‘The Pot au Feu’ Director Tran Anh Hung on his Cannes Competition Entry, a Slow-Cooking Romance With Juliette Binoche, Benoit Magimel

While the onscreen travails of Joel and Ellie take center stage in The Last of Us, as they did in the videogame, for Neil Druckmann and Craig Mazin, the translation to television afforded an opportunity to delve deeper into the larger struggle of survivors of the pandemic. The show’s third episode “Long, Long Time” expands the game’s story of survivalist Bill (Nick Offerman), who turns his hometown into an infected-proof compound, and who seems content to survive on his own. That is, until Frank (Murray Bartlett) gets stuck in one of Bill’s traps, and the pair fall delicately, and movingly, in love with one another.

In 2017, we put a feature together on the burgeoning Chilean New Wave of cinema: Beyond Pablo Larraín: 6 Chilean Directors You Should Know. They included filmmakers you probably are very familiar with, including Sebastián Lelio and Sebastián Silva.

Drew Tarver and Heléne Yorke, her eyes light up in recognition before she begins listing other stars who frequent the restaurant: Ben Stiller; Tyler, the Creator; Emily Ratajkowski; Ziwe. As I scan the menu, she recommends the chicken Milanese — Pete Davidson’s favorite entrée. This interaction might sound celebrity-obsessed, verging on grossly superficial. But then again, I’m about to sit down with the stars of “The Other Two,” the hilarious and scathing satire of how fame consumes, corrupts and confines us.

Elsa Keslassy International Correspondent “The Inseparables,” Jérémie Degruson’s ambitious animated feature competing this week at Annecy festival, has been sold to a raft of territories by Octopolis and nWave. Based on an original idea by Joel Cohen and Alec Sokolow, the Oscar-nominated writers of “Toy Story,” “The Inseparables” follows the misadventures of Don, a runaway puppet with a boundless imagination and, DJ Doggy Dog, an abandoned stuffed animal toy in need of a friend. Don and DJ Doggy Dog cross paths in Central Park and pair up against all odds for an epic adventure of friendship in New York City. The film was penned by Bob Barlen and Cal Brunker. Budgeted at $25 million, “The Inseparables” was produced by nWave Studios in Belgium, Octopolis in France and A Contracorriente Films in Spain.

The Pot au Feu” has been acquired by Sapan Studios and IFC Films for domestic distribution. Produced by Olivier Delbosc and based upon Marcel Rouff’s novel “La Vie et la Passion de Dodin-Bouffant, gourmet,” the picture is set in late 19th-century France and concerns a relationship between an esteemed chef (Benoît Magimel) and his personal cook (Juliette Binoche), who is also his lover. The catch is Eugénie refuses to marry her employer and lover so, to win her over, the chef does something he has never done before and cooks for her. To film cuisine in an unprecedented fashion, the director called upon Pierre Gagnaire as Culinary Director to prepare the food prior to filming.

Elsa Keslassy International Correspondent Sapan Studios and IFC Films have acquired U.S. rights to “The Pot-au-Feu,” Trần Anh Hùng’s (“The Scent of Green Papaya”) lush gastronomy-themed romance which competed at the Cannes Film Festival and won best director. The movie is headlined by two of France’s biggest stars, Juliette Binoche and Benoit Magimel, who won this year’s Cesar Award for “Pacifiction.” “The Pot-au-Feu” was produced by Olivier Delbosc at Curiosa Films and is represented in international markets by Gaumont.  The movie is one of the first titles co-acquired by Sapan Studios and IFC Films as part of their output deal. Sapan Studios is a new TV and film production/distribution company run by former AMC Networks CEO Josh Sapan.

Nick Vivarelli International Correspondent “Forest,” an Italian eco-themed animation film about deforestation, has scored some strong pre-sales for Rome-based True Colours at the Cannes Marché du film. The still-in-production 3-D animation feature – the protagonist of which is a young mushroom named Fey – has been picked up for roughly 20 territories by Top Film Distribution which will distribute “Forest” in Ukraine, CIS, the Baltics, and Eastern European countries including former Yugoslavia, Bulgaria, Poland, Czech and Slovak Republics, Romania, and Hungary.  Helmed by Luca Della Grotta and Francesco Dafano, the film is produced by Italy’s AI One, the same team that previously spawned 2020 similarly themed animation feature “Trash” that sold in more than 30 countries. 

Katherine McNamara is opening up about the cancellation of Walker Independence. The CW opted not to renew the show after one season and the star of the series recently talked about how she found out.

Rob Savage isn’t a household name in horror, yet, but if you look at his most recent work, this is a guy who seems like he is destined for great things in genre filmmaking. And in this episode of The Playlist Podcast, I got the chance to talk to Savage and discuss his newest film, “The Boogeyman,” which is based on a short story by Stephen King.

Wim Wenders’ Tokyo-based Cannes Competition title Perfect Days has clocked a series of international deals for The Match Factory.

In less than 10 years, Alice Rohrwacher has carved out a formidable reputation for herself, notably by gatecrashing the boys’ club that is traditionally the Cannes competition, and the fact that she did so in 2014 with only her second film, The Wonders, is further proof of a distinctive talent. One competition slot doesn’t guarantee another, yet Rohrwacher was back in 2018 with the follow-up, Happy as Lazzaro. Both films won prizes — Grand Prix and Best Screenplay, respectively — which means that expectations are high for the Oscar-nominated 41-year-old Italian, whose new film, La chimera, makes it three in a row.

EXCLUSIVE: Sophie Holland has been among the UK’s busier casting directors in recent years. The London-based professional has worked on shows including The Witcher, Wednesday, You and The Continental, as well as upcoming movies such as Heads Of State with Priyanka Chopra and Tim Burton’s Beetlejuice sequel. Set up seven years ago, her company Sophie Holland Casting now has a headcount of five.

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EXCLUSIVE: Neon is nearing a deal for North American rights to Cannes competition entry Perfect Days from The Match Factory in a deal pegged in the mid-to-high six figures.

There has been a lot of talk in recent years about cooking as a form of care, an idea intrinsically linked to the feminist revaluation of the work usually performed by women, which is most often unremunerated yet essential to day-to-day living.

Cannes 2023 comes to a close, and much like yesterday, things have seemed a bit quiet. The movie on most everyone’s lips, at least if social media is any indicator, was Trần Anh Hùng’s period drama “The Pot au Feu,” a feature that, according to TheWrap’s Ben Croll in his review, “might very well be the most handsomely shot and soothingly felt serving of art house food porn ever brought to screen.

Nothing says French and Cannes more than amour, food and Juliette Binoche on the big screen. The Chocolat actress is back on the Croisette with the Tràn Anh Hùng’s movie, The Pot a Feu, and if you’re too much of a curmudgeon for the hanky panky and schmaltz in the movie, well then perhaps the filmmaker can win over your stomach with lush shots of cuisine.

Cordon bleu is the warmest color in Tràn Anh Hùng’s long but surprisingly light soufflé of a movie, a highly watchable Aga saga that’s so artful, charming and non-boat-rockingly old-school that it might make you wonder, even in a non-ironic way, what Lasse Hallström has been up to lately. In Cannes film festivals gone by, it could arguably have provoked the bidding war of the fortnight, given the track record of such foodie faves as Le Grand Bouffe, Babette’s Feast and Eat Drink Man Woman, which also debuted on the Croisette. But that’s faint praise for a story that, although it’s almost all about fillings, trimmings and toppings, doesn’t seem to have that much content or, more importantly, depth.

Guy Lodge Film Critic In the rose-gray light of dawn, Juliette Binoche strides through a verdant kitchen garden, wearing a straw hat as wide and undulating as an ocean wave. She plucks a majestically large, gnarled celeriac from the earth and sniffs it deeply and fondly, as if inhaling mythical ambrosia, and takes it back to the house. This is how Tràn Anh Hùng’s “The Pot au Feu” opens, which is to say on a note of sensory reverence and a hint of kitsch, in knowing thrall to one of the less pretty vegetables in nature’s cornucopia. There are people — this critic included — who will watch this scene and immediately sense with a hungry tingle that the film to come has been made expressly for their palate, and there is everyone else. “The Pot au Feu” is not for everyone else, and that’s just fine.

Kaouther Ben Hania’s powerful drama “Four Daughters” which mixes documentary and fiction to tell the story of Tunisian mother whose two elder daughters joined ISIS is scoring a slew of sales following its well-received Cannes competition premiere. French company The Party Films Sales has sealed deals on “Four Daughters” for: Benelux (Cineart); Spain (Caramel Films); Italy (I Wonder); Switzerland (Trigon); Sweden (Triart); Denmark (Camera Film); Norway (Arthaus); Finland (Cinemanse); Poland (New Horizons); Greece (Ama Films); former Yougoslavia (Discovery) and Turkey (Bir Film). Rights to the film for multiple other territories are under negotiations, the company said.