Cannes Market News - - NEWS -

CANNES – with more than 12,000 par­tic­i­pants reg­is­tered for the Marché du Film, this year, up from roughly 11,500 in 2015, and a raft of new ini­tia­tives, Jérôme Pail­lard, the Ex­ec­u­tive Di­rec­tor of the Marché du Film, was look­ing both smart in a new blue suit and happy in his of­fice in­side the Palais des Fes­ti­vals on Tues­day. “We have seen in­creases from across Asia in par­tic­u­lar,” he said, “but also from many other ter­ri­to­ries.” Mean­while, the num­ber of screen­ings this year has lev­elled at around 1400, but with four less screen­ing venues than be­fore, thanks to the shut­ter­ing of the Star Cin­ema, the screen­ings have ef­fec­tively ex­tended by one day, which Pail­lard sees as a good thing. “It gives bet­ter vis­i­bil­ity to in­di­vid­ual films and means there is less com­pe­ti­tion for screen­ings on any par­tic­u­lar day,” he says. Bring­ing more of a global feel to Cannes, this year there are also a num­ber of new pavil­ions in the Vil­lage In­ter­na­tional. This in­cludes two Chi­nese pavil­ions and other new and re­turn­ing en­ti­ties, such as the Cairo In­ter­na­tional Film Fes­ti­val, Eurim­ages, the Sri Lankan Tourism Pro­mo­tion Bureau and Is­rael’s Min­istry of In­dus­try and Sport. One of the Chi­nese pavil­ions, the Wu Tian­ming Fund, sup­ports young tal­ent in par­tic­u­lar. And other ini­tia­tives abound. Now in its third year, the NEXT pavil­ion, ded­i­cated to the fu­ture of cin­ema, has ex­panded both its re­mit and space. This year, the pro­gram will in­clude a fo­cus on Vir­tual Re­al­ity (VR ) and the pre­sen­ta­tion of a Cana­dian genre VR film se­ries. “We will have a full set of screen­ings tak­ing place over seven days, as well as in­stal­la­tions im­mers­ing view­ers into this fast ex­pand­ing cin­e­matic ex­pe­ri­ence,” he says. Other new ini­tia­tives in­clude a se­ries of events geared to­wards the genre mar­ket, or­ga­nized to­gether with the Fron­tiers Co-pro­duc­tion mar­ket. This in­cludes a panel on the fu­ture of genre film mak­ing and vir­tual re­al­ity. “This re­flects an in­crease in genre films at the Marché,” ex­plains Pail­lard. In part­ner­ship with the Ford Foundation and its Just­films ini­tia­tive, the Marché is also pro­gram­ming the first-ever Doc Day which will fo­cus on “So­cial Jus­tice” and the “Im­pact Mak­ing” doc­u­men­taries that Just­films and the Ford Foundation sup­port. Also ex­pand­ing this year is the suc­cess­ful Goes to Cannes se­ries which presents works in progress from more ter­ri­to­ries than ever. New­com­ers in­clude the An­necy In­ter­na­tional An­i­ma­tion Fes­ti­val and the Los Ca­bos Film Fes­ti­val. Liza Fore­man LA-BASED Cin­ema Man­age­ment Group (CMG) has closed deals in 17 ter­ri­to­ries – most re­cently with Mex­ico and Spain – for Lov­ingvin­cent, the world’s first fea­ture-length oil-painted an­i­ma­tion. Pro­duced by Break­thru Films and Trade­mark Films, Lov­ingvin­cent is an in­ves­ti­ga­tion into the life and con­tro­ver­sial death of Vin­cent Van Gogh, told by his paint­ings and by the char­ac­ters that in­habit them. The cre­ators had ac­cess to some 800 let­ters writ­ten by the painter, which gave in­sight into the sig­nif­i­cant peo­ple and events in the time lead­ing up to his death. The story is told through in­ter­views with the char­ac­ters clos­est to Van Gogh, dra­matic re­con­struc­tions and an­i­mated ver­sions of 120 of his best-known works. Ev­ery frame in the movie is an oil paint­ing on can­vas, us­ing the same tech­nique used by Van Gogh. The sales fol­lowed the post­ing of an online trailer of the film, which was seen over 70 mil­lion times in less than three weeks. “The film is al­ready sold in France, where dis­trib­u­tor TF1 has fixed a De­cem­ber 14 re­lease date,” CMG ex­ec­u­tive Ed­ward Noelt­ner said. “CMG will be screen­ing new footage for the film via a new ex­tended promo reel in Cannes.” The Screen­ings are on May 13 at 15.00 and May 14 at 12.00, in the Lerins 4 and Lerins 3 screen­ing rooms, re­spec­tively. Ju­lian Newby

A still from in­spired by Van Gogh’s world fa­mous por­trait of Dr. Ga­chet, his own doc­tor dur­ing the last three months of his life, the orig­i­nal of which is still one of the high­est-sell­ing Van Gogh paint­ings ever at $82.5m in 1990.

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