Exclusive: Wild West, the genre-focused joint venture between French film companies Goodfellas (ex-Wild Bunch International) and Capricci, has unveiled a third slate of projects at a co-financing event in Nantes.
The two-day meeting, running June 22-23, comes hot on the heels of a successful Cannes Critics’ Week world premiere for Stéphan Castang’s thriller Vincent Must Die.
The film, which racked up strong sales and reviews, was on Wild West’s inaugural 2021 slate.
Goodfellas co-head Vincent Maraval and Capricci CEO Thierry Lounas created Wild West with the aim of developing and producing a pipeline of fast-turnaround, relatively low budget, French-language genre films.
The initiative grew out of their collaboration on Capricci’s So Film Genre screenwriting residency, which previously developed films such as Just Philippot’s 2020 breakout horror The Swarm.
The six new feature projects include Italian screenwriter and director Giovanni Aloï’s thriller The Golden Rule about a...
The two-day meeting, running June 22-23, comes hot on the heels of a successful Cannes Critics’ Week world premiere for Stéphan Castang’s thriller Vincent Must Die.
The film, which racked up strong sales and reviews, was on Wild West’s inaugural 2021 slate.
Goodfellas co-head Vincent Maraval and Capricci CEO Thierry Lounas created Wild West with the aim of developing and producing a pipeline of fast-turnaround, relatively low budget, French-language genre films.
The initiative grew out of their collaboration on Capricci’s So Film Genre screenwriting residency, which previously developed films such as Just Philippot’s 2020 breakout horror The Swarm.
The six new feature projects include Italian screenwriter and director Giovanni Aloï’s thriller The Golden Rule about a...
- 6/22/2023
- by Melanie Goodfellow
- Deadline Film + TV
After breaking ground in France, Franck Gastambide’s hit Canal Plus show “All the Way Up” (“Validé”), a comedy drama series unfolding on France’s vibrant rap scene, is set to roll out around the world. Canneseries opened Friday with season two of the show.
Studiocanal has sold the edgy title to WarnerMedia Latin America, exclusively for HBO Max, and to Radio-Canada.
HBO Max, which recently launched in 39 territories in Latin America and the Caribbean, will premiere season one of the half-hour series. Radio-Canada’s Ott platform Ici Tou.TV Extra has acquired both the first and second seasons.
The show marked the TV debut of Gastambide, one of France’s most successful directors who previously delivered top-grossing local comedies such as “Porn in the Hood” (“Les Kaira”), “Pattaya” and the latest instalment of the action franchise “Taxi 5.” And like everything Gastambide is doing, the series has gone viral,...
Studiocanal has sold the edgy title to WarnerMedia Latin America, exclusively for HBO Max, and to Radio-Canada.
HBO Max, which recently launched in 39 territories in Latin America and the Caribbean, will premiere season one of the half-hour series. Radio-Canada’s Ott platform Ici Tou.TV Extra has acquired both the first and second seasons.
The show marked the TV debut of Gastambide, one of France’s most successful directors who previously delivered top-grossing local comedies such as “Porn in the Hood” (“Les Kaira”), “Pattaya” and the latest instalment of the action franchise “Taxi 5.” And like everything Gastambide is doing, the series has gone viral,...
- 10/11/2021
- by Elsa Keslassy
- Variety Film + TV
With a body of work that rivals any performer’s across the history of film, French actress Isabelle Huppert can swan in and out of challenging material with nary a scratch to her matchless reputation. Often, her cool intensity and versatility is what makes that material work, most recently exemplified in her Oscar-nominated turn in Paul Verhoeven’s “Elle.” But sometimes you get what amounts to a perfect fit of risk and skill, leading to sheer delight. That’s the case with the fleet French crime comedy “La Daronne,” translated with a winking nudge into colloquial English, and toward its particular narrative, as “Mama Weed.”
No, Huppert is not on the toking end in director Jean-Paul Salomé’s film (not that she couldn’t rock a pot comedy), but rather the dealing side. Huppert plays Patience Portefeux, a widow with money problems and a mother with dementia in an expensive assisted home,...
No, Huppert is not on the toking end in director Jean-Paul Salomé’s film (not that she couldn’t rock a pot comedy), but rather the dealing side. Huppert plays Patience Portefeux, a widow with money problems and a mother with dementia in an expensive assisted home,...
- 7/14/2021
- by Robert Abele
- The Wrap
There’s something off about Mama Weed. On a more superfluous level, there’s the translation from La daronne—the original French title and the street name its protagonist comes to earn, itself an informal term for “mother”—to the title and nickname used in its United States release. Textually, problems emerge from the myriad supporting characters, virtually all of whom play like narrative props. The script seems uninterested in its conflict; the filmmaking lacks the style to glue its pieces together. That shines a light on, and strands, our title character.
She’s Patience (Isabelle Huppert), an Arabic-fluent French translator working for the police’s narcotics unit. At first, she’s humble: a woman proficient in her professional life but underpaid, a widow and mother to two daughters (Iris Bry and Rebecca Marder). She’s behind on her rent and hopes to afford her own mother (Liliane Rovère) better...
She’s Patience (Isabelle Huppert), an Arabic-fluent French translator working for the police’s narcotics unit. At first, she’s humble: a woman proficient in her professional life but underpaid, a widow and mother to two daughters (Iris Bry and Rebecca Marder). She’s behind on her rent and hopes to afford her own mother (Liliane Rovère) better...
- 7/14/2021
- by Matt Cipolla
- The Film Stage
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