Over the past nearly 30 years, as the international film business became more complex, two certainties remained: the Cannes Film Market still ranked as the biggest movie emporium in the world, and overseeing it was the energetic Jérôme Paillard.
Now, having driven attendance up from 2,000 in 1995 to over 12,500 in 2019 and year-on-year growth for every edition save 2002’s and 2008’s, Paillard is stepping down. The 2022 Cannes Film Market — Marché du Film in French — will be his last, as he passes the baton to its new executive director, Guillaume Esmiol.
For many, it will seem like the passing of an era.
“I’m not that young anymore. I have things to do with my life and to have time to do them with my wife and family,” Paillard says.
Also, he adds, with all the changes facing the industry, the Cannes Film Market has to be “re-invented and I thought I was not...
Now, having driven attendance up from 2,000 in 1995 to over 12,500 in 2019 and year-on-year growth for every edition save 2002’s and 2008’s, Paillard is stepping down. The 2022 Cannes Film Market — Marché du Film in French — will be his last, as he passes the baton to its new executive director, Guillaume Esmiol.
For many, it will seem like the passing of an era.
“I’m not that young anymore. I have things to do with my life and to have time to do them with my wife and family,” Paillard says.
Also, he adds, with all the changes facing the industry, the Cannes Film Market has to be “re-invented and I thought I was not...
- 5/10/2022
- by John Hopewell
- Variety Film + TV
Festival also unveils new programmers and festival sections.
Former Cannes Directors’ Fortnight head Edouard Waintrop is joining the inaugural edition of Saudi Arabia’s Red Sea International Film Festival as artistic director. The festival is due to take place in the port city of Jeddah from November 11 to 20.
”This new and great festival will celebrate all aspects of cinema, from the creatives telling stories to the technical craftspeople putting imaginative ideas onto the big screen, celebrating filmmaking as force for positive change,” said Waintrop. ”It is a great privilege and honour to be leading the Red Sea International Film Festival.
Former Cannes Directors’ Fortnight head Edouard Waintrop is joining the inaugural edition of Saudi Arabia’s Red Sea International Film Festival as artistic director. The festival is due to take place in the port city of Jeddah from November 11 to 20.
”This new and great festival will celebrate all aspects of cinema, from the creatives telling stories to the technical craftspeople putting imaginative ideas onto the big screen, celebrating filmmaking as force for positive change,” said Waintrop. ”It is a great privilege and honour to be leading the Red Sea International Film Festival.
- 6/14/2021
- by Melanie Goodfellow
- ScreenDaily
The Red Sea International Film Festival (Rsiff) has announced Edouard Waintrop as its artistic director ahead of the inaugural edition in November, 2021.
This is a coup for the event given Waintrop’s standing on the circuit. The former critic was Director of Cannes’ parallel strand Directors’ Fortnight from 2012 – 2018.
Also joining the Rsiff team as Special Program Manager is Faizah Ambah, the writer-director and former Washington Post correspondent.
Waintrop will join a team of programmers including film critic Kaleem Aftab (Director of International Programming), Antoine Khalife (Director of Arab Programs & Film Classics), and Mohyee Qari (Program Manager).
The programming team is also adding Marta Balaga, Alice Kharoubi, Leigh Singer, Carmen Thompson, Badih Massaad, and Kim Young-Woo as programming consultants.
Julie Bergeron is returning to the Rsiff as Red Sea Souk Consultant, moving from her previous role as Head of Red Sea Souk. Bergeron has been head of industry programs at the...
This is a coup for the event given Waintrop’s standing on the circuit. The former critic was Director of Cannes’ parallel strand Directors’ Fortnight from 2012 – 2018.
Also joining the Rsiff team as Special Program Manager is Faizah Ambah, the writer-director and former Washington Post correspondent.
Waintrop will join a team of programmers including film critic Kaleem Aftab (Director of International Programming), Antoine Khalife (Director of Arab Programs & Film Classics), and Mohyee Qari (Program Manager).
The programming team is also adding Marta Balaga, Alice Kharoubi, Leigh Singer, Carmen Thompson, Badih Massaad, and Kim Young-Woo as programming consultants.
Julie Bergeron is returning to the Rsiff as Red Sea Souk Consultant, moving from her previous role as Head of Red Sea Souk. Bergeron has been head of industry programs at the...
- 6/14/2021
- by Andreas Wiseman
- Deadline Film + TV
Renowned films from the market include Raw, Vivarium, Extra Ordinary, Turbo Kid.
Lindsay Peters, executive director of the Canadian genre industry platform Frontières whose successes in recent years have included Raw, Vivarium and Turbo Kid, is departing after six years at the helm, effective April.
Peters took over in 2014 and working with market organisers at Fantasia International Film Festival in Montreal to build the international profile of Frontières, forging a critical partnership with the Marché du Film in Cannes in collaboration with Julie Bergeron that launched in 2016.
Since 2017 Frontières produced three annual events: the co-production market at Fantasia, the Cannes platform,...
Lindsay Peters, executive director of the Canadian genre industry platform Frontières whose successes in recent years have included Raw, Vivarium and Turbo Kid, is departing after six years at the helm, effective April.
Peters took over in 2014 and working with market organisers at Fantasia International Film Festival in Montreal to build the international profile of Frontières, forging a critical partnership with the Marché du Film in Cannes in collaboration with Julie Bergeron that launched in 2016.
Since 2017 Frontières produced three annual events: the co-production market at Fantasia, the Cannes platform,...
- 4/3/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Saudi Arabia’s nascent Red Sea International Film festival has unveiled its inaugural lineup featuring the Middle East premiere of Harvey Weinstein-inspired workplace abuse drama “The Assistant” amid a fresh mix of feature films and docs from Europe, the U.S., Asia, and Africa launching in the region on top of a robust representation of Arab films.
Significantly, the opener will be “The Book of Sun” by debuting Saudi directorial duo Faris and Suhaib Godus, about a teenager named Husam who, prompted by the growing phenomenon of Saudi YouTube content, embarks with a group of geeks on a mission to make a no-budget horror pic. Production of this film was supported by the fest.
Oliver Stone will preside over the competition jury.
Red Sea festival chief Mahmoud Sabbagh in a statement called “Book of Sun” “a testament to the passionate community of pioneering filmmakers who have inspired and drive Saudi cinema culture.
Significantly, the opener will be “The Book of Sun” by debuting Saudi directorial duo Faris and Suhaib Godus, about a teenager named Husam who, prompted by the growing phenomenon of Saudi YouTube content, embarks with a group of geeks on a mission to make a no-budget horror pic. Production of this film was supported by the fest.
Oliver Stone will preside over the competition jury.
Red Sea festival chief Mahmoud Sabbagh in a statement called “Book of Sun” “a testament to the passionate community of pioneering filmmakers who have inspired and drive Saudi cinema culture.
- 2/17/2020
- by Nick Vivarelli
- Variety Film + TV
The upcoming Red Sea International Film Festival, which is Saudi Arabia’s first major film event, has announced a first batch of Arabic projects that will benefit from a total of up to $3 million in support as well as mentoring through its Sundance-like development program, the Red Sea Lodge.
The program has been set up to nurture new voices in Arab cinema at the fest, the inaugural edition of which will run March 12-21, 2020, in the historic district of Jeddah, which is a Unesco World Heritage site.
The Red Sea Lodge is operated in tandem with Italy’s TorinoFilmLab and includes three workshops to be held in Jeddah, the first of which will take place next month. The program will support six projects from Saudi Arabia and six from the Arab world at large, excluding Qatar, with which Saudi Arabia is locked in a diplomatic standoff.
The six Saudi projects touch on potentially edgy topics,...
The program has been set up to nurture new voices in Arab cinema at the fest, the inaugural edition of which will run March 12-21, 2020, in the historic district of Jeddah, which is a Unesco World Heritage site.
The Red Sea Lodge is operated in tandem with Italy’s TorinoFilmLab and includes three workshops to be held in Jeddah, the first of which will take place next month. The program will support six projects from Saudi Arabia and six from the Arab world at large, excluding Qatar, with which Saudi Arabia is locked in a diplomatic standoff.
The six Saudi projects touch on potentially edgy topics,...
- 10/1/2019
- by Nick Vivarelli
- Variety Film + TV
The Red Sea International Film Festival, which is Saudi Arabia’s first international film fest, is ramping up operations with the appointment of French industry veteran Julie Bergeron as head of its nascent market.
Ahead of its first edition, to be held March 12–21, 2020, in Jeddah, they’ve also announced funds providing up to $3 million in support for emerging Arab filmmakers and cash prizes totaling $350,000.
Bergeron has been head of industry programs at the Cannes Marché du Film as well as project manager of its Ventana Sur Latin American offshoot, and she has also worked for the now-defunct Dubai film market, among other roles.
Bergeron joins a high-caliber team that includes former Sundance fest documentary programmer Hussain Currimbhoy, who is the Red Sea fest’s artistic director; Dubai’s former top exec Shivani Pandya Malhotra, who is managing director; Antoine Khalife, also a Dubai fest veteran who is director of the...
Ahead of its first edition, to be held March 12–21, 2020, in Jeddah, they’ve also announced funds providing up to $3 million in support for emerging Arab filmmakers and cash prizes totaling $350,000.
Bergeron has been head of industry programs at the Cannes Marché du Film as well as project manager of its Ventana Sur Latin American offshoot, and she has also worked for the now-defunct Dubai film market, among other roles.
Bergeron joins a high-caliber team that includes former Sundance fest documentary programmer Hussain Currimbhoy, who is the Red Sea fest’s artistic director; Dubai’s former top exec Shivani Pandya Malhotra, who is managing director; Antoine Khalife, also a Dubai fest veteran who is director of the...
- 8/31/2019
- by Nick Vivarelli
- Variety Film + TV
Marché du Film — Festival de Cannes Announces Nine Festival Selections for its 6th Edition of ‘Goes…
Marché du Film — Festival de Cannes Announces Nine Festival Selections for its 6th Edition of ‘Goes To Cannes’
‘Goes to Cannes’ is coming back for the 6th consecutive year. Renowned International Film Festivals will program and showcase a selection of works-in-progress actively seeking a sales agent, distributors or a festival selection.
From May 11–14, the festivals will present feature films in post-production. These curated selections will be shown during two-hour market screenings in the presence of the film teams who will introduce their films in front of an audience of industry professionals.
Nine festivals will travel to Cannes to present their selection within the frame of the Goes to Cannes: Annecy International Animation Film Festival, International Film Festival of Panama, Doc Alliance, Hong Kong-Asia Film Financing Forum (Haf), New Horizons International Film Festival, Los Cabos International Film Festival, Guadalajara International Film Festival, Vilnius Film Festival, and Thessaloniki International Film Festival.
For the first time this year,...
‘Goes to Cannes’ is coming back for the 6th consecutive year. Renowned International Film Festivals will program and showcase a selection of works-in-progress actively seeking a sales agent, distributors or a festival selection.
From May 11–14, the festivals will present feature films in post-production. These curated selections will be shown during two-hour market screenings in the presence of the film teams who will introduce their films in front of an audience of industry professionals.
Nine festivals will travel to Cannes to present their selection within the frame of the Goes to Cannes: Annecy International Animation Film Festival, International Film Festival of Panama, Doc Alliance, Hong Kong-Asia Film Financing Forum (Haf), New Horizons International Film Festival, Los Cabos International Film Festival, Guadalajara International Film Festival, Vilnius Film Festival, and Thessaloniki International Film Festival.
For the first time this year,...
- 5/11/2018
- by Sydney Levine
- Sydney's Buzz
13 projects will participate in the second annual Frontières Finance & Packaging Forum.
Source: Cannes Film Festival
The Transfiguration
A total of 13 projects will participate in the second annual Frontières Finance & Packaging Forum, set to take place February 22-24 in Amsterdam. This is an expansion on last year’s total of 12 projects.
Having been initiated as part of the partnership between Fantasia International Film Festival and the Cannes Marche du Film, the forum will see industry experts assessing genre film projects from a packaging perspective, analysing finance, marketing and distribution strategies.
Among the selected features are works from directors Michael O’Shea (The Transfiguration), Neasa Hardiman (Happy Valley) and Can Evrenol (Baskin), producer Andy Starke and exec producer Ben Wheatley (Free Fire).
Julie Bergeron, Head of Industry Programs, Marché du Film, said: “After 5 years of continual development, growth, and innovation, Frontières has become the generally acknowledged leader in the genre film industry as a market and networking facilitator, and effectively...
Source: Cannes Film Festival
The Transfiguration
A total of 13 projects will participate in the second annual Frontières Finance & Packaging Forum, set to take place February 22-24 in Amsterdam. This is an expansion on last year’s total of 12 projects.
Having been initiated as part of the partnership between Fantasia International Film Festival and the Cannes Marche du Film, the forum will see industry experts assessing genre film projects from a packaging perspective, analysing finance, marketing and distribution strategies.
Among the selected features are works from directors Michael O’Shea (The Transfiguration), Neasa Hardiman (Happy Valley) and Can Evrenol (Baskin), producer Andy Starke and exec producer Ben Wheatley (Free Fire).
Julie Bergeron, Head of Industry Programs, Marché du Film, said: “After 5 years of continual development, growth, and innovation, Frontières has become the generally acknowledged leader in the genre film industry as a market and networking facilitator, and effectively...
- 1/18/2018
- by Jasper Hart
- ScreenDaily
The heart of Paris beats for film industry in June. Industry Week is the professional part of the Champs-Elysées Film Festival.
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
- 7/26/2017
- by Sydney Levine
- Sydney's Buzz
Carne y Arena was the highlight of this year’s Vr crop at the festival.
Alejandro González Iñárritu’s lauded Carne y Arena was the star of Cannes’ Vr offering this year but the Marche’s innovation hub Next also offered up plenty of debate and experiences.
Among companies to showcase Vr compilation experiences were Arte, Telefilm Canada, Cnc and China’s Polyhedron Vr Studio.
San Francisco-based operation Penrose Studios screened the first episode of Arden’s Wake, an immersive 15-minute experience, which tells the story of a young girl living with her father in a lighthouse.
The experience was created with Penrose’s software Maestro, which allows their development team to fully collaborate in a virtual space.
Read: ‘The Revenant’ director Iñárritu’s Cannes Vr project: report
Meanwhile, Zach Richter of Within screened an immersive 360 rendition of Leonard Cohen’s Hallelujah, using Lytro’s Immerge camera.
In the booked-out interactive effort Ximoan, part of the...
Alejandro González Iñárritu’s lauded Carne y Arena was the star of Cannes’ Vr offering this year but the Marche’s innovation hub Next also offered up plenty of debate and experiences.
Among companies to showcase Vr compilation experiences were Arte, Telefilm Canada, Cnc and China’s Polyhedron Vr Studio.
San Francisco-based operation Penrose Studios screened the first episode of Arden’s Wake, an immersive 15-minute experience, which tells the story of a young girl living with her father in a lighthouse.
The experience was created with Penrose’s software Maestro, which allows their development team to fully collaborate in a virtual space.
Read: ‘The Revenant’ director Iñárritu’s Cannes Vr project: report
Meanwhile, Zach Richter of Within screened an immersive 360 rendition of Leonard Cohen’s Hallelujah, using Lytro’s Immerge camera.
In the booked-out interactive effort Ximoan, part of the...
- 5/24/2017
- ScreenDaily
Barbet Schroeder, Amos Gitaï, post-truth era panel among May 23 highlights.
The Doc Day returns to Cannes on May 23 for its second year with the overarching goal of exploring how the non-fiction form creates impact and can bring peace to disrupted societies.
The Centre National du Cinéma et de l’Image Animée (Cnc) will introduce the morning session at the Plage du Gray d’Albion when Amos Gitaï will discuss his Directors’ Fortnight selection West Of The Jordan River (Field Diary Revisited) with critic Jean-Michel Frodon.
The session will include the round table ‘Documentaries in the Post-Truth Era’ moderated by Screen International and featuring Kathleen Lingo of the New York Times’ Op-Docs platform, investigative correspondent Laurent Richard from Premières Lignes Télévision, Ida Enterprise Documentary Fund director Carrie Lozano, Kathy Im, director of the John D. and Catherine T. MacArthur Foundation’s Journalism and Media Program, and Gonzalo Lamela, director of Films For Transparency.
“In a world...
The Doc Day returns to Cannes on May 23 for its second year with the overarching goal of exploring how the non-fiction form creates impact and can bring peace to disrupted societies.
The Centre National du Cinéma et de l’Image Animée (Cnc) will introduce the morning session at the Plage du Gray d’Albion when Amos Gitaï will discuss his Directors’ Fortnight selection West Of The Jordan River (Field Diary Revisited) with critic Jean-Michel Frodon.
The session will include the round table ‘Documentaries in the Post-Truth Era’ moderated by Screen International and featuring Kathleen Lingo of the New York Times’ Op-Docs platform, investigative correspondent Laurent Richard from Premières Lignes Télévision, Ida Enterprise Documentary Fund director Carrie Lozano, Kathy Im, director of the John D. and Catherine T. MacArthur Foundation’s Journalism and Media Program, and Gonzalo Lamela, director of Films For Transparency.
“In a world...
- 5/5/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The second annual Doc Day at the Cannes Film Festival will bring filmmakers and documentary professionals together to discuss the various ways non-fiction storytellers can help tackle the many challenges facing the world’s “disrupted societies.” The full day event taking place on May 23 will focus on the theme of how to use documentaries as a tool to promote awareness and togetherness around the world.
Read More: Cannes Classics 2017 Lineup Includes ‘Belle de Jour’ Restoration, Stanley Kubrick Doc and More
“In a world evolving from a society of facts to one of the big data, with fake news and populism invading the spheres of social networks, politics and press, documentary filmmakers are an essential voice to bring independent analysis through storytelling that helps to inform, engage and inspire us all to think critically and deeply about the challenges facing democracy in this Post-Truth Era,” Julie Bergeron, head of industry programs at the Marché du Film,...
Read More: Cannes Classics 2017 Lineup Includes ‘Belle de Jour’ Restoration, Stanley Kubrick Doc and More
“In a world evolving from a society of facts to one of the big data, with fake news and populism invading the spheres of social networks, politics and press, documentary filmmakers are an essential voice to bring independent analysis through storytelling that helps to inform, engage and inspire us all to think critically and deeply about the challenges facing democracy in this Post-Truth Era,” Julie Bergeron, head of industry programs at the Marché du Film,...
- 5/5/2017
- by Graham Winfrey
- Indiewire
Exclusive: Trio of projects garner praise from industry; dates set for Cannes producer pitching event.
The Cannes Marché has revealed details about the recently finished first edition of the Frontières Finance and Packaging Forum in Amsterdam (Feb 16-18) and the upcoming second session during the Cannes Film Festival (May 17 -28).
The second instalment in the genre pitching and networking event will take place on Saturday May 20 (10am-12pm) when the 12 Forum projects from international producers will have five minutes each to present and screen their proof of concepts to international industry in Palais K.
The event will mark the Marché’s first genre-specific proof of concept screening session.
Other Frontières Platform events in Cannes will include Frontières Goes to Cannes, a screening of footage from four work-in-progress films on Sunday May 21, and networking event Fantastic Fanatics Mixer.
Sponsor partners to join the Platform include Wallimage and the Nordisk Film & TV Fond. Existing backers...
The Cannes Marché has revealed details about the recently finished first edition of the Frontières Finance and Packaging Forum in Amsterdam (Feb 16-18) and the upcoming second session during the Cannes Film Festival (May 17 -28).
The second instalment in the genre pitching and networking event will take place on Saturday May 20 (10am-12pm) when the 12 Forum projects from international producers will have five minutes each to present and screen their proof of concepts to international industry in Palais K.
The event will mark the Marché’s first genre-specific proof of concept screening session.
Other Frontières Platform events in Cannes will include Frontières Goes to Cannes, a screening of footage from four work-in-progress films on Sunday May 21, and networking event Fantastic Fanatics Mixer.
Sponsor partners to join the Platform include Wallimage and the Nordisk Film & TV Fond. Existing backers...
- 3/6/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Fresh Ideas for Storytelling and Outreach will feature a conversation with The multi-award winning Danish director Lone Scherfig, Julie Bergeron, Head of Industry Programmes in Cannes and founder of the Rencontres de Coproduction Francophone in Paris and journalist and author Katja Eichinger will hold a conversation about Fresh Ideas for Storytelling and Outreach to Attract Audiences in a Changing Cinema Landscape.
In the face of continually changing viewing habits, sticking to the existing standards of cinema is not enough. We need to challenge the ways stories are told and find new ways for audience engagement. Which new opportunities have arisen in these fields and how can we successfully make use of them?
Lone Scherfig
Embarking with us on this creative journey are multi-award winning director and writer Lone Scherfig (“An Education”, “Italians for Beginners”, “Wilbur Wants to Kill Himself”) and Julie Bergeron, Head of Industry Programs in Cannes and founder...
In the face of continually changing viewing habits, sticking to the existing standards of cinema is not enough. We need to challenge the ways stories are told and find new ways for audience engagement. Which new opportunities have arisen in these fields and how can we successfully make use of them?
Lone Scherfig
Embarking with us on this creative journey are multi-award winning director and writer Lone Scherfig (“An Education”, “Italians for Beginners”, “Wilbur Wants to Kill Himself”) and Julie Bergeron, Head of Industry Programs in Cannes and founder...
- 2/6/2017
- by Sydney Levine
- Sydney's Buzz
Exclusive: Gianfranco Rosi, Laura Poitras to speak at inaugural Doc Day; Marché to launch dedicated screening room for documentaries.
This year’s Cannes Marché is enhancing its documentary film offering through the launch of a dedicated Doc Day conference and a new screening room.
Now in its fifth year, Doc Corner, which runs throughought the festival [May 11 - 22], is moving to the Riviera where it will feature an expanded programme.
This year’s line-up includes one-to-one meetings Doc Meets, presentations from organisations including Cph:dox and a video library of 250 feature documentaries.
There will also be a new 21-seat documentary-only Marché Screening Room that will run screenings throughout the festival.
Doc Day
New to the programme is the first ever Doc Day, a conference hosted by the Marché du Film with the Ford Foundation’s JustFilms.
Highlighting impactful documentaries that focus on social justice, the event on May 17 at Cinema Olympia 1, in collaboration with La Scam and Connect4Climate/World Bank...
This year’s Cannes Marché is enhancing its documentary film offering through the launch of a dedicated Doc Day conference and a new screening room.
Now in its fifth year, Doc Corner, which runs throughought the festival [May 11 - 22], is moving to the Riviera where it will feature an expanded programme.
This year’s line-up includes one-to-one meetings Doc Meets, presentations from organisations including Cph:dox and a video library of 250 feature documentaries.
There will also be a new 21-seat documentary-only Marché Screening Room that will run screenings throughout the festival.
Doc Day
New to the programme is the first ever Doc Day, a conference hosted by the Marché du Film with the Ford Foundation’s JustFilms.
Highlighting impactful documentaries that focus on social justice, the event on May 17 at Cinema Olympia 1, in collaboration with La Scam and Connect4Climate/World Bank...
- 5/3/2016
- ScreenDaily
Exclusive: Organisers behind the Cannes Marché’s third Next event set to run from May 12-18 have lined up an expanded future of cinema showcase that places heavy emphasis on the fast-rising world of virtual reality.
For the first time Next events will take place at the entrance of the Village International on the Pantiero side – the site previously occupied by Canal+ – and will feature installations, interactive films, screenings, conferences and workshops on subjects such as big data, theatres of the future, and VOD opportunities.
The Next schedule will include 15 innovative companies that will conduct business at the Next Pavilion. Creative Wallonia and the Canadian Film Center will have their own corner. The full Next programme will be announced shortly.
Vr Days programme
The centerpiece is the Vr Days programme, a rich roster featuring work from the world’s leading exponents that takes place over May 15 and 16 and stems from a clamour by content creators to focus...
For the first time Next events will take place at the entrance of the Village International on the Pantiero side – the site previously occupied by Canal+ – and will feature installations, interactive films, screenings, conferences and workshops on subjects such as big data, theatres of the future, and VOD opportunities.
The Next schedule will include 15 innovative companies that will conduct business at the Next Pavilion. Creative Wallonia and the Canadian Film Center will have their own corner. The full Next programme will be announced shortly.
Vr Days programme
The centerpiece is the Vr Days programme, a rich roster featuring work from the world’s leading exponents that takes place over May 15 and 16 and stems from a clamour by content creators to focus...
- 4/20/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
‘Intelligent’ mosquitoes and slacker demons were lurking at the third European edition of the genre film market in Brussels.
Despite last week’s terror attacks in Brussels, the show went on at Fantasia’s Frontières International Co-Production Market for genre films at the Brussels International Fantastic Film Festival.
For its third European edition, the market curated one of its strongest selections to date, including Baskin director Can Evrenol’s Housewife. This time, Evrenol will focus on a woman who struggles with a traumatic family history and slowly loses her grip on reality.
Another stand-out was Amanda Kramer’s Drain You, adapted from her own novel of the same name.
Executive produced by Poltergeist remake director Gil Kenan, producer Rebecca Rose Perkins described the project as an “Lgbt grunge horror” and “Blue Is The Warmest Colour meets It Follows”. Set in La, it follows a teenager who falls in lust with a sexy older girl and becomes ensnared...
Despite last week’s terror attacks in Brussels, the show went on at Fantasia’s Frontières International Co-Production Market for genre films at the Brussels International Fantastic Film Festival.
For its third European edition, the market curated one of its strongest selections to date, including Baskin director Can Evrenol’s Housewife. This time, Evrenol will focus on a woman who struggles with a traumatic family history and slowly loses her grip on reality.
Another stand-out was Amanda Kramer’s Drain You, adapted from her own novel of the same name.
Executive produced by Poltergeist remake director Gil Kenan, producer Rebecca Rose Perkins described the project as an “Lgbt grunge horror” and “Blue Is The Warmest Colour meets It Follows”. Set in La, it follows a teenager who falls in lust with a sexy older girl and becomes ensnared...
- 3/31/2016
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
Exclusive: Annecy, Frontières among festivals to join Marché works-in-progress strand.
The Annecy International Animation Festival, Frontières (Fantasia Film Festival) and Los Cabos International Film Festival will this year join Cannes Marché’s work-in-progress strand “Goes to Cannes”.
Each festival will present up to five films in post-production from their programme. The selection of film extracts is presented during two-hour long market screenings with the team of each Wip introducing their films.
The additions of Annecy and Frontières mean the strand will host a collection of animation and genre projects for the first time.
Other festivals taking part in the fourth edition of the strand include Festival Internacional de Cine Panama, Festival Internacional de Cine en Guadalajara and the Dubai International Film Festival.
The selection of titles has yet to be revealed.
“The idea is to give sales agents and festival programmers the opportunity in Cannes to discover curated selections of works-in-progress from different regions, and, this year...
The Annecy International Animation Festival, Frontières (Fantasia Film Festival) and Los Cabos International Film Festival will this year join Cannes Marché’s work-in-progress strand “Goes to Cannes”.
Each festival will present up to five films in post-production from their programme. The selection of film extracts is presented during two-hour long market screenings with the team of each Wip introducing their films.
The additions of Annecy and Frontières mean the strand will host a collection of animation and genre projects for the first time.
Other festivals taking part in the fourth edition of the strand include Festival Internacional de Cine Panama, Festival Internacional de Cine en Guadalajara and the Dubai International Film Festival.
The selection of titles has yet to be revealed.
“The idea is to give sales agents and festival programmers the opportunity in Cannes to discover curated selections of works-in-progress from different regions, and, this year...
- 2/25/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Goteborg Film Festival’s Nostradamus Project report predicts that audiences will rebel against content that doesn’t reflect diversity.
Diversity on screen will see a “measurable change within five years,” according to a new industry report.
“We now believe good business sense, in combination with programmes to address representation, will result in measurable change within five years,” claims the 2016 Nostradamus Project report, commissioned by the Goteborg Film Festival and revealed yesterday [Thur 4] during the event’s Nordic Film Market.
According to the report, audiences will incresingly rebel against content that does not reflect diversity.
“If the lives, jobs, experiences, agency, physical bodies and aspirations of on-screen characters do not reflect the makeup of the audience (or what is worse: if they are actively insulting) audiences will make other choices – or call you out. Films refusing to reflect contemporary realities will feel stale and implausible not just to the groups whose lives are erased on screen, but also to...
Diversity on screen will see a “measurable change within five years,” according to a new industry report.
“We now believe good business sense, in combination with programmes to address representation, will result in measurable change within five years,” claims the 2016 Nostradamus Project report, commissioned by the Goteborg Film Festival and revealed yesterday [Thur 4] during the event’s Nordic Film Market.
According to the report, audiences will incresingly rebel against content that does not reflect diversity.
“If the lives, jobs, experiences, agency, physical bodies and aspirations of on-screen characters do not reflect the makeup of the audience (or what is worse: if they are actively insulting) audiences will make other choices – or call you out. Films refusing to reflect contemporary realities will feel stale and implausible not just to the groups whose lives are erased on screen, but also to...
- 2/5/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Goteborg Film Festival’s Nostradamus Project report predicts “measurable change within five years”.
Diversity on screen will see a “measurable change within five years,” according to a new industry report.
“We now believe good business sense, in combination with programmes to address representation, will result in measurable change within five years,” claims the 2016 Nostradamus Project report, commissioned by the Goteborg Film Festival and revealed yesterday [Thur 4] during the event’s Nordic Film Market.
According to the report, audiences will incresingly rebel against content that does not reflect diversity.
“If the lives, jobs, experiences, agency, physical bodies and aspirations of on-screen characters do not reflect the makeup of the audience (or what is worse: if they are actively insulting) audiences will make other choices – or call you out. Films refusing to reflect contemporary realities will feel stale and implausible not just to the groups whose lives are erased on screen, but also to white men who can’t recognise...
Diversity on screen will see a “measurable change within five years,” according to a new industry report.
“We now believe good business sense, in combination with programmes to address representation, will result in measurable change within five years,” claims the 2016 Nostradamus Project report, commissioned by the Goteborg Film Festival and revealed yesterday [Thur 4] during the event’s Nordic Film Market.
According to the report, audiences will incresingly rebel against content that does not reflect diversity.
“If the lives, jobs, experiences, agency, physical bodies and aspirations of on-screen characters do not reflect the makeup of the audience (or what is worse: if they are actively insulting) audiences will make other choices – or call you out. Films refusing to reflect contemporary realities will feel stale and implausible not just to the groups whose lives are erased on screen, but also to white men who can’t recognise...
- 2/5/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Sonja Prosenc’s History Of Love scooped three prizes at the co-production forum.
Slovenia was the big winner at this year’s edition of the When East Meets West (Wemw) co-production forum with Sonja Prosenc’s second feature History Of Love picking up three awards.
The film’s producer Rok Secen, one of the co-founders of Ljubljana-based Monoo, was presented with the Eave Scholarship Award to participate in the European producers’ training programme.
In addition, Film London’s Helena Mackenzie and Rome New Cinema Network’s Alexia di Vito chose Prosenc’s contemporary psychological drama to receive their prize of a guaranteed place at the London Production Finance Market and Rome’s New Cinema Network next October.
Moreover, History of Love, which is currently structured as a Slovenian-Icelandic-Croatian co-production, was one of six projects to receive support from Re-act Co-Development Funding Scheme launched by the Friuli-Venezia Giulia Audiovisual Fund with the Slovenian Film Centre and th Croatian...
Slovenia was the big winner at this year’s edition of the When East Meets West (Wemw) co-production forum with Sonja Prosenc’s second feature History Of Love picking up three awards.
The film’s producer Rok Secen, one of the co-founders of Ljubljana-based Monoo, was presented with the Eave Scholarship Award to participate in the European producers’ training programme.
In addition, Film London’s Helena Mackenzie and Rome New Cinema Network’s Alexia di Vito chose Prosenc’s contemporary psychological drama to receive their prize of a guaranteed place at the London Production Finance Market and Rome’s New Cinema Network next October.
Moreover, History of Love, which is currently structured as a Slovenian-Icelandic-Croatian co-production, was one of six projects to receive support from Re-act Co-Development Funding Scheme launched by the Friuli-Venezia Giulia Audiovisual Fund with the Slovenian Film Centre and th Croatian...
- 1/27/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Also… Chris Carter reopens The X-Files and Sion Sono discusses his Fukushima-set sci-fi.
The all-woman jury at the 15th Nifff’s (Neuchâtel International Fantastic Film Festival) has awarded the festival’s main prize, the H.R. Giger “Narcisse” award for best picture, to Jeremy Saunier’s Green Room.
The jury led by Zoe Bell (Death Proof) called Saunier’s film “an unstoppable and irresistibly dark coming-of-age survival, and a punk rock killer machine of a story”.
With the Narcisse award, Saunier also wins a cash prize of 10,000 Swiss francs (approx $10,650) from the city of Neuchâtel.
Another of the festival’s main awards, the Méliès d’argent for best European feature, went to Anders Thomas Jensen’s Men & Chickens.
Meanwhile, Nifff’s international critics’ award went to Karyn Kusama’s The Invitation.
The fast-growing film festival, which has a budget of €1.7m and is now one of the major movie events in Switzerland, reported more than...
The all-woman jury at the 15th Nifff’s (Neuchâtel International Fantastic Film Festival) has awarded the festival’s main prize, the H.R. Giger “Narcisse” award for best picture, to Jeremy Saunier’s Green Room.
The jury led by Zoe Bell (Death Proof) called Saunier’s film “an unstoppable and irresistibly dark coming-of-age survival, and a punk rock killer machine of a story”.
With the Narcisse award, Saunier also wins a cash prize of 10,000 Swiss francs (approx $10,650) from the city of Neuchâtel.
Another of the festival’s main awards, the Méliès d’argent for best European feature, went to Anders Thomas Jensen’s Men & Chickens.
Meanwhile, Nifff’s international critics’ award went to Karyn Kusama’s The Invitation.
The fast-growing film festival, which has a budget of €1.7m and is now one of the major movie events in Switzerland, reported more than...
- 7/13/2015
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
SydneysBuzz Cannes Rights Roundup Report is now available for purchase.
This report is an important part of strategic planning for film buyers, film sellers and film producers, as well as for festival programmers. To know who is buying, what they are buying and from whom, is to gain power and knowledge over the international market - it is also useful for targeting your own local and regional markets.
The Cannes Rights Roundup is the only compendium available in one place: our Report of sales made at the Cannes Market during this past May. Whenever a price was mentioned, it is included.
This year, there were 120 countries that took part in the Marché du Film, marking an increase of four countries, including Afghanistan, while Nepal, despite the recent tragedy, was also represented by a producer. And growth could be witnessed within certain individual territories, including, notably, South Korea.
With documentaries making up around sixteen percent of market titles, the Doc Corner is another key section each year. "Documentary filmmakers find having such a dedicated space within the market a huge plus, as do buyers, sellers and programmers," said Julie Bergeron, Head of Industry Programs.
“This year, around 80 percent of the market titles screening were world premieres. This is a great result," said Paillard. This year there were 1500 screenings. The Marché completed the overhaul of its existing screening rooms, and added the nine screens at the Olympia to the collection of Marché theaters for 2015.
Download the Cannes Rights Roundup 2015 here.
More reports can be located at http://www.SydneysBuzz.com/Reports...
This report is an important part of strategic planning for film buyers, film sellers and film producers, as well as for festival programmers. To know who is buying, what they are buying and from whom, is to gain power and knowledge over the international market - it is also useful for targeting your own local and regional markets.
The Cannes Rights Roundup is the only compendium available in one place: our Report of sales made at the Cannes Market during this past May. Whenever a price was mentioned, it is included.
This year, there were 120 countries that took part in the Marché du Film, marking an increase of four countries, including Afghanistan, while Nepal, despite the recent tragedy, was also represented by a producer. And growth could be witnessed within certain individual territories, including, notably, South Korea.
With documentaries making up around sixteen percent of market titles, the Doc Corner is another key section each year. "Documentary filmmakers find having such a dedicated space within the market a huge plus, as do buyers, sellers and programmers," said Julie Bergeron, Head of Industry Programs.
“This year, around 80 percent of the market titles screening were world premieres. This is a great result," said Paillard. This year there were 1500 screenings. The Marché completed the overhaul of its existing screening rooms, and added the nine screens at the Olympia to the collection of Marché theaters for 2015.
Download the Cannes Rights Roundup 2015 here.
More reports can be located at http://www.SydneysBuzz.com/Reports...
- 6/30/2015
- by Sydney Levine
- Sydney's Buzz
Us in Progress, developed in the framework of Champs Elysées Film Festival in Paris, is the first and only industry event devoted to U.S. indies in Europe. Its aim is to foster the circulation and distribution of films between U.S. and Europe.
The event takes place twice yearly: November at the American Film Festival in Wroclaw, Poland and June here in Paris.
Usually five or six films are selected, all in post production stag, and a jury then decides which will be given further support to finish the film. Sponsors give needed technical support to the winner.
The European trade publication Cineuropa conducted interviews with the co-Founder and Head of Us In Progress, Adeline Monzier, and with Jury Member and Cannes Marche du Film Executive, Julie Bergeron.
The winning film this year was "Diverge".
The team from runner up film here "Queen of Glory" is also interviewed below.
“Most American producers have no idea how to reach the European market”, Adeline Monzier , Founder and organizer, Us in Progress
by Claire La Combe
Cineuropa sat down with Adeline Monzier at Us in Progress Paris to discuss various aspects of both American and European indie film circulation.
Four years ago, when she was head of the Europa Distribution network, Adeline Monzier created Us in Progress, a program dedicated to low-budget U.S. indie films. Today, she is also in charge of the Unifrance office in New York and runs a production company, Black Rabbit Film. In Paris, Cineuropa took the opportunity to discuss various aspects of both American and European indie film circulation with her.
Cineuropa: Why set up a U..S indie event in Europe?
Adeline Monzier: I realized that most American producers had no idea how to reach the European market. Usually, they lack a distribution strategy, not doing the right things at the right time. Films weren’t able to have the run that they could have had. Us in Progress is based on that idea: we show a selection of films to European professionals before they hit the festival circuit. It is about raising awareness. We are focusing on very few films that we think can have a career in Europe or that are worth discovering.
Do you have any success stories?
We have a few success stories. For example, two years ago, we had "Ping Pong Summer" by Michael Tully: Films Boutique discovered the film here and picked up the rights; they knew it would be a niche film with a specific audience, but they sold it in a lot of territories… Not always theatrically… But in terms of revenues for the filmmaker, it was a very interesting deal.
What’s your opinion of the circulation of indie films?
American indies in Europe have a tough time because there are no subsidies to support the distribution of these movies. The European markets are so overwhelmed by American movies that for national bodies, it doesn’t make sense to support their circulation. When faced with a very good European film and a very good U.S. film, distributors will always pick the European one because they can get subsidies. That said, for the audience, American films still have an appeal. The English language will always be easier to sell… So there is ambivalence.
What about the European indies on the U.S. market?
European film is a very small market in the U.S… Foreign movies represent around 2% of the market share, and between 0.5% and 1% are French films. That means there is less space for non-French, non-American movies.
Why?
The American market is very strong and concentrated as well, as in Europe, and blockbusters draw in most of the audience. Plus, Americans are not at all used to subtitled films, and there is no dubbing, because it is too expensive[sic], except for animated films sometimes . (Editor, Sydney here: because Americans do not like dubbed films!)
Do you see any differences in terms of financing practices between Europe and the U.S.?
They are two very different systems. The entire system in the U.S. is based on private equity. You need to have the right connections. Also, the average production budget for an indie film is very low compared to a European film. But Americans are very resourceful; they can usually play several different roles in their films, from editing to producing, just because they want to achieve economies of scale, whereas in Europe, it is much rarer to have a director juggling different positions.
Do you think digitization has had an impact on film circulation?
It is definitely easier for indie filmmakers to distribute their films nowadays. They have access to platforms and VOD. A lot of independent directors now use the day-and-date release because theaters enable you to raise awareness about the film and to help the audience to go and see the film on VOD. Still, income from VOD is very low for independent films. With digital, the problem remains the same! You have to market a film; if you don’t have the money to promote the film, then it is going to be lost within the platform.
Can we predict that digital will foster a common system between the Us and Europe in terms of producing?
No; the markets are too diverse. A lot of European filmmakers go to the Us to shoot because they want to enjoy the freedom of not having the old subsidy system schemes. On the other hand, you have American filmmakers looking for European producers in order to benefit from the whole funding system. So today, there are a lot more cross-connections, but the systems are very different, and I don’t think they will merge, even with digital.
“The biggest challenge is to make a film that will circulate and find an audience”
Julie Bergeron, Cannes Film Market, member of the Us in Progress jury
by Claire La Combe
Cineuropa sat down with Julie Bergeron at Us in Progress Paris to discuss support for independent film and its future prospects
On Wednesday night, the American film "Diverge" by James Morrison was awarded the Us in Progress Award. Just after the ceremony, Cineuropa met up with one of the jury members, Julie Bergeron, head of industry programs at the Cannes Film Market. She elaborated on her views on the topic of support for independent film and its future prospects.
Cineuropa: Why are you part of the Us in Progress jury?
Julie Bergeron: There is a lot of interest in seeing films from Us independents; it is always interesting to look out for films that are made on a low budget and with strong stories. We support the winning producers by offering an accreditation for the Producers’ Network at Cannes to help them to pursue meetings and networking, and hopefully find distribution for their films.
Have you seen any kind of evolution in the selections?
Yes. It seems that they are receiving more and more projects. It is an event that is now well known in the U.S. and Europe. With the link to Poland and the event happening twice a year, we saw an evolution in the diversity of the projects. This year, the diversity was very strong, with a horror-comedy film, a sci-fi movie and an Lgbt romance.
Do you think all of this diversity has a place in the next Producers’ Network?
Yes, of course! We welcome 200 producers at the Breakfast Meetings every morning in Cannes, and they come from all over the world. It is a place where they wish to connect with sales agents, financiers and potential partners to network and discuss their projects. The idea is specifically to support producers who want to connect with the international market. That is the biggest challenge for every filmmaker: to make a movie that will attract a larger audience than in its own country.
Do you see any similarities between American and European independent films?
They are different because in Europe, there is a lot of public support for films, and there is a strong tradition of the author-driven movie. In the U.S., the independents have to find private financing for the films. Plus, they don’t have access to any co-production, because there are no co-production treaties in the Us, whereas in Europe, the movies can access funding from many territories. The Us independents are very much on their own when it comes to financing their films.
What kind of qualities was the jury looking for in the winning film?
We had a lot of discussions; the stages of the presented films were not the same. "Diverge" is the one we found to be the most advanced: it is a low-budget film, and the story – while there is some work still to be done – is really there. There are a lot of genre-film festivals, and hopefully the movie will travel. And also, I think that a young audience driven by sci-fi and genre would like it.
Do you think such an event should be created for European films in America?
I’m not sure; it would be difficult… If a European film does not find a sales agent in Europe, it might be difficult to find one in the USA. The movie would need to have a strong “American” sensibility… There are some work-in-progress (Wip) experiences in Latin America, and they work well. But in Latin America, they don’t have a lot of sales agents; they have to show their films anyway to break through, as they have no alternative. Europeans are more reluctant to show a film that is not yet finished, especially those who are in countries with a strong production capacity. Now the market goes really fast, the windows for the films are getting smaller and smaller, and you have to be sure whenever you show the film that it is the best way to present it to professionals… But wait… I’m not saying that such an event shouldn’t exist!
How do you see the future of the independent film industry?
I think there will always be filmmakers making films independently because it’s a strong medium for expression. In fact, it’s the strongest: you have the sound, the image, the music, the story… You have everything!
Who will be financing them?
Well, you still have strong companies! My hope is that companies that own the distribution platforms, like VoD players, Netflix and all these people, will start investing in the creation process. Canal+ in France takes part in the financing, so if we can bring these “pipes” to invest in the content, then we have a chance, and they are starting to do so, slowly. But it is going to be increasingly driven by big audiences. The pressure there for the kind of independent films that we saw at Us in Progress is enormous. If these small films are not picked up by a big festival and noticed by the industry, their chances of finding distribution are tiny.
"European audiences are more film-educated"
Us in Progress Filmmakers Speak Up
by Claire La Combe
Cineuropa sat down with Jamund Washington ("Queen of Glory"), Nana Mensah ("Queen of Glory"), Baff Akoto ("Queen of Glory") and Gabe Klinger ("Porto, Mon Amour") at Us in Progress Paris to chat about the current and future independent film environment
The four young filmmakers, all living and working in New York City but hailing from diverse backgrounds ranging from Ghana to Brazil, via London, exchanged their opinions on the current and future independent film environment during a chat characterized by idealization and a smidgen of pessimism.
Cineuropa: What is your opinion of film festivals? What role do they play?
Jamund Washington: Anything that gets people to go and sit and watch your story is great.
Nana Mensah: At this point, in the way the game has been shaped, it would not be possible to make independent films without festivals; they are great entry points for films outside the system. There is a sort of renaissance that allows people like me to make films now – the barriers are lower.
Why come here to Paris, to Europe?
Nm: In Paris, I can put my fingers on the pulse of European culture. I think "Queen of Glory" has more meaning here than perhaps in an American market. With its visual aspects and its African topic, our film has links with Europe. We have already received such a warm reception here in France, so I’m hoping that will continue.
Jw: European audiences are more film-educated. We feel like the audience will better understand the stage that we are now at. Not that there are no places where you can find that audience in the United States… I’m just generalising.
Gabe Klinger: Parisian moviegoers are the most sophisticated in the world, and that’s a fact! No one can contest that.
Baff Akoto: The French would contest that (laughs). But seriously, film is culture here, as opposed to predominantly entertainment, which is the case in the Us.
Jw: Yes, culture in the Us is like a small subculture of big entertainment.
Do you have an opinion on the European film-financing system?
BA: I know that the co-production financing system is good. And the soft money in Europe attracts everybody in America from big studio productions to small indie films because it allows a lot of projects to get made that would not necessarily find money. And it provides a framework, too, alternatives that are available for films that would never get financed in America.
How do you feel about digitisation?
BA: In England, a lot of films only get the chance to break out because of digital prints. Anything that helps smaller films to become more visible is good.
Gk: I’m going to be the contrarian. Because digital is not an archival medium, and so we are risking losing all the digital information in 25 years, all these files and DCPs can be corrupted and become inaccessible. In terms of circulation, digital is going to be your best friend, but still… For Porto Mon Amour, we will use digital distribution and on-film copies. It is a luxury; a lot of producers would spend the money on something else. It is the way I want to engage with an audience that still appreciates watching a movie on film. It’s just more expensive.
How do you see the future for independent films?
Jw: I wish I knew – it would make my life a lot easier.
BA: Netflix!
Jw: I don’t know; I think a lot of stuff is going to happen… We should just keep telling stories.
Gk: It is exciting because there is a lot of demand for content right now, and that’s because of the new platform for distribution. Unfortunately, most of it is not in theaters… We will see… The pessimist in me says that the content we are producing now is not going to live very long in cinemas.
BA: Cinema is not going to die, though. No one goes to church, and people still go to the cinema; it is the one place where we still commune.
The event takes place twice yearly: November at the American Film Festival in Wroclaw, Poland and June here in Paris.
Usually five or six films are selected, all in post production stag, and a jury then decides which will be given further support to finish the film. Sponsors give needed technical support to the winner.
The European trade publication Cineuropa conducted interviews with the co-Founder and Head of Us In Progress, Adeline Monzier, and with Jury Member and Cannes Marche du Film Executive, Julie Bergeron.
The winning film this year was "Diverge".
The team from runner up film here "Queen of Glory" is also interviewed below.
“Most American producers have no idea how to reach the European market”, Adeline Monzier , Founder and organizer, Us in Progress
by Claire La Combe
Cineuropa sat down with Adeline Monzier at Us in Progress Paris to discuss various aspects of both American and European indie film circulation.
Four years ago, when she was head of the Europa Distribution network, Adeline Monzier created Us in Progress, a program dedicated to low-budget U.S. indie films. Today, she is also in charge of the Unifrance office in New York and runs a production company, Black Rabbit Film. In Paris, Cineuropa took the opportunity to discuss various aspects of both American and European indie film circulation with her.
Cineuropa: Why set up a U..S indie event in Europe?
Adeline Monzier: I realized that most American producers had no idea how to reach the European market. Usually, they lack a distribution strategy, not doing the right things at the right time. Films weren’t able to have the run that they could have had. Us in Progress is based on that idea: we show a selection of films to European professionals before they hit the festival circuit. It is about raising awareness. We are focusing on very few films that we think can have a career in Europe or that are worth discovering.
Do you have any success stories?
We have a few success stories. For example, two years ago, we had "Ping Pong Summer" by Michael Tully: Films Boutique discovered the film here and picked up the rights; they knew it would be a niche film with a specific audience, but they sold it in a lot of territories… Not always theatrically… But in terms of revenues for the filmmaker, it was a very interesting deal.
What’s your opinion of the circulation of indie films?
American indies in Europe have a tough time because there are no subsidies to support the distribution of these movies. The European markets are so overwhelmed by American movies that for national bodies, it doesn’t make sense to support their circulation. When faced with a very good European film and a very good U.S. film, distributors will always pick the European one because they can get subsidies. That said, for the audience, American films still have an appeal. The English language will always be easier to sell… So there is ambivalence.
What about the European indies on the U.S. market?
European film is a very small market in the U.S… Foreign movies represent around 2% of the market share, and between 0.5% and 1% are French films. That means there is less space for non-French, non-American movies.
Why?
The American market is very strong and concentrated as well, as in Europe, and blockbusters draw in most of the audience. Plus, Americans are not at all used to subtitled films, and there is no dubbing, because it is too expensive[sic], except for animated films sometimes . (Editor, Sydney here: because Americans do not like dubbed films!)
Do you see any differences in terms of financing practices between Europe and the U.S.?
They are two very different systems. The entire system in the U.S. is based on private equity. You need to have the right connections. Also, the average production budget for an indie film is very low compared to a European film. But Americans are very resourceful; they can usually play several different roles in their films, from editing to producing, just because they want to achieve economies of scale, whereas in Europe, it is much rarer to have a director juggling different positions.
Do you think digitization has had an impact on film circulation?
It is definitely easier for indie filmmakers to distribute their films nowadays. They have access to platforms and VOD. A lot of independent directors now use the day-and-date release because theaters enable you to raise awareness about the film and to help the audience to go and see the film on VOD. Still, income from VOD is very low for independent films. With digital, the problem remains the same! You have to market a film; if you don’t have the money to promote the film, then it is going to be lost within the platform.
Can we predict that digital will foster a common system between the Us and Europe in terms of producing?
No; the markets are too diverse. A lot of European filmmakers go to the Us to shoot because they want to enjoy the freedom of not having the old subsidy system schemes. On the other hand, you have American filmmakers looking for European producers in order to benefit from the whole funding system. So today, there are a lot more cross-connections, but the systems are very different, and I don’t think they will merge, even with digital.
“The biggest challenge is to make a film that will circulate and find an audience”
Julie Bergeron, Cannes Film Market, member of the Us in Progress jury
by Claire La Combe
Cineuropa sat down with Julie Bergeron at Us in Progress Paris to discuss support for independent film and its future prospects
On Wednesday night, the American film "Diverge" by James Morrison was awarded the Us in Progress Award. Just after the ceremony, Cineuropa met up with one of the jury members, Julie Bergeron, head of industry programs at the Cannes Film Market. She elaborated on her views on the topic of support for independent film and its future prospects.
Cineuropa: Why are you part of the Us in Progress jury?
Julie Bergeron: There is a lot of interest in seeing films from Us independents; it is always interesting to look out for films that are made on a low budget and with strong stories. We support the winning producers by offering an accreditation for the Producers’ Network at Cannes to help them to pursue meetings and networking, and hopefully find distribution for their films.
Have you seen any kind of evolution in the selections?
Yes. It seems that they are receiving more and more projects. It is an event that is now well known in the U.S. and Europe. With the link to Poland and the event happening twice a year, we saw an evolution in the diversity of the projects. This year, the diversity was very strong, with a horror-comedy film, a sci-fi movie and an Lgbt romance.
Do you think all of this diversity has a place in the next Producers’ Network?
Yes, of course! We welcome 200 producers at the Breakfast Meetings every morning in Cannes, and they come from all over the world. It is a place where they wish to connect with sales agents, financiers and potential partners to network and discuss their projects. The idea is specifically to support producers who want to connect with the international market. That is the biggest challenge for every filmmaker: to make a movie that will attract a larger audience than in its own country.
Do you see any similarities between American and European independent films?
They are different because in Europe, there is a lot of public support for films, and there is a strong tradition of the author-driven movie. In the U.S., the independents have to find private financing for the films. Plus, they don’t have access to any co-production, because there are no co-production treaties in the Us, whereas in Europe, the movies can access funding from many territories. The Us independents are very much on their own when it comes to financing their films.
What kind of qualities was the jury looking for in the winning film?
We had a lot of discussions; the stages of the presented films were not the same. "Diverge" is the one we found to be the most advanced: it is a low-budget film, and the story – while there is some work still to be done – is really there. There are a lot of genre-film festivals, and hopefully the movie will travel. And also, I think that a young audience driven by sci-fi and genre would like it.
Do you think such an event should be created for European films in America?
I’m not sure; it would be difficult… If a European film does not find a sales agent in Europe, it might be difficult to find one in the USA. The movie would need to have a strong “American” sensibility… There are some work-in-progress (Wip) experiences in Latin America, and they work well. But in Latin America, they don’t have a lot of sales agents; they have to show their films anyway to break through, as they have no alternative. Europeans are more reluctant to show a film that is not yet finished, especially those who are in countries with a strong production capacity. Now the market goes really fast, the windows for the films are getting smaller and smaller, and you have to be sure whenever you show the film that it is the best way to present it to professionals… But wait… I’m not saying that such an event shouldn’t exist!
How do you see the future of the independent film industry?
I think there will always be filmmakers making films independently because it’s a strong medium for expression. In fact, it’s the strongest: you have the sound, the image, the music, the story… You have everything!
Who will be financing them?
Well, you still have strong companies! My hope is that companies that own the distribution platforms, like VoD players, Netflix and all these people, will start investing in the creation process. Canal+ in France takes part in the financing, so if we can bring these “pipes” to invest in the content, then we have a chance, and they are starting to do so, slowly. But it is going to be increasingly driven by big audiences. The pressure there for the kind of independent films that we saw at Us in Progress is enormous. If these small films are not picked up by a big festival and noticed by the industry, their chances of finding distribution are tiny.
"European audiences are more film-educated"
Us in Progress Filmmakers Speak Up
by Claire La Combe
Cineuropa sat down with Jamund Washington ("Queen of Glory"), Nana Mensah ("Queen of Glory"), Baff Akoto ("Queen of Glory") and Gabe Klinger ("Porto, Mon Amour") at Us in Progress Paris to chat about the current and future independent film environment
The four young filmmakers, all living and working in New York City but hailing from diverse backgrounds ranging from Ghana to Brazil, via London, exchanged their opinions on the current and future independent film environment during a chat characterized by idealization and a smidgen of pessimism.
Cineuropa: What is your opinion of film festivals? What role do they play?
Jamund Washington: Anything that gets people to go and sit and watch your story is great.
Nana Mensah: At this point, in the way the game has been shaped, it would not be possible to make independent films without festivals; they are great entry points for films outside the system. There is a sort of renaissance that allows people like me to make films now – the barriers are lower.
Why come here to Paris, to Europe?
Nm: In Paris, I can put my fingers on the pulse of European culture. I think "Queen of Glory" has more meaning here than perhaps in an American market. With its visual aspects and its African topic, our film has links with Europe. We have already received such a warm reception here in France, so I’m hoping that will continue.
Jw: European audiences are more film-educated. We feel like the audience will better understand the stage that we are now at. Not that there are no places where you can find that audience in the United States… I’m just generalising.
Gabe Klinger: Parisian moviegoers are the most sophisticated in the world, and that’s a fact! No one can contest that.
Baff Akoto: The French would contest that (laughs). But seriously, film is culture here, as opposed to predominantly entertainment, which is the case in the Us.
Jw: Yes, culture in the Us is like a small subculture of big entertainment.
Do you have an opinion on the European film-financing system?
BA: I know that the co-production financing system is good. And the soft money in Europe attracts everybody in America from big studio productions to small indie films because it allows a lot of projects to get made that would not necessarily find money. And it provides a framework, too, alternatives that are available for films that would never get financed in America.
How do you feel about digitisation?
BA: In England, a lot of films only get the chance to break out because of digital prints. Anything that helps smaller films to become more visible is good.
Gk: I’m going to be the contrarian. Because digital is not an archival medium, and so we are risking losing all the digital information in 25 years, all these files and DCPs can be corrupted and become inaccessible. In terms of circulation, digital is going to be your best friend, but still… For Porto Mon Amour, we will use digital distribution and on-film copies. It is a luxury; a lot of producers would spend the money on something else. It is the way I want to engage with an audience that still appreciates watching a movie on film. It’s just more expensive.
How do you see the future for independent films?
Jw: I wish I knew – it would make my life a lot easier.
BA: Netflix!
Jw: I don’t know; I think a lot of stuff is going to happen… We should just keep telling stories.
Gk: It is exciting because there is a lot of demand for content right now, and that’s because of the new platform for distribution. Unfortunately, most of it is not in theaters… We will see… The pessimist in me says that the content we are producing now is not going to live very long in cinemas.
BA: Cinema is not going to die, though. No one goes to church, and people still go to the cinema; it is the one place where we still commune.
- 6/15/2015
- by Peter Belsito
- Sydney's Buzz
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