Cannes Film Market Launches Investors Circle Initiative – Global Bulletn

A third Wings of Desire centering on the angels that watch over us, is not in the cards, German director Wim Wenders said today at the Cannes press conference for his latest in competition title at the fest, Perfect Days.

John Hopewell Chief International Correspondent “Creatura,” the feature debut of Elena Martín, exploring female sexual desire and repression, has won this year’s 20th Europa Cinemas Cannes Label for best European Film at the 2022 Cannes Directors’ Fortnight. Announced Thursday by Europa Cinemas, ahead of the closing ceremony this afternoon, the prize is one of two at Directors’ Fortnight, and awarded by one of the sidebar’s partners, given the section is non-competitive.   A second partner plaudit, the SACD Prize, handed out by France’s Writers’ Guild, will be announced simultaneously to the Europa Cinemas Label. 

CANNES (Reuters) - Renowned Italian director Nanni Moretti both directs and stars in "A Brighter Tomorrow," which premiered worldwide on Wednesday and is his ninth film to compete for the Cannes Film Festival's top prize. So far he has come home with the Palme d'Or only once - more than 20 years ago, with "The Son's Room" in 2001.

Elsa Keslassy International Correspondent Alireza Khatami and Ali Asgari‘s “Terrestrial Verses,” the sole Iranian film premiering in Cannes’ Official Selection, has been acquired for distribution in key European territories. Represented by Films Boutique, “Terrestrial Verses” has been acquired for France (ARP Selection), Benelux (September Films) and Germany/Austria (Neue Visionen). All three banners are leading distributors in their respective territories. Those deals were closed following the film’s well-received world premiere. “Terrestrial Verses” marks the first collaboration between Khatami and Asgari, who are both acclaimed directors.

Christopher Vourlias A host of emerging talents gathered at Cannes’ Plage des Palmes on May 22 for the latest edition of Focus COPRO’, an event launched in 2018 by the Cannes Court Métrage Rendez-vous Industry program to give a boost to first-time feature directors. Seven up-and-coming filmmakers whose previous shorts have bowed at the Cannes Film Festival and other prestigious fests including Berlin, New Directors New Films and Clermont-Ferrand, gathered under sunny skies on the French Riviera for an informal lunch with a host of industry decision-makers. The event offered a casual setting for the directors to chat about their upcoming feature debuts, seated alongside veteran producers and sales agents, as well as reps from leading co-production markets, labs, residencies, workshops and institutions focused on identifying and nurturing emerging talent.

Elsa Keslassy International Correspondent While the lineup of Cannes Film Market’s newly launched initiative Cannes Investors Circle has remained under wraps, Variety has learned about four of the nine projects which were pitched during the invitation-only event. The initiative was created by the film market’s new executive director Guillaume Esmiol to connect VIP private investors with select filmmakers and producers boasting a stellar track records. Curated by experts such as Medici’s Tamara Tatishvili, Arte Cinema’s Rémi Burah and financier Serge Hayat, the nine projects are budgeted between €2 million and €12 million. Among these are “Dracula. The Second Coming” directed by Radu Jude, the Romanian helmer of Berlinale prizewinning “Bad Luck Banging or Loony Porn,” directed by Ada Solomon at microFILM; “Rivo Alto,” directed by Clément Cogitore (“The Wakhan Front”) and produced by Jean-Christophe Reymond at Kazak Productions (“Titane”); “The Girl” directed by Marina Ziolkowski (“But You Look So Good”) and produced by Philippe Gompel (“Cherry”) at Manny Films, and “The Birthday Party” directed by Miguel Angel Jimenez (“Chaika”) and produced by Giorgos Karnavas (“Triangle of Sadness”) at Heretic.

Leo Barraclough International Features Editor Kirsten Niehuus, CEO at Medienboard Berlin-Brandenburg, which funds films and TV series production in the Berlin region, and Simone Baumann, managing director of German Films, which promotes and supports the release of German films abroad, welcomed a wide array of guests to their garden party at the Cannes Film Festival on Saturday. Three Medienboard-funded films are in this year’s Competition: Tunisian director Kaouther Ben Hania’s “Four Daughters,” Austrian filmmaker Jessica Hausner’s “Club Zero,” and U.S. helmer Wes Anderson’s “Asteroid City.” Niehuus told Variety: “Those are three very different productions, but it shows the spectrum [of films] that Medienboard supports.” Tunisian films, like “Four Daughters,” need international co-production funding to get made, she said, and “we believe in world cinema, so were very happy [to back it].” Hausner is “one of the most impressive female filmmakers [in the world], and I think there should be more female filmmakers on the Croisette and every other ‘A’ festival,” she said. “Asteroid City” is “the best of American arthouse filmmaking; very stylish, with a great narrative – so we love it,” she said.

Patrick Frater Asia Bureau Chief “In Our Day,” the film by South Korean auteur Hong Sang-soo which closes the Directors’ Fortnight section of the Cannes film festival, has seen distributors in multiple territories move early to strike rights deals. French rights were picked up by Capricci), Spanish rights by L’Atalante Cinema and Greek rights by Ama Films. The film has its official premiere on May 25. Seoul-based Finecut has long been the sales agent for Hong’s plentiful output. In addition to the deals on “In Our Day,” Finecut signed agreements with L’Atalante, with France’s Ariona Films and Taiwan’s Cola Films for “In Water,” Hong’s first film of 2023 which premiered in the Encounters section in Berlin in February. The film was previously sold to Cinema Guild for North America.

Nick Vivarelli International Correspondent Italy will be the “Country of Focus” at the European Film Market In Berlin in 2024, reflecting the current flourish of the Italian film and TV industry and its growing international relevance and ambition. The spotlight on Italy during the EFM will highlight the work of Italian filmmakers and offer an opportunity to network with local producers, distributors, investors and experts. The official agreement was signed at Cannes in the Italian Pavillion by Berlinale managing director Mariëtte Rissenbeek and Roberto Stabile, head of special projects of Italy’s general directorate for cinema. Also on hand were EFM director Dennis Ruh, Nicola Borrelli, head of the film department of Italy’s culture ministry, and Venice fest chief Alberto Barbera.

In an early scene of French director Stéphan Castang’s Cannes Critics’ Week entry Vincent Must Die, a colleague of the film’s titular protagonist whacks him around the head with his laptop. A little later, another workmate stabs him in the arm. “He’s just an average guy who wakes up one morning to discover that everyone wants to kill him,” Castang explains. The debut feature follows in the wake of Julia Ducournau’s Raw and Just Philippot’s The Swarm as French genre titles to be championed by the first and second film-focused Critics’ Week.

EXCLUSIVE: New indie film financier Mizzel Media is launching in Cannes with what we understand to be a healthy six-figure investment in feature The Girl From Köln, the next film from Holy Spider and The Tale outfit One Two Films.

John Hopewell Chief International Correspondent Spain’s status as Cannes’ Marché du Film’s Country of Honor is a “milestone,” says María Peña, CEO of ICEX Spain Trade & Investment. But it’s also a mark of recognition, she says, after Spain’s big wins just this year at the Berlinale (three prizes for Estibaliz Urresola’s “20,000 Species of Bees”) and France’s Cesars (foreign film win for “The Beasts” and actor trophy to Benoît Magimel for Albert Serra’s “Pacification” and cinematography for its DP, Artur Tort). Peña also points to April’s MipTV, where Rafael Cobos’ “The Left Handed Son,” from Movistar Plus+, won Canneseries’ Short Format Competition, and “The Caravan,” produced by Barcelona’s Caravan Films, the first MipDoc International Buyers Screenings honors.

Cannes Film Festival. The distributor has acquired the rights to the film in North America, UK, Ireland, Latin America, Turkey, Italy, India, and Benelux and has plans for both a theatrical and streaming plan in the coming months.

EXCLUSIVE: Here at the Cannes Film Festival, Mubi has taken rights in North America, UK, Italy, Latin America, Turkey, India and Benelux to Un Certain Regard movie The Delinquents (Los Delincuentes).

Though he is still mostly known for his lyrical, America-set road movie Paris, Texas, which won the Palme d’Or in 1984, Germany’s Wim Wenders does most of his best work when he’s back on home turf. The Berlin Wall, for example, provided the backdrop for his 1987 masterpiece Wings of Desire, in which philosophical angels roamed a divided city that was still trying to reckon with the shame of the Second World War. His new documentary, Anselm, is ostensibly the biography of a fellow artist, but it doesn’t take too much imagination to read it as a veiled autobiography, in that its subject isn’t so much a person as the way that life experience and intelligence combine to create art.

Catalonia has become one of Europe’s most vibrant regional audiovisual forces. The proof can be found at this year’s Cannes Film Festival. More than 50 Catalan companies — some 100 executives and creatives — are expected to attend. Five films, four by new directors, have made the official cut at Cannes; six projects play in Marché du Film showcases. The three biggest Catalan movies at the festival, Elena Martin’s “Creature,” Pham Thiên An’s “Inside the Yellow Cocoon Shell,” both in Directors’ Fortnight, and Pablo Berger’s “Robot Dreams,” playing out of competition, also underscore strong trends coursing through current Catalan cinema, including international co-production and an exploding animation scene.

John Hopewell Chief International Correspondent Five Catalan movies made Cannes Festival’s cut, six were selected for Marché du Film sections. Details and other top Catalan movies on the Croisette: “20,000 Species of Bees,” (Estibaliz Urresola) One of the big winners at Berlin, taking Leading Performance, and two other key prizes, and now healthy racking up healthy sales, including a Film Movement U.S. pickup, “Bees” builds from a naturalistic base – a family off for a village summer holiday – to become a moving an ode to women’s freedom. Produced out of Barcelona by Valérie Delpierre’s Inicia Films. Sales: Luxbox

Leo Barraclough International Features Editor Berlin-based sales agency M-Appeal has released the trailer (below) for Swiss director Maxime Rappaz’s debut feature “Let Me Go,” which will open the Cannes ACID sidebar on Wednesday. Set in a remote town in the Swiss mountains, the film features French actress Jeanne Balibar in the lead role. She plays the character of Claudine, a mother who has devoted her life to taking care of her son, sacrificing her own needs and desires. An unexpected love affair causes Claudine’s carefully controlled world to unravel, “reviving in her an intense thirst for freedom and, at the same time, a painful questioning about her future,” Rappaz says.

Leo Barraclough International Features Editor Berlin-based sales agency M-Appeal has released the first-look trailer (below) for the suspense filled drama “Power Alley,” from Brazilian director Lillah Halla, ahead of its world premiere in Cannes’ Critics’ Week sidebar. The gripping drama is set in Brazil, where abortion is illegal. Talented volleyball player Sofia (Ayomi Domenica Dias) discovers she is pregnant at a crucial moment, jeopardizing her career plans. Intent on deciding her own fate, Sophia tries everything possible to get an illegal abortion, but has to contend with an increasingly sinister fundamentalist group determined to stop her — but Sophia, her team and all those who love her, refuse to give up.

After three long years of being cut off from the rest of the world due to pandemic travel restrictions, China’s film industry will be out in force at this year’s Cannes Film Festival.