera4; Summer (Sommer),Germany,Telepool Gmbh,Riviera 2; Days And Clouds(Giorni E Nuvole), Italy,Adriana Chiesa Enterprises,Star 3; Tunnel Rats,Germany, Boll Ag, Star 4;Nothing To Lose,Netherlands, High PointGirl By the Lake (LaRagazza Del Lago), Italy,Intramovies, Riviera 1;Miracle At St. Anna, USA,TF1 International, Star 2;Young@Heart, U.K., LePacte, Palais C; O’Horten,Norway, Un Certain Regard,The Match Factory, Olympia5; Kill Theory*, USA,Mandate International,Olympia 7; CSNY/Deja Vu,USA, Fortissimo Films, PalaisI; The Lena Baker Story,USA, American WorldPictures, Gray 3; NewSerbian Films(Compilation of films currentlyin production orpostproduction), Serbia -Montenegro, Film CenterSerbia, Gray 5; According tothe Plan (Frei Nach Plan),Germany, MDC International,Palais G; That Man Came(An Mard Amad), Iran,Farabi Cinema Foundation,Palais E; Jolene, USA,Intandem Films, Olympia 4;A No-Hit No-Run Summer(Un Été Sans Point Ni CoupSûr), Canada, Max Films Inc.,Lerins 2; 2 Alone In Paris(Seuls Two), France, TF1International, Palais K “Bory”;The Coffin By EkachaiUekrongtham, Thailand,Simple), France, Rezo,Arcades 3;Valley of Angels, USA, ITNDistribution, Palais DMy Way, Spain, Intramovies,Palais H; La Rabia,Argentina, Bavaria FilmInternational, Riviera 4; ThePhotograph, Indonesia,Filmsharks Int’l, Gray 4; TheAmerican Way, USA, DaStarz, Gray 3; Khalass,France, Wide ManagementEnterprise, Palais F;According to the Plan (FreiNach Plan), Germany, MDCInternational, Riviera 209:45 Chomsky And Co.International, Palais I; Son ofa Lion, Australia, FortissimoFilms, Olympia 5; Rebirth(Tavallodi Digar), Iran,Farabi Cinema Foundation,Palais E; Angels Inc(Angeles S.A.), Spain,Imagina International Sales,Riviera 3; Quid Pro Quo,USA, Magnolia Pictures &Magnet Releasing, Gray 1;The Great Alibi (Le grandalibi), France, UGCInternational, Olympia 111:00 The Stranger In Me(Das Fremde In Mir),Germany, Critics Week,Media Group, Palais H12:00 Incendiary, U.K.,Capitol Films, Olympia 3;Fugitive Pieces, Canada,Maximum FilmsInternational, Olympia 9; TheLucky Ones (The Return),USA, QED International, Star1; Louise-Michel, France,Funny Balloons, Arcades 2;Hello Goodbye, France,SND/M6 Da, Riviera 3; ManOn Wire, U.K., The WorksInternational, Gray 1; ThreeMonkeys, Turkey, InCompetition, PyramideInternational, Lumiere; TheEasternlight Films, Lerins 1;Kung Fu Panda, USA, OutOf Competition, ParamountPictures/DreamworksAnimation Skg, Salle Du60eme13:30 Madrid En Corto2007, Short Film Corner,Palais F; Bustin’ Down theDoor, USA, IM Global, Gray 4;Art Of The Devil 3, Thailand,Five Star Production(Thailand), Palais B;Investigation(Razsledvane), Bulgaria,Eastwest FilmdistributionGmbh, Palais H; Low QualityTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)18

day3_018_screenings 5/15/08 1:05 PM Page 2>>>>festival+marketscreeningsTHR.com/cannesIn Competition screenings in gold: * Private screening Friday, May 16, 2008 | day 3People (Gente De MalaCalidad), Spain, NotroFilms, Star 3; BeautifulBitch, Germany, SolaMedia/Atrix Films, Riviera 2;When a Man Comes Home,Denmark, Celluloid Dreams,Arcades 1; Carl Gustav Jung,Spain, Notro Films, Palais D;Running the Sahara, USA,Porchlight Entertainment,Gray 2; Casual Day, Spain,Latido, Arcades 3; It’s HardTo Be Nice, Bosnia-Herzegovina, FortissimoFilms, Star 4; Black Ice(Musta Jää), Finland,Bavaria Film International,Riviera 4; Gnomes andTrolls - The SecretChamber, Sweden, NonstopSales AB, Palais J“Un Conte De Noel”14:00My Friends, My Loves (MesAmis, Mes Amours),France, Pathe Distribution,Olympia 4; Creek*, USA,Mandate International,Olympia 7; Crossfire (LesInsoumis), France, TF1International, Olympia 1;Outlander, USA, WildBunch, Star 1; WonderfulTown, Thailand, MementoFilms, Riviera 1; What If...?(Notre Univers(Ximalaya Wangzi), China,Longtale, Olympia 6; ShootOn Sight, U.K., AmericanWorld Pictures, Lerins 1; TheInvestigator (A Nyomozo),Hungary, Trustnordisk, Star 2;A Light In the Fog, Iran, DocumentaryAnd Experimental FilmCenter, Palais E; Planet 51,Spain, Handmade FilmsInternational, Gray 3; ExitMer), France, CertainRegard, PyramideInternational, Debussy15:00 Hunger, U.K., UnCertain Regard, IconEntertainment International,Bazin; Baby(Ies), France,Studiocanal, Palais J; ToeiTremendous Trailers, ToeiCompany, Ltd., Palais D;Rumba, Belgium, CriticsUSA, Horizon MotionPictures, Palais J; AnotherLove Story (Maré, NossaHistoria De Amor), Brazil,Wide ManagementEnterprise, Palais B; EveryNight, Loneliness (HarShab, Tanhaii), Iran, CimaMedia International (Cmi) -Irib, Palais F; Quiet Chaos(Caos Calmo), Italy,Fandango Portobello Sales,Impitoyable), France, FilmsDistribution, Olympia 3;Chef’s Special (Fuera DeCarta), Spain, ImaginaInternational Sales, Riviera 3;Tranquility, Hungary, BunyikEnterprises Inc., Palais C;The Seven of Daran, Battleof Pareo Rock, Netherlands,AAA Pictures, Palais G; LeVoyage Aux Pyrénées,France, Directors’ Fortnight,Celluloid Dreams, PalaisStephanie; 4 Nights WithAnna (4 Noce Z Anna),Poland, Directors’ Fortnight,Elle Driver, Olympia 5; PrinceOf The HimalayasSpeed, USA, VisionFilms/Vision Music, Palais K“Bory”; The Desert Within(Desierto Adentro), Mexico,Mexican Film Institute(Imcine), Palais I; Waltz WithBashir, Israel, InCompetition, The MatchFactory, Salle Du 60eme;Sunny Spells (Le Bruit DesGens Autour), France, Rezo,Arcades 2; Death In Love,USA, Katapult Film Sales,Gray 514:30 Un Conte De Noel,France, In Competition,Wild Bunch, Lumiere; SaltOf This Sea (Le Sel De LaWeek, MK2 S.A, Miramar15:30 A Bird In the Mouth(Un Oiseau Dans LaBouche), France, RustyProduction, Palais E;Mozart’s Magic FluteDiaries, Canada, SullivanEntertainment Inc, Gray 2; 48Hours A Day (48 HeuresPar Jour), France, PyramideInternational, Riviera 4;Mona Lisa Has Vanished(La Joconde A Disparu),France, Umedia, Gray 4;Clubbed, U.K., Av PicturesLimited, Star 3; Lady Jane,France, Films Distribution,Arcades 3; Bad Biology,Palais H; Rabbit WithoutEars (Keinohrhasen),Germany, Bavaria FilmInternational, Riviera 2;Bigger, Stronger, Faster,USA, Magnolia Pictures &Magnet Releasing, Star 4;Frozen River, USA, Rezo,Arcades 1; Red, USA,Bleiberg Entertainment Inc.,Palais D16:00 The Guitar, USA,Maximum FilmsInternational, Gray 5;Cowards (Cobardes),Spain, Filmax International,continues on page 78THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)19

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Cannes 2008The DealThe BabysittersWinged CreaturesGUNSWatching The DetectivesDeliriousContact info at Cannes Film FestivalThe Riviera, Hall Lerins S9 Telephone: +33 (0) 4 92 99 32 45Toronto 416.783.8383 Los Angeles 310.776.7200 New York 646.822.9229 Vancouver 604.688.3937www.peacearch.comPeaceArch_D3_05_16_08.indd 15/12/08 6:34:09 PM

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credits not contractualSCREENING TODAYFRIDAY, 16TH MAY, 12NOON, OLYMPIA 4Relais de la Reine Apartments, 42/43 La Croisette (next to The Grand Hotel) Block C, Apartments C-21 & C-22 T: +33 4 93 06 70 03WWW.INTANDEMFILMS.COMIntandem D3 05_16_08.indd 15/14/08 9:34:38 AM

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day3_Atelier_25, 28-29_c 5/15/08 11:10 AM Page 25atelierFriday,THR.com/cannesMay 16, 2008 | day 3“Qu’un seul tienne etles autres suivront”WorkinProgressBy Charles MastersThe 15 projects inthe Atelier arehoping for a leg upfrom their presencein Cannes.The Cannes Atelier, or workshop,swings open the doors for itsfourth edition as an increasinglyintegral part of the festival fabric.This year’s 15 projects rangefrom those by filmmakers with an establishedreputation to those who’ve flirtedwith international recognition to outrightnewcomers. No fewer than eight are byfirst-time directors.“Once again this year, the Atelier wishesto help professionals at Cannes discoverprojects whose thematic diversity, creativeinventiveness and varied geographical distributioncome together to sketch out thecinema of tomorrow,” said Gilles Jacob,president of the Festival de Cannes andthe Cinéfondation, the section dedicatedto up-and-coming and graduate directorsthat runs the Atelier.The thematic diversity Jacob refers todoes not, however, stretch to includemuch upbeat subject matter this year. Theselected films variously tackle themes ofdeath, exile, terminal illness, suicide,insanity, the Israel/Palestine conflict andcloning one’s dead lover. Georges Goldenstern,director of the Cinéfondation, concedesthat this year’s projects tend to be asomber bunch.“It’s true, the world is not a very reassuringplace, and the inspiration for thesefilms appears in sync with that. We wouldhave liked a cheerful comedy in the lineup,but we didn’t find one,” he said. The oneexception he points to for a bit of lightrelief is “First Page Taipei,” a Taiwan/U.S.Atelier continues on page 28THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)25

TORONTO INTERNATIONAL FILM FESTIVAL GROUP presentsIT’S TIME TO REGISTERFOR TORONTO!The Sales & Industry Office provides the networking,information and support you need to make the mostof your Festival experience.Our hotel bookingservice is open!hotels@tiffg.caRegister online today!registration@tiffg.caTransforming the way people see the worldtiffg.caTorontoFilm_D3_05_16_08.indd 15/14/08 1:17:49 PM

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day3_Atelier_25, 28-29_c 5/15/08 11:12 AM Page 28day 3 | friday, may 16, 2008 feature | atelierAteliercontinued from page 25co-production from U.S.-born Arvin Chen,a nightlong caper through the Taiwanesecapital against a backdrop of romance andgangsters.The Atelier was launched in 2005, theidea being to give directors and their producersan opportunity to indulge in 12 daysof intensive networking with potential partnerson the Croisette. To qualify for inclusion,all projects must have a completedscript, the commitment of a first producerand usually a proportion of financing inplace, although there are exceptions.“I think the Atelier is a very prestigioussection to be in,” said Richard Lormand,who is one of the producing team for LeeIsaac Chung’s “Lucky Life,” one of two U.S.projects in this year’s Atelier. “The peoplewho make the selection are people whoknow quality art house cinema. It’s the firstrecognition a project can have, and thatmeans a lot, especially to a writer-director.It can only make you feel more confidentabout the artistic choices that you make.”“Lucky Life” tells of a trip made by agroup of friends, one of whom is dying,which becomes more of a journey to their“Bi, Don’tBe Afraid”“Womb”inner selves. The producers are aiming tomeet potential distributors and sales agentsin Cannes, ahead of a planned shoot in latesummer.The film, Chung’s second, is budgeted at$600,000, which is a six-fold increase onhis debut effort, the Rwandan-set story ofteenage friendship “Munyurangabo,” whichscreened in Un Certain Regard here last year.The Atelier filmmakers all have theirprojects detailed in a brochure that is sentout to market attendees before the start ofthe festival so that meetings can be set up inadvance. Invited films each have a spotthroughout the market at the Atelier headquartersin the International Village, wheredirectors and producers can get together.Typically, the event comprises about 500meetings between the filmmakers and otherinterested parties.The Atelier’s characteristic globe-trottingapproach sees a first appearance by a projectfrom Estonia, in this case “One More Croissant,”directed by Ilmar Ragg, one of twopictures in the Atelier which would be partiallyshot in Paris. The other is “Bitch,” fromChinese helmer Lou Ye, the most experiencedfilmmaker in this year’s lineup, withfive previous features to his credit, including2006 In Competition title “Summer Palace.”Adapted from an autobiographical novel,“Bitch” is about a teacher from Beijing whofollows a lover to the French capital only tofind herself exiled in the unfamiliar city.“There is so much on offer in Cannes thatthe Atelier is very useful for providing somevisibility to a project which will hopefullybring in curious parties,” said Kristina“The Stoplight Society”“There is so much on offer inCannes that the Atelier isvery useful for providingsome visibility to a project,which will hopefully bring incurious parties.— Kristina Larsen,Les Films du LendemainLarsen of French outfit Les Films du Lendemain,which is producing Lou’s film.“In France right now, it’s not very easy tofinance films, so the more potential partnersyou meet, the better. It’s all to be done,we’re just starting on this project with nofinance in place,” said Larsen, who is hopingto meet European co-producers,notably from Germany, and sales agents. Asa Chinese film shot in France, “Bitch” couldcapture the interest of the internationalmarketplace, said Larsen, who previouslyproduced Hou Hsiou Hsien’s Paris-set“Flight of the Red Balloon.”The African continent is represented atthe Atelier through “Queleh,” a largelyautobiographical film from Somalia-borndirector Abdi Ismael Jama. Mark Aardenburgof Amsterdam-based Movietron is coproducing“Queleh” with French companyArizona Films.“We already have part of the budget inplace, and through the Atelier we hope tofind the missing financing. If we cameaway with a completed budget, that wouldbe fantastic,” said Aardenburg, a producerand director of documentaries for whom“Queleh” is a first feature venture. “Theorganizers will invite potential co-producersfrom all over the world, which is“Here”THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)28

day3_Atelier_25, 28-29_c 5/15/08 11:12 AM Page 29day 3 | friday, may 16, 2008 feature | atelierThe Directorswhy I think it’s good to take part. It also gives thefilm some international profile.”The film is about a boy growing up in Somaliawhose father is taken away by government troops,forcing the family into refugee status. The producersplan to shoot in the northern region ofSomaliland using mainly local crew, and alreadyhave about 10% of the $1.4 million budget.The workshop has an impressive track record ofhelping projects move from development to production.“About 60% of last year’s participatingprojects have now been shot, and all of themshould be made by the end of the year, barringmishaps,” Goldenstern said.Among notable success stories at last year’sedition was Colombian Ciro Guerra’s project“The Wind Journeys,” a road movie told around awandering musician, which secured its entire $1.5million budget in Cannes last year. Another,“Ahasinwitai” (The Fallen), directed by SriLankan Vimukthi Jayasundara, whose first feature“The Forsaken Land” won the Camera d’Or inCannes in 2005, has just finished shooting aftercompleting financing at the Atelier last year.For anyone wondering whether the Atelier formulaworks as a nursery for Cannes-friendlyprojects, you need only take a glance at this year’sCroisette selections.Four ex-Atelier titles made it into this year’sDirectors’ Fortnight and one into Critics Week,Goldenstern said. Among them, FrenchmanBertrand Bonello sees his fourth picture, “De LaGuerre” (On War), an Atelier participant last year,unspool in Directors’ Fortnight. The same sidebaris also providing a berth for Argentine helmerPablo Aguero’s “Salamandra.”Aguero developed the script for the Patagonian-setfilm during a stay at the Cannes Residence,the 18-week live-in script developmentprogram held in Paris and run by the Cinéfondation,and a perfect illustration of Cannes’ ambitionto accompany projects from development toworld premier screening. ∂Ben HackworthAustralia“Cure for Serpents”An eccentric older womanenlists her young gardenerto plan a bizzare carnival for death so shecan be reunited with her long-lostPortuguese lover.Lou YeChina“Bitch”A young teacher quits her jobin Beijing to join her Frenchlover, but when she gets to Paris thingsdon’t go according to plan.Reuben MendozaColombia“The Stoplight Society”Raul is set on using his limitedknowledge and clevernessto control the traffic lights so thatstreet artists and vendors working at thelights can perform longer.Ilmar RaagEstonia“One More Croissant”Two women with very differentexperiences are broughttogether when they realize you can’t hatesomebody whom you understand.Braden KingUnited States“Here”A meditation on geography,relationships, time, culture,politics and exploration in the age of GPS,Google Maps and globalization.Lee Isaac ChungUnited States“Lucky Life”A terminally ill man begins towonder if miracles are possiblewhen he takes a final trip with friends.Lea FehnerFrance“Qu’un seul tienne etles autres suivront”Two women, one man, threejourneys that all end up in the visitingroom of a prison near Paris.Benedek FliegaufHungary“Womb”When the love of her life diesin a car accident, a womandecides to have him cloned, give birth tohim and raise him as her own child.Nadav LapidIsrael“The Policeman”A study of the rage andfeelings of abusecaused by the vast economic gap andclass conflict in Israel.RazvanRadulescu &Melissa de RaafRomania“First of All, Felicia”A woman has to cometo terms with herfeelings about 19 yearsof separation from herfamily.OlegNovkovicSerbia“White, WhiteWorld”An aging boxer and a wild, beautifulyoung girl are intertwined in a fatallove story.Abdi IsmaelJamaSomalia“Queleh”A personal tale thattells the story of those who’ve had toflee the violence in Somalia.Arvin ChenTaiwan/United States“First Page Taipei”Love-struck Kai seekspassage to Paris to visit his girlfriendby agreeing to deliver a package for agangster.JuanPittalugaUruguay“Punta del Este”A love story betweena pool boy and an upper class girlthat shows the contradictions inthe region based on money,poverty, corruption and thejoys of living.PhanDang DiVietnam“Bi, Don’t Be Afraid”Six-year-old Bi is witnessas all the people in his life haveto face up to their desires.THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)29

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5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 1worldspecial report:ItalianInternationalFilm’s 50thTHR.com/cannesFriday, May 16, 2008 | day 3ALL SMILESFrom left, Fulvio Lucisanoand Italian film iconAlberto Sordi share a laughon New Year’s Eve in NewYork, 1986.RomanEmperorBy Eric J. LymanFulvio Lucisano’sItalian InternationalFilm hits thehalf-century markROME — In a small office in Rome inthe late ’50s, a 30-year-old lawyernamed Fulvio Lucisano set up shop todistribute Hollywood fare from famedB-movie producers American InternationalPictures. He chose a name for hiscompany inspired by his colleaguesfrom Tinseltown: Italian InternationalFilm.Now, half a century later, the companybest known as IIF has become oneof the most storied in Italian cinemahistory, producing more than 400 filmsthat together have garnered two Oscarnominations, four David di Donatellos,four Nastri d’Argento (Silver Ribbons)and the hearts of millions of viewers.Lucisano, now approaching 80, hasbecome one of the deans of the Italianfilm industry and has helped it evolveinto what it is today. “Back in 1958,could I have imagined I’d have reachedTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)31

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HORIZON MOTION PICTURESPREMIERE SCREEENINGSCREEENINGThe Red AwnDrama / 101 min /Mandarin with English sub. / China / 2007Director: Cai ShangjunMay 17, 20084:00 pm - Lerins 1light and the suffererSci-Fi Drama / 75 min / English / USA / 2007Director: Christopher PedittoMay 17, 200810:00 am - Gray 3Cannes Contact: Booth #G20, Riviera, +33 (0)4 92 99 33 221271 Howe Street, Suite 111 Vancouver, B.C. V6Z 1R3 CanadaTel. 604.632.1707 Fax.604.632.1711film@horizonmotionpictures.com www.horizonmotionpictures.comHorizonEnt_D3_05_16_08.indd 15/12/08 6:01:36 PM

5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 2day 3 | friday, may 16, 2008 italian international film’s 50th | worldPASTA PALSLucisano with Marcello Mastroianni on the set of 1975’s “Per le antichescale” (Down the Ancient Staircase); below, with Spaghetti Western starBud Spencerthis point? No, I couldn’t,” says Lucisano, who works with his daughters,Federica and Paola, in a spacious set of offices adjacent to his apartmentnear Rome’s famous Piazza del Popolo. “But looking back, I also couldn’timagine having done anything else.”Although Lucisano always loved movies — he fondly recalls 1938’s“The Adventures of Robin Hood” and 1939’s “Stagecoach” — he firstbecame aware of the importance that film would have for him duringWorld War II. Although too young to serve in uniform, he was used as atranslator by the 5th Armored“What Fulvio Lucisanohelps us realize isthat a good filmproducer is just asimportant, just asmuch of an artist, asthe writer or thedirector or any ofthe actors.”Division, U.S. G.I.s heading northout of Rome. “American filmswere barred from Italy startingjust before the war started,” herecalls. “And so by the time thewar was winding down in 1945, Icouldn’t get enough of the storiesabout all the films I was missingand all the big Hollywood stars Iknew almost nothing about.”The adventure lasted fourmonths, until his father made himreturn to Rome. There, the youngLucisano attended law school andwent to work in his father’s legal— Lina Wertmueller,studio. His interest in cinema ledfilmmakerhim to offer legal counsel to filmcompanies, and he became a collaborator and close friend of AmericanInternational Pictures legends James H. Nicholson and Samuel Z.Arkoff. Before long, IIF was born. “Those were exciting times to beworking in Italy,” Lucisano says.In the half-century since he started, Lucisano has earned the admirationand respect of many of the most important figures in the business. “WhatFulvio Lucisano helps us realize is that a good film producer is just asTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)36

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5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 3day 3 | friday, may 16, 2008 italian international film’s 50th | worldimportant,just as muchof an artist, as thewriter or thedirector or any of theactors,” says filmmaker LinaWertmueller, who has worked with Lucisanoon nearly a dozen occasions. “He has thesame passion as the more visible figuresinvolved in a film project.”For Fausto Brizzi, who has worked withLucisano on two of the production house’sbiggest hits, “Notte prima degli esami”(Night Before Finals) and its sequel, “Notteprima degli esami — Oggi” (Night BeforeFinals — Today), IFF represents a refreshingcontrast to many other studios. “They’relike a small major: big enough to do thingsright but not sobig for people toget lost inside it,” he says.“There are no layers of authority withIFF, no decisions by committee.They know what theylike and what they don’t like.If I have an idea, I just call Fulvioand Federica, and they tellme right away if they like it ornot. That’s all there is to it.”Looking back over the past50 years, Lucisano attests thatthe film business has changedmore than he could have imagined.He maintains that televisionhas transformed the businessimmeasurably — “Thesmall screen runs the risk ofsuffocating the big screen” — and thattechnological advances have a downside.“Some say that modern technology canmake it easier for young filmmakers to maketheir films, and I guess that’s true,” he says.“But it’s also much more of a businesstoday. Without a reputation, a filmmakercan’t get the money he needs. But withoutthe money, he can’t earn a reputation. Idon’t know how young producers get a startthese days.”As for his own career, he doesn’t wasteenergy looking back. “There is a certainnostalgia, but I’m still very excited aboutthis business,” he says. “I get excited aboutthe idea of making interesting films. I’mstill looking to the future.” ∂From left, Lucisano, TV personalityPippo Baudo, actress Nancy Brilli andwriter Valerio Massimo Manfredicelebrate Lucisano’s nomination for theprestigious Knight of Labor honor.Technicolor S.p.A. Via Tiburtina 1138, Via Urbana 172 - Roma Tel: +39 06 418881THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)40

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CANNES MARKET 2008 - LINE UPGARDENS OF THE NIGHT (Berlin Film Festival Competition 2008)Director: Damian Harris (Mercy, Bad Company, Deceived)Principle Cast: Gillian Jacobs, Evan Ross, Tom Arnold, John Malkovich, Jeremy Sisto, Kevin ZegersLogline: A 17 year old girl, abducted and brainwashed as a child, struggles to hold on to her innocenceand humanity.Status: CompletedDelivery: Ready for DeliveryUS Release: October 2008, City Lights Pictures ReleasingBURNING BRIGHT (SCRIPT available PDF)Director: Carlos Brooks (Quid Pro Quo – Sundance 2008)Principle Cast: TBCLogline: Trapped in a house with a ravenous tiger during a hurricane, a young woman must decidewhether to sacrifi ce her autistic younger brother to save her own life.Status: Preproduction – Start of Principal Photography June 2, 2008Delivery: December 2008US Release: TBAANYA (working title) (SCRIPT available PDF)Director: Andrzej Bartkowiak (Street Fighter,: the Legend of Chun-Li, Romeo Must Die, Cradle to the Grave,Exit Wounds)Principle Cast: TBCLogline: A girl trained as a KGB operative from a young age hides in Berlin but is tracked down by the‘new KGB’ to be killed if she will not return to service in Moscow.Status: Preproduction – Start of Principal Photography Fall, 2008Delivery: 2009US Release: TBARELAPSE (SCRIPT available PDF)Director: Paul Schrader (Auto Focus, Affl iction, Light Sleeper, American Gigolo)Principle Cast: TBCLogline: Tracy, a young widow and recovering addict, turns to Arthur, another recovering addict, toinvestigate her husband’s brutal murder. As the pair relapses into addiction, Tracy discovers that Arthurisn’t a former cop with an alcohol or drug problem, but a “recovering” serial killer who relishes his fall offthe wagon.Status: Preproduction – Start of Principal Photography Winter, 2008Delivery: 2009US Release: TBASOBINI FILMS IN CANNESMajestic Room 107 • Phone: +33 (0) 49 298 7700 • Attending: Todd Olsson, VP International • +310-689-6826MAIN OFFICE2700 Colorado Blvd 3rd Floor, Santa Monica CA 90404 +310-255-5006 tolsson@sobini.com

5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 4day 3 | friday, may 16, 2008 italian international film’s 50th | worldCamp LucisanoROME — Italian InternationalFilm, which turns 50 this year,began as the Italian distributionarm of iconic American InternationalPictures, the company that turnedcamp into an art form. Soon IIFstarted producing its own version ofthe genre, and many have gone on tobecome classics. IIF’s FulvioLucisano, nearly 80, reminisced withThe Hollywood Reporter about someof the most memorable projects duringhis company’s five decades.The founder and presidentof Italian International Filmhits the highlights from his50-year career“La guerra continua”(Warriors Five) (1962)An American G.I. (Jack Palance) behind World War II enemy lines convinces fiveItalian ex-cons and a sexy partisan (Giovanna Ralli) to help him blow up a Germanbridge.LUCISANO RECALLS: “This was IIF’s first film with a big internationalname — Jack Palance — and it was also one of the first Technicolor films in Italy.”“Terrore nello spazio”(Planet of the Vampires) (1965)In what is perhaps IIF’s best-known classic, two spaceships land on a planetinhabited by bloodless alien vampires, and the crews start to attack each other.LUCISANO RECALLS: “They say that Ridley Scott’s ‘Alien’ (1979) isTHR.com | 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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FULL LOVEA Film by Jean-Claude Van DammeComing 2009SALES CONTACT:jcvdcontact@yahoo.com.hkFullLoveProd_D1_05_14_08.indd 15/9/08 1:11:07 PM

Dearest Fulvio Lucisano and IIFCongratulations on 50 wonderful and successful years.From all your friends at Nu ImageNuImage_D3_05_16_08.indd 15/9/08 4:46:20 PM

5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 5day 3 | friday, may 16, 2008 italian international film’s 50th | world“Il tassinaro”(The Taxi Driver)based in part on this story. The special effectswere very advanced for its day.”“Due marines e un generale”(War Italian Style) (1966)Two Italian-American soldiers search for a Germangeneral (Buster Keaton) in the deserts ofNorth Africa.LUCISANO RECALLS: “A great comedyand Buster Keaton’s last film. What isn’t apparentat first is that Keaton never speaks.”“Aragosta a colazione”(Lobster for Breakfast) (1979)Poor Enrico (Enrico Montesano) hasgone through nearly two dozen jobs intwo years, and he manages to save his lastone by posing as the husband of an old schoolmate’slover.LUCISANO RECALLS: “This onelaunched the career of Enrico Montesano.”“Ricomincio da tre”(I’m Starting From Three) (1981)Massimo Troisi went on to garner two Oscarnominations for 1994’s “Il postino” (The Postman),but he got his start with this coming-ofagestory set in historic Naples.LUCISANO RECALLS: “This was a bigsuccess at the boxoffice, but I remember it bestas Troisi’s first film. I saw him and knew he hadgreat talent.”“Il tassinaro”(The Taxi Driver) (1983)In the first of two films about a veryRoman taxi driver (Alberto Sordi), themain passenger is Giulio Andreotti, Italy’sformer prime minister and the subject ofa docu at Cannes this year (“Il divo”).LUCISANO RECALLS: “These areclassic Sordi films, and this one was Andreotti’sonly acting credit ever. It took a lot of work toconvince him to make the film.”“L’inchiesta”(The Inquiry) (1986)A Roman official (Keith Carradine) is sentto Palestine to question Pontius Pilate(Harvey Keitel) about the resurrection ofChrist. IFF loosely remade the film in 2006 as“The Final Inquiry,” with Daniele Liotti in therole of the Roman investigator.LUCISANO RECALLS: “This was animportant film when it was made, lookingat the Biblical Passion from a newperspective.”— Eric J. LymanTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)48

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Lightning Entertainmentis proud to announceACALL FOR WORLD PEACE AND HARMONYIN PRODUCTIONCredits not contractualIn CannesLERINS R7/S8TEL +334 9299 3314info@lightning-ent.comHome Office301 ARIZONA AVENUE, SUITE 400SANTA MONICA, CA 90401TEL: 310-255-7999 FAX: 310-255-7998www.lightning-ent.comLIGHTNING_INVOC_D3_05_16_08.indd 15/13/08 12:36:27 PM

Palais 21.01EXIT SPEEDTen strangers aboard a bus are forced off the road by a nomadic biker gang. Taking refugein an abandoned scrap yard, they use improvised weapons, adrenalin and sheer guts tomount a defense against the bikers. As their numbers dwindle, they realize that theirsurvival depends on doing the unthinkable - fighting for their lives!STARRING: Lea Thompson (Back to the Future, Caroline in the City), Fred Ward (Tremors,The Player, Sweet Home Alabama), Alice Greczyn (Lincoln Heights, House of Fears)and Desmond Harrington (Wrong Turn, We Were Soldiers)SCREENINGMay 16th, 14:00, Palais K • May 17th, 11:30, Palais JMAMA, I WANT TO SING!Inspired by the off-Broadway play, a preacher's daughter, Arama (Ciara) on the verge of popstardom,is launched into the limelight. After the untimely death of her father, strongerfamily bonds ensue, and her love for pop music is at odds with her family's wishes.When tragedy strikes again, Amara and her mother must work through their differences,both learning that we all dance to the music, but to the beat of our own drum.STARRING: Ciara (GRAMMY Award Winner), Billy Zane (Titanic),Patti LaBelle (GRAMMY Award Winner) and Lynn Whitfield (The Josephine Baker Story, Stepmom)SCREENINGPalais 21.01DIAMOND DOG CAPERA notorious diamond thief and two dim-witted accomplices think they have found theperfect suburban neighborhood to hide out and the perfect place to stash $5 million instolen diamonds - on a golden retriever. But Owen, a clever young boy, falls in love with the dogand discovers their secret. He immediately takes action and à la HOME ALONE, and a terrific battleensues between man's best friend and America's most wanted.STARRING: French Stewart (3rd Rock from the Sun), Luke Benward (How to Eat Fried Worms),Brittany Curran (13 Going on 30, Akeelah and the Bee), Denyse Tontz, Kelly Perine (One on One)and Kevin Farley (Tommy Boy, The Waterboy)SCREENINGMay 18th, 17:30, Palais JWHAT WE DO IS SECRETThe captivating story that captures the explosive and tumultuous life of Darby Crash,the seminal singer and songwriter of The Germs. Driven by drugs, music and rebellion,The Germs became a vehicle that virtually launched punk rock in the US.STARRING: Shane West (The League of Extraordinary Gentlemen, ER),Bijou Phillips (Almost Famous), Rick Gonzales (War Of The Worlds) and Noah SeganSOUNDTRACK PRODUCED BY: Pat Smear (The Germs, Nirvana, Foo Fighters)SCREENINGMay 15th, 12:00, Palais C • May 17th, 14:00, Palais CMay 19th, 17:30, Palais HNECESSARY EVILA young investigative reporter finds herself entangled in a supernatural web of intrigue whileattempting to uncover the truth behind a drug that is being tested on humans in aPsychiatric Institute. But what she doesn't know is that the evil she is trying to stop is within her.STARRING: Lance Henriksen (When a Stranger Calls, AVP: Alien vs. Predator),Danny Trejo (Halloween, Spy Kids 3D), Kathryn Fiore (Mission Impossible 3),Gary Hudson (Resident Evil), Richard Riehle (Office Space) and Eric FeldmanSCREENINGPalais 21.01VISIT OUR WEBSITE AT WWW.VISIONFILMS.NET14945 VENTURA BLVD. STE. 306, SHERMAN OAKS, CA 91403, USAPHONE: 818-784-1702 FAX: 818-788-3715 SALES@VISIONFILMS.NET WWW.VISIONFILMS.NETvision Films D2 05_15_08.indd 15/12/08 4:50:09 PM

5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 6day 3 | friday, may 16, 2008 italian international film’s 50th | worldFILM SPOTLIGHT‘NightBeforeFinals —Today’ItalianInternationalFilm’s ‘Notteprima degliesami’ franchiserings a bell withaudiences“Night Before Finals — Today”ROME — Italian International Film hashad a hand in more than 400 productionsin its long history, including some of thebest-known films in Italian cinema history.But to many young people in Italy, thevenerable company is primarily known forthe “Notte prima degli esami” (NightBefore Finals) franchise. These films haveintroduced a new generation of moviegoersto the production company that madethe films that entertained their parentsand grandparents.So far, the series includes two films: the2006 original and last year’s follow-up,“Notte prima degli esami — Oggi” (NightBefore Finals — Today). Both films arecoming-of-age stories set in the nervousperiod between the last day of high schooland the comprehensive final exam Italiansmust pass in order to graduate. The first,set in the late ’80s, struck a chord withyoungsters familiar with the dreaded exam®ADRIANA CHIESA ENTERPRISEScongratulations toItalian International Filmon its 50 th Anniversarycongratulations toone of our most respected and dedicated producersFulvio LucisanoI am happy to be among your friends today and in the futuremy most affectionate wishes for your continued successAdriana Chiesa Di PalmaTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)54

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ADVERTISEMENTA TOUCH OF ASPENIN NORTH CAROLINADiscover breathtaking Grey Rock at Lake Lure surrounded byNorth Carolina’s world famous Blue Ridge Mountains.By Adrienne PappImagine for a moment discovering a resortlocation that offers all the scenic beautyof Aspen, Colorado, but without the overdevelopment and a much greater upsidefor investment, which should be long term,stable and steady.That description fits a relatively undiscoveredluxury resort located in NorthCarolina’s beautiful Blue Ridge Mountainscalled Grey Rock. This 4,000-acre developmentoffers all the scenic wonders of anational park, and tremendous potentialfor homeowners and investors. It’s an areathat’s been compared to Aspen in termsof natural splendor, but with a mountainouslocation that makes it immune frominvasive development.Grey Rock is located in southwesternNorth Carolina near Asheville. It’s alandscape of scenic waterfalls, numerousstreams and what National Geographiccalled “one of the most beautiful manmadelakes in the world,” Lake Lure.“The area also has a mild climate, four distinctseasons and some of the most breathtakingviews in the country,” says Ron Berg,managing partner of investment consultingfirm RnR Solutions, which has been active in Grey Rock.With its national park-like atmosphere, it’s no surprise that Homeand Garden selected Grey Rock for their Dream Home of theYear. Filmmakers have also used the area to shoot movies likeDirty Dancing, The Last of the Mohicans and many others.Grey Rock will include two clubhouses, multiple pools,tennis courts, an equestrian center, threehelipads, parks, pavilions, libraries anda multitude of hiking, biking, and horsetrails. There are also approximately 50nearby golf courses and great ski slopeswithin an hour’s drive. Nearby Asheville,a 30-minute drive from Grey Rock, offersall the fine dining and nightlife anyonecould want.From an investment point of view, thestory only gets better. “We’re excited aboutthe returns Grey Rock has generated,”says Berg. “Most have exceeded 100%,with the lowest being 40% on a propertyfor a 7-month hold period. Another bigadvantage at the resort is that there are norequirements to build, no minimum holdperiod, and no restrictions on resales.”With those advantages, it’s especially attractivefor Europeans who are benefiting fromadvantageous exchange rates these days.Grey Rock is shaping up to have the potentialthat Aspen had thirty years ago. It’sa place that attracts buyers not only for itsbeauty and sense of serenity and privacy,but also for its economic potential. And,with its mountainous location, the areawill never have to worry about being spoiled by over developmentor crowds.Courtesy weekend getaways are currently offered to theHGTV Dream Home for interested parties and investors.For more information please call 201.723.5171or visit www.rnr-solutions.comAdrienne Papp 05_16_08_V2.indd 15/12/08 6:15:48 PM

5-16_can_Italian Films@50 e 5/14/08 7:29 PM Page 7day 3 | friday, may 16, 2008 italian international film’s 50th | world“When I saw the script of thefirst film, I told my daughter(and the films’ co-producerFederica Lucisano) not to letit get away, no matter whatthe cost.”— Fulvio Lucisano,IIF founder and presidentFrom left, Andrea De Rosa, Cristiana Capotondi and NicolasVaporidis star in “Night Before Finals.”and older viewers who grew up duringthat period. The sequel tells a similarstory in a contemporary setting and featuresmost of the same cast.Both were huge successes at the boxofficeand with critics. “Notte prima degliesami” was the third-top-grossing Italianfilm in 2006, taking in $24 million total,earning more in Italy than Hollywoodfilms such as the animated hit “Cars” andWoody Allen’s “Match Point.” The sequelalso did well, finishing among the top 10films of the year, becoming the first Italianfilm to earn more than $1 million onopening night and earning just under $20million before its run was finished.“When I saw the script of the first film,I told my daughter (and the films’ co-producerFederica Lucisano) not to let it getaway, no matter what the cost,” recalls IIFfounder and president Fulvio Lucisano.“But I can’t say I knew it would be as popularas it was.” The film is even beingremade in France, according to Lucisano.Producers in other markets have alsoinquired about the rights.Fausto Brizzi, the writer and director ofboth films, was also surprised by the films’massive success. “I had in mind a kind of‘Italian Graffiti,’ ” he says, referring toGeorge Lucas’ classic 1973 film. “I knew thestory was a good one. But you never knowwhat is going to resonate with the public.”Neither Lucisano nor Brizzi rule out thepossibility of a third installment in a fewyears. “At first, Brizzi said he didn’t wantto make a sequel,” Lucisano says, “butthen, when I started to go ahead with theproject using a different writer and director,he changed his mind and came along,which is what we wanted all along.”— Eric J. LymanCongratulationstoFulvio Lucisanofor his achievementin 50 yearsof showbizTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)57

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5-16_cannes_japan d 5/14/08 7:58 PM Page 1worldspecial report:JapanTHR.com/cannesFriday, May 16, 2008 | day 3yFIRESTORMThe controversy surrounding Li Ying’s“Yasukuni” could impact future governmentfinancing of risky film projects.AsianProvocateursBy Gavin J. BlairAre edgy Japanesefilmmakers beingmarginalized by a lackof government support?TOKYO — In 1997, when she was just 27 years old, NaomiKawase won the Camera d’Or at Cannes with “Moe No Suzaku,”making her the youngest filmmaker to ever receive theaward. With “Suzaku” also taking prizes at the Rotterdam andSingapore festivals, the future looked rosy for the talentedyoung director.Kawase, by her own admission, is not the most accessibledirector, and her films, with their deliberate pacing and complex,introspective themes, are unlikely to ever have real massmarketappeal. Yet despite being feted by the national mediafor her Cannes win, Kawase struggled to find backing and supportfor her projects over the next decade.“It’s probably easier to get money from abroad for lessmainstream films than it is to raise it in Japan,” says Azusa Soyaof UniJapan (Japan Association for International Promotion ofthe Moving Image), a government-backed nonprofit that promotesthe Japanese film industry abroad. “Backers are, ofTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)61

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WORLDPREMIERESci-Fi ActionPart ALIEN part EVIL DEAD – A spine-chilling, high velocity Sci-Fi thrillerMutant creatures are unleashed when researchers made the wrongdiscovery. Eight survivors must be rescued from outpost beneath theearth. One survivor has a deadly surprise.May 17 @ 12:00 hr. – PALAIS EMay 19 @ 16:00 hr. – PALAIS E2008 CANNES – Market Stand: Palais 20.04ABooth Phone: +33 • CANNES Mobile: +33 Media • international fi lm sales and marketing • www.multivisionnaire.comDistribution@MultiVisionnaire.com • US Phone: +1 626.737.8357 • Fax: + 1 626.737.8642MultiVisionnaire_D3_05_16_08.indd 15/9/08 5:30:33 PM

5-16_cannes_japan d 5/14/08 7:58 PM Page 2day 3 | friday, may 16, 2008 japan | worldcourse, concerned about getting a return ontheir investment, and with the funding forso many films decided by committees orconsortiums, it can be difficult to get thego-ahead for many projects.”Despite these difficulties Kawase’s“Mogari No Mori” — a France-Japan coproduction— took the 2007 Grand Prix atCannes, the first Japanese film to win theaward in 17 years. The film had been set toopen on only 10 screens in Japan, and evenafter her second Cannes triumph, thisincreased to only 28. In France, meanwhile,the film opened at more than 70 theaters.On her return to Japan, Kawase met withthe minister of economy, trade and industryto present the case for more support ofdomestic filmmakers. “I told the ministerthat I am a filmmaker but that I can’t makea living from films,” she later explained at apress conference at the Foreign Correspondents’Club of Japan. “The fact that I wonthe Grand Prix in Cannes means it will beeasier for me in the future to raise money formy next film — but what I want for the“Compared to other countries, Japanese filmmakershave a hard time getting any public funding. Only theAgency for Cultural Affairs provides governmentmoney for domestic productions.”— Azusa Soya, UniJapanJapanese movie industry is a system whereit is easier for people to get funding and tohave a movie distributed abroad.”Neither Kawase, nor any other Japanesedirector, had a film selected for competitionat this year’s Cannes festival.“Compared to other countries, Japanesefilmmakers have a hard time getting anypublic funding. Only the Agency for CulturalAffairs provides government moneyfor domestic productions,” UniJapan’s Soyasays. “If it’s an international co-production,then they can also get help from J-Pitch,another public body.”Although some of the money comes fromthe Agency for Cultural Affairs, privatecompanies can also donate. In such casesthe money is distributed by another quasigovernmentalbody, the Japan Arts Council,which also decides who receives grants. Outof the entire JAC 2007 budget of ¥65.2 billion($629 million), movies, animation anddocumentaries collectively received a totalof ¥159 million ($1.5 million).One project that was able to receiveassistance through this channel is “Yasukuni,”Li Ying’s documentary about the controversialShinto shrine, which is dedicatedto the memory of Japan’s war dead. TheChinese-born, Tokyo-based directorreceived a ¥7.5 million ($72,000) grant fromthe Japan Arts Council to help make the“Tekkon Kinkreet”Western StarCalifornia-born filmmaker Michael Arias makes hismark in the close-knit Japanese film sectorSouthern California native Michael Arias has firmly established himself in the insular worldof Japanese anime, and now the former software designer is trying his hand at live-actionfilmmaking with a version of the 1997 German movie “Knockin’ on Heaven’s Door.”A resident of Tokyo for most of the last 16 years, Arias worked on special effects for Hollywoodmovies like 1989’s “The Abyss” before making the move to Japan. After studying Japanese in college,Arias ended up working in CG animation and spent six years writing software. His big breakcame when his Softimage Toon Shaders software was used on director Hayao Miyazaki’s 1997blockbuster “Princess Mononoke.” The package, which helps CG look like hand-drawn and paintedimages, was also picked up by DreamWorks for 1998’s “The Prince of Egypt” and used again byMiyazaki for 2001’s “Spirited Away,” which won an Oscar and remains Japan’s highest-grossing film.“The software being used for ‘Mononoke’ gave me an inroad into the Japanese anime world —it’s a kind of cottage industry centered round a relatively small group of people,” Arias says.After working on a number of projects, includingproducing 2003’s “The Animatrix,” Arias was ableto make 2006’s “Tekkon Kinkreet,” based on amanga of which he was a longtime fan. As well asbeing the first foreigner to take the helm of aJapanese anime feature, Arias took some novelapproaches to creating a unique look for the film.“We had a set of tools that allowed us to simulatehand-held camera work, dolly and aerialshots, and so on,” explains Arias. “Althoughanime purists reject some of this as an imitationof live-action.”“As for being the first foreign director of ananime, it was a nonissue to me until we beganshowing ‘Tekkon’ at international festivals,” continuesArias, adding that he was baffled at thereaction of some U.S. anime fans who didn’t regardit as real Japanese anime. “It’s a bizarre argument— like saying only Italians can cook pasta.” Perhapssurprisingly to some, the attitude back in Japanwas more accepting: In February “Tekkon” won theJapan Academy Award for best animated film.With an impressive résumé and experience inHollywood, a big-budget U.S. animated film wouldappear be the next logical step, but Arias says heisn’t interested. “There aren’t that many projectsthat I think worthy of such a time-consuming andpotentially draining enterprise as longform animation.‘Tekkon,’ for example, was a three-year project— that’s a significant chunk of your life — so it hasto be something inspiring,” he says.Instead, Arias has made “Heaven’s Door,” anadaptation of the road move starring Germanheartthrob Til Schweiger. While shooting the film,which has been rewritten and set in Japan, Ariassays he encountered some inevitable challengesin making the leap to live-action. “There aremany shots you just can’t pull off because ofphysical limitations. In animation, one doesn’thave those sorts of restrictions,” he observes. “Inthe end, though, I think the task of directing —live-action or animation — is not so different. Thetechnology is worlds apart, of course, but thegrammar of film is the same.” – Gavin J. BlairTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)64

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5-16_cannes_japan d 5/14/08 7:58 PM Page 3day 3 | friday, may 16, 2008 japan | worlddocumentary, which was shot over 10 years. The film intertwinesscenes of a swordsmith who made samurai swords carried by WWIIJapanese Imperial Army officers with footage of people and eventslinked to the shrine. The souls of nearly 2.5 million people, including14 Class-A war criminals, are said to be enshrined at Yasukuni.Critically acclaimed abroad, including winning the best documentaryaward at the Hong Kong Filmart in March, “Yasukuni” hascourted as much controversy in Japan as the shrine itself. Right-winggroups have threatened Li and his staff, while politicians haveattacked the film as anti-Japanese. Many have publicly questionedwhy the film received public funding.“We were approached by the Agency for Cultural Affairs to arrangea screening of the film for politicians before it was released,” reportsAki Nagamuro of Argo Pictures, the film’s distributor. A group fromthe ruling Liberal Democratic Party asked to see the movie in Marchand voiced concern about its contents. Tomomi Inada, an LDP memberwho was one of the leading critics of the film, then questionedthe Agency for Cultural Affairs about its funding of the project.“Had the film not received funding from the Agency for CulturalAffairs, it’s difficult to say how we would have responded to theirrequest,” says Nagamuro of a move that was widely seen as anattempt at censorship.A number of cinemas that had been planning to show the documentarypulled screenings in the wake of the controversy, despite protestsin support of the film by the Mass Media Information and CultureUnion and the Directors Guild of Japan, of which Li is a member.“This is the first time that a film that has received public fundinghas become so controversial. There’s now a question as to whetherthe grant for English subtitles for ‘Yasukuni’ will be provided,” saysan insider familiar with the project. “This is bound to make publicbodies think twice about funding projects that could face similartroubles in the future.” ∂“A Taste of Fish”FILM SPOTLIGHT‘A Taste of Fish’Having worked as a producer with leading director Yoji Yamada for overtwo decades, Hiroshi Fukasawa now hopes his latest project, “A Tasteof Fish” (Tsukiji Uogashi Sandaime), will emulate the longevity ofYamada’s hugely popular “Tora-san” movies.Fukasawa worked on the “Tora-san” films from 1987 to 1995, the finalyears of the world’s longest-running cinematic series, which began life in1969. In all, there were 48 movies in the series about a traveling salesman —all starring Kiyoshi Atsumi — who never quite got the girl.Having joined Shochiku straight out of university in 1982, Fukasawa’s firstproject as a producer was Yamada’s “Kinema no Tenchi” in 1986. He nowconfesses to being in some awe of the veteran director. “Yamada-san isShochiku’s — and I think Japan’s — top director. So while it’s great to workwith him, it also makes me kind of nervous. I’m always conscious of the factthat my name appears alongside his on the movies we produce.”“Most human beings get to a point with anything where they think, ‘OK,this is good enough.’ With Yamada-san, it’s like that point doesn’t exist. I’veworked with him for about 22 years — he’s now 76 — and his level of passionfor filmmaking hasn’t changed a bit in that time,” declares Fukasawa.On “A Taste of Fish” Fukasawa is working with director Shingo Matsubaraon a story, like so many over the years, taken from a popular manga. The filmtells the story of a ‘salaryman’ (Takao Osawa) who ends up leaving his safecareer to work at his fiance’s family business — the Tsukiji fish market.“There have always been film adaptations of manga. However, theirnumber has increased recently, and I think one of the main reasons is thatthe quality of these comics has improved so much in terms of themes andstories,” he explains. “When I was younger, people in the film business definitelylooked down their noses at manga. But these days nobody can dothat, with the depth of the content that now appears in them.”While Fukasawa is hopeful that “Fish” can approach the remarkablelongevity of the “Tora-san” series, he concedes that there won’t be anysequels unless he and director Matsubara get the first one right.“We do plan to turn ‘Tsukiji’ into a series, but of course that depends onthe success of the first film,” says Fukasawa at Shochiku’s headquarters, justup the road from the real Tsukiji, the world’s largest fish market. “It’s not justabout the individual qualities of the story, but how well it can continue to berelated to by contemporary audiences,” he says of the project, which isscheduled to be released in Japan on June 7.— Gavin J. BlairTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)66

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AMERICAN WORLD PICTURESWorld Premiere ScreeningsWednesday 14 May 13:30 Riviera 2 Friday 16 May 14:00 Lerins 1AMERICAN WORLD PICTURESwww.americanworldpictures.comExecutives Attending:Mark L. Lester (President)Dana Dubovsky (President of Production)Judy Gold (Exec. VP Worldwide Sales)Jeffrey Goldman (VP Worldwide Sales)Adam Singer (VP Acquisitions & Co-Production)Cannes: Riviera C6Tel: + 33 0(4) 92 99 88 04AMERICAN WORLD PICTURESAmericanWorldPic_D1_05_14_08.indd 15/6/08 2:49:17 PM

day3_p74_rev-bashir_d 5/15/08 2:11 PM Page 74day 3 | friday, may 16, 2008 | reviewsDREAM STATE:The soldiers in Folman’stale are haunted intheir sleeping hours.‘Waltz with Bashir’By Peter BrunetteIn this self-styled “animateddocumentary,” written,directed and produced by AriFolman, the Israeli televisiondirector has added his voice tothe maelstrom that hasswarmed through Middle Easternpolitics for decades, withheartfelt intentions and mixedresults. Festival programmersand television buyers shoulddefinitely have a look, but a theatricalrelease in other territoriesis a longshot.Disturbed by an old armybuddy’s recounting of a persistentnightmare in which he’sbeing chased by 26 enrageddogs, Folman determines thatthe nightmares are related totheir service in the first Lebanonwar in the early 1980s. Since thedirector seems to have repressedhis own memories of that conflict,he sets out to interview oldfriends, psychotherapists andother veterans to help him regainwhat’s been lost.His sources speak of their ownwartime experiences or attemptto interpret Folman’s. The entirefilm is rendered in animation, aclever gesture that allows thedirector to restage horrificallyviolent encounters that otherwisewould have cost millionsto reproduce realistically.For unknown reasons, however,and though he videotapedall the interviews, Folmandecided to forego the rotoscopingmethod used in RichardLinklater’s “Waking Life,” inwhich live-action footage isturned directly into strikinglylifelike animation.Instead, Folman decided tohave his illustrators redraw thescenes of the interviews themselves,frame by frame, usingtheir imaginations to renderthe wartime memories that aredredged up. The results aremixed.Scenes of violence (or morefrequently, scenes of scaredyoung Israeli soldiers) oftenhave a visceral, poetic powerthat could only come from adraftsman’s imagination. Thelargely monochromatic paletteFolman insists upon, however,unfortunately works in theopposite direction.In addition, the method visuallyabstracts the scenes that“Gospel Hill”BOTTOM LINE: A heartfeltglimpse at race relations in ahaunt Folman and his formercomrades, making them lessemotionally immediate. Furthermore,during the interviewsthemselves, the chosen style ofanimation leads to a distractingchoppiness that renders themovements, gestures and facialexpressions of the intervieweesunconvincing. The other problemis that, memory naturallybeing something that returns infits and starts, the film is rarelyable to sustain any consistentnarrative thrust.Though the film is being promotedas an examination of theChristian Phalangist massacresof Palestinians in the Sabra andShatila refugee camps, these arenot mentioned until one hourinto the film. Nor does it breakany ground politically, since thesmall Southern town.The racial divide in a smallSouth Carolina town ismoving closer to half full thanhalf empty in this heartfeltsocial drama. Using the 40-year anniversary of the deathof a local Civil Rights leader,“Gospel Hill” percolates withwarmth and human insight.With a cast featuringAngela Bassett, Danny Gloverand Nia Long, it may garnersome appreciative applause onthe festival circuit domesticallyand would be asolid selection for BETduring Black HistoryMonth.With a storyline ashardscrabble as thesmall town’s residents,“Gospel Hill” issmartly devoid ofsocial preaching orguilt-trippings. Under directorGiancarlo Esposito’s intelligenthand, this spare yetradiant film brims with thefears, frustrations and dreamsof the town’s individuals.Accordingly, it is much morethan a neat sociological/historicaltreatise. The joys and> IN COMPETITIONBOTTOM LINE PThough occasionally strikingvisually, this “animated documentary”about war never quitecomes together narratively orpsychologically.DIRECTOR-SCREENWRITER-PRODUCER: Ari Folman; ART DIR-ECTOR AND ILLUSTRATOR: DavidPolonsky; MUSIC: Max Richter; EDITOR:Nili Feller; SALES: The Match FactoryGMBH; No rating, 87 minutesculprit who is rather mildlyrebuked, Ariel Sharon, was condemnedby an official governmentcommittee decades agofor his part in allowing the massacresto happen.After a dramatic shift to actualnewsreel footage of wailingPalestinian women and heaps ofPalestinian bodies — which presumablyrepresents the return ofFolman’s repressed memories —the film suddenly ends, with nofurther exploration of his psychologicalstate. ∂messiness of life in this smalltown, while influenced by itsracist past, are no longercemented in racial divisions.More naturally, people nowdivide on personalities, overmusic and the sundry of life’sother distinctions.— Duane ByrgeTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)74

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day3_018_screenings 5/15/08 1:05 PM Page 3day 3 | friday, may 16, 2008 screening guideOlympia 4; 8thWonderland, France, M.A.D.Films, Palais K “Bory”; SorryIf I Love You (Scusa ma tichiamo amore)*, Italy,Adriana Chiesa Enterprises,Olympia 8; The Elder Son,USA, ShorelineEntertainment, Gray 3;Seven Days (Les SeptJours), France, Critics Week,Les Films Du Losange,Riviera 1; Repo! TheGenetic Opera*, MandateInternational, Olympia 7;Stone Of Destiny, U.K.,Arclight Films, Palais C;Knife Edge, U.K., TelepoolGmbh, Olympia 6; JackHunter: The Lost TreasureOf Ugarit, USA, AmericanCinema International, PalaisE; French Film, U.K., TheWorks International, Palais I;Dunya & Desie,Netherlands, Holland Film,Palais G; Berlin-BuenosAires (The Tears Of MyMother), Germany, KevinWilliams Associates (KwaS.L.), Riviera 3; Snakes AndEarrings, Japan, GagaCommunications Inc,Olympia 1; Tokyo!, Japan,Un Certain Regard, WildBunch, Olympia 5; PromoScreening - The DivineWeapon, South Korea, CJEntertainment Inc., Arcades2; Artefacts, Belgium,Cinemavault, Gray 1; DragonHunters, France, Futurikon,Lerins 1; Forever Strong,USA, LightningEntertainment, Star 1; FinnOn the Fly, Canada, AmazeFilm Television, Lerins 2;Summer Hours (L’heureD’ete), France, MK2 S.A,Olympia 3; Lion’s Den(Leonera), Argentina, InCompetition,Finecut/Cineclick Asia,Salle Du 60emeYou And I, Tatu, Olympia 217:00 Tokyo!, Japan, UnCertain Regard, Wild Bunch,Bazin; Soi Cowboy,Thailand, Un Certain Regard,Coproduction Office,Debussy; Boogie, Romania,Directors’ Fortnight,Maximum FilmsInternational, PalaisStephanie17:30 The Wild SoccerBunch 5 (Dwk5 - DieWilden Kerle), Germany,Telepool Gmbh, Riviera 2;Karma - Crime, Passion,Reincarnation, India,Picture Perfect, Gray 2; SomTum, Thailand,SahamongkolfilmInternational Co. Ltd., PalaisH; Eskalofrio (Shiver),Spain, Coach 14, Star 4; TheUnforgettable, India,Idream IndependentPictures, Gray 4; Lilly TheWitch - The Dragon AndThe Magic Book (HexeLilli), Germany, TelepoolGmbh, Gray 1; Heart Of Fire(Feuerherz), Germany,Beta Cinema, Palais J;Strangers, Israel, 6 Sales,Star 3; Rita Cadillac, TheLady Of The People, Brazil,Olhar Imaginário, Palais D;Dying Breed, Australia,Darclight Films, Palais F;They Wait, Germany, BollAg, Arcades 1; The StrangerIn Me (Das Fremde In Mir),Germany, Critics Week,Bavaria Film International,Miramar; PrivateScreening, Pony CanyonInc., Arcades 3; PersonalBelongings, Cuba,Latinofusion, Palais B18:00 The Other End OfThe Line, USA, Hyde ParkInternational, Star 1; HanselAnd Gretel (Hansel GwahGretel), South Korea,Finecut/Cineclick Asia,Lerins 1; Green Flash, USA,Curb EntertainmentInternational Corp, Gray 1;The Lovebirds, Portugal,APC - Cinema ProducersAssociation, Lerins 2; A-KiteInternational Version,Japan, Gold View Co. Ltd.,Palais E; The Easy Way(Sans Arme Ni Haine NiViolence), France, Studio37, Olympia 3; Fate (Sook-Myung), South Korea, CJEntertainment Inc., Riviera 3;Intervention, USA, NewFilms International, Palais I;Via Darjeeling, India,National Film DevelopmentCorporation Nfdc, Riviera 1;Ben X, France, FilmsDistribution, Arcades 2;Butterfly (Bolboreta,Mariposa, Papallona),Spain, Kevin WilliamsAssociates (Kwa S.L.),Palais G; Made In Italy,France, PyramideInternational, Palais C; I’veLoved You So Long (Il Y ALongtemps Que JeT’aime), France, UGCInternational, Olympia 4;The Wave (Die Welle),Germany, Celluloid Dreams,Olympia 6; Takumi-Kun:June Pride (Takumi-KunSeries), Japan, OpenSesame Co, Ltd, Gray 5; LaExtranjera (The Stranger),Argentina,Ministere DesAffairesMore festivaland marketscreeningguide online.Etrangeres,Gray 3; SleepDealer, USA,FortissimoFilms, Palais KTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)78

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day3_p84_revs in brief_c 5/15/08 3:09 PM Page 84day 3 | friday, may 16, 2008 | reviews in brief“The Gift”BOTTOM LINE: A cyberspace thriller for the male action crowd.Mr. Peterson’s got a better cell phone than you. His cool gizmotells him winning slot machines, leads him to babes and alertshim to hot stocks. That’s the too-good-to-be-true premise of thistaut sci-fi/horror thriller, which cagily meshes new technology withproven genres.“The Gift” is a male-fantasy story trip that blasts through internationalhot spots, techno-charged with quick cuts, sound salvosand testosterone-fueled action. It may score solid numbers overseaswith the teenage action crowd, but in the U.S. it seems best fit for anoutlet such as cable channel Spike TV, whose viewers will be pleasedwith its cut-to-the-chase storytelling.That old horror storyline staple — that man’s hubris leads him toscientific creations that turn on him —provides a solid story infrastructure.In this case, the U.S. National Security folk have created averitable monster through cyberspace and Big Brother will be everywhere,unless our hero and the F.B.I. can thwart the system.Greg Marcks’ apt fast-forward direction is invigorated by thesharp technical team’s aesthetic expertise and the crisp lead performancesof Shane West, Edward Burns and Ving Rhames. “TheGift” blazes over plot holes and holds aloft its cyber mumbo-jumbonarrative. As the National Security chief, Martin Sheen’s sonorousbarking lends credibility to the film’s urgent premise.— Duane Byrge“Body”BOTTOM LINE: A horror that’s more arresting in its psychological developmentthan bloodcurdling scenes.Based on the real case of a doctor who killed his wife and flushed herremains down toilets across Bangkok, “Body” is a gripping anatomyof murder with psycho-sexual underpinnings and a supernatural overlay.One of the finer specimensof Thai horror, the filmhas remake potential given itssensational subject and atightly coiled script writtenby, among others, Thai upand-comerChookiat Sakweerakul.The brand name ofproduction house GTH,which chilled spines withsuch international hits as“Shutter” and “Alone,” couldcommand notice overseas.A tad too long and intricate, the narrative is no easy viewing.Director Paween Purijitpanya tries to match the spiritual complexityin the characterizations with a corporeal experience of fear. However,his MTV and TVC background steered him toward stock imagesof gore and glossy CGI effects. Still, he is sometimes capable of visualvirtuosity. The music also effectively shapes the mood on a subliminallevel until its significance reveals itself climactically.— Maggie Lee“Three Kingdoms: Resurrection of the Dragon”BOTTOM LINE: Too many leaps of imagination make this adaption of aChinese classic a cinematic mutant.Suppose the Armada defeated the British in “Elizabeth: The GoldenAge.” That’s the equivalent in poetic license that Daniel Lee (“AFighter’s Blues”) took in his adaptation of a Chinese classic. This,added to an uneven narrative rhythm and — on a more nuts and boltslevel — untidy camerawork and a jagged editing style that blur andmangle Sammo Hung’s action choreography, deny “Three Kingdoms”the stature it tried to achieve with an expensive production.The film performed above average in China, Taiwan and Korea. Inthe West, it may give audiences a feeling of “armor overkill” fromwatching a surfeit of Chinese war spectacles.Maggie Q as a wily female commander looks gorgeous and doesstunts well, but her Eurasian looks and noticeable lip-synching seemtoo exotic for such a specific epoch. ∂THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)84

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day3_086_producersmove 5/15/08 11:09 AM Page 1day 3 | friday, may 16, 2008 newsSATURDAY 17 MAYEVENTS PROGRAMMEHOW MICRO CAN YOU GO? 11:00 - 12:00Essential guide on making low/micro budget filmspresented in association with FDMX and Alan Harris ofthe Atlantic Film Group.FINANCE BY TENON MEDIA 11:00 - 13:00Book 1-2-1 meetings at the information desk.UK TAX CREDITS AND LOW BUDGET FILMS 13:30 - 14.30James Bramsdon, a Senior Tax Manager with Tenon Media,explains the UK Tax Credit system, focusingon issues relevant to low budget films.LEGAL BY HILL DICKINSON LLP 14:00 - 16:00Book 1-2-1 meetings at the information desk.FILM DISTRIBUTION AND THE INTERNETA LEGAL GUIDE FOR THE MEDIA INDUSTRY 15:00 - 16:00Lawyer and author Andrew Sparrow’s guide to the legalimplications of new technologies on the TV and film industries.BIRDS EYE VIEW PRESENTS...CANNES 2008: THE WOMEN 16:30 - 17:30Top tips and inspiration from a panel featuring some of thetalented women showing work at Cannes. Followed byWomen in Film and Television reception at 18:30(Kodak Pavillion).SUNDAY 18 MAY• FDMX NETWORKING BREAKFAST 08:00 - 10:00• MINORITY FILMS FOR MAJORITY AUDIENCES 10:30 - 11:30• MAXIMISING YOUR RIGHTS 11:00 - 13:00• FINANCE BY TENON MEDIA 11:00 - 13:00• DEVELOPING AND FUNDINGDOCUMENTARY FEATURES 12:00 - 13:00• SECRETS OF CO-PRODUCTION SUCCESSEMERGING COUNTRIES 14:00 - 15:00• LEGAL BY HILL DICKINSON LLP 14:00 - 16:00• HOW TO QUALIFY AS A BRITISH FILM 16:00 - 18:00Seats 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 17www.ukfilmcentre.org.ukName: Laura Hastings-SmithBorn: Feb. 27, 1960Nationality: BritishSelected Filmography: “Hunger” by Steve McQueenwith Blast! Films; “The Lives of the Saints” by Rankinand Chris Cottam with Dazed Film and TV; “The LoveDoctor” by Jon Sen (TV drama)astings-Smith was an estab-documentary directorHlishedand producer before setting upDazed Film & TV with publishersJefferson Hack and photographerRankin. Between 2000 and 2005,she produced a slate of projectsfor TV, Internet, mobile phone, liveconcert and theatrical platforms,ranging from the short film“Perfect” to a spoof-documentaryfeaturing the cartoon bandGorillaz plus their creators DamonAlbarn and Jamie Hewlett. In2005, Laura produced what would be her final project with DazedFilm & TV, the movie “The Lives of the Saints,” written by TonyGrisoni and directed by Rankin and Chris Cottam. As an indie producer,“Hunger” is her first movie, co-produced with Robin Gutch anddirected by Turner Prize winner Steve McQueen.What has been the most challenging production you’ve worked on?I think “Hunger” had many challenges really. It has been anabsolute delight but we had to build a very large set, which wasn’treally what our budget had planned for. We also just happened to beshooting in Belfast (Northern Ireland) when there were five otherproductions shooting there and that was a challenge.What project are you most proud of?I’m most proud of “Hunger” really. I think because it attempts to beabout something that I believe matters and I feel the film has atremendous amount of humanity within it.How do you think being part of Producers on the Move will benefit you?It’s always hard to know. Cannes is such a fantastic platform. One isgetting exposure that one would otherwise not get. It gives me ahuge opportunity to meet other producers from across Europe.The lead character, Irish Republican hunger striker Bobby Sands, isplayed by German-born actor Michael Fassbender. How did that comeabout?His father is from Germany and his mother from Northern Irelandand he was brought up in the south (of Ireland). Liam Cunninghamand Fassbender come from the south and all the other actors arefrom the north. They all know the story well from whatever (political)direction they are coming from.Pitch me your next project.I’ve got a number of scripts in development at the first and seconddraft stage. Tony Grisoni (writer of “Lives of the Saints”) and I arelooking to begin the development process, and I hope Tony and Iwork together again.—Stuart KempTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)86

CANNES LINE-UP 2008BREATH(short film)INTERNATIONAL CRITICS’ WEEKDir: Margien RogaarProd: BosBros. Film-TV ProductionsWed May 21, 15:00 Espace MiramarCANNES MARKET SCREENINGSNOTHING TO LOSEDir: Pieter KuijpersSales: High Point Films & TelevisionFri May 16, 11:30 Palais HSat May 17, 15:30 Palais HMon May 19, 15:30 Palais HBLOOD BROTHERSDir: Arno DierickxSales: NonStop SalesWed May 14, 14:00 Palais KDUNYA & DESIEDir: Dana NechushtanSales: Delphis Films inc.Fri May 16, 16:00 Palais GMon May 19, 16:00 Lerins 2SKINDir: Hanro SmitsmanSales: High Point Films &TelevisionSat May 17, 10:00 Gray 1Tue May 20, 12:00 Gray 12KM2 – A SQUARE VIEWDir: Carel van Hees, André van derHoutProd: De AanpakWed May 21, 20:00 Palais FTHE SEVEN OF DARANDir: Lourens BlokProd: AAA PicturesFri May 16, 14:00 Palais GSun May 18, 13:30 Palais HWed May 21, 16:00 Palais ILEFTDir: Froukje TanProd: Fighting WindmillsTue May 20, 20:00 Palais JWHERE IS WINKY’SHORSE?Dir: Mischa KampSales: Delphis Films inc.Sun May 18, 18:00 Palais IHolland Film at the Cannes Market • Holland Film Pavilion nr. 106 • Ph. +33 492 590 255 • hf@hollandfilm.nl, www.hollandfilm.nlHolland Film D3 05_16_08.indd 15/7/08 4:10:24 PM

day3_p88_news_b 5/15/08 6:25 PM Page 88Film Center Serbia proudly presentsFILMSPROJECTS& TALENTSToday at the MarketNEW SERBIAN FILMSCompilation of previews of feature films currently inproduction or post production (80 min)The Ambulance / Hitna pomoć, drama by GoranRadovanović Aphocalypse Now / Afokalipsa danas,documentary by Boris Mitić The Belgrade Phantom /Beogradski fantom, thriller by Jovan Todorović Edith & Me /Edit i ja, animated by Aleksa Gajić Here and There /Tamo i ovde, drama/comedy by Darko Lungulov If the SeedDoesn’t Die / Ako zrno ne umre, drama by Siniša DraginSkinning / Šišanje, drama by Stevan Filipović St. GeorgeShoots the Dragon / Sveti Georgije ubiva aždahu, drama bySrdjan Dragojević The Tour / Turneja, war comedy by GoranMarkovićMarket screening: Gray 5 / May 16th, 12:00Hotel Gray d’Albion, 38, rue des SerbesTo meet directors & producers,join us today at 17:00Film Center SerbiaVillage International, Pavilion 136Tel: 04 93 99 85 52Cell: 06 14 65 49 26andjelija@fcs.co.yu / www.fcs.rsday 3 | friday, may 16, 2008 | newsHerzog, Lynch bear ‘Son’Famous helmers double-team murder dramaBy Gregg GoldsteinWerner Herzog and DavidLynch are teaming for“My Son, My Son,” ahorror-tinged murder dramabased on a true story.Herzog and hislongtime assistantdirectorHerbert Golderco-wrote “Son,”loosely based onthe story of a SanHerzogDiego man whoacts out a Sophoclesplay in his mind and killshis mother with a sword. Thelow-budget feature will flashback and forth from the murderscene to the disturbed man’sstory. A guerrilla-style digitalvideo shoot on Coronado Islandis set for next March.In a separate development,By Pamela RolfeLynch’s Absurda productionshingle has attached AsiaArgento and Udo Kier to starwith Nick Nolte in AlejandroJodorowsky’s metaphysicalgangster movie “King Shot.”Marilyn Manson also mayappear as aprophet in the“Sin City”-stylefilm, which producerEric Bassettsaid hasenough sex andLynchviolence to guaranteean NC-17rating.Lynch is exec producing bothprojects, and Absurda is reppingsales rights in Cannes.“Son” is produced by Bassett,who also is producing “King”with his Absurda colleagueNorm Hill and Clavis Films’Simon Shandor. ∂Norway film hosts a tent revivalBy Scott RoxboroughThe Norwegian film industryhas arrived in force inCannes, riding high on therecent boxoffice surge of localtitles and accompanied by anodd, teepee-like structure nowpitched on the lawn outside theGrand Hotel.The traditional structure —called a “sami lavvo” in caseyou’re wondering — is part of amarketing gimmick to promoteNils Gaup’s historical saga “TheKautokeino Rebellion,” whichhas been a huge hit at home. Butit is also emblematic of a newsense of confidence pouring outof Norway.The country’s three main filmfinancing bodies merged lastmonth to form a single centralizedbody to divvy up about $60million in production subsidiesevery year and Norway’s oilrichgovernment has set ambitiousgrowth targets.By 2010, Norway wants localfilms to account for a quarter ofthe national boxoffice — up fromlast year’s 16% — and to doublethe international sales revenuefor Norwegian titles. ∂Spain’s Pataky looks to steal Vergara’s ‘Thunder’Spanishactress ElsaPataky hasbeen cast as thehero’s girlfriend,Sigrid of Thule,in Maltes’ $30million “Captain PatakyThunder.”“It would be difficult to find amore perfect actress for the partof Sigrid,” producer-directorPau Vergara said. “Elsa is bilingual,she even physically resemblesCaptain Thunder’s girlfriendand she’s a tremendouslypopular actress in Spain andknown in Europe.”Walt Disney Motion PicturesIberia holds Spanish rights andfirst option on U.S. distributionfor the movie based on Spain’spopular comic book hero, knownas “Captian Trueno” in Spanish.Captain Thunder is a 12thcenturyknight-errant whowanders the world fightinginjustice. ∂THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)88

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day3_p1, 90_news_b 5/15/08 8:17 PM Page 90day 3 | friday, may 16, 2008 | newsOutsidercontinued from page 1VladimirVolkoff’s novel“L’interrogatoire”and producersare seekinganAnglo-Saxon A-list cast. A twotimePalme d’OrTavernierwinner, August’s most recentdirector credit was the NelsonMandela prison guard story“Goodbye Bafana.”Tavernier’s “The Princess ofMontpensier,” co-produced byParis-based companies OceanFilms and Paradis Films, also isset to start shooting in early2009. “Princess,” described byOutsider president LaurentBrochand as “a 16th-century‘Indochine,’ ” is expecting astar-studded Gallic cast. Tavernierrecently completed theJames Lee Burke adaptation“In the Electric Mist” starringTommy Lee Jones.Elsewhere, Outsider willkick off shooting on OlivierDoran’s comedy “Le Coach”Hyde Parkcontinued from page 1lion of equity and debt for theproduction of feature films.Hyde Park Asia’s offices will bebased in Singapore.“Singapore is the perfectcity to base our new Asianoffices,” Amritraj said. “Asiahas wonderful talent and facilities,along with great growthpotential.”MDA CEO ChristopherChia, said that he expects theproduction fund to boost Singapore’sstatus as a globalmedia city and attract more“Singapore is theperfect city to base ournew Asian offices. Asiahas wonderful talentand facilities, alongwith great growthpotential.”— Ashok Amritrajexciting film projects and talents.Hyde Park Asia will produceor co-produce three tofour films per year, consistingTavernier recentlycompleted the JamesLee Burke adaptation“In the Electric Mist”starring Tommy LeeJones.on July 15 in Paris. The €6.8million ($10.5 million) projectabout a life coach guiding bothhis patients through sports,politics, business and love,stars Jean-Paul Rouve andRichard Berry alongside “Welcometo the Sticks” star AnneMarivin.Released by Mars Distributionin France, “Coach” is coproducedby Canal Plus andmobile operator Orange’s filmarm, Studio 37, which also ishandling international sales.Outsider also will be headingto the Canadian slopessoon to shoot skiing comedy“Hors Piste,” a €6 million-€8million ($9.3 million -$12.4million) Franco-Canadian coproductionfrom director EricDelcourt and starringStephane Rousseau. ∂of a mixture of major Hollywoodfilms and cross-culturaltitles aimed at a globalaudience.Hyde Park already has variousfilms shooting in Asiaincluding “Street Fighter: TheLegend of Chun-Li,” which isbased on the Japanese “StreetFighter” video game franchise;and “The Other End of theLine,” a romantic comedy thatrecently wrapped and will bereleased by MGM.As an East/West conduit,Hyde Park Asia will discovernew talent throughout thecontinent and will provide aplatform for actors and filmmakersto segue intoHollywood films.In India, Amritraj alreadyhas a three-picture deal withAdlabs Films, the movie arm ofthe conglom Reliance Entertainment.Adlabs also may beinvolved in co-financing filmswith Hyde Park Asia.Hyde Park International,the foreign sales arm of theHyde Park EntertainmentGroup, headed by salesveteran Lisa Wilson, willhandle all foreign territories.Hyde Park Asia will arrangeNorth American distributionfor the company’s pics. ∂Paramountcontinued from page 1the films PPI could do well withtheatrically.“We are hoping that this relationshipbecomes a long-termthing,” Cripps said. “We’redelighted to have this deal inplace right before we even openour offices in Spain.”PPI’s new office in Spain followsthe carve-up of UIP’s distributionnetwork, when Par and Universalbroke up their international distributionjoint venture in 2006.“This is part of our strategy aswe set up international offices.We want to be in business withlocal filmmakers, and Gomez isone of the best,” Cripps said.The local Par outfit is expectedto get into business with otherSpanish producers once theoperation is up and running.A. Zeta signed a distribution“We are hoping that thisrelationship becomes along-term thing. We’redelighted to have thisdeal in place right beforewe even open our officesin Spain.”— Andrew Crippspact with Universal in September2007 to handle video and DVD distributionthat won’t be immediatelyaffected by the pact with PPI.Gomez is one of Spain’s mostestablished producers, with pastcredits including “Belle Epoque,”“The Dancer Upstairs” and “TheCommon Wealth.”A major figure on the Spanishscene, Gomez has recentlyjumped on the 3-D bandwagon,with a €40 million animatedmusical feature called “Genies,”which forms part of the PPI theatricaldeal.“Genies” is set up at Gomez’sRadioPlus production house, acompany he co-owns with Spanishjournalist Concha Garcia-Campoy. India’s Toonz Animationand Saudi Arabia’s KingdomTV are backing the project.“I’m getting more interested inanimation,” Gomez said. “Theproject was inspired by SaudiArabia’s King Abdullah NationalGardens.”“Genies” enters the fantasyworld of Geniland that encompassesall civilizations, with originalversions being produced inEnglish, Spanish and Hindi. ∂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 publisher.THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)90


day3_p5, 92_news_c 5/15/08 8:00 PM Page 92day 3 | friday, may 16, 2008 | news‘Jerks’continued from page 5radical Islam a hot topic forinternational media, it is boundto attract interest from buyers.The movie’s starting point isthe publication of 10 caricaturesby Danish paper JyllandsPosten, which promptedprotests and flag-burning insections of the Arab/Muslimcommunity worldwide.When the caricatures weresubsequently printed by Gallicpaper Charlie Hebdo, the satiricalweekly added a front-covercartoon portraying Mohammedweeping into his hands anddeclaring: “It’s tough beingloved by jerks,” in specificrefer-=ence to Islamic fundamentalists.The publication prompted theParis Mosque and other Muslimorganizations to start legal proceedingsfor “insult towards agroup of people on grounds oftheir religion” — interpreted bythe plaintiffs as racism.“If the plaintiffs win this case,we won’t wake up in the sameFrance,” “Shoah” directorClaude Lanzmann, who testifiedat the trial, comments in the film.Leconte, who was also calledas a witness, produced “It’sTough” through his productionbanner Films En Stock. PaychannelCanal Plus came onboard as did French independentPyramide, which tookFrench theatrical rights andinternational sales, with allother territories available goinginto Cannes.The film follows the build upto the trial and recreates thearguments that were presentedin court through interviews withmany of the principal protagonists.The verdict cleared CharlieHebdo of the charges. ∂Haytercontinued from page 5Spiescontinued from page 5videogame adaptation of themartial arts-filled “Tekken.”Steven Paul’s CSP willfinance, produce and rep Cannessales for the Hayter films. Thefirst, to begin production laterthis year, will follow a younghero’s quest, and the second, setfor 2009, will center on a highschool with a “Harry Potter”-esque superhero. Each is budgetedat about $30 million.CSP’s Cannes slate alsoincludes CGI-filled robot boyadventure “Robosapien: Rebooted”;the “Freaky Friday”-style comedy “Opposite Day”; asequel to John Woo’s “Hard-Boiled”; videogame adaptation“Castlevania”; and GiuseppeTornatore’s “The Lady.”A Cannes vet, “Ghost Rider”producer Paul was just 22 whenhe first arrived repping worldwidesales for his 1980 directorialdebut “Falling in Love Again,”starring Elliott Gould andSusannah York. He quicklyreturned to Cannes with his1982 adaptation of his friendKurt Vonnegut’s “Slapstick,”which was titled “Slapstick (OfAnother Kind)” and starred JerryLewis and Madeline Kahn. ∂Un is handling international salesat the Cannes film market whereproducers Marathon and Studio37 hope to finalize their budget.Based on the TV series aboutthree average Beverly Hillsteenage girls who accidentallybecome international secretagents, the film will explainwhat the series has yet toaddress, namely how the heroinesbecame secret agents tobegin with.“It’s ‘Clueless’ meets ‘JamesBond,’ ” Marathon Media CEOand general manager DavidMichel said. “We didn’t want tojust make a long episode of theseries. Our job is to make a goodfilm for fans and also show parentsthey won’t be bored.”The TV series “TotallySpies!” is on air in more than166 territories and is the topratedTV toon in France on TF1.With five seasons and morethan 130 episodes under itsbelt, “Spies!” ranks among thetop five highest-rated children’sprograms in the world.The film marks MarathonMedia’s first feature film effortand Studio 37’s second animatedproduction after “Les Lascars,”which will hit Gallicscreens in May of 2009.Marathon Media, co-run byVincent Chalvon Demersay, hastwo other original animatedfeatures in development, but iswaiting to see how “Spies” performsbefore investing heavilyin projects. ∂THR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)92

Big Screen Enter D3 05_16_08.ind1 15/13/08 3:10:15 PM

day3_p94_news_b 5/15/08 8:20 PM Page 94day 3 | friday, may 16, 2008 | newsA new red carpet view, if you can afford itBy Charles MastersAnyone having troublefinding a room on theCroisette will be pleased tohear that 45 brand new suitesare being built at the MajesticBarriere. The rub is, they won’tbe on stream until the 2010 festival.But once completed, the hugebuilding site opposite the Palaisdes Festivals will be transformedinto luxury hotel spacewith an unrivaled view over thered carpet.“It’ll be the best view of thePalais steps you can get,” saidDominique Desseigne, presidentof Groupe Lucien Barriere,which owns the Majestic.The extension, built on thesite of the former Bank ofFrance building, will comprise arange of suites including twovast ones that feature a privatepool and solarium, costing acool $50,000 per night.“It’ll be the best view ofthe Palais steps youcan get.”— Dominique Desseigne,president, GroupeLucien BarriereThe new wing also will housea conference facilities, boutiquesand a beauty spa.Mercifully for those stayingin the hotel this year, constructionwork has been called to ahalt for the duration of thefestival.Desseigne said he expects thenew rooms to be snapped up forfuture Croisette campaigns.“We could rent the rooms 10times over during the festival,”he said.The extension follows a majorrenovation of the existing 305rooms and the rest of the hotel.The total Majestic overhaul isbudgeted at more than $110million.VIP guests at the hotel thisyear include jury members NataliePortman and Marjane Satrapi,“Che” star Benicio del Toro and“Vicky Cristina Barcelona”director Woody Allen.Groupe Lucien Barriere haslong-standing links with cinema,playing a leading role inorganizing the Festival ofAmerican Cinema in Deauville,Normandy. The group alsoowns Le Fouquet’s restaurant onthe Champs Elysees, whichhosts the annual post-CesarAwards dinner. ∂‘Butterfly’ kiss from BenderSpink, FilmEngineBy Gregg KildayBenderSpink and FilmEngine will produce the third installmentof “The Butterfly Effect” along with After DarkFilms, which will distribute it theatrically stateside as partof its After Dark Horrorfest “8 Films to Die For” series.After Dark CEO Courtney Solomon will executive producealong with the company’s Laura Ivey and Stephanie Caleb. EllenWander’s FilmBridge is handling foreign sales in Cannes.Holly Brix (“The Lost Girls”) wrote the screenplay about ayoung man, with the power to time-travel, who attempts tosolve the mystery of his high school girlfriend’s death. Productionwill start Sept. 1 in Vancouver.“CON I NOSTRI MIGLIORI AUGURI”Thank you very much, let me know if all is O.K.Laura IndiveriTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)94

Cinepro D3 05_16_08.indd 15/15/08 9:18:17 AM

day3_096_abouttown_c 5/15/08 4:28 PM Page 1about townfriday,THR.com/cannesmay 16, 2008 | day 3Capers on the CroisetteKung Fu Panda PHOTO CALLActor Jack Black marches down the red carpet flankedby beaucoup bears at the “Kung Fu Panda” photocallWednesday at the Palais.Leonera PHOTO CALLActress Elli Medeiros, director Pablo Trapero, andactress Martina Gusman blow air kisses during the“Leonera” photo call Thursday.Blindness PREMIEREActress Julianne Moore and actorGael Garcia Bernal pose asthey arrive to attend theopening ceremony andthe premiere of “Blindness.”TAKE A CHANCE ON ART:Sean Penn took the micopening day to urge distributorsto pay attention to the filmshere — even those that don’ttake home the awards.More abouttown online.KUNG FU PANDA, DAVE HOGAN/GETTY IMAGES; SEAN PENN, FRANCOIS DURAND/GETTY IMAGES; LEONERA, SEAN GALLUP/GETTY IMAGES; BLINDNESS, FRANCOIS GUILLOT/AFP/GETTY IMAGESTHR.com | los angeles 323.525.2000 | new york 646.654.5000 | london +44.207.420.6139 | beijing +86.10.6512.5511 (ext. 121)96

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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