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MAY 23, 2012

BREAKING

N EWS

Portman

Stars in Gun

By Pamela McClintock

and Borys Kit

NATALIE PORTMAN IS

attached to star and

produce Jane Got a

Gun, a Western written by

Brian Du�eld that popped

up on the Black List of top

screenplays. Lynne Ramsay

is attached to direct, The Hollywood

Reporter has learned.

The movie is still coming

together, but sources say a

bidding war has erupted in

Cannes as CAA, which is

packaging the project, has

quietly shopped it around.

Multiple �nanciers and foreign

sales agents all of whom

are gathered on the Croisette

for the �lm festival and

market are in the mix, along

CONTINUED ON PAGE 7

Sierra’s Emperor

Sells in Japan

By Pamela McClintock

Brad Pitt Says New Film

Not an Attack on Obama

EMBRACING A

controversial and painful

chapter in its country’s

history, leading Japanese studio

and distributor Shochiku

has picked up rights to roll out

Peter Webber’s English-language

epic Emperor in Japan.

It’s a key deal for Nick Meyer

and Marc Schaberg’s Sierra/

A�nity, which also has sold the

�lm in a number of European

territories during the Marche

CONTINUED ON PAGE 7

Brad Pitt and director

Andrew Dominik

celebrate their arrival

for the screening of

the Competition film

Killing Them Softly.

eOne Takes Nordic

Action Pic Escape

Butler Ushers in New Era for Icon U.K.

Lee Daniels’ project starring Forest Whitaker and Oprah Winfrey

marks first co-producing foray for revamped company By Stuart Kemp

LEE DANIELS’ THE BUTLER,

starring Oscar winner

Forest Whitaker and

Oprah Winfrey, marks a highpro�le

return to production

for Icon U.K. Group, the newly

revamped producer/�nancier

structure for the British-based

company. Inspired by the life

of Eugene Allen, a White

House butler who served eight

American presidents during the

course of four decades, the project

is billed as a historical epic.

Matthew McConaughey stars

as John F. Kennedy, John Cusack

will play Richard Nixon, Alan

Rickman is Ronald Reagan and

Jane Fonda plays Nancy Reagan.

Cuba Gooding Jr., David

Oyelowo, Lenny Kravitz and

1

THR’s Festival

Video Diary

Terrence Howard also co-star.

Boarding The Butler is Icon’s

�rst move into production since

it appointed Aviv Giladi as CEO

of the Icon U.K. group of companies

and shuttered its distribution

operations in November.

Icon U.K., is looking to mount

“sizable” projects in the $15 million

to $20 million range.

Written by Danny Strong and

Daniels, the �lm is based on

Wil Haygood’s 2008 Washington

Post article “A Butler Well

Served by This Election.”

A Laura Ziskin production, it

will be produced by Pam Williams,

Ziskin and Daniels, with Cassian

Elwes and Hilary Shor executive

producing. Giladi and Blavatnik

act as executive producers for Icon

SEE THR.COM/CANNES

FOR FULL STORIES

CANNES

№8

ABOUT TOWN

in what a spokesperson described

as a “substantial” investment in

the project from Icon.

CAA packaged the �lm and

is handling North American

sales, and the �lm is being

represented by IM Global for

international sales during the

Marche du Film.

“This project awes me,” Daniels

said. “The scope and magnitude

of the father-and-son

story moves me to tears. Bringing

this essential black history

to the screen is a terrifying and

exhilarating challenge.”

Daniels is in Cannes to

promote his �rst Competition

�lm, The Paperboy, starring Zac

Efron, Nicole Kidman, McConaughey

and Cusack. THR

day8_nws1,2,6,7.indd 1 5/22/12 9:22 PM

VALERY HACHE/AFP/GETTYIMAGES


the REPORT

Weather Doesn’t Dampen Sales

Market business is solid

while new equity players

flock to the Croisette

By Scott Roxborough

and Stuart Kemp

GUILLERMO DEL TORO’S

stop-motion 3D version

of the classic fairy tale

Pinocchio has sparked interest

from studios and at least

one equity �nancier. Inferno

Entertainment, which is producing

and selling the picture, has

opted to hold back inking deal

memos while it irons out the best

way to bankroll the production.

Inferno’s move is indicative

of the changing market landscape

this year, as a ra� of new

equity investors slosh up and

down the Croisette looking for

deals to strike.

Wind and rain may have

lashed Cannes, soaking suits

and forcing buyers o� the

beaches, but it didn’t put a

damper on business.

“ I think what we’ve found

is that rain is good for business,”

said Maura Ford, head of

U.K.-based sales company 7&7.

“People concentrate more on

the business and less on the rosé.

And anyway, we’re from the U.K.,

so what’s a little rain? Buck up.”

Sony Pictures Classics Takes

Gael Garcia Bernal-starrer No

The drama follows the ad campaign to overthrow Pinochet

By Scott Roxborough

SONY PICTURES CLASSICS HAS SAID

yes to No, picking up all North

American rights to the Chilean

drama starring Gael Garcia Bernal from

Participant Media.

In director Pablo Larrain’s �lm, Bernal

plays an advertising executive who spearheads

an ad campaign aimed at winning

a referendum against Chilean dictator

Augusto Pinochet.

The �lm is based on a true story. In

1988, facing international pressure to

reform, Pinochet held a referendum, in

which voters had to choose Yes to keep the

dictator or No to kick him out.

No premiered in the Directors’ Fortnight

section of the Cannes Film Festival.

“This movie is a masterfully engaging

General delegate of the Cannes Film

Festival Thierry Fremaux helps to keep guests

dry as they arrive at the premiere of Thomas

Vinterberg’s Competition entry The Hunt.

Business was solid all around

for studios and independents.

“We’ve done the business we

expected to do, but some territories

didn’t turn out to be as

we thought they would be,” said

Focus Features International

co-president Alison Thompson.

She added that o�ers from

2

buyers in recession-hit Italy

were stronger than expected

and that Japan, long a white

space on the international sales

map, was back in force.

One U.K.-based sales agent,

who sold out across his slate,

said Japan was “slow to sign,”

but “at least they were making

In addition to

starring, Garcia

Bernal also helped

produce the film.

and energetic drama about politics and

power, a tonic for the brain that is also a

major entertainment,” SPC said in a statement.

“No establishes Pablo Larrain as a

major international director, and Gael Garcia

Bernal gives his �nest performance.”

Je� Ivers and Jonathan King of Participant

Media negotiated the deal with SPC. THR

o�ers — a change from recent

markets.”

Focus is all but sold out on

Gus van Sant’s Promised Land,

which stars Matt Damon as a

gas company executive who

arrives in a small town intending

to tap its natural resources.

Another strong seller for Focus

was the London-set thriller

Closed Circuit, produced by

Working Title, which also

closed for most of the world.

In addition to the established

marquee names such as IM

Global, FilmNation, Exclusive

and Sierra/A�nity, this year’s

Marche du Film saw a �ood of

new sales out�ts trying — and

in most cases succeeding — to

make their mark.

Mister Smith Entertainment,

the international sales venture

launched by former Summit

International co-founder David

Garrett and German production

giant Constantin Film,

sold out its brace of debuting

products: teen fantasy title

The Mortal Instruments: City of

Bones, starring Lily Collins and

Jamie Campbell Bower, which

is being set up as a potential

franchise, and 3096 Days,

the true-life story of Austrian

CONTINUED ON PAGE 7

Anchor Bay

Grabs Action Pics

By Gregg Kilday

ANCHOR BAY FILMS HAS PICKED

up rights to all English-speaking

territories for two action movies,

O�cer Down and Pawn.

O�cer Down, directed by Brian A.

Miller and written by John Chase, follows

a rogue police o�cer who, in order to pay

back old debts, seeks revenge against the

men responsible for a young woman’s

death. Stephen Dor�, Dominic Purcell

James Woods star. It was produced by

Je� Most of Most Films, Je� Bozz, Dr.

Mohammed Zahoor andJe� Rice.

Pawn, directed by David A. Armstrong

and written by Jerome Anthony

White, centers on a petty robbery that

spirals into a hostage situation a�er

three gunmen hold up a diner that’s a

front for the mob. It stars Michael Chiklis,

Common and Ray Liotta. THR

day8_nws1,2,6,7.indd 2 5/22/12 9:18 PM

VALERY HACHE/AFP/GETTYIMAGES


Lucas FIlms D8_052312.indd 1 5/18/12 5:03 PM


the RepoRt

Danish Duo Announce New Venture

Director Bornedal and

producer Foldager will

collaborate on

all of the helmer’s

future projects

By Scott Roxborough

Ole Bornedal, the

Danish director of 1994

crossover hit Nightwatch

and the upcoming horror

thriller The Possession starring

Jeffery Dean Morgan and Kyra

Sedgwick, will set up a joint

venture with producer Meta

Louise Foldager, whose credits

include Lars von Trier’s Melancholia

and Antichrist.

The collaboration between

Bornedal’s company Four Fiction

and Foldager’s Metafilm

will collaborate on all of

Bornedal’s future projects,

both Danish and international.

Sam Raimi produced

Bornedal’s The Possession

with his Ghost House shingle

together with Canadia’s North

Box Productions.

The horror tale tells the story

of a young girl who becomes

S. Africa Eyes Nat’l Film Commission

Up-and-coming region hopes to boost industry by including

postproduction spending in its incentives program By Georg Szalai

Zama mkosi, the new Ceo of south

Africa’s National Film and Video

Foundation, is setting her sights on

taking the country’s rising film sector to

the next level.

She says her organization likely will be

rebranded as the national film commission

over the near- to mid-term to have

it set a national film agenda instead of

having each regional commission doing

its own thing. In addition, the country

is looking at including postproduction

spending to its incentives program, and

she plans to boost South African production

output.

“For me, the biggest goal is entrenching

South African content locally,” Mkosi told

The Hollywood Reporter. “We would like

to make sure that the production of local

content is improved, and we provide more

opportunities for South African content to

be produced and more players to come into

the industry.”

She added: “It’s all a numbers game. If

you produce 1,000 [projects], you have a

possessed by a malicious angry

spirit that inhabits and ultimately

devours its human host.

Lionsgate will bow the film

in August in the U.S. on 2,500

copies. Buoyed by the strong

response to Possession, Bornedal

intends to follow up with

another big-budget Englishlanguage

feature.

But Bornedal’s joint venture

with fellow Dane Foldager will

also include smaller, Danishlanguage

features. They will

include films where Bornedal

will act as the screenwriter and/

4

or creative force but where

he does not take on directing

duties.

Speaking to THR, Foldager

said the new joint venture

is currently preparing and

packaging four projects, both

Danish and international.

“He has so much material, so

many scripts so we are sorting

out what we want to do and if

he will executive produce and

I produce or we package for

an international partner,” she

said. “We expect to be able to

announce details of the first

chance that five will be successful and able

to compete with the rest of the world. And

it helps equipping people with better skills

and ensuring the quality of content.”

In a sign that South Africa wants to be

a bigger global player, the country sent its

strongest representation ever to this year’s

Cannes Film Festival, including 130 filmmakers

and 20 films.

While South Africa is happy to have

attracted such Hollywood and foreign

productions as Safe House and Dredd,

which has brought spending and additional

experience and skills to the country,

Mkosi said more local output would

boost the presence and market share of

South African films in the country’s 700

movie theaters.

Mkosi also said that the South African

government is making money available for

public-private partnerships to roll out

digital cinemas in underserved regions of

the country. She had no details to share but

said as many as 10 cinemas per year could

be opened under that initiative. thr

Borendal’s horror film

Possession will be

released by Lionsgate

in the U.S. in August.

projects in the summer.”

Foldager said she and

Bornedal are well along in the

development and that they have

received backing from Scandinavian

distributor Scandbox

and the Danish Film Institute

on some of the first projects.

Despite Bornedal’s reputation

as a master of the horror

genre, Foldager said the projects

the two will collaborate on

run the gambit.

“I know all of Ole’s work and

it is very diverse as our slate

will be,” she said. “There’s only

one horror film in there.”

While Foldager has been

busy since lauching Metafilm

last year with fellow producer

Sara Namer, she has still found

time to work with her old firm,

Zentropa. In addition to the

Zentropa-backed Melancholia,

Foldager produced the

ambitious Danish period drama

A Royal Affair, which premiered

in Berlin this year and

won prizes for best screenplay

and for best actor Mikkel Boe

Folsgaard. thr

Paul Verhoeven’s

Tricked Pre-Sold

By Georg Szalai

Tricked, the latest film from

Dutch director Paul Verhoeven,

has been pre-sold to a number

of territories, Film Content Company

Europe said.

FCCE closed pre-sale deals with

D’Vision for France, Activers Entertainment

for South Korea and At Entertainment

for Japan.

The drama with the tag line “lies

always backfire” focuses on a real

estate tycoon and womanizer played by

Peter Blok (Black Book). His business

partners are scheming behind his back

and one of his lovers shows up uninvited

— and pregnant — at his birthday party

thrown by his wife.

Verhoeven used social media to

gather contributions from fans on the

screenplay.

Tricked marks a return to the screen

for Verhoeven, whose credits include

Total Recall, Basic Instinct and Starship

Troopers. He last directed Black Book

in 2006. thr

day8_news4-5.indd 1 5/22/12 9:28 PM


Falcom Takes

Latest

Wayans’ Spoof

By Scott Roxborough

German distriButor

Falcom Media has

picked up the new film

from spoof master Marlon

Wayans, the screenwriter and

co-star of Scary Movie.

Falcom picked up Untitled

Found Footage Comedy, a

parody of the Paranormal

Activity franchise, from IM

Global at Cannes’ Marche du

Film. Wayans co-wrote the

screenplay to Untitled together

with Rick Alvarez, the producer

of Scary Movie 2 and

White Chicks (2004), which

Marlon Wayans co-wrote.

Falcom also snatched up

the 3D nature documentary

The Penguin King 3D from

British sales group Kaleidoscope.

Veteran documentary

producers Anthony Geffen

and Sias Wilson, whose credits

include the BAFTA TV awardwinner

Flying Monsters 3D

with David Attenborough (2011)

and the Emmy-nominated

The Promised Land (1995), are

behind The Penguin King 3D.

The documentary, which in

its U.K. version is narrated by

Sir David Attenborough, uses

stunning 3D cinematography

to follow the journey of an

emperor penguin from adolescence

to fatherhood.

Falcom will bow both films

theatrically in Germany as

well as handling home video

and television rights. thr

Wayans

THR .com

To download a PDF of the

The Hollywood Reporter’s

Cannes Film Festival,

go to:THR.com/Cannes.

The 2012 Cannes Poster Awards

THR pays tribute to the most amusing

and over-the-top promotional materials

from the festival’s market

BEST COMMENTARY ON

TOPICAL SOCIAL ISSUES

A Bird of the Air

Just your average “dog falls in

love with parrot” story. Will

they ever be together? Not if

their owners, Quirky Mismatch

Girl and Angry Escaped

Convict Boy, have anything to

say about it. Dogs and parrots

weren’t meant to fall in love,

and their owners are gonna

stand in the middle of the road

and stare at each other until

they realize the error of their

ways. Or until a Mack truck

comes along and kills them all.

BEST USE OF A DAY-JOB

WORK OUTFIT

World of Chickens

Dear Mom and Dad,

I’m settling into the dorm and

freshman year pretty well. Last

week I got a job on campus at a

local chicken wing shack called

Mr. Cluck’s. Guess what? I’m

Mr. Cluck! In related news, my

roommates and I have decided

to make a movie.

Miss you (and please send

more money), Robert

5

BEST 19Th INCARNATION OF

ThE SAME IDEA

Adventures of a

teenage Dragonslayer

Buffy had it easy with the

vampires. It was a walk in the

park for Scott Pilgrim against

his girlfriend’s exes. And the

Monster Squad had no problem

defeating classic horror

movie monsters. But this kid’s

got it rough! He has to battle

teenage awkwardness, zits and

a dragon! Luckily he’s got his

sweet dragon-slaying sword

strapped to his backpack. Because,

you know, teachers love

it when kids bring medieval

weapons to class.

BEST LESBIAN ACTION MOVIE

A Dominatrix Story

Oh my! Women in lingerie

exploring their sexuality!

With each other! With badass

hairdos! And black lipstick!

And vinal body suits! And ...

guns? And long hallways? Is

this a rip-off of Boys Don’t Cry

or a girl-on-girl remake of Leon

The Professional? Either way,

we obey.

UPI Grabs

Vegas

By Stuart Kemp

Jon turteltauB’s

comedy romp Last

Vegas, starring Michael

Douglas, Robert DeNiro and

Morgan Freeman, was picked

up by Universal Pictures

International in a multi-territory

deal with Joe Drake’s

financing, production and

sales outfit Good Universe.

UPI inked deal memos on

the picture, which details the

story of four old friends who

decide to throw a Las Vegas

bachelor party for the only

one who has remained single.

It is written by Dan Fogelman.

Universal’s overseas releasing

arm took rights to the

picture for the U.K., Germany,

France, Italy, Austria, Switzerland,

Australia and Spain.

UPI also took Spike Lee’s

remake of Park Chan Wook’s

classic Oldboy, in an update

starring Josh Brolin, Lizzie

Olsen and Sharlto Copley.

UPI took the revenge tale

for the same territories. It is

penned by Mark Protosevich

and based on the manga

comic by Garon Tsuchiya

and Nobuaki Minegishi.

Korean director Park Chan-

Wook’s adaptation of the

comic won the 2004 Cannes

Jury Award.

Oldboy is a Vertigo

Entertainment/40 Acres

and A Mule Production.

Roy Lee, Doug Davison and

Good Universe’s Nathan

Kahane will produce with

John Middleton executive

producing. Protosevich will

co-produce.

The comedy is being

produced by Laurence Mark

and Amy Baer. Good Universe’s

Nathan Kahane will

executive produce along with

Lawrence Grey, while Matt

Leonetti will co-produce.

Nicole Brown is overseeing

the project for Good Universe

which is also handling

international sales.

Exec vp of production

Maria Faillace and creative

exec Alex Ginno are

overseeing the project for

CBS Films. thr

day8_news4-5.indd 2 5/22/12 9:27 PM


the REPORT

Doherty’s Cannes Confession

Hard-living rocker had to

rein in bad habits for his

debut in Confessions of a

Child of the Century

By Rebecca Le�er

EX-LIBERTINES FRONTMAN

Pete Doherty is back in the

spotlight — playing a libertine.

The U.K. indie rocker is

in Cannes to promote his acting

debut in Sylvie Verheyde’s Un

Certain Regard title Confessions

of a Child of the Century.

Doherty plays a young man

who, a�er being betrayed by his

mistress, sinks into a depression

until he meets a young

widow played by Charlotte

Gainsbourg. Lily Cole and

August Diehl also star in the

adaptation of Alfred de Musset’s

autobiographical novel.

“I needed someone who both

psychically �t the part and who

was credible in the role,” Verheyde

says of picking Doherty. “He’s a

singer, but he came to music from

a poetry background.” (Doherty

won poetry contests as a young

boy.) Plus, she says, “A concert is

very physical, so he was used to

acting with his body.”

Doherty says that Verheyde’s

proposal was an o�er he

couldn’t refuse.

Italy to Make Tax Credit Permanent

Minister of Cutlure and Heritage also announces plan to implement digital

piracy law patterned on ‘efficient’ French policy By Georg Szalai

LORENZO ORNAGHI, ITALY’S MINISTER OF

Cultural Heritage and Activities, said Tuesday

that he would like to make the country’s

production tax credit system permanent and that

Italy is “going to try and pass a law on digital

piracy that will be similar to the French one.”

Ornaghi said he met with new French Culture

Minister Aurelie Fillippetti earlier in the morning

and discussed possible cooperations. Talking

about piracy, he said “the French approach

seems to be the most e�ective, most e�cient.”

Former French President Nicolas Sarkozy

created the so-called Hadopi government agency

to oversee the �ght against piracy using a threestrikes

approach. Under the regulation, a�er three

piracy warnings, web users are supposed to be

taken o�ine. Hadopi data presented this year said

that 6 percent of Internet users in France received

a warning for pirating content, but 95 percent of

those stopped infringing. Ninety-eight percent of

those receiving a third warning stopped piracy.

“I couldn’t not do it,” he says

of his foray into acting. “Sometimes

in life, there’s an energy,

people collide, and you have to

get involved.”

While the experience was positive

for Doherty, he’s not looking

to rush back on set. “I have had a

couple of interesting proposals,

but it’s such hard work. You have

to get up so early,” the notoriously

a�er-hours star says. “I’m a

creature of habit.”

But what if Hollywood does

come calling? “I don’t have

a phone, and I’m not taking

calls,” he says.

Doherty boasts fond

On the topic of tax incentives for productions,

Ornaghi said: “As long as this government is in

power, we want to keep using the tax credit system.

A long-term perspective would be of great help.”

He made the comments at a press conference

with Italian political and �lm industry representatives

in Cannes. They announced that Italy

will promote cinema as an engine of all things

“Made in Italy,” under a new promotion called

“Italia in luce” (Italy in Lights) to make the

country’s �lm industry more competitive on a

global scale.

With the help of €4 million-€5 million ($5.1

million-$6.4 million), the representatives said

they want to form a deeper public-private

partnership to focus on better distributing and

promoting Italian �lms and, through them,

Italy’s culture and lifestyle in Europe and the

rest of the world. They also said they will look

at economic incentives for distributors buying

Italian �lms. THR

6

Doherty says he is

wary of accepting

other acting offers

because “you have to

get up so early.”

memories of the “very tight set,”

and as for that rumored romance

with co-star Gainsbourg?

“In the �lm industry, you’re

thrown together with someone.

There was quite a lot of physical

contact in the �lm. I’m human,”

he says. “I was running around

dressed up in the costumes and

was completely wrapped up in

the character trying to learn

French and meeting all of these

actresses. I’m �esh and blood,

really. What are you supposed

to do? You’re going to fall in

love, aren’t you?”

Watch Doherty discuss his

screen debut at THR.com. THR

Holbrook

Joins

Good Girls

By Stuart Kemp

BOYD HOLBROOK HAS

signed up for Naomi

Foner’s Very Good

Girls, joining Dakota Fanning,

Elizabeth Olsen, Peter

Sarsgaard and Demi Moore

in the cast.

The movie revolves around

two lifelong best friends who

are determined to lose their

virginity as a rite of passage

into the adult world but fall

for the same young artist, to

be played by Holbrook.

The �lm is set to begin

shooting in June in New York

and is produced by Norton

Herrick’s Herrick Entertainment

(Broadway’s Spider-

Man: Turn O� the Dark) and

Michael London’s Groundswell

Productions (Sideways).

Holbrook next will be seen

in Andrew Niccols’ The Host,

based on the best-selling

book by author Stephenie

Meyer, and Scott Cooper’s

Out of the Furnace.

He also stars alongside

Kevin Costner, Bill Paxton

and Tom Berenger in the

History miniseries Hat�elds

and McCoys, which premieres

on Memorial Day.

German/Brit group K5 is

introducing Very Good Girls

to buyers during the Marche

du Film. K5 co-founding

partners Oliver Simon and

Daniel Baur said the �lm is

growing “a strong and contemporary

cast.” Holbrook is

repped by CAA. THR

day8_nws6.indd 1 5/22/12 8:37 PM

Holbrook


Market

CONTINUED FROM 2

kidnapping victim Natascha

Kampusch. And Canadianowned

eOne International

ramped up its sales operations,

reporting several deals, including

the Matt Shakman-directed

thriller Cut Bank, starring

Armie Hammer.

While the sheer quantity

of titles being hawked at the

market suggested a return to

the heady pre-bust days of a few

years past, the quality of projects

on o�er delivered in spades.

“We had a really busy time

here last year, and at that time,

I felt that the marketplace had

room for more volume, and

certainly this year’s Cannes

has delivered in terms of

volume and actually quality

as well,” said Alex Walton,

president of international sales

and distribution at Exclusive.

“We brought a bigger slate,

and it has easily matched

expectations.”

Walton said Exclusive was

close to selling out on several

titles, including the action comedy

Century 21, starring Cameron

Diaz, and A Walk Among

Tombstones with Liam Neeson.

Exclusive announced one new

title relatively late in the market:

Eli Roth’s horror thriller

Emperor

CONTINUED FROM 1

du Film in Cannes, which wraps Friday.

Emperor, set in post-World War II during the

American occupation of Japan, is based on the

real-life story about whether to try Emperor Hirohito

for war crimes.

The �lm stars Tommy Lee Jones as General

Douglas MacArthur — the de facto ruler of Japan

— and Matthew Fox as General Bonner Fellers,

who led the investigation into whether to charge

Hirohito. Emperor also stars rising Japanese

actress Eriko Hatsune and well-known Japanese

actor Toshiyuki Nishida.

Emperor is interwoven with a love a�air between

Fellers and Aya, a Japanese exchange student he

met in the United States prior to the war. Feller’s

quest to �nd her helps him discover both his

wisdom and humanity, and enables him to reach a

decision that will change the course of history.

The pic, now in post-production, was produced

by Yoko Narahashi (The Last Samurai), Gary

Foster (Sleepless in Seattle, The Soloist), Eugene

Nomura (Tajomaru) and Russ Krasno� (The Soloist)

and is a Krasno�/Foster Entertainment and

The Green Inferno, which also

generated strong interest.

Such midmarket announcements

were rare this year,

however, as Cannes’ late start

the festival was delayed a week

to accommodate the French elections

— meant sales agents had

more time to �rm up new projects.

Some of the most active buyers

this year were the international

arms of the Hollywood

studios, which use the marketplace

to source further titles for

their global pipelines.

Sony Pictures Worldwide

7

Acquisitions picked up multiple

territories, including Germanspeaking

Europe and Australia,

for IM Global’s found-footage

drama Ends of the Earth, which

Derek Lee and Clif Prowse will

co-direct. Universal Pictures

International took a slew of territories

for two Good Universe

titles: Spike Lee’s remake of Old

Boy, starring Josh Brolin, and

the Jon Turteltaub-directed

comedy Last Vegas, starring

Robert De Niro.

PAMELA MCCLINTOCK CONTRIBUTED

TO THIS REPORT.

United Performer’s Studio Production.

The deal with Shochiku was negotiated by

Sierra executive vice president of international

sales Jonathan Kier.

Sierra and Emperor producers faced formidable

challenges in selling an English-language �lm to a

Japanese distributor. The push to charge Hirohito

as a war criminal is still a touchy subject in Japan,

although Hirohito wasn’t ultimately tried.

Several years ago, Japanese distributors

wouldn’t pick up Russian director Aleksandr

Sokurov’s similarly themed The Sun, which portrayed

the relationship between MacArthur and

Hirohito. Exhibitors were worried that conservative

nationalists, who object to the portrayal of

their country as an occupied state, would protest.

Japanese money did �nance some of Emperor’s

budget, and Webber was the �rst director to ever be

granted access to shoot on the Imperial grounds,

the main residence of the current Emperor of

Japan and the Imperial family. A�er Hirohito, the

Emperor was no longer considered a deity.

The Japanese audience is very important to us

as the �lm portrays a key period of the country’s history.

We are con�dent Shochiku is the ideal partner

to bring this epic to Japan,” the producers said. THR

Portman

CONTINUED FROM 1

ABOUT TOWN

At the photocall for the Un Certain Regard entry Le Grand Soir — the film’s director Albert Dupontel, and cast members

Benoit Delepine and Benoit Poelvoorde decided to spice things up by playfully destroying the podium. No one was injured.

with several studios back in

Los Angeles.

The �lm could end up

being �nanced by a combination

of equity, studio money

and foreign pre-sales. People

were looking at the project

last week in Los Angeles but

the dealmaking moved to

the South of France once the

festival got underway.

Ramsay was last in

theaters with the acclaimed

indie �lm We Need to Talk

About Kevin.

Jane Got a Gun centers

on a woman whose outlaw

husband returns home

barely alive and riddled with

bullet wounds. She is forced

to reach out to an ex-lover

and ask if he will help defend

her farm when her husband’s

gang eventually tracks him

down to �nish the job.

Portman is repped by

CAA; Du�eld by Gersh and

Ramsay by WME. THR

day8_nws1,2,6,7.indd 3 5/22/12 9:22 PM

Portman

VALERY HACHE/AFP/GETTYIMAGES


VALERY HACHE/AFP/GETTYIMAGES; DAVE M. BENETT/GETTY IMAGES; MICHAEL BUCKNER/GETTY IMAGES; PASCAL LE SEGRETAIN/GETTY IMAGES

FOR IWC; ANDREAS RENTZ/GETTY IMAGES FOR IWC; PASCAL LE SEGRETAIN/GETTY IMAGES FOR IWC

ABOUT TOWN

David Matamoros of Zentropa and

Constanze Schumann of Allegro Film

attend The Hollywood Reporter sponsored

Producers On The Move Luncheon.

caption

Caption

Caption

Cannes regular Adrien

Brody and Killing

Them Softly star Ray

Liotta attend IWC

Filmmakers’ Dinner.

Ewan McGregor arrives at

the Filmmakers’ Dinner

with his mother Carol.

8

Model Petra Nemcova

and Gerard Butler relax at

the Filmmakers’ Dinner.

Hernan Mendoza,

star of director

Michel Franco’s

Un Certain Regard

entry Despues de

Lucia turns the

camera on photographers

at the

film’s photocall.

day8_abouttown.indd 1 5/22/12 5:32 PM


Robert De Niro and Paperboy

director Lee Daniels confer at the

IWC and Finch’s Quarterly Review

Annual Filmmakers’ Dinner at the

Hotel Du Cap-Eden Roc.

Chinese screen star Li

Bingbing wears Gucci

to the premiere of You

Ain’t Seen Nothing Yet!

Brazillian novelist

Paulo Coelho and G.I.:

Joe Rise of the Cobra

star Karolina Kurkova

attend the exclusive

Filmmakers’ Dinner.

9

RAMBLING REPORTER

INSIDE IWC’S FILMMAKERS’

DINNER AFTER-PARTY

It was a glittering, dry evening at the

legendary Hotel du Cap-Eden-Roc

for IWC’s Scha�ausen’s annual

Filmmakers’ dinner (sponsored

by Finch’s Quarterly Review and

Mercedes AMG). Drawing festival

partygoers like producer Brett

Ratner and Jeremy Irons, guests

sipped on never-empty glasses of

champagne — which were being

handed out at every corner — and

enjoyed exquisite Riviera views.

Festival juror Ewan McGregor was

a doting date to his mom, Carol,

whom he kept close throughout

the evening. Needless to say,

Gerard Butler was endlessly

surrounded by a

rotating bevy of beauties

(including spending a

good amount of time

talking to supermodel

Karolina Kurkova), until

finally slipping inside the main

ballroom rock out to the private

concert from artist Aloe Blacc (he

covered songs like Grover Washington

Jr.’s “Just the Two of Us”). Grey’s

Anatomy star Eric Dane attended in

a sharp black suit and tie and was

overheard asking a fellow partygoer

for a cigarette. “Aren’t you a doctor?”

the guest joked, to which Dane

deadpanned: “I’m a victim.” Adrien

Brody arrived to the elegant soiree

in simply a jacket and jeans and

tucked away in a corner booth with

friends—spending most of the night

on his Blackberry, even seemingly

sharing photos with friends.

BREAKFAST IN BED …

WITH HARVEY

Six days after The Weinstein

Company secured the rights to

Wayne Blair’s The Sapphires,

Chris O’Dowd revealed to THR

what Harvey Weinstein is really

like as a producer. “I didn’t realize

how hands-on Harvey was going

to be,” said the Irish-born O’Dowd

— whose breakout role in Paul

Feig’s Bridesmaids catapulted him

into the Hollywood limelight —

before turning to the punch line.

“He brought me breakfast in bed

this morning that he had cooked in

his room. It was just simple stuff,

poached eggs and a little toast.

But he had cut off the crust on the

bread. He really got it

together — and fresh

juice! For Harvey to

go that far, he’s an

incredible profes

sional.” Turning se

rious, just for a beat,

O’Dowd admitted

that, despite his belief in

the project, he wasn’t always

certain it would gain this kind of

recognition it deserved. “I thought

it was going to be a little Aussie film

that gets a bit of an audience and

maybe make it to the U.K. I never

expected this.” And The Weinstein

Company’s recent acquisition

guarantees a growing audience with

buzz continuing to build. “[Harvey’s]

so supportive of the film and

it makes a big, big difference,” he

said. “I guess it gives us a little bit

more faith in the project as well.”

He waited a beat before adding:

“And again, great cook.” THR

Weinstein

Soul singer Aloe Blacc gave

a private concert at the

exclusive Filmmakers’ Dinner.

day8_abouttown.indd 2 5/22/12 5:32 PM


elie Saab has been prevalent on the Cannes red

carpet with emmanuelle devos, Virginie Ledoyen

and Fan bingbing all opting for the Lebanese

designer’s gowns.

FASH TRACK

What to buy, Wear and knoW noW By Rebecca Leffler

Oui to Elie Saab

Lebanese fashion designer

Elie Saab may not be in Cannes,

but his dresses have been

ubiquitous on the festival’s red

carpets. This year’s mistress

of ceremonies Berenice Bejo,

traditionally a fan of the

designer, chose not to wear a

Saab gown for the festival’s

opening-night-ceremonies and

likely won’t be wearing it for the

closing night either. But French

beauty Virginie Ledoyen wore

a green full-length strapless

draped georgette dress from

the brand’s ready-to-wear line

for the fest’s opening night

and she also graced the red

carpet in Saab for the premiere

CannES

PrEt-a-PortEr

VanESSa Bruno iS thE EPitoME of

le French chic and now she’s taking her

elegant-but-wearable line to a new shop in Cannes.

Bruno is already a force in Hollywood. She’s partnered

with Kate Bosworth for two short films featuring

her collections and opened up a shop in L.A.

where the clothes are selling like hot crepes.

Why open a store in Cannes?

I’d been wanting to open in Cannes for awhile. We

opened in St. Tropez and it’s been working very,

very well. Like St. Tropez, Cannes is very French,

but also very cosmopolitan. It’s a very international

city, especially during the festival, but also all

year long. It’s a French city with constant activity

and also an activity that corresponds to both the

cinema and fashion.

Will you dress actresses in Cannes this year?

Actresses have called up. They love to come to

me because there’s a real freedom, not like other

of Jacques audiard’s Rust &

Bone. Juror Emmanuelle Devos,

L’Oreal spokesmodel fan

Bingbing, French actress Marie

Gillian, Chinese actresses hao

Lei and Yang Mi and supermodel

Du Juan have also been seen in

the elegant couture designs. Eva

Longoria opted for the brand’s

more casual ready-to-wear

collection. The actress wore an

Elie Saab blue jumpsuit with

lace detail on Canal Plus’ hit

live show Le Grand Journal this

week and picked out a coral

blazer for her L’Oreal photoshoot

earlier in the day.

Saab’s swank showroom in

the Hotel Martinez features

the brand’s latest summer

10

collection, and some new pieces

from the fall/winter line including

bags, shoes and jewelry.

Bonding in Cannes

You maY not know BErEniCE

Marlohe yet, but this fall when

Skyfall lands in theaters across

the globe, all eyes will be on the

newest Bond girl. When she’s not

lighting up the screen, the sexy

French actress is sparkling in

Swarovski as the new face of the

crystal jewelry brand’s campaign.

“I’m realizing little by

little,” Marlohe says of how the

role may change her life, adding:

The big change for me is that

now I have an amazing chance to

read some great scripts.” While

Swarovski has had a love affair

with the cinema since 1895,

Marlohe is the first actress to be

the face of its campaign, and for

Marlohe, representing the

“Kingdom of Jewels” collection

is the realization of a childhood

dream. “They also did the red

sparkly shoes that Judy Garland

wears in The Wizard of Oz. I loved

the shoes as a child and now I’m

the face of the brand, so it’s a

real honor for me,” says Marlohe.

The Cannes festival’s poster girl

Marilyn Monroe famously wore a

Swarovski crystal-studded white

fur coat to sing “Happy

Birthday” to President Kennedy.

To tie into the 50th anniversary

of the Bond films this year, Sony

screened the teaser trailer for

Skyfall on Monday night ahead

of From Russia With Love, which

had a special screening as part

bruno’s Cannes boutique, which opened in January,

is located at 19 rue des etats unis.

brands. They can wear the clothes during the day

or for interviews or to a dinner — they’re not tied

down to wearing them on the red carpet. Even

before opening the boutique in Cannes, we’ve had

privileged relationships with girls who follow us all

year like Marion Cotillard or Diane Kruger. They

wear it all year so it’s not a problem. It’s already on

their list when they pack for Cannes.

You’ve made a series of short films with actresses

— and faces of your brand — Lou Doillon and

now Kate Bosworth. is the brand’s connection to

of Cannes’ Classics Cinema de

la Plage sidebar. That film’s

Bond girl Martine Beswick was

also in town. This is the first

time at the festival

for Marlohe, who

plans to shine on

the red carpet in a

“black dress” and

Swarovski jewelry.

Marlohe flew directly to Cannes

from the Skyfall set. Will

Marlohe get to show co-star

Daniel Craig the art of the

French kiss? “I really hope so,”

she said. “It would be a shame

if not.” thr

Marlohe

Dress

du Jour

You Ain’t Seen Nothin Yet was an

appropriate title for Monday evening

that saw anne Consigny, star of alain

resnais’ Competition title, shine in

an alexis Mabille Spring 2012 Couture

pale satin gown. Consigny was pretty

in pink in the simple yet elegant dress

with a pleated underskirt.

cinema important for you?

Yes, even if I consider these films more “visual poems.”

We’re just trying to do something that represents

the brand. I’ve always liked girls who can show

visual emotions without a story. We see so many

videos for brands with models and it’s totally insipid.

I like films that show emotion and touch people. I

love when people say to me “It’s so beautiful. I was

so moved.” Or even “I cried at the end.” And all in

just a few minutes.

What does it feel like to see your designs on hollywood’s

a-list actresses?

I do this job because I want girls to wear my clothes.

If these girls happen to be well-known and inspiring

personalities, then I can say, “I’ve made it.”

if you had to pick a style from this season’s collection

for someone going to Cannes, what would you

recommend?

The little patchwork dress with a 1960s cut and

design. You can wear it with sandals by day or dress

up with heels at night. I like doing this kind of thing

— functional, but also fashionable and elegant. thr

day8_fashtrack.indd 1 5/22/12 5:40 PM


TODay

AT THE AMERICAN PAVILION:

WEDNESDay, May 23

1:00 PM | IN CONVERSaTION:

JENNIFER LYNCH AND TIM ROTH ANNOUNCING

“A FALL FROM GRACE”

Jennifer Lynch, Director/Screenwriter

Tim Roth, pending his jury schedule

Eric Wilkinson, Co-writer/Producer

3:00 PM | IN CONVERSaTION:

PHIILP KAUFMAN FOR HEMINGWAY & GELLHORN

Philip Kaufman

Moderated by Annette Insdorf, Author, Philip Kaufman

Kaufman’s latest film, “Hemingway & Gellhorn,” starring

Nicole Kidman and Clive Owen, will have its world

premiere in the Cannes Official Selection on May 25,

and airs on HBO, May 28.

4:00 PM | FILM PaNEL:

THE CENTRAL PARK FIVE WITH KEN BURNS,

SARAH BURNS AND DAVID MCMAHON

6:00-8:00 PM | SCREENING:

STRAIGHT EIGHT

2012

SPONSORS

SCREEN ACTORS GUILD

David Michaels, Producer

Moderated by Michael Phillips, Chicago Tribune

4 PM – BOOK SIGNING

Philip Kaufman and Annette Insdorf will sign copies of

the just-published book on his work Philip Kaufman

(“Contemporary Film Directors” Series, University of

Illinois Press)

Directors: Ken Burns, Sarah Burns, David McMahon

Moderated by: Thom Powers, Toronto International Film Festival, Stranger than Fiction, DOC NYC

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

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

®

UPCOMING EVENTS:

THURSDay, May 24

1:00 PM | INDUSTRy IN FOCUS:

AMERICAN SHORT FILM DIRECTORS

David Grainger, The Chair

Matthew James Reilly, Abigail. NYU/USA

Meryl O’Connor, The Ballad Of Finn + Yeti, UCLA/USA

Moderated by: Lisa Ogdie, Sundance Institute

10:30aM–12:30PM

EMERGING FILMMAKER SHOWCASE

Followed by reception

2:30–4:45 PM

STUDENT FILMMAKER SHOWCASE

Followed by reception

FRIDay, May 25

10:00 PM–2:00 aM

QUEER NIGHT

With Guest DJ Lee Daniels. Cash bar.

The American Pavilion is your full service business and

entertainment venue just steps away from the Palais.

The Pavilion is the focus of the American presence at the

Festival. Enjoy a relaxed seaside environment with all the

amenities and business services to make your time at the

Festival successful.

AMPAV.COM

American Pavilion D8_052312.indd 1 5/18/12 12:39 PM

121033-008amp_ad-day8-may23-sch_051812-1.indd 1 5/18/12 11:01:08 AM


DIRECTOR Q&A

Ken Loach

The Cannes regular talks about lightening up

in his latest Competition entry The Angels’ Share

and why, after 10 appearances in Cannes,

he still gets nervous By Stuart Kemp

FOR SOME IT WOULDN’T

be Cannes without Ken

Loach. The British

auteur has won prizes in

Cannes dating back to 1979’s

Black Jack, and took home

the Palme d’Or for 2006’s The

Wind That Shakes The Barley.

In all Loach has negotiated the

Croisette’s famous red carpet a

staggering 10 times. His latest

movie, The Angels’ Share, teams

him with writer and regular

collaborator Paul Laverty for

an unusually lighthearted

romp about some down-ontheir-luck

ex-cons trying to

go straight. Loach talked with

THR about getting nervous

about his �lms’ receptions at

what he calls “the most important

event on the �lm calendar,”

misconceptions about

the label “auteur �lmmaker”

and the link between comedy

and tragedy.

The film is written by Paul Laverty

with whom you have previously

collaborated. How is your relationship

evolving?

It’s a very close partnership

and you have to see the world

in the same way and share

the same sense of humor. We

share a curiosity and interest

about developing what we are

trying to do with our projects.

I think Paul’s writing gets

more and more complex and

richer with each �lm he does

and his desire to confound

expectations is strong. You see

a stereotype and know that

the reverse will also be true.

Finding the contradictions on

the page is something we share

and want to do.

Where does Angels sit in tone

compared with the other films

you’ve made with Laverty?

Route Irish, the last �lm I

12

did with Paul, is a very harsh

�lm with a tough ending for

audiences, and I think we felt

we wanted to do something

with a bit of a smile for people

at the end of it. Of course the

world doesn’t change, and it’s

a bleak place for the people we

are describing and portraying,

but they themselves deal with

it with humor and compassion

and show a resolution to get

through the hard times.

Tragedy in comedy and comedy in

tragedy then?

Yes, I think so. It is true to say

you could absolutely tell the

same story, without wanting

to give too much away, as

a tragedy but we wanted to

make sure the �lm carried the

people’s ability to be sharp,

witty and aware with humor.

Would it be fair to describe

Angels’ Share as more in line with

some of the more lighthearted

movies you’ve made, such as Riff

Raff, Raining Stones and Looking

for Eric?

Those �lms did have similar

characters in that they all come

from the same working class

background and the central

characters are all trying to �nd

a way to change the issues.

Your films always do carry a

strong sense of the working

class. Is that a major source

of inspiration?

I think it is central to my �lmmaking

philosophy. Generally

speaking [the working

classes] are presented in a 2D,

stereotypical way so they can

be glossed over in �lms. So it is

always my intention to describe

and celebrate them in a di�erent

way. Our aim is to put them

central stage and explore their

Vital Stats

Nationality British

Born June 17, 1936

Film in Cannes The Angels’ Share

(In Competition)

Selected Filmography Poor Cow,

Kes, Raining Stones, Land And

Freedom, Carla’s Song, My Name

Is Joe, Bread And Roses, Sweet

Sixteen, Ae Fond Kiss, The Wind

That Shakes The Barley, Looking

For Eric, Route Irish

Notable Awards 2006 Palme d’Or

for The Wind That Shakes The

Barley, FIPRESCI prize and Ecumenical

Jury prize in Cannes

1995 for Land And Freedom

contradictions, hopes, humor

and lives without patronizing

anyone. The overriding point to

it all for me is at that any change

[to society] will come from the

working classes and noone else

because everyone else is striving

to look a�er the status quo and

protect themselves.

Do you continue your tradition

of bringing little known actors to

attention with this film?

I hope so. One of the main

characters is played by Paul

Brannigan, who had never

done this sort of work before.

He’s bright, feisty and a sharp

lad and he ends up making his

character sympathetic even

though his character doesn’t

start out that way. I think you

�nd amongst ordinary people

there are a lot of people that

are really talented. It’s more

interesting to see new people

on the screen when you go to

the cinema. I don’t want to see

the same old faces.

Is it still important for you to

maintain editorial control over

your work?

Oh yes. You can’t work properly

otherwise. You can’t have

responsibility for the �lm if you

can’t take and make the key

decisions. I share �nal cut decisions

with [producer] Rebecca

O’Brien, Paul and [long time

collaborator] editor Jonathan

Morris. It’s a collaborative

e�ort for me on the authoring

of the �lm.

Your methods are very

collaborative then?

It’s all about collaboration,

the whole thing. It’s the opposite

to the way most people

think when they hear the label

auteur. I think people think

of auteurs as being a dictator

shouting over everyone about

his vision. That’s not the

way I think of auteurs or

the way I work.

The Cannes Film Festival enjoys

your company. Do you like it as

much as they like you?

I still get nervous. I always

think the audiences will be

quite vigorous with you and

your �lm and not do you any

favors when considering

the reaction. THR

day8_qa.indd 1 5/22/12 2:32 PM


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EXECUTIVE SUITE

PRESIDENT OF SUNDANCE SELECTS/IFC FILMS

Jonathan Sehring

The seasoned exec discusses his love for Cannes,

his excitement over On the Road and how chewing

gum is his secret weapon By Pamela McClintock

JONATHAN SEHRING,

president of Sundance

Selects/IFC Films, has

come to the Cannes Film

Festival for 31 years, and for

him, there’s still no other

place quite so special. This

year has particular signi�cance

for the savvy indie distributor:

Sundance/IFC has four �lms

playing in various sections, a

�rst. The newly acquired On the

Road, from Walter Salles, and

Christian Mungiu’s Beyond the

Hills are both in Competition,

while Gimme the Loot is playing

in Un Certain Regard and Room

237 in the Directors’ Fortnight.

Sehring’s proli�c out�t, owned

by AMC Networks, has been on

a winning streak at the domestic

box o�ce. Werner Herzog’s

acclaimed 3D documentary

Cave of Forgotten Dreams grossed

$5.4 million last year to become

the company’s third-biggest

release of all time. That was

followed by the success of Buck

with $4 million and December

release Pina, which grossed $3.5

million. Sundance Selects was

formed in 2009 and is the distributor’s

prestige label, while

broader titles go out under

the IFC Films banner. In an

interview with THR on the eve

of Cannes, Sehring addressed

the state of the indie business

and the importance of staying

�exible and discussed his tricks

for surviving the festival.

How is Cannes different from

other festivals?

It’s the greatest �lm festival in

the world. I love Sundance for

completely di�erent reasons,

but Cannes has the best selection

of �lms and what world cinema

has to o�er. It’s convenient and

is still glamorous to me a�er all

these years.

IFC has always been an active

buyer at Cannes, acquiring U.S.

rights to films including The Wind

That Shakes the Barley, Che and 4

Months, 3 Weeks, 2 Days. Do you

expect to go on a buying spree

this year?

We always acquire six or seven

�lms at the festival, or at least

have in the past three or four

years, but we actually have four

�lms that are in di�erent sections

of competition, so we are

going to go easy. It’s the �rst time

we’ve had that many.

Is that gratifying?

As I just said to somebody, I’ve

never been so excited as I am this

year. That’s saying something,

since I’m kind of jaded. I’m over

the moon about On the Road. It’s

an incredible work.

Has your acquisitions strategy

changed?

Yes and no. We change our model

all the time. We adjust to the

market. We’re not buying anywhere

near the number of movies

we were acquiring two or three

years ago, or even a year ago.

How has the landscape shifted?

A lot. The VOD platform

has changed. It’s much more

crowded and competitive. Even

Net�ix has changed and is

buying more television. Where

volume made a lot of sense three

or �ve years ago, it doesn’t make

as much sense anymore.

You were a pioneer in opening

films day-and-date on VOD.

Has it worked?

It certainly has been successful

for us, but our best successes

last year were two traditional

releases, Cave of Forgotten

Dreams and Buck. We don’t treat

any �lm the same. There are

a lot of companies that have a

standard way of doing things

and they don’t change. We look

at every single movie and adjust

our release strategy to that �lm.

We’ve had a great deal of success

by doing that.

Is it fair to say you are

swinging back to a pure

theatrical release model?

14

Sehring, photographed

ar Le Petit Paris in

Cannes, says surviving

the indie fiim world

takes “deep pockets

and a strong stomach.”

Honestly, it depends on the �lm.

On the Road for us is very much

a traditional theatrical release.

It’s a big epic, and it deserves

to be seen on the big screen.

It is a �lm that will play to a

multi-generational audience,

and is going to appeal to a lot of

di�erent demographics for a lot

of di�erent reasons.

What have been your successful

day-and-date releases?

They include The Killer Inside

Me, Human Centipede and Che.

This year, we had one movie

that Paul Brooks produced that

wasn’t even on anybody’s radar,

ATM. It has performed tremendously

well on VOD.

What is the biggest challenge facing

indie distributors right now?

It’s the same challenge as

always — it’s a tough business.

The �lm business isn’t an easy

one. What continually changes

and evolves is the way people

watch movies and as a distributor

you have to be really smart

about identifying who the

audience is for a speci�c �lm

and making sure you get that

audience to that �lm, whether

it is in the theater or other platforms

like VOD.

How do you pace yourself at

festivals?

I walk by the parties. If I see a

line of people waiting to get into

a party, forget it. This will be my

31st year and I realize there is

no party that’s worth being tired

for unless it is one of our parties.

Then I’ll hop over the fence or

something stupid to get in. How

do I keep going and surviving

and stay awake? One is chewing

gum during screenings and the

second is walking by crowded

parties. I chew Big Red.

The independent film business

isn’t for the faint of heart. You

have been doing this a very long

time. Do you have a particular

mantra when things get tough?

You have to have deep pockets

and a strong stomach. You can’t

get too high about the highs or

too low about the lows.

day8_execsuite.indd 1 5/22/12 5:38 PM

PHOTOGRAPHED BY MARK LEIBOWITZ ON MAY 20 AT LE PETIT PARIS, CANNES.


ON SALE DATE

6/13

ISSUE CLOSE

6/4

MATERIALS

6/6

CONTACT

LOS ANGELES

323-525-2245

NEW YORK

212-493-4408

SPECIAL

FEATURE

afci locations

The AFCI Locations Show brings together exhibitors from major � lm

production centers worldwide and offers workshops, panels and seminars

all geared to sharing the most current information about working on location

throughout the world.

This year’s event is sure to attract record attendance as it coincides with the

Los Angeles Film Festival, which alone attracts more than 40,000 industry

professionals over the 10-day festival.

THR’s special preview coverage will showcase the must-see panels and

keynotes, and highlight the hot topics sure to be on tap at this year’s show.

With bonus distribution at the trade show, the advertising solutions in this

issue of THR and on THR.com offer � lm commissions the ability to promote

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CANNES DIARY

Gray skies and sodden red carpets couldn’t dampen the spirit at the 65th Cannes Film Festival. The stars of Hollywood and the

international art house scene again turned out for the premieres and parties on the Croisette. The Hollywood Reporter caught up

with the filmmakers and fashionistas as they sounded off on their latest projects, their peers and the general madness that is Cannes.

produced by JENNIFER LASKI • photographed by FABRIZIO MALTESE

1

day8_photospread.indd 1 5/22/12 6:24 PM


May 18

4:31 P.M.

1

May 17

11:26 A.M.

“THE FANS ARE AMAZING HERE.

YOU CAN’T ESCAPE THEM.

IT’S GREAT BECAUSE THEY ARE

PART OF THE EXPERIENCE.”

Eva Longoria

1. Wes Anderson, right, and his Moonrise Kingdom star Jason Schwartzman slopped their way down to the Carlton Beach as

Cannes began to experience the wettest edition in years. Camped out in a fancy tented section of the beach, an intimate and

jocular expose of all things Cannes commenced. 2. Eva Longoria, a L’Oreal ambassador, on a terrace at the Martinez. She has

four films in 2012, including the action-thriller The Truth and the Mexican war drama For Greater Glory. “I’m trying to make

some choices that are really opposite of Gaby,” she said of her Desperate Housewives character.

“I TOLD MY FRENCH FRIENDS WHEN I GOT THE CALL THAT MY FILM WAS GOING TO BE OPENING NIGHT

[IN CANNES]. ALL OF THEM SAID THE SAME THING. ‘BETTER TO BE IN COMPETITION.’ IT WASN’T UNTIL

LATER I FOUND OUT IT WAS IN COMPETITION AS WELL. ‘GOOD, GOOD,’ THEY ALL SAID.” Wes Anderson

day8_photospread.indd 2 5/22/12 6:24 PM

2


CANNES DIARY

1. At the Palais’ Cafe des Palmes, first-time juror Jean Paul Gaultier told THR his favorite films include The Rocky

Horror Picture Show, Brazil and Star Wars. “I just saw Rust & Bone,” he said, “but I can’t tell you what I thought

of it. That’s against the rules.” 2. During his shoot, Gondry had a coffee and croissant delivered to the Residence

Grand Hotel rooftop. His new drama, The We and the I, focuses on a group of high school students (a gay couple,

a depressive girl, an almost-mean girl) in the South Bronx. The actors were found via a workshop process with kids

from Bronx-based community arts program The Point. “We didn’t cast them, we found them,” said Gondry. 3. Only

the roof and a thin plastic sheet separated Mexican actor Gael Garcia Bernal from the wind and rain atop the Five

Hotel and Spa, where he discussed the “layers upon layers upon layers” of his character in Directors’ Fortnight title

No, which Sony Pictures Classics picked up for release in North America. 4. From her suite at the Martinez Hotel,

Chinese actress and L’Oreal brand ambassador Fan Bingbing, told THR why Oscar de la Renta is her favorite

designer and Angelina Jolie her favorite star. “I was most excited not by being on the red carpet but by talking to

you,” said the star of Cannes market films Yang Gui Fei and My Way. “Cannes can help promote the Chinese film

industry and because I came, the festival is even more famous now!”

May 18

6:14 P.M.

“THE FIRST TIME I WAS HERE IT WAS

20 YEARS AGO AND I WORE A TUXEDO

WITH SHORTS. THE SECOND WAS LYCRA

LEGGINGS. BUT I THOUGHT, NO, AS A JUROR,

I COULDN’T DO THAT.” Jean Paul Gaultier

18

day8_photospread.indd 3 5/22/12 6:34 PM

1

2

3

May 20

2:40 P.M.


“I’M A PRIVILEGED PERSON IN

THE SENSE THAT I’M DOING

A JOB THAT I LIKE. I SHOULD

NOT CLOSE MY EYES TO

WHAT I FEEL IS SOMETHING

UNFAIR IN THE WORLD.”

Director Michel Gondry, The We and the I

4

19

day8_photospread.indd 4 5/22/12 6:34 PM

May 18

11:03 A.M.

May 16

9:06 P.M.


CANNES DIARY

1 2

May 20

5:15 P.M.

“IT WAS SO AMAZING

TO EXPERIENCE THE RED

CARPET. I DON’T THINK I

WAS NERVOUS AT ALL. I’VE

GOTTEN PRETTY GOOD WITH

THE HEELS BY NOW. ”

Kara Hayward

20

day8_photospread.indd 5 5/22/12 6:31 PM

May 18

5:05 P.M.

3


May 20

3:45 P.M.

21

4

May 20

7:01 P.M.

“CANNES TAUGHT ME HOW TO NOT LISTEN. THERE ARE SO

MANY VOICES COMING AT YOU, IT BECOMES MEANINGLESS.

IT BECOMES LIKE PART OF A DANCE, A PERFORMANCE.

YOU SHOULDN’T TAKE IT SERIOUSLY.” Apichatpong Weerasethakul

1. On the yache Harle in the Old Port, Gerard Butler — in Cannes to promote

two films selling in the Marche du Film, Motor City from Foresight Unlimited

and NuImage/Millennium’s White House Taken — gave THR his survival tips to

making it through the festival’s party marathon. “You have an early night every

second night. If you have to work — like doing interviews on the day after being

out very late at the Vanity Fair party — it can make the experience all the more

difficult.” 2. French actress Berenice Marlohe, photographed in the Martinez’s

Swarovski Suite, will play Bond girl Severine in the upcoming Skyfall. 3. At the

Carlton Beach, first-time-actress Kara Hayward interviewed like an old Cannes

pro, explaining how a tip from her dance teacher to try out for an open casting

call let to her first role as the star of Wes Anderson’s festival opener Moonrise

Kingdom. 4.On the yacht ARTE Yacht in Cannes Harbor, Thai director and Palme

d’Or winner Apichatpong Weerasethakul told THR he’s been to Cannes so many

times, the festival is like family. “I even see the same security guards over and

over again, and I say, ‘You’re still here?’ ” Weerasethakul is back in the Cannes

Competition family this year with Mekong Hotel.

day8_photospread.indd 6 5/22/12 6:45 PM


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worldwide. Used under license with no other affiliation with Prudential. Equal Housing Opportunity.

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Reviews

Killing Them Softly

A tasty modern crime yarn with political overtones, Pitt and an over-weaning sense of style By Todd McCarthy

A

juicy, bloody, grimy and

profane crime drama that amply

satisfies as a deep-dish genre piece,

Killing Them Softly rather insistently also

wants to be something more. Writer-director

Andrew Dominik, whose extraordinary

Western The Assassination of Jesse James By

the Coward Robert Ford proved too long and

arty for the masses, repositions George V.

Higgins’s 1974 Boston mob-world novel as a

metaphor for the ills of American capitalism

circa 2008, a neatly provocative tact.

But he also shamelessly shows off his directorial

acumen; unlike the leading character,

who’s all business, Dominik makes sure

you notice all his moves. Tight, absorbing

and entertainingly performed by a virtually

all-male cast topped by Brad Pitt, this

Weinstein Company release should look to

generate solid mid-level business this fall.

A lawyer, professor and assistant U.S.

Attorney who long investigated organized

crime in addition to writing 27 novels, Higgins

knew well of what he wrote. His first

novel, The Friends of Eddie Coyle, was made

into a fine film and his third, Cogan’s Trade,

the basis of this one, consists of torrents

of exceptionally vivid Beantown wiseguy

dialogue with bits of plot tucked almost

incidentally into the chatter.

Moving the action to decimated post-

Katrina New Orleans without a tourist in

sight, Dominik has done a keen, disciplined

job of coaxing the plot out of the shadows

while retaining the flavor of underclass

lingo and attitude. With the background

dominated by then-presidential candidate

Barack Obama’s optimistic speeches stressing

the availability of “the American promise”

to all, some bottom-feeding criminals

plot what looks like a no-risk scheme: Oldtimer

Johnny Amato (Vincent Curatola,

the great Johnny Sak of The Sopranos) hires

unwashed kids Frankie (Scoot McNairy)

and Russell (Ben Mendelsohn) to raid the

regular card night run by Markie Trattman

(Ray Liotta), who once robbed his own

game and got away with it.

While allowing these low-enders to

emerge in all their miserable glory,

Dominik also adds his own flourishes right

from the outset, from striking lateral

camera moves to amusingly supplying one

of the young hoods a pathetic little dog.

Despite their general ineptitude, the boys

pull off the job, but this is bad news for

Markie, as it’s going to be assumed he’s run

the same scam a second time.

At least this is what is suspected by

the unnamed and unseen corporate mob,

which has cog-in-the-system “Driver”

Andrew Dominik’s

Competition entry is

based on the novel by

veteran crime writer

George V. Higgins.

(Richard Jenkins) engage shrewd hit

man Jackie Cogan (Pitt) to deal with this

disruption of business as usual. Needlessly,

Markie gets horribly beat up, Cogan brings

in another hired killer, Mickey (James

Gandolfini) to help him with a doublekilling,

and plenty more blood gets spilled

before order is, after a fashion, restored.

Although the plot bases are dutifully, if

briefly, covered, this is a crime story like so

many others in which it doesn’t really matter

if you can follow who everyone is and

why awful things are happening to them;

it’s basically a given that everyone on view

is guilty of something, so you can’t feel too

badly when they come to grisly ends.

What matters more are style and attitude,

which Dominik ladles on like sauce on

ribs. Russell’s drug-addled disorientation is

represented by multiple distortions of time,

visual perception and sound; the pursuit of

one victim is imaginatively covered entirely

from the outside of the building in which

the chase is consummated; Cogan arrives on

the scene to the accompaniment of Johnny

Cash’s “The Man Comes Around;” the

just-scraping-by 21st century hoods drive

late-’60s/early-’70s cars like a Riviera and

Toronado; and one man’s execution is rendered

from many angles in a slow-motion

explosion of breaking glass and penetrating

bullets so elaborate and prolonged that it

resembles a self-standing art installation.

In a related way, some of the dialogue

scenes, especially a couple of near-monologues

superbly delivered by Gandolfini as

24

a booze-guzzling, sex-obsessed, past-hisprime

hit man, almost have the feel of

brilliant, free-standing acting class scenes;

they serve the film’s purposes, to be sure,

but there’s a self-consciously showy aspect

to them that makes you easily imagine

students using them as audition pieces.

The film is terribly smart in every

respect, with ne’er-a-false note performances

and superb craft work from top to

bottom, but it never lets you forget it, from

Pitt’s pithy excoriation of Thomas Jefferson’s

hypocrisy right down to his “Crime

is the business of America” final line that is

bound to be widely quoted.

The film noir crime dramas of the

late 1940s and early 1950s were about a

palpable unease in the country, but this

remained a subtext rather than the overt

subject of the films. Here, Dominik explicitly

articulates his intended meanings,

which have to do with money, institutional

rot and what happens when you don’t

keep your economic house in order. Either

approach is valid, but, perhaps in this day

and age, audiences need their messages

to be quick and direct. Killing Them Softly

delivers them that way.

In Competition

Director Andrew Dominik

Production Plan B, Chockstone Pictures

Cast Brad Pitt, Scoot McNairy, Ben Mendelsohn,

Richard Jenkins, James Gandolfini,

Ray Liotta, Vincent Caratola, Slaine, Max

Casella, Trevor Long, Sam Shepard

day8_reviewsA.indd 1 5/22/12 5:10 PM


29255_Holliwood_Pub-2v6.qxd 5/10/12 11:32 AM Page 1

www.ffm-montreal.org

World Competition

First Films World Competition

World Greats, out-of-competition

Focus on World Cinema

Documentaries of the World

Tributes

Student Film Festival

Cinema Under the Stars

and

INTERNATIONAL FILM MARKET

1432 de Bleury Street

Montreal, Quebec, CANADA H3A 2J1

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Montreal Film Festival D3_051812.indd 1 5/10/12 5:45 PM


Reviews

Ken Loach’s Competition entry is his tenth

collaboration with screenwriter Paul Laverty.

The Angels’ Share

Veteran social realist director Ken Loach turns in a light-hearted

heist film with a particularly Scottish twist By Stephen Dalton

THERE IS lovE,

laughter and whiskey

galore in Ken Loach’s

unusually joyful comedy

drama about delinquent Scottish

youths defying the odds

society has stacked against

them. This is the veteran

British social realist’s ninth

contender for the big prize in

Cannes, the Palme d’Or, which

he has won only once before

in a career spanning over four

decades.

Co-produced and cofinanced

in France, where the

75-year-old director enjoys his

biggest commercial audience,

The Angels’ Share opens in Britain

next week and is already

assured a warm welcome

across Continental Europe.

The thick Scottish accents of

the protagonists may prove

a barrier in some Englishspeaking

territories, especially

the U.S., requiring the same

English subtitles they had in

Cannes. But the sunny tone,

plus the tourist-friendly blend

of Scotch whiskey and picturepostcard

scenery, look sure to

earn Loach a wider audience

than usual.

The story hinges on Robbie,

a young Glasgow man

caught in a destructive cycle

of violence, criminality and

long-term unemployment.

Soon to become a father for

the first time, Robbie (Paul

Brannigan), is sent by a

lenient court judge to atone for

his latest crimes on a “community

payback” scheme.

Here he meets a friendly gang

of fellow misfits supervised

by Harry (John Henshaw), a

26

kindly Englishman and scotch

aficionado. On a day trip to a

rural distillery, the group learn

about the small percentage

of whiskey that evaporates

during the maturing process,

poetically named “the angels’

share.”

Discovering he has a natural

nose as a whiskey connoisseur,

Robbie spots a chance to turn

his life around, earn a decent

wage and become a reliable

new father. On hearing about

an extremely rare cask of

whiskey set to fetch a million

pounds at auction, he hatches

an audacious scheme to steal

just enough of this liquid gold

to finance his escape plans.

Mustering his fellow young

offenders, he heads for the

picture-postcard Scottish

Highlands to stage one of the

most bizarre and amateurish

heists in cinema history.

A Scottish lawyer-turnedscreenwriter,

Paul Laverty

is now Loach’s most prolific

collaborator, notching up 10

shared credits to date. Like

most of their previous films,

The Angels’ Share offers a

rare big-screen platform to

working-class voices from

the impoverished fringes of

Scotland’s biggest city. But

unlike most of the duo’s past

work together, the prevailing

tone here is upbeat and

comic, with the generosity of

spirit and softening of political

dogma that has begun to shape

Loach’s output, most notably

his 2009 football-themed fantasy

Looking for Eric.

Laverty acknowledges this

shift himself, describing The

Angels’ Share as a “little fable”

with a dash of magical realism.

To old-school fans of Loach’s

polemical social dramas, this

could be seen as some kind

of sellout. But others, myself

included, believe he makes

more honest and humane films

when he relaxes his schematic

leftism a little.

Sticking to his time-tested

technique, Loach shot The

Angels’ Share on 35mm film

in an unobtrusively realist

manner that sometimes blurs

into verite-style documentary.

As usual, the script was

shot in sequence, with actors

drip-fed their lines to maintain

emotional spontaneity.

Once again, the ensemble cast

are largely nonprofessionals,

some with offscreen lives that

mirror their characters. In his

first-ever film role, the wiry

and intense Brannigan makes

a solid effort as Robbie. As the

whiskey expert Rory McAllister,

the delightfully eccentric

Charlie MacLean is a joy to

watch. Both are essentially

playing themselves.

Loach has been in the

movie game long enough

now to become his own genre,

spawning numerous filmmaking

acolytes, including Shane

Meadows, Lynne Ramsay,

Andrea Arnold and Paddy

Considine. But with The

Angels’ Share, he looks a little

beyond his own rulebook, most

obviously invoking Alexander

day 8_reviews_b.indd 1 5/22/12 7:19 PM


Mackendrick’s classic 1949

Ealing Studios comedy Whisky

Galore! There are also clear

parallels with the Glaswegian

director Bill Forsyth and his

whimsical snapshots of wily

Scottish youth, notably That

Sinking Feeling and Gregory’s

Girl. Plus maybe a wee dram of

Alexander Payne’s Sideways, too.

Laverty and Loach are

sometimes criticized for their

simplistic political sloganeering,

but they can be equally

heavy-handed in their comedy.

Much of the humor in The

Angels’ Share relies on labored

slapstick and boorish exaggeration,

from jokes about vomit

and flatulence to tired clichés

about Scotsmen wearing no

underwear beneath their kilts.

The character of Albert in particular

is repeatedly mocked as

an ignorant clown too stupid

to recognize either Edinburgh

Castle or The Mona Lisa. This

is an oddly mean-spirited caricature

from such emphatically

socialist filmmakers.

The story’s tonal shifts are

jarringly uneven in places,

zigzagging from violent urban

thriller to serious social drama

to cheery comic caper. The

final tying up of loose ends

also feels implausibly neat

and sweet, like the caramel

coloring routinely added to

whiskies that most connoisseurs

deplore. These victimized

characters may deserve

their happy ending, but Loach

and Laverty have arguably not

quite earned theirs.

All the same, a few clumsy

touches do not seriously

diminish the charm of a film

that is ultimately a heartwarming

celebration of

kindness, friendship and forgiveness.

Like a fine whiskey,

the angry old man of British

social realism seems to be mellowing

with age. It suits him.

In Competition

Director Ken Loach

Production Companies

Entertainment One, Sixteen

Films, Why Not Productions,

Wild Bunch

Cast Paul Brannigan, John

Henshaw, Roger Allam, Gary

Maitland, Jasmin Riggins

Screenplay Paul Laverty

Sales agent Wild Bunch

Trashed

Jeremy Irons’ engaging presence elevates an otherwise by-the-numbers clarion call

for environmental responsibility By Neil Young

Like most current documentaries

on ecological themes, Trashed provides

enough gloomily grim material to sink the

Rainbow Warrior — with no shortage of harrowing

information, images and prognostications.

Fortunately, this necessary infotainment

pill boasts a highly effective sugar-coating

thanks to the narration and on-camera presence

of moonlighting producer Jeremy Irons,

the widely admired Oscar winner making the

most of his current small-screen prominence

courtesy of Showtime’s recently recommissioned

hit The Borgias.

An obvious pick for green-themed festivals

and channels, the Irons trump card may yield

a scattering of theatrical bookings — although

some may decry this earnest consciousnessraiser

as yet another example of celebrityfocused

hand-wringing. A world-premiere slot

at Cannes certainly won’t damage its longterm

prospects, even if writer-director Candida

Brady is content to competently recycle form

and content familiar from so many non-fiction

surveys of how man has failed to properly

maintain spaceship Earth.

The specific focus here is on garbage of

various kinds, starting with a trash-mountain

on the Lebanon shore, which has spread its

effects far and wide across the Mediterranean,

stealing beauty from the coastlines of numerous

countries. As Irons surveys the scene in a

battered straw hat and scraggly beard combo

that makes him a dead ringer for van Gogh,

it’s clear from the outset that this is — despite

Brady enjoying sole screenplay credit — very

much a personal project-cum-voyage of discovery

for the versatile star.

The classically trained Irons has long

boasted one of the most characterful voices

in the business, of course, and there are many

worse ways of spending 100-odd minutes than

in the company of this augustly silky thespian

who shows agreeably quirky new sides to

In addition to narrating the

out-of-competition entry, Irons

also was executive producer.

27

his character. This slightly bumbling, mildly

eccentric Englishman makes an ideal audience

surrogate as he asks various scientists and

experts to explain complex scientific matters

in layman’s language — clocking up a fairsized

carbon footprint as he trots the globe

from waterland to cityscape — his friendly and

disarming directness on this mission placing

him closer to, say, Nick Broomfield than the

blunderbuss interventions of Michael Moore.

Brady’s script has a playschool-simple

four-part structure, examining the three main

methods of trash-disposal — landfill, incineration

and sea-dumping — each of which are

found severely wanting, providing proof that

bad habits can often die hard. Crisp digital

cinematography by Sean Bobbitt presents a

range of disturbing images with unblinking

clarity until, eventually, grounds for optimism

become dispiritingly elusive. There’s a particularly

shocking trip to a Vietnamese children’s

hospital where we see the horrific long-term

deforming effects of Agent Orange. Brady

does, however, contrive to wrap things up on

a tentatively upbeat note with an epilogue

entitled “Solutions” — though most of these

suggested remedies are so small-scale that

they seem like the proverbial Band-Aid on a

gaping, terminal wound.

Something of a chorus of disapproval,

Trashed doesn’t presents itself as a rounded

exploration of the issues it analyzes, many of

which are the subject of significant controversy.

Interviews with government officials or

anyone who disagrees with its basic theses are

non-existent, and we never really get to the

bottom of who’s to blame for this betrayal of

Earth’s fragile eco-systems.

But while its techniques are manipulative -

it’s certainly no margin-call to say that Vangelis’s

two-dimensional score barely lets up from

start to finish — the picture ultimately swerves

pitfalls of hectoring preachiness. And, given

the scale of the unfolding ecological crisis, we

can arguably never have too many cinematic

reminders of the last-call state in which we’ve

semi-inadvertently found ourselves. And, sadly

lacking anything resembling a time machine,

the urgency with which we must effect an

overdue reversal of fortune.

Out of Competition

Director-Screenwriter Candida Brady

Production companies Blenheim Films

Cast Jeremy Irons

Producers Candida Brady, Titus Ogilvy

Exective producers Jeremy Irons, Tom Wesel

Director of photography Sean Bobbitt

Production designer Garry Waller

Music Vangelis

Editor Jamie Trevill

Sales Agent Blenheim Films, Eastbourne, UK

day 8_reviews_b.indd 2 5/22/12 7:56 PM


Reviews

After Lucia

Harassment in a Mexico City high school spins into savagery

in Michel Franco’s bruising modern-day tragedy By David Rooney

The ripple effect of

grief spreads through

ever-darkening waters

in Mexican writer-director

Michel Franco’s disturbing second

feature. More than the loss

referenced in the title, however,

After Lucia is about bullying,

reflecting on how the crippling

isolation of adolescence

creates ideal prey in a culture

of violence. The brutal drama

packs a wallop but despite its

topicality is too dour and unrelenting

to reach beyond festival

audiences.

The film is of a piece stylistically

with Franco’s debut,

Daniel & Ana, which premiered

in the Directors’ Fortnight

at Cannes in 2009. Austerity

and rigorous control are

his signature notes, with an

unflinching realism marked by

extended silences and a distinct

preference for conveying information

via oblique glimpses

rather than in dialogue. Only

diegetic music is heard, and

Chuy Chavez’s camera rarely

strays from static compositions.

It could almost be a

throwback to the filmmaking

principles of Lars von Trier and

Thomas Vinterberg’s Dogme 95

manifesto.

Indian director Vasan

Bala’s first feature

Peddlers, part of

Critics Week, is about

Mumbai’s drug trade.

Following the death of

his wife in a car accident,

depressed Roberto (Hernan

Mendoza) moves with his teenage

daughter Alejandra (Tessa

Ia) from Puerto Vallarta to

Mexico City. An established

professional chef, he has a

job lined up, while she settles

into a new high school. Communication

between father

and daughter is strained, not

from any shortage of affection

on either side, but because

Roberto is still too shellshocked

to connect with anyone around

him. This initially creates tension

at the restaurant, where

he shows little patience with

kitchen staff.

By contrast, Alejandra

appears to have no trouble

making friends, slotting in with

ease among a group of cool kids

who invite her to join them for a

weekend house party. Attracted

to José (Gonzalo Vega Sisto),

she ends up after too many

drinks having sex with him in a

bathroom, aware but seemingly

untroubled by the fact that he’s

filming them on his phone-cam.

But when she returns home,

the ping of an email lets her

know the video has been circulated,

instantly turning her into

28

a pariah at school.

From that point on, After

Lucia becomes an endurance

test in abject cruelty. José insists

that he didn’t send the video,

having left his phone in the

bathroom that night. But when

Alejandra continues to associate

with him, the girls in the group

become incensed. The taunting

escalates from texts and notes

passed in class to outright abuse,

humiliation and violence, both

physical and sexual.

Reluctant to burden her

already broken father, Alejandra

says nothing, internalizing

the trauma and shame of what

she’s experiencing. When she

finally seems ready to tell him

rather than run away, the first

signs that he may be emerging

from his sadness and re-engaging

with the world cause her to

clam up. During a compulsory

school excursion to Veracruz,

the hostility toward Alejandra

reaches epic proportions, which

she absorbs in an almost catatonic

state.

A drastic incident during

the trip paves the way for the

stunning retribution of the final

act. But the entire section of the

film that leads up to it pushes

plausibility. Even allowing for

the Lord of the Flies mentality

of the scenario and the infinite

capacity for teenage insensitivity,

the inhuman treatment of

Alejandra borders on torture.

It seems inconceivable, given

the number of kids involved,

that not one of them ever questions

the ethics of the group’s

behavior, even as it grows more

and more extreme. While José

makes one or two efforts to reach

Peddlers

Three young people in Mumbai tangle

lethally in a drama that only takes off

toward the end By Deborah Young

Confused, at times naive storytelling

eventually gives way to a

powerful dramatic finale, but one

so downbeat it leaves a bitter taste in

the mouth, in Peddlers, a first feature by

Indian writer-director Vasan Bala. The

rest of the tale leisurely circles around

two destitute 20-year-olds who fall into

Mumbai’s drug trade and a young cop who

stalks them; all three carry scars from

their childhood that supposedly, but not

very convincingly, motivate their execrable

behavior. Though it takes a long time

coming together, the Hindi-language film

day 8_reviews_b.indd 3 5/22/12 8:06 PM


out to her, his silence or absence

throughout Ale’s constant

degradation seems too convenient.

And given that this is an

upscale school that goes so far as

to impose regular drug tests on

its students, nagging questions

arise about the lax supervision

during the trip, particularly

given the amount of noise generated

by the kids’ partying.

But credibility issues aside,

does finally succeed in its action-packed

last half-hour, rewarding audiences who

hang on for that long. Its bow in Cannes’

Critics’ Week should indicate more festival

life ahead.

The characters have something very

familiar about them. Mandar (Siddharth

Menon) is a shaggy-haired orphan with a

quick wit, ready to do odd jobs for a

small-time organizer. Part of what he

organizes is drug traffic, and that is how he

meets and falls for pretty country girl Bilkis

(Kriti Malhotra), who is hired to swallow

capsules of coke for transport. Although

she’s qualified throughout the film as a former

chemistry teacher who is slowly dying

of cancer, she seems perfectly healthy,

apart from a slight cough. She flubs her

first disco drug run and, with her chem

background, is sent to work in a hidden factory

where crystal meth is synthesized.

the film has undeniable impact

because the intensity and

sobriety of Franco’s focus make

the story’s ugliness inescapable.

The director has committed

accomplices in Ia and

Mendoza. Both actors deliver

entirely natural, unshowy

performances as two wounded

people, still navigating devastating

loss while the world

throws fresh horrors at them.

Un Certain Regard

Director-screenwriter Michel

Franco

Production companies

Pop Films, Lemon Films,

Filmadora Nacional,

Stromboli Films

Cast Tessa Ia, Hernan Mendoza,

Gonzalo VegaSisto, Tamara

Yazbek Bernal, Francisco Rueda,

Paloma Cervantes, Juan Carlos-

Berruecos, Diego Canales

In an intercut story, hot-looking Ranjit

(Gulshan Devaiah) is a rookie cop with a

problem he confesses only over the phone

to a doctor: his inability to have an erection.

Because of this stain on his manhood,

the script would have us believe, he

is pushed into psychotic bouts of uncontrollable

violence, not just with women

but with anyone he can find to punish.

Needless to say, his line of work gives

him ample opportunity for sadism. When

his path crosses Mandar and Bilkis’s, all

the silly character motivation becomes

irrelevant and, beginning with a fast foot

chase through a slum, an action movie

springs to life, building to an extremely

nasty climax.

Lensing is professional and well-handled

throughout, giving the sordid environment

a sort of naturalness that pulls the

viewer into the story.

29

Un Certain Regard entry

After Lucia, from writerdirector

Michel Franco,

stars Hernan Mendoza

as a man dealing with

the death of his wife.

Producers Michel Franco,

Marco Polo Constandse, Elias

Menasse, Fernando Rovzar

Executive producers Moises

Zonana, Billy Rovzar

Director of photography

Chuy Chavez

Costume designer Evelyn

Robles

Editors Michel Franco,

Antonio Bribiesca

Sales Bac Films

Critics Week

Director Vasan Bala

Production companies An Eros

International presentation of an Akpel/Sikya

Film production.

Cast Gulshan Devaiah, Siddharth Menon,

Kriti Malhotra, Nimrat Kaur

Screenwriter Vasan Bala

Producers Anurag Kashyap,

Guneet Monga

Co-Producers Mozez Singh, Zenaida

Mastura, Sachin Kalra, Vishankha Singh,

Gaurav Dhingra, Siddhanta Ashdhir

Executive producer Achin Jain

Director of photography S

iddharth Diwan

Production designer Meenakshi Singh

Costumes Shilpa Srivastava

Editor Prerna Saigal

Music Karan Kulkarni

Sales Agent Elle Driver

day 8_reviews_b.indd 4 5/22/12 8:07 PM


Reviews

Jeremie Renier plays a Belgian

priest attempting to build a

hospital in a shantytown.

White Elephant

An involving tale about two Argentine priests of the slums is given intensity

and meaning without sentimentality By Deborah Young

Argentine director

Pablo trapero fashions

a gripping, fast-paced

story centered around two

priests who minister to a

sprawling slum outside Buenos

Aires, and who fall victim to

the violence they are trying

to combat with love. it’s not

a very hopeful picture that

emerges from the terse story

of White Elephant, an update

on the work of South America’s

socially committed priests

that emphasizes their human

qualities and failings alongside

their courage. though not

everybody will be interested

in the subject, edgy performances

by ricardo darin

(The Secret in their Eyes) and

dardenne brothers regular

Jérémie renier add accessibility

and interest.

the opening scene of a nocturnal

massacre of villagers

in Amazonia by paramilitary

troops is an electrifying piece

of filmmaking that sets the bar

high, and though the rest of

the film is certainly eventful,

there is nothing that reaches

this level of intensity. one of

the few survivors of the attack

is the Belgian priest Father

nicolas (renier), who Father

Julian (darin) tracks down in

a village hospital, wounded

and emotionally devastated.

He takes him back to his

mission in the heart of a vast

shantytown, one of the most

dangerous in the country,

where a war is in progress

between two drug lords.

overshadowed by the hulking

skeleton of an unfinished

hospital occupied by squatters,

the padres work side by side with

spunky, hyper-competent social

worker Luciana (trapero regular

Martina gusman), who catches

30

the eye of young Father nicolas.

their guiltless relationship will

raise eyebrows, but appears

almost, if not quite, natural in

the context of the film.

A handful of sharply drawn

characters punctuate the story,

including a whining young

drug addict presented without

the least shade of softening.

Still, he is seen as salvageable

by the team, who operate with

heroic day-to-day christianity

despite their earthy language

sprinkled with ghetto-talk

(another eyebrow-raiser.)

Local gang wars and shootouts

are followed by police

incursions and street battles,

keeping the temperature high

and pacing tight.

Michael nyman’s majestic

score lends an epic dimension,

which feels right alongside the

passion depicted by an evenly

balanced, top-drawer cast.

Un Certain Regard

Director Pablo Trapero

Production companies

Morena Films, Matanza Cine,

Patagonik

Co-Production Full House, Arte

Cast Riccardo Darin, Jérémie

Renier, Martina Gusman

Screenwriters Alejandro

Fadel,Martín Mauregui,

Santiago Mitre, Pablo

Trapero

Producers Juan Gordon, Pablo

Trapero, Juan Pablo Galli, Juan

Vera, Alejandro Cacetta

Director of photography

Guillermo Nieto

Production designer

Juan Pedro de Gaspar,

Fernando Brun

Costumes Marisa Urruti

Editors Pablo Trapero, Nacho

Ruiz Capillas, Santiago Esteves

Music Michael Nyman

Sales Agent Wild Bunch

No rating, 110 minutes.

day8_reviews_c.indd 1 5/22/12 5:23 PM


FESTIVAL

Coverage

TIFF Preview Issue

SEPTEMBER 6

THR’s of� cial preview issue will look at

the handful of � lms sure to kickstart the

Oscar season, the hidden gems that

TIFF is notorious for uncovering, and

pro� les on the top people to know at

this year’s festival.

Additional preview issue features

will include:

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• Moonstone Entertainment’s

20th Anniversary

Circulation: 70K

Materials Deadline: August 29

THR.COM/Toronto

SEPTEMBER 6-16

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• Exclusive Interviews + Q&As

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FESTIVAL Dailies

SEPTEMBER 7-11

THR dailies are the de� nitive source

for on-site and breaking festival news,

printed and published in Toronto.

This year’s Daily coverage will include:*

• Breaking News and Reviews

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• Q&As with key industry and festival

insiders

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Bonus Circulation:

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Circulation: Approx. 6K-7K copies at

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Materials Deadline: 4 business days

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*editorial coverage subject to change

tiff

SEPTEMBER 6-16, 2012

E-NEWSLETTERS

SEPTEMBER 6-16

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Festival screening guide

In Competition

TOday

8:30 Aqui Y Alla, 110 mins.,

Alpha Violet, Spain, Miramar,

Antonio Méndez Esparza,

Critics’ Week; On The Road,

142 mins., Mk2 International,

France, Grand Théâtre

Lumière, Walter Salles, In

Competition

9:00 Ernest & Celestine, 80

mins., Studiocanal, France,

Théâtre Croisette, “Benjamin

Renner, Vincent Patar,

Stéphane Aubier”, Directors

Fortnight

9:45 White Elephant, 120

mins., Wild Bunch, Argentina,

Star 1, Pablo Trapero,

Un Certain Regard

10:00 Mekong Hotel, 57

mins., The Match Factory,

Thailand, Arcades 2, Apichatpong

Weerasethakul,

Out Of Competition

11:00 La Playa Dc, 90 mins.,

Doc & Film International,

Théâtre Claude Debussy, Un

Certain Regard

11:30 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar,

Critics’ Week; Operation

Libertad, 90 mins.,

Doc & Film International,

Switzerland, Arcades 1,

Nicolas Wadimoff, Directors

Fortnight; The Dream And

The Silence, 110 mins.,

The Match Factory, Spain,

Théâtre Croisette, Jaime

Rosales, Directors Fortnight;

Our Children, 114 mins., Les

Films Du Losange, Belgium,

Riviera 2, Joachim Lafosse,

Un Certain Regard; Le Grand

Soir, 90 mins., Funny Balloons,

France, Star 3, Benoît

Delépine, Gustave Kervern,

Un Certain Regard

12:00 Holy Motors, 116

mins., Wild Bunch, , Grand

Théâtre Lumière, In Competition;

Killing Them Softly,

100 mins., Inferno, USA,

Salle Du 60ème, Andrew

Dominik, In Competition;

The Angel’s Share, 106

mins., Wild Bunch, Star 1, In

Competition

13:30 Like Someone In

Love, 109 mins., Mk2

International, France, Star

4, Abbas Kiarostami, In

Competition

14:00 After Lucia, 93

mins., Bac Films, Mexico,

Riviera 1, Michel Franco,

Un Certain Regard; Djeca

(Children Of Sarajevo), 90

mins., Pyramide, Théâtre

Claude Debussy, Un Certain

Regard

14:30 Programme Cinefondation

1, 21 mins., Festival

De Cannes, Salle Buñuel,

Cinéfondation; Ernest

& Celestine, 80 mins.,

Studiocanal, France, Théâtre

Croisette, Benjamin Renner,

Vincent Patar, Stéphane

Aubier, Directors Fortnight

15:00 In Another Country,

89 mins., Finecut Co. Ltd.,

Korea (South), Salle Du

60ème, Sangsoo Hong, In

Competition

15:30 Journal De France,

100 mins., Wild Bunch,

France, Star 3, Raymond

Depardon, Out Of

Competition

16:00 Me And You, 97

mins., Hanway Films, Italy,

Grand Théâtre Lumière,

Bernardo Bertolucci, Out Of

Competition; Le Grand Soir,

90 mins., Funny Balloons,

France, Salle Bazin, Benoît

Delépine, Gustave Kervern,

Un Certain Regard.

17:00 Cleo From 5 To

7, 90 mins., Festival De

Cannes, France, Salle Du

60ème, Agnès Varda,

Cannes Classics; Sofia’s

Last Ambulance, 75 mins.,

Films Boutique, Miramar,

Critics’ Week; La Playa Dc,

90 mins., Doc & Film International,

Théâtre Claude

Debussy, Un Certain Regard

17:30 Operation Libertad,

90 mins., Doc & Film

International, Switzerland,

Lerins 1, Nicolas Wadimoff,

Directors Fortnight

18:00 A Respectable Family,

90 mins., Pyramide,

Iran, Arcades 2, Massoud

Bakhshi, Directors Fortnight;

Rust & Bone, 120 mins., Celluloid

Dreams / Nightmares,

France, Star 2, Jacques

Audiard, In Competition;

Our Children, 114 mins.,

Les Films Du Losange, Belgium,

Salle Bazin, Joachim

Lafosse, Un Certain Regard

19:00 On The Road, 142

mins., Mk2 International,

France, Grand Théâtre

Lumière, Walter Salles, In

Competition

19:15 Jaws, 124 mins., Festival

De Cannes, USA, Salle Du

60ème, Steven Spielberg,

Cannes Classics;

The Dream And The

Silence, 110 mins., The

Match Factory, Spain,

Théâtre Croisette, Jaime

Rosales, Directors Fortnight

19:30 Journey To Italy, 97

mins., Coproduction Office

(Paris), Italy, Salle Buñuel,

Lee Daniels’ Competition film The Paperboy

stars John Cusack, Zac Efron and Matthew

McConaughey in the story about a reporter

who returns to his hometown to investigate

the case of a death row inmate.

Roberto Rossellini, Cannes

Classics

22:00 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar, Critics’

Week

22:00 Sightseers, 95 mins.,

Protagonist Pictures, United

Kingdom, Théâtre Croisette,

Ben Wheatley, Directors

Fortnight; For Love’s Sake,

134 mins., Kadokawa Shoten

Co., Ltd, Japan, Salle Du

60ème, Takashi Miike, Out

Of Competition

22:30 Hold Back, 75 mins.,

Or Prod, Arcades 1, Directors

Fortnight; Holy Motors, 116

mins. , Wild Bunch, Grand

Théâtre Lumière, In Competition;

7 Days In Havana,

125 mins., Wild Bunch,

France, Théâtre Claude

Debussy, Benicio Del Toro,

Gaspar Noe, Pablo Trapero,

Julio Medem, Un Certain

Regard

TOMORROW

8:30 Sofia’s Last Ambulance,

75 mins., Films

Boutique, Miramar, Critics’

Week; The Paperboy, 107

mins., Nu Image / Millennium

Films, USA, Grand

Théâtre Lumière, Lee Daniels,

In Competition

9:00 The King Of Pigs, 97,

Indiestory Inc., Théâtre Croisette,

Directors Fortnight

9:15 Peddlers, 116 mins.,

Elle Driver, India, Star 3,

Vasan Bala, Critics’ Week

9:30, Maddened By His

Absence, 98 mins., Films

Distribution, France, Lerins

1, Sandrine Bonnaire, Critics’

Week; On The Road, 142

mins., Mk2 International,

32

France, Star 1, Walter Salles,

In Competition

11:00 Programme Cinefondation

2, 6 mins., Festival

De Cannes, Salle Buñuel,

Cinéfondation; La Playa

Dc, 90 mins., Doc & Film

International, Salle Bazin,

Un Certain Regard; Miss

Lovely, 110 mins., Fortissimo

Films, India, Théâtre Claude

Debussy, Ashim Ahluwalia,

Un Certain Regard

11:30 The Dream And The

Silence, 110 mins., The

Match Factory, Spain, Star

4, Jaime Rosales, Directors

Fortnight; Dangerous

Liaisons, 109 mins., Easternlight

Films, Théâtre Croisette,

Directors Fortnight;

On The Road, 142 mins.,

Mk2 International, France,

Salle Du 60ème, Walter

Salles, In Competition;

A Special Day, 52 mins.,

Films Distribution, France,

Lerins 1, Gilles Jacob, Out

Of Competition

12:00 The Angel’s Share,

106 mins., Wild Bunch, Star

2, In Competition

13:00 The Paperboy, 107

mins., Nu Image / Millennium

Films, USA, Grand

Théâtre Lumière, Lee Daniels,

In Competition

14:00 Holy Motors, 116

mins., Wild Bunch, Star 2,

In Competition; Bunny,

December Prod., Palais

F, Short Film Corner;

Three Worlds, 101 mins.,

Pyramide, France, Théâtre

Claude Debussy, Catherine

Corsini, Un Certain Regard

14:30 Programme Cinefondation

3, 30 mins., Festival

De Cannes, Salle Buñuel,

Cinéfondation;

Djeca (Children Of Sarajevo),

90, Pyramide, Arcades

3, Un Certain Regard

15:30 La Playa Dc, 90 mins.,

Doc & Film International,

Colombia, Riviera 4, Juan

Andrés Arango, Un Certain

Regard

16:00 Post Tenebras Lux,

120 mins., Mexican Film

Institute (Imcine), Mexico,

Grand Théâtre Lumière, Carlos

Reygadas, In Competition;

7 Days In Havana, 125

mins., Wild Bunch, France,

Salle Bazin, Benicio Del Toro,

Gaspar Noe, Pablo Trapero,

Julio Medem, Un Certain

Regard

16:00 Laurence Anyways,

170 mins., Mk2 International,

Canada, Star 2, Xavier Dolan,

Un Certain Regard

16:15 The Angel’s Share,

106 mins., Wild Bunch, Salle

Du 60ème, In Competition

17:00 Rencontre Avec

Norman Lloyd, 120 mins.,

Festival De Cannes, Salle

Buñuel, Cannes Classics;

The King Of Pigs, 97 mins.,

Indiestory Inc., Théâtre Croisette,

Directors Fortnight

17:00 Miss Lovely, 110

mins., Fortissimo Films,

India, Théâtre Claude

Debussy, Ashim Ahluwalia,

Un Certain Regard

19:30 Fogo, 61 mins.,

Ramonda Inc., Canada,

Théâtre Croisette, Yulene

Olaizola, Directors Fortnight;

The Paperboy, 107 mins.,

Nu Image / Millennium

Films, USA, Grand Théâtre

Lumière, Lee Daniels, In

Competition thr

day8_fest.indd 1 5/22/12 1:39 PM


ON-SALE DATE:

6/6

ISSUE CLOSE:

5/28

MATERIALS:

5/30

CONTACT:

LOS ANGELES

323 525 2245

NEW YORK

212 493 4408

LONDON

+44 7788 591 781

2012

SPECIAL

FEATURE

When the fourth edition of the Produced By Conference

begins on June 8, � lm and television producers from

around the world will converge on The Walt Disney Studios

in Burbank to shed light on many facets of producing

through workshops, mentoring sessions and panels with industry leaders.

Attendees will get a behind-the-scenes look at how decisions at studios

and networks are really made, as well as an update on the latest trends in

production, marketing, distribution, branding, � nance and more.

THR’s preview coverage will highlight the current state of � lm and TV

production,including a breakdown of the locations with the most compelling

incentives and state-of-the-art facilities luring Hollywood.

Advertisers should use this special feature to showcase their region and

facilities to a targeted group of decision makers who have the power to

determine where the next big � lm or TV show will be shot.

BONUS DISTRIBUTION:

Produced By Conference (6/8-6/10), Maui Film Festival (6/13-6/17),

AFI Life Achievement Award Gala (6/7)


market screening guide

In Competition

TOday

8:30 Aqui Y Alla, Spain,

Alpha Violet, Spanish, 110

mins., Miramar, Premiere;

Gangs Of Wasseypur (Part

I), India, Elle Driver, Hindi,

158 mins., Star 3, Premiere

9:00 Ernest & Celestine,

France, Studiocanal, French,

80 mins., Theatre Croisette,

Premiere

9:30 30 Beats, USA, Films

Distribution, English, 88

mins., Riviera 4, Premiere;

Caesar Must Die, Italy, Rai

Trade Department, Italian,

76 mins., Palais J; Charlie

Zone, Canada, Myriad

Pictures, English, 103 mins.,

Riviera 2; Mercy, Germany,

Beta Cinema, German, 132

mins., Riviera 3, Premiere;

The Adventures Of The Red

Airplane, Brazil, Cinema Do

Brasil, Portuguese, 90 mins.,

Palais B, Premiere

9:45 Yak, ( Sahamongkolfilm

Private Screening),

Thailand, Sahamongkolfilm

International Co. Ltd.,

English, 100 mins., Riviera 1

Premiere; White Elephant,

Argentina, Wild Bunch,

Spanish, 120 mins., Star 1,

Premiere

10:00 Eames: The Architect

And The Painter, USA,

Autlook Filmsales, English,

84 mins., Palais E, Premiere;

L’art De La Fugue, France,

Herodiade, French, 90

mins., Gray 5, Premiere;

Mekong Hotel, Thailand,

The Match Factory, Thai, 57

mins., Arcades 2, Premiere;

Rare, USA, Moon Shadow

Films, Inc., English, 60

mins., Palais D, Premiere;

Union Square, USA, Double

Dutch International, English,

81 mins., Palais C

11:30 Firecrosser, Ukraine,

Ukrainian State Film Agency,

Ukranian, 109 mins.,

Lerins 1, Premiere; Fondi

‘91, Canada, 108 mins.,

Media Corp., English, 79

mins., Palais D, Premiere;

Les Nouveaux Chiens De

Garde, Jem Productions,

100 mins., Gray 2, Premiere;

Nouveaux Courts Metrages

Du Quebec 2012 Sodec

(Société De Développement

Des Entreprises Culturelles),

110 mins., Palais F; Operation

Libertad, Switzerland

Doc & Film International,

French, 90 mins., Arcades

1, Premiere; Our Children,

Belgium, Les Films Du

Losange, French, 114 mins.,

Riviera 2, Premiere; Quand

Je Serai Petit, France, Elia

Films, French, 90 mins.,

Star 4, Premiere; Sofia’s

Last Ambulance, Bulgaria,

Films Boutique, Bulgarian,

75 mins., Miramar, Premiere;

The Big Night (Tentative

Title), France, Funny Balloons,

French, 92 mins., Star

3, Premiere; The Brussels

Business, Austria, Rise And

Shine World Sales, English,

85 mins., Gray 4, Premiere;

The Dream And The

Silence, Spain, The Match

Factory, Spanish, 110 mins.,

Theatre Croisette, Premiere;

Think Of Me, USA, Breakthrough

Entertainment Inc.,

English, 90 mins., Palais H,

Premiere; Viva Bel@Rus!

Poland, Wfdif - Documentary

& Feature Film Studio,

Belarussian, 98 mins., Palais

B, Premiere; Voices Of Love:

Whitney Houston And Her

Family, USA, Gary Keys Productions,

English, 70 mins.,

Palais J, Premiere; Would

You Have Sex With An

Arab, France, Other Angle

Pictures, English, 95 mins.,

Arcades 3, Premiere

12:00 Cremator, China Pad

International (Producers

Alliance For Distribution),

Mandarin, 95 mins., Riviera

1, Premiere; Dorfman, USA,

Double Dutch International,

English, 90 mins., Palais

E, Premiere; The Angels’

Share, United Kingdom,

Wild Bunch, English, 116

mins., Star 1, Premiere; The

End, Morocco, Insomnia

World Sales, English, 90

mins., Riviera 3, Premiere;

The Secret Of The Ant

Children, France, Doc &

Film International, French,

108 mins., Palais I, Premiere;

Welcome Aboard, France,

Studiocanal, French, 108

mins., Arcades 2, Premiere

13:30 Beyong The Walls

(Hors Les Murs), Canada,

Boreal Films Inc., French,

100 mins., Lerins 1, Premiere;

Father Of Soldier,

Georgia, Ruscico (Russian

Cinema Council), Georgian,

92 mins., Palais J, Premiere;

I Am You, Bulgaria, Bulgarian

National Film Center,

Bulgarian, 119 mins., Gray

4, Premiere; Like Someone

In Love, France, Mk2 S.A,

Japanese, 109 mins., Star

4, Premiere; Not Short Of

Talent / Talent Tout Court,

Canada, Telefilm, Canada,

110 mins., Palais F, Premiere;

Soufflé Au Chocolat, Canada,

Cmhl Enterprises Inc,

French, 97 mins., Palais D,

Premiere; Soulless, Russia,

Art Pictures Media, Russian,

97 mins., Palais H; The Truth

Of Lie, Germany, Wtp International

Gmbh, German, 98

mins., Arcades 3, Premiere;

Victims, France, 2017 Films

Eames: The Architect and the Painter is Jason

Cohn’s and Bill Jersey’s documentary in the

Marche du Film about U.S. husband-and-wife

cult designer team Charles and Ray Eames.

French, 85 mins., Palais B,

Premiere

14:00 8:46, USA, Forget Me

Not Productions, English, 56

mins., Palais E, Premiere; A

Monkey On My Shoulder,

France, Mk2 S.A, French,

87 mins., Palais I, Premiere;

After Lucia, Mexico, Bac

Films, Spanish, 93 mins.,

Riviera 1, Premiere; Dissonance,

USA, Golden

World Films, English, Gray

5, Premiere; Marcedes

Lebanon Fondation Liban

Cinema, Arabic, 68 mins.,

Palais C, Premiere; Oka!

USA, The Exchange, English,

105 mins., Palais G

14:30 Ernest & Celestine,

France, Studiocanal, French,

80 mins., Theatre Croisette,

Premiere

15:00 8:46, USA, Forget Me

Not Productions, English,

56 mins., Palais E, Premiere;

Courts Métrages Morelia

Semaine De La Critique, 72

mins., Miramar, Premiere

15:30 A Man Of Honor,

Lebanon, Fondation Liban

Cinema, Arabic, 87 mins.,

Palais J, Premiere; Abolition

Of Property, Mexico, Alpha

Violet, Spanish, 90 mins.,

Riviera 2, Premiere; Ae/

Autoexposure, Brazil, Cinema

Do Brasil, Portuguese,

82 mins., Palais B, Premiere;

34

Gangs Of Wasseypur (Part

Ii), India, Elle Driver, Hindi,

158 mins., Star 4, Premiere;

Jalpari — The Desert Mermaid,

India, Ultra Distributors

Pvt. Ltd., English, 94

mins., Palais D, Premiere;

Janked, USA, Pulp Theater,

English, 85 mins., Palais

F, Premiere; Journal De

France, France, Wild Bunch,

French, 100 mins., Star 3,

Premiere; Le Cinéma Français

Se Porte Bien, France,

Ferris & Brockman, 80

mins., Arcades 1, Premiere;

Save Me From Love, USA,

The Dirk Swain Foundation,

English, 100 mins., Palais H,

Premiere; The Last Will And

Testament Of Rosalind

Leigh, Canada, Rue Morgue

Cinéma, English, 82 mins.,

Lerins 1, Premiere

15:40 Stoichkov, Bulgaria,

Bulgarian National Film

Center, Bulgarian, 98 mins.,

Gray 4, Premiere

16:00 A Bad Man, India,

Philind Motion Pictures,

Hindi, 106 mins., Gray 5, Premiere;

Another Life, Adelaware

Company, Karabulut

Production Film, USA, 106

mins., Palais K, Premiere;

Don’t Fall In Love With

Me, Argentina, Aura Films,

Spanish, 103 mins., Gray 1,

Premiere; Karakara, Japan,

Kukuru Vision Inc., English,

100 mins., Palais I, Premiere;

Kill Me, Germany, Les Films

Du Losange, German, 90

mins., Lerins 2; Muirhouse,

Australia, The Media Collective

Pty Ltd, English, 75

mins., Palais C, Premiere;

Songs For Amy, Ireland,

Sonny & Skye Productions

Ltd., English, 103 mins.,

Riviera 1, Premiere; Summer

Outside, Zum Goldenen

Lamm Filmproduktion, 92

mins., Riviera 3, Premiere;

The Wall, Austria, The

Match Factory, German, 108

mins., Olympia 3

16:15 Shadows Of Liberty,

United Kingdom, Docfactory,

English, 93 mins., Palais

E, Premiere; Programme

Courts 1, Quinzaine Des

Realisateurs, 98 mins., Theatre

Croisette, Premiere

17:00 Sofia’s Last Ambulance,

Bulgaria, Films Boutique,

Bulgarian, 75 mins.,

Miramar, Premiere

17:30 Formentera By

Ann-Kristin Reyels [S],

Germany, Filmdelights,

German, 92 mins., Palais B,

Premiere; More 4 Me, USA,

Moon Shadow Films, Inc.,

English, 87 mins., Palais

F, Premiere; Neighboring

Sounds, Figa Films, 131

mins., Riviera 2, Premiere;

Next, Generation Short Tiger

2012, Germany, German

Films Service & Marketing

day8_market_screening.indd 1 5/22/12 3:58 PM


Gmbh, 100 mins., Arcades

3, Premiere; Operation

Libertad, Switzerland, Doc

& Film International, French,

90 mins., Lerins 1, Premiere;

Paris Under Watch, France,

Films Distribution, 85 mins.,

Palais J; The Girl From

Nowhere, France, Capricci

Films, French, 91 mins., Gray

4, Premiere

18:00 A Respectable Family,

Iran, Pyramide, Farsi, 90

mins., Arcades 2, Premiere;

Bogd Khaan, Mongolia,

Mongolian National Academy

Of Film Art, Mongole,

110 mins., Gray 3, Premiere;

Narcissus, Lithuania,

Ketvirta Versija, Lithuanian,

95 mins., Palais I Premiere;

Rust & Bone, France, Celluloid

Dreams / Nightmares,

French, 120 mins., Star 2,

Premiere

18:15 Hour Less, Brazil, Cinema

Do Brasil, Spanish, 95

mins., Palais E, Premiere

19:15 The Dream And The

Silence, Spain, The Match

Factory, Spanish, 110 mins.,

Theatre Croisette, Premiere

20:00 Headfirst, Belgium

Acid, French, 100 mins.,

Arcades 1, Premiere; La Collection

Canal + Donne De

La Voi(E)X, Semaine De La

Critique, 89 mins., Miramar,

Premiere

21:45 The Match, Russia,

Central Partnership Sales

House, Russian, 117 mins.,

Olympia 6, Premiere

22:00 Sightseers, United

Kingdom, Protagonist

Pictures, English, 89 mins.,

Theatre Croisette, Premiere;

Sofia’s Last Ambulance,

Bulgaria, Films Boutique,

Bulgarian, 75 mins., Miramar,

Premiere

22:30 Hold Back, France,

Or Prod, French, 75 mins.,

Arcades 1, Premiere

TOmOrrOw

8:30 Sofia’s Last Ambulance,

Bulgaria, Films Boutique,

Bulgarian, 75 mins.,

Miramar, Premiere

9:00 The King Of Pigs,

South Korea Indiestory Inc.,

Korean, 97 mins., Theatre

Croisette, Premiere

9:15 Peddlers, India, Elle

Driver, Hindi, 116 mins., Star

3, Premiere

9:30 Maddened By His

Absence, France, Films

Distribution, French, 90

mins., Lerins 1, Premiere; On

The Road, France, Mk2 S.A,

English, 140 mins., Star 1,

Premiere

11:30 A Special Day, France,

Films Distribution, French,

52 mins., Lerins 1, Premiere;

Cine-Boat, Semaine De La

Critique, 63 mins., Miramar,

Premiere; Clandestine

Childhood, Argentina,

Pyramide, Spanish, 110

mins., Arcades 1, Premiere;

Clandestine Childhood,

Argentina, Pyramide, Spanish,

110 mins., Arcades 3,

Premiere; Dangerous Liaisons,

China, Easternlight

Films, Mandarin, 110 mins.,

Theatre Croisette, Premiere;

Romanian Short Wave,

Romania, Elefant Film, 100

mins., Palais F; The Dream

And The Silence, Spain, The

Match Factory, Spanish, 110

mins., Star 4, Premiere

12:00 Bachelorette, USA,

Elle Driver, English, 91

mins., Palais C; L’estate Di

Giacomo, France, Acid, 78

mins., Arcades 2, Premiere;

The Angels’ Share, United

Kingdom, Wild Bunch,

English, 116 mins., Star 2,

Premiere

14:00 Bunny, Switzerland,

December Prod., 100

mins., Palais F; El Puesto,

Argentina, Hevadis Films,

Spanish, 75 mins., Arcades

3, Premiere; Holy Motors,

France, Wild Bunch, English,

110 mins., Star 2, Premiere

14:30 Programme Courts 2,

Quinzaine Des Realisateurs,

85 mins., Theatre Croisette,

Premiere

15:30 Codename Venus,

United Kingdom, Fifth

Generation Ltd, English, 90

mins., Palais D, Premiere;

Djeca, Bosnia-Herzegovina,

Pyramide, Bosnian, 90

mins., Arcades 3, Premiere;

La Playa Dc, Colombia,

Doc & Film International,

Spanish, 90 mins., Riviera 4,

Premiere

16:00 Laurence Anyways,

Canada, Mk2 S.A, French-

Canadian, 169 mins., Star 2

Premiere

17:00 The King Of Pigs,

South Korea, Indiestory Inc.,

Korean, 97 mins., Theatre

Croisette, Premiere

17:30 Ab Irato, France,

Les Films D’ici, 120 mins.,

Arcades 3, Premiere

19:30 Ceremonie De

Remise De Prix / Awards

Ceremony, Semaine De La

Critique, 90 mins., Miramar,

Premiere; Fogo, Canada

Ramonda Inc., English, 61

mins., Theatre Croisette,

Premiere

21:00 Manha De Santo

Antonio, Semaine De La

Critique, 25 mins., Miramar;

Walker, Semaine De La Critique,

27 mins., Miramar

21:30 Dangerous Liaisons,

China, Easternlight Films,

Mandarin, 110 mins., Theatre

Croisette, Premiere

22:30 Sightseers, United

35

Kingdom, Protagonist

Pictures, English, 89 mins.,

Arcades 1, Premiere

may 25

9:00 Camille Rewinds,

France, Gaumont, French,

120 mins., Theatre Croisette,

Premiere

10:00 Post Tenebras Lux,

Mexico, Mexican Film Institute

(Imcine), Spanish, 120

mins., Riviera 1, Premiere

11:30 Soutien Acid/Ccas A

La Distribution, Semaine

De La Critique, 90 mins.,

Miramar, Premiere; The

King Of Pigs, South Korea,

Indiestory Inc., Korean, 97

mins., Arcades 1, Premiere

12:00 Gangs Of Wasseypur,

Quinzaine Part 1,

Quinzaine, Des Realisateurs,

160 mins., Theatre Croisette,

Premiere

14:30 Prix Découverte

Nikon & Prix Canal +

Semaine De La Critique,

90 mins., Miramar, Premiere;

Talent Cannes 2012

Semaine De La Critique, 56

mins., Miramar, Premiere

15:30 Gangs Of Wasseypur

Quinzaine Part 2,

Quinzaine Des Realisateurs,

160 mins., Theatre Croisette,

Premiere

16:00 Everyone Has His

Own Chekhov, Ukraine,

Ukrainian State Film Agency,

Russian, 90 mins., Palais E,

Premiere

17:00 Prix Sacd Semaine

De La Critique, 90 mins.,

Miramar, Premiere

19:30 Camille Rewinds,

France, Gaumont, French,

120 mins., Theatre Croisette,

Premiere

20:00 Grand Prix Nespresso

Semaine De La

Critique, 90 mins., Miramar,

Premiere; Stalingrad

Lovers, France, Acid,

French, 83 mins., Arcades

1, Premiere

22:00 Prix Révélation

France 4, Semaine De La

Critique, 90 mins., Miramar,

Premiere

22:30 Dangerous Liaisons,

China, Easternlight

Films, Mandarin, 110 mins.,

Arcades 1, Premiere

may 26

11:00 La Noche De Enfrente,

Chile, Margo Cinema,

Spanish, 110 mins., Theatre

Croisette, Premiere

11:30 Ernest & Celestine,

France, Studiocanal,

French, 80 mins., Arcades 1,

Premiere

14:00 Films Primés

Quinzaine Des Realisateurs,

90 mins., Theatre Croisette,

Premiere

17:00 Films Primés

Quinzaine Des Realisateurs,

90 mins., Theatre

Croisette, Premiere

20:00 Prix Sacd, Quinzaine

Des Realisateurs, 90 mins.,

Theatre Croisette, Premiere

22:30 Fogo, Canada

Ramonda Inc., English,

61 mins., Arcades 1,

Premiere thr

Anurag Kashyap’s Gangs

of Wasseypur is an epic

revenge drama set in India’s

coal mining region.

day8_market_screening.indd 2 5/22/12 3:58 PM


Cannes memories

36

Rebel with a cause

Seven years after winning Cannes’ best first film

prize — and leaving the Hollywood studios in the

dust — with Easy Rider, Dennis Hopper strolled up the

Cannes red carpet for the premiere of Tracks, in which he

plays a damaged Vietnam War vet delivering the body of

his friend for burial in California. Hopper, who died

of cancer in 2010, last appeared in Cannes Competition

in Wim Wenders’ Palermo Shooting (2008).

day 8_endpage.indd 1 5/22/12 2:32 PM

1976

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