CINEMATIC FUTURE IN CANNES
MARCHÉ DU FILM JUMPS INTO
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.