Cannes Market News - - NEWS -

FOR NEW Chi­nese Tal­ents on May 16, eight projects by new­com­ers will be pre­sented, and the par­tic­i­pants will re­ceive train­ing as part of the event. This year’s se­lec­tion in­cludes: Apotato, by Wu Bo, which is about a young girl from a re­mote vil­lage in the south of China who strug­gles with the tribal rules of her so­ci­ety; Bub­ble­mar­riages, by Cui Du, which fol­lows mi­grant work­ers who form tem­po­rary mar­riages away from home; and Crowand­aboa, by Zheng Laizhi, a dra­matic fan­tasy which fol­lows the twenty years re­la­tion­ship between a man and a woman who meet at age nine. The other projects are Lisi’strou­bles, by Liu Jun­feng, which fol­lows a man whose plans to com­mit sui­cide are in­ter­rupted by two ex­trater­res­tri­als. Mum, by Wang Yida, is a revenge story about a mother on the war path after los­ing a daugh­ter, who com­mits sui­cide after deal­ing with cam­pus vi­o­lence and rape. Ourhome­town, by Wang Zhao, fol­lows a pro­tag­o­nist who seeks to raise money to give his fa­ther a splen­did funeral; Per­fect­stranger, by Tian Li, fol­lows an in­creas­ingly des­per­ate plas­tic sur­geon who even­tu­ally leaves an ac­tress with a fa­cial scar. In Grandpa’scounter At­tack, five old men that meet at a bet­ting hall, hop­ing to win the lottery, soon find other amuse­ments. The film is by James Jseng and Sho­her Lin. Au­thor Ste­fano Tealdi will be men­tor­ing the film­mak­ers in Cannes for the fourth year. A pitch­ing ses­sion will take place from 10 to 12 PM fol­lowed by a press con­fer­ence at 12 on the 16th. “Some of the dif­fi­cul­ties for these new Chi­nese Tal­ents are to un­der­stand and in­te­grate a ‘world cin­ema’ vi­sion,” he says. “They are ex­tremely in­ter­ested in un­der­stand­ing what projects pro­fes­sion­als at­tend­ing Cannes could be in­ter­ested in. They do not know how projects are de­vel­oped and pro­duced in Europe and even less how they are pitched. This makes the work we do here to­gether quite ex­cit­ing as they are dis­cov­er­ing a new world.” In­deed, be­ing in Cannes is an ed­u­ca­tion for them. “The film­mak­ers at­tend­ing are pleas­antly sur­prised to un­der­stand that, at the mar­ket in Cannes, there are pro­duc­ers seek­ing out art-house films, which means that they can con­cen­trate more on the story than on the com­mer­cial as­pects of their projects. They have a lot of sto­ries to tell and the New Chi­nese Film Tal­ents is of­fer­ing them a plat­form,” he adds. In a sep­a­rate China ini­tia­tive, around twenty ad­vanced stu­dents in pro­duc­tion from the Bei­jing Film Academy (BFA) pro­gram will also be in Cannes this year look­ing to know more about in­ter­na­tional pro­duc­tion and in­vest­ment.

L. F

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