Screen International Cannes Day 8

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Security and Netflix hog Croisette chatter Benedict Cumberbatch

Cumberbatch mindfulness doc walks wide

BY ANDREAS WISEMAN

WestEnd Films has closed key deals on Benedict Cumberbatchnarrated mindfulness documentary Walk With Me. The Speakit Films title is directed and produced

by Marc J Francis and Max Pugh.

Rights have gone to the US, as well as to part of a co-acquisition between Gathr Films and Kino Lorber, to Benelux (Cinemien), Germany, Austria and Switzerland (DCM), Australia and New Zealand (Village Roadshow), Latin America (Energia), Italy (Feltrinelli), Japan (Gaga), China (Jetsen Huashi Wangju Cultural Media Co), Hong Kong (Cinehub), Korea (Tcast), Taiwan (Encore) and Thailand (Doc Club).

Shot over three years, Walk With Me goes deep inside a Zen Buddhist community that practises the art of mindfulness with their teacher Thich Nhat Hanh.

Footage of the monastic life is paired with Cumberbatch narrating excerpts from Thich Nhat Hanh’s early journals. WestEnd handles world sales.

A Ciambra the Selects choice

BY JEREMY KAY

Sundance Selects has acquired all North American rights to Jonas Carpignano’s A Ciambra, which premiered this week in Directors’ Fortnight. IFC’s Arianna Bocco negotiated the deal with WME. Meanwhile, in a deal with CAA, IFC Midnight has tied up a North American deal on Devil’s Gate. Milo Ventimiglia stars in the sci-fi thriller.

BY JEREMY KAY

Monday’s night’s devastating attack in Manchester cast a pall over the final throes of a sluggish Cannes market and a festival selection that has lacked exuberance heading into its final stretch.

Flags flew at half-mast on Tuesday and there was a minute’s silence out of respect to the 22 who had died at time of writing.

Security was never far from the agenda in Cannes. Heavily armed police were a constant presence.

The sudden death at the age of 57 of Busan deputy director Kim

Ji-seok at the start of the festival shocked many, as did the passing yesterday of James Bond star Roger Moore.

Meanwhile, Netflix dominated the Croisette and column inches.

The streaming giant sparked a clash between jury president Pedro Almodovar and fellow juror Will Smith, drew derisive whistles when the press screening of its first Palme d’Or entry Okja debuted in the wrong aspect ratio (the festival took responsibility) and closed in on worldwide rights to Bubbles in a deal nearing $20m.

Among other splashy deals, STX boarded international sales on Ridley Scott’s All The Money In The World and Sony acquired most international rights to Amma Asante’s Where Hands Touch.

Annapurna boarded Jacques Audiard’s The Sisters Brothers.

In Co m p e t i t i o n , An d re y Zvyagintsev’s Loveless set the pace, while Yorgos Lanthimos’s The Killing Of A Sacred Deer proved polarising, Michael Haneke’s Happy End underwhelmed and Sean Baker’s Directors’ Fortnight selection The Florida Project drew raves.

AFP

TODAY

Radiance, review, page 6

DIARY Mads for Cannes Catching up with Mads Mikkelsen » Page 4

REVIEWS Kawase emerges The director’s Radiance debuts » Page 6

Final print daily This is Screen’s final print edition for Cannes 2017. For continued coverage, see ScreenDaily.com

BREAKING NEWS Focus has taken world rights to Lenny Abrahamson’s The Little Stranger, excluding the UK, France and Switzerland, where Pathé will distribute.

Gunpowder grabs Mansfield

BY ORLANDO PARFITT

Gunpowder & Sky has acquired US rights to Jayne Mansfield documentary Mansfield 66/67 from French sales outfit Stray Dogs.

Directed by Todd Hughes and P David Ebersole, the film follows the final years of the movie star’s life and her association with Hollywood satanist Anton LaVey. The Ebersole Hughes Company produced. Jake Hanly negotiated the deal on behalf of Gunpowder & Sky.

mk2 checks into Port Authority Cannes took its 70th anniversary family portrait yesterday with more than 100 festival veterans present

Gudnason in frame for Murder Sverrir Gudnason, the actor who plays Bjorn Borg in Janus Metz’s tennis drama Borg/McEnroe, is attached to star in Nordic noir feature Imagine Murder.

The film will shoot in Iceland in 2018 and is inspired by the true story of an infamous Icelandic murder case from 1974, when a young couple were accused of murdering two disappeared men and were systematically broken

down by the police until they confessed. The case recently inspired the documentary Out Of Thin Air. Eagle Egilsson will direct.

Producers are Icelandic veterans Ingvar Thordarson and Julius Kemp, whose credits include box-office hit Life In A Fishbowl.

Deals include Pandastorm for Germany and Scanbox for Scandinavia.

Wendy Mitchell

Bank breaks for Picture Tree

BY ANDREAS WISEMAN

Picture Tree International has sold Wolfgang Petersen comedy Four Against The Bank to CIS (Voxell Media), China (Beijing Shangzhou Media), Spain (Twelve Oaks), Poland (Monolith), ex-Yugoslavia (Blitz), Taiwan (AV Jet) and airlines (Global Eagle). Welcome To Germany has gone to China (Hua Shi), Japan (Cetera International), Eastern Europe (HBO) and Poland (TVP).

BY MELANIE GOODFELLOW

Paris-based mk2 has acquired world sales rights to Danielle Lessovitz’s Port Authority, a love story set in the Bronx, which is due to shoot this autumn.

Lessovitz was an executive producer and ‘key artistic collaborator’ on Vladimir de Fontenay’s Directors’ Fortnight entry Mobile Home.

The deal was struck between mk2 films and the movie’s lead producer Virginie Lacombe of Madeleine Films. Netherlands production house Keplerfilm is co-producing.

The tragic love story follows a teenager living in a youth shelter who falls in love with a woman who was born a boy.

NEWS

CANNES BRIEFS eOne tempts Annapurna Annapurna Pictures and Entertainment One have signed a distribution partnership that will see the latter distribute all Annapurna titles in Canada, Australia and New Zealand, Benelux, Spain and the UK. The deal kicks off with Kathryn Bigelow’s US crime drama Detroit this summer.

Orchard checks BPM The Orchard has followed its US pick-up of Kings with Competition entry BPM (Beats Per Minute), directed by Robin Campillo.

Meanwhile, Samuel Goldwyn Films has picked up North American rights to Holy Air, the Shady Srour comedy that debuted at Tribeca.

Barbara takes to Canada Fledgling Canadian buyer mk2 Mile End has snapped up Un Certain Regard opener Barbara and a host of others: Maryline, Mektoub Is Mektoub, The Guardians, The Midwife, The Apparition, Claire Darling, Back To Burgundy and The Paris Opera.

» Full stories on ScreenDaily.com

VR showcases NEXT dimension

BY TIFFANY PRITCHARD

Alejandro Gonzalez Inarritu’s lauded Carne y Arena was the star of Cannes’ VR offering this year but the Marché’s innovation hub NEXT also offered up plenty of debate and experimentation.

Among companies to showcase VR compilation experiences were Arte, Telefilm Canada, Quebec Film and Television Council, 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 that tells the story of a young girl living with her father in a lighthouse. It was created using Penrose’s software Maestro, which allows their development team to fully collaborate in a virtual space.

Meanwhile, Zach Richter of Within screened an immersive 360-degree rendition of Leonard Cohen’s ‘Hallelujah’, using Lytro’s Immerge camera.

In well-received interactive effort Ximoan, part of the Swiss Digital Showcase, one player lies down wearing an Oculus Rift headset, while another player

Trialling the technology in a VR booth

Ximoan is part of the Swiss Digital Showcase

stands above them and plays a musical instrument, determining what the prostrate player views.

Wide Management showed off a selection of VR projects from their growing programming slate, including Tribeca favourite Sergeant James.

“We don’t have a financial model yet for VR. Our initial goal is to place these VR projects at festivals or location-based VR cinemas,” said Wide Management’s Paul Bouchard. “This is new for

Penrose Studios’ Arden’s Wake

us, but we are excited to support new types of content.”

The expansion into VR from the French film outfit follows a similar move by distributorexhibitor mk2.

For more experienced VR players, monetisation strategies are evolving. Shannon Norrell from Hewlett Packard said episodic content and subscription models were key factors in driving the medium forward, with Taiwanese tech company HTC currently

FilmDoo clicks with Raya Martin

Paris region fetes bumper Cannes and plans Euro filmmaking growth

BY LIZ SHACKLETON

BY MELANIE GOODFELLOW

UK-based streaming platform FilmDoo has acquired global VoD rights to the back catalogue of Filipino filmmaker Raya Martin.

The non-exclusive deal was negotiated with producer Arleen Cuevas of Cinematografica Films.

FilmDoo is also in talks with Cuevas about taking the back catalogue of Adolfo Alix Jr, another leading Filipino indie filmmaker.

Martin’s titles acquired by FilmDoo include Now Showing and How To Disappear Completely.

The former premiered in Directors’ Fortnight at Cannes in 2008 and the latter at Locarno in 2013.

FilmDoo has also acquired VoD rights to Martin’s Buenas Noches, Espana (2011) for Southeast Asia and to Independencia (2009) for the Philippines only.

Valérie Pécresse, French politician and president of the Regional Council of the Ile de France, arrives in Cannes today as part of her drive to make the Paris region Europe’s premier filmmaking destination.

She will be coming in to celebrate 14 Cannes titles supported by the region’s funds this year, including Palme d’Or contenders Redoubtable, BPM (Beats Per Minute) and Rodin as well as Un Certain Regard opening film Barbara.

The region increased its funding for cinema and audiovisual production by 20% this year to an annual $22.5m (¤20m).

“As well as ring-fencing 25% of the funding for auteur films, we’ve also created new funding strands aimed at medium-budget films around the ¤6m [$6.7m]

2 Screen International at Cannes May 24, 2017

Valérie Pécresse

mark, big-budget pictures as well as support for TV series and web series,” said Pécresse ahead of her visit. “We want to become the first region in Europe in terms of welcoming film shoots and supporting audiovisual production. We’re currently the second biggest region in Europe in terms of

putting money into production.”

Pécresse said there were a number of reasons behind the region’s decision to get behind the film and TV sector. As well as the cultural and economic impact, Pécresse hopes productions shot in the region will help repair the damage done to its image by a series of terrorist attacks over the past two years.

“A romantic comedy or a thriller like Mission: Impossible 6, which is shooting in Paris at the moment, can play a big role in attracting visitors,” she said.

Pécresse also leads a statebacked mission to woo international businesses to relocate from London to Paris once Brexit comes into effect. She suggested the region’s film and TV industries may benefit.

experimenting with a subscription fee for its app service Viveport.

The Marché’s head of industry programmes Julie Bergeron admitted that staging such an extensive VR focus was a “challenge”, especially given the “wild west” nature of the emerging VR market, but that it had been wellreceived. She said: “We feel we accomplished our goal of bringing together some of the best players in the field. The VR theatres were consistently full.”

Storytek eyes its selection Storytek, the Tallinn Black Nights Film Festival content, media and tech incubator, is gearing up to select its first projects after receiving backing from the Estonian government.

Also backed by private investors and the festival itself, the initiative is headed up by Black Nights head of development and special projects Sten-Kristian Saluveer.

The strand’s aim is to support alternative storytelling and projects such as shorts, TV and web series as well as features.

A maximum of 20 ideas will be selected for a 10-week incubator programme held at the Estonian festival later this year. They will go on to receive up to three years’ residency in the initiative, including year-round sales and p&a support.

Tom Grater

www.screendaily.com

DIARY

Today

Edited by Tom Grater & Orlando Parfitt

tom.grater@screendaily.com

@ScreenDaily

It’s Mads’ world

Danish star Mads Mikkelsen comes in from the cold with Arctic

Yves Salmon

Attending Cannes this year to talk up survival thriller Arctic — the Armory Films production that is in post and being handled by XYZ Films in the market — Screen finds Danish superstar Mads Mikkelsen in a reflective mood. The Casino Royale, Doctor Strange and Rogue One actor has come a long way since he first attended the festival in 1999 along with compatriot Nicolas Winding Refn, when the pair tried to drum up attention for their second collaboration, Bleeder.

“I hadn’t ever heard of Cannes and I didn’t know what a film review was,” recalls Mikkelsen.

“We were standing on the Croisette handing out DVDs, saying, ‘Do you want to watch this film?’

We had no idea how it worked.

I was wearing big woollen socks, it was 35 degrees.”

A decade later, the two would be Cannes royalty. Refn took the festival by storm in 2011 with Drive, which won him the best director prize, and in 2012 Mikkelsen picked up the best actor award for Thomas Vinterberg’s The Hunt.

Tomorrow

Mostly sunny

Sunny

High 24°c (75°f)

High 24°c (75°f)

In conversation with…

MOULY SURYA (Marlina The Murderer In Four Acts, Directors’ Fortnight)

Arctic

Last year, Mikkelsen was invited back of two major Hollywood to be on the festival’s Competition blockbusters, he fancied a different jury, a role that he relished. “I kind of challenge. “I was reading watched all these wonderful films scripts and they were quite repetiand met all these fantastic people. tive,” he recalls. “When I read this We were very proud of the films we one, it turned the pages itself. It awarded,” he says, adding that was unlike anything I’ve seen getting the inside track was coming out of America.” an enlightening experience.

Production was tough, “There were times when we, with snow storms battering as a jury, didn’t get a film at all, the Iceland shoot. “It was but the crowds and critics beyond anything loved it — it’s crazy I’ve done before,” how it works.” says the actor. “I Arctic was an was 180 years exciting proposiold when we tion for Mikkelsen. finished.”

Coming off the Tom Grater Mads Mikkelsen

#CannesChatter xxxxx

Top tweets from the Croisette #Cannes2017 Haneke: Can anyone outdo my fucked-up Cannes movie HAPPY END, with its cruel perversions and teen sociopaths?

Lanthimos: Hold my DEER Writer Kyle Buchanan� @kylebuchanan

THE FLORIDA PROJECT shows fluidity and innocence of childhood; perspective always present with the kids; scenes always honest about reality.

Film editor Karsten Meinich� @KarstenM

Lads The Killing of a Sacred Deer is bloody good. Barry Keoghan take a bow. #Cannes2017

Director Guillermo del Toro tweeted a selfie with writer Neil Gaiman

4 Screen International at Cannes May 24, 2017

Galway Film Fleadh programmer Gar O’Brien� @Gar_O_Brien

Mouly Surya (second from right) on the set of Marlina The Murderer In Four Acts

Indonesian filmmaker Mouly Surya is in Cannes with her third feature, Marlina The Murderer In Four Acts, which premieres in Directors’ Fortnight today.

Set on the island of Sumba in eastern Indonesia, the film follows a young widow who embarks on a journey in search of justice after being attacked by robbers.

Starring Marsha Timothy, the film was produced by Indonesia’s Cinesurya and Kaninga Pictures with France’s Shasha & Co Production, Thailand’s Purin Pictures, Malaysia’s Astro Shaw and Singapore-based streaming platform HOOQ. How did the project originate?

It fell into my lap. I was on an awards jury with [veteran Indonesian director] Garin Nugroho who said he had this story about a woman in Sumba and it needed a female director.

He said he wanted me to do it because he couldn’t imagine what I would do with it. He sent me a five-page treatment and we went from there.

What do you think you brought to his story?

It was a challenge at first because it’s about a woman in the countryside and I’m a metropolitan girl from Jakarta. But then I went to visit Sumba and was amazed by it. The landscape made me think of westerns and

Japanese samurai movies, so I’ve brought those genres into the film. I also wanted to show the diversity of Indonesia. Sumba is only one hour’s flight from Bali but has its own religion.

How is independent cinema faring in Indonesia?

It seems to be doing really well — and the great thing is that it’s not always the same people or focused on Jakarta. We have new directors emerging all over Indonesia. We have more cinemas now and private investors, but we don’t get government support.

The challenge is always the marketing.

An SVoD platform is a co-producer on your film. What do you think about the Netflix controversy in Cannes?

HOOQ is happy for us to have a theatrical release before they stream the film. As for Netflix…

I’ve always said the experience of watching a film in a theatre is very different from watching it on a TV or phone. But cinema is changing and the way people consume films is also changing. What concerns me is how this will affect the way films are financed and produced.

Liz Shackleton (Left) Marlina The Murderer In Four Acts

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Venezia 30.08 / 9.09 2017 www.labiennale.org

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THE PLACE TO BE FOR Producers Sales Agents Investors Financiers Distributors Filmmakers Institutions Post-production companies Info: Pascal Diot +33 (6) 07269033 indoffice@labiennale.org

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09/05/17 12:47

REVIEWS Reviews edited by Fionnuala Halligan finn.halligan@screendaily.com

Golden Years Reviewed by Allan Hunter

Radiance Reviewed by Wendy Ide

COMPETITION

Naomi Kawase uses the tentative connection between a partially sighted photographer and a woman who writes film audio descriptions in Radiance (Hikari), a finespun exploration of beauty, impermanence and loss. Fans of Kawase’s small-scale personal dramas will warm to the film’s wistful tone and the plaintive prettiness of the photography. Perhaps a little too mild-mannered to enjoy breakout arthouse success, the film should nonetheless interest distributors in territories with an appetite for decorous Japanese cinema.

Misako (Ayame Misaki) is crafting an audio description of a film for visually impaired audiences using discussions with blind advisers. She reads along with the movie, and the panel feeds back with polite comments.

All except one. Nakamori (Masatoshi Nagase), once a famous photographer until a disease stole his sight, is blunt. His criticism rings across the room like a slap.

Even as she recoils from him, Misako is fascinated with this stern man who once made a living capturing beauty, while coping with loss in her own life — grieving for a father who disappeared several years ago and dealing with a mother with developing dementia.

Sent to Nakamori’s apartment to deliver a piece of magnifying equipment, Misako spontaneously describes the light in the room to him and he briefly softens at her words. But they clash at the next audio commentary session. Fate throws them back together, however, and she is on hand to help him at the moment when his last sliver of sight is consumed by his condition. A curious, muted bond develops between them. An intimate moment in which he ‘sees’ her face with his hands is more erotically charged than the kiss they later share.

Frequently bathed in honeyed, magic-hour light, with a diffuse, gauzy quality, the film looks terrific. Equally impressive is the sound design, which captures the buffeting world around Nakamori so effectively that the rueful piano-motif score seems grating by comparison. The film’s use of visual metaphors is also a little heavyhanded: a burning photograph of a man’s eye and a collapsing sand sculpture ensure that we don’t miss Radiance’s comment on the fragility of beauty.

SCREEN SCORE

6 Screen International at Cannes May 24, 2017

Jap-Fr. 2017. 101mins Director/screenplay Naomi Kawase Production companies Comme des Cinémas, Kumie International sales mk2 films, intlsales@mk2.com Producers Naoya Kinoshita, Masa Sawada, Yumiko Takebe Cinematography Arata Dodo Editor Tina Baz Music Ibrahim Maalouf Sound Roman Dymny, Boris Chapelle, Olivier Goinard Main cast Masatoshi Nagase, Ayame Misaki, Tatsuya Fuji, Kazuko Shirakawa, Misuzu Kanno

Cannes may be celebrating André Téchiné for his 50year career, but the filmmaker shows little sign of resting on his laurels. Golden Years (Nos Années Folles) is a rare period drama from the director, in which true events serve as the basis for a tragic love story.

Made with typical sensitivity and craft, it is a film that allows events of the past to speak directly to the present.

Paul Grappe (Pierre Deladonchamps) is devoted to seamstress Louise (Céline Sallette) and she will do anything for him. He goes off to the trenches of the First World War but, after a minor injury, decides not to return. Desertion is punishable by death; the solution is the creation of a female alter ego, ‘Suzanne’, which provides him with a cloak of invisibility in Paris.

Deladonchamps (Stranger By The Lake) has such a lean frame and delicate features that he is able to successfully transform himself into a woman. Indeed, a potent element of Golden Years is the way it explores identity, gender and the struggle to truly be oneself.

This is a film about a couple and Sallette is equally crucial in making their story work. Her understated performance makes us believe in Louise’s devotion to Paul and willingness to adapt to their changing circumstances.

In the 1920s, their story becomes a stage extravaganza. Preparations for the production, presided over by master of ceremonies Samuel (Michel Sau), allow Téchiné to embrace a more colourful style, but is also a useful device to explain what really happened. In order to remain with Paul, Louise was obliged to accept everything about his new life. When an amnesty left Paul free to be himself, his struggle to regain a sense of who he is pushes the loyal Louise away, and turns a love story into a tragedy.

Téchiné and cinematographer Julien Hirsch create scenes filled with visual information and a sense of perspective on the characters in the story. Unobtrusive in its evocation of the past, Golden Years has an appealing modesty to its execution. The focus is on two individuals, the events that created their golden years and how they came to a crushing end.

SPECIAL SCREENING Fr. 2017. 103mins Director André Téchiné Production company ARP International sales Celluloid Dreams, info@ celluloid-dreams.com Producers Michele Pétin, Laurent Pétin Screenplay André Téchiné, Cédric Anger, based on La Garconne Et L’Assassin by Daniele Voldman and Fabrice Virgili Cinematography Julien Hirsch Production design Katia Wyszkop Editor Albertine Lastera Music Alexis Rault Main cast Pierre Deladonchamps, Céline Sallette, Grégoire Leprince-Ringuet

★★★ www.screendaily.com

» Radiance p6 » Golden Years p6 » The Day After p7

» The Villainess p7 » The Florida Project p8 » The Workshop p8

» Promised Land p9 » Napalm p9 » Montparnasse Bienvenue p10 » Out p10

The Villainess Reviewed by Allan Hunter

The Day After Reviewed by Wendy Ide

COMPETITION

Pretty much the archetypal Hong Sangsoo film, The Day After combines many of the director’s preferred themes: mistaken identity, infidelity, repetition and long soju-­ sodden conversations over dinner tables. Yet all but Hong’s most dedicated fans might find this story a little too diffuse, its rewards buried beneath the wordy surface.

This is one of two films by Hong in Cannes this year; the other, Claire’s Camera, was had an out-of-competition slot. Given he also had a film in Competition at Berlin, he might be spreading himself a little thinly. Neither as formally playful as Right Now, Wrong Then, nor as intriguing and elliptical as Yourself And Yours, it is a minor addition to his canon. Although The Handmaiden’s poised star Kim Minhee may raise its profile, international theatrical prospects for The Day After might be limited.

Shot in black and white in a series of long takes, The Day After explores the relationship between the boss of a ­publishing company (Kwon Haehyo) and three women.

A fractured timeline makes the plot needlessly complicated. An opening shot introduces us to the man and his wife (Cho Yunhee). “Your face has changed,” she says, troubled, before accusing him of having an affair. He laughs, embarrassed, and avoids the question.

We meet him again, with his girlfriend Changsook (Kim Saebyuk), his assistant at his company. Drunk, he hauls her into a stairwell where they kiss and fawn over each other. Another shot shows the man, alone, sitting on the park’s municipal fitness equipment and weeping.

The film’s main body comes when we are introduced to his new employee, self-possessed Areum (Kim Minhee).

Over lunch, she expertly panders to her boss’s ego before deflating him with a discussion about the nature of reality that flusters him. “That is cowardly and lazy,” Areum says sweetly in response to his answer, one of several lines repeated elsewhere in a different context. It is a sly little device that suggests the man is doomed to repeat himself.

A violent confrontation involving the man’s wife, who assaults Areum, having mistaken her for the previous assistant — and her husband’s lover — triggers the sojufuelled introspection. Sparse music does little to tie together this impressively acted but fragmented story.

SCREEN SCORE

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S Kor. 2017. 92mins Director/screenplay Hong Sangsoo Production company Jeonwonsa Film Co International sales Finecut, cineinfo@finecut. co.kr Cinematography Kim Hyungkoo Editor Hahm Sungwon Music Hong Sangsoo Main cast Kwon Haehyo, Kim Minhee, Kim Saebyuk, Cho Yunhee

MIDNIGHT SCREENINGS

Those of a sensitive disposition will run for the nearest exit within the opening minutes of The Villainess (AkNyeo). As our kick-ass heroine disposes of a small army of opponents, you feel every vigorous ejaculation of blood spatter. Those who remain, however, will discover a ­satisfyingly convoluted revenge thriller in which the dynamically staged action sequences are a highlight rather than the film’s sole raison d’etre.

The Villainess has more in common with the films of Park Chan-wook than the exhausting fisticuffs of The Raid. Commercial prospects should be lively.

The film feels so visceral because the fight scenes put you in the heart of the action: fast editing, nimble handheld camerawork and POV shots mean there is no sense of distance. Director Jung Byung-gil uses such moments sparingly, allowing plenty of story to provide context and then unleashing his team of stunt performers and fight choreographers like a pack of ferocious dogs that have been let off the leash.

Trained as a merciless killer by a gangland boss, pregnant Sook-hee (Kim Ok-vin) is captured and recruited by the Korean Intelligence Agency with the promise that one day she will be allowed to enjoy a normal life. Reinvented as one of their top agents, years later she is put into the field as a single mother and professional actress.

Her endearing new neighbour Hyun-soo (Bang Sungjun) is also an undercover agent who has a mission to win her heart and become part of her cover.

Sook-hee’s new identity is also a staging post for flashbacks — the most important elements of her past are her father’s murder and a relationship with gangland mentor Joong-sang (Shin Ha-kyun). While there is enough going on to leave possibilities for an entire franchise, it lays plenty of emotional groundwork.

Kim Seo-hyung impresses as Sook-hee’s icy handler Chief Kwon, Shin Ha-kyun makes for a suitably diabolical villain and Bang Sung-jun has the necessary charm for a character crucial to the more sentimental side of the tale. Kim Ok-vin proves she could give Scarlett Johansson and Angelina Jolie a run for their money.

A motorbike chase-cum-sword fight takes your breath away, and the climax on a speeding bus is sensational.

S Kor. 2017. 129mins Director/producer Jung Byung-gil Production companies Apeitda International sales Contents Panda, nhkim@its-new.co.kr Executive producers Kim Woo-taek Screenplay Jung Byunggil, Jung Byeong-sik Cinematography Park Jung-hun Production design Kim Hee-jin Editor Heo Sun-mi Music Koo Ja-Wan Main cast Kim Ok-vin, Shin Ha-kyun, Bang Sungjun, Kim Seo-hyung

★★ May 24, 2017 Screen International at Cannes 7

REVIEWS

The Workshop Reviewed by Dan Fainaru

The Florida Project Reviewed by Tim Grierson A remarkable study of poverty, family and personal responsibility, The Florida Project illustrates how life on the margins affects one impressionable six-year-old. In his follow-up to Tangerine, director Sean Baker again incorporates non-professional actors to explore a corner of the world that viewers might otherwise ignore.

Premiering in Directors’ Fortnight, The Florida Project will benefit from strong reviews, which, coupled with arthouse enthusiasm for Tangerine, should make this a festival and specialty favourite. Willem Dafoe’s presence in the cast only further raises the film’s commercial profile.

Set in the outskirts of Orlando, Baker’s drama takes place at a couple of low-rent motels occupied by families in dire financial straits. Child actress Brooklynn Prince plays Moonee, a young girl unaware of the fact her immature mother Halley (Bria Vinaite) has turned to prostitution to make ends meet. Along with her friend Scooty (Christopher Rivera), Moonee spends her summer getting into trouble, never far from the watchful eye of the motel’s gruff but considerate manager (Dafoe).

After shooting Tangerine on an iPhone, Baker uses 35mm here, bringing vividness to the landscape. But this is no ‘poverty porn’. Instead, the film amplifies the characters’ meagre surroundings while also suggesting that, for Moonee and her friends, this rundown world has its own kind of familiar magic.

The film stays dispassionate about Moonee’s antics, which are often infuriating. Running around unsupervised, she and her friends are just kids who don’t know any better. As the story progresses, we see they are merely mimicking the behaviour of their young parents.

Hired by Baker after he saw her on Instagram, Vinaite gives a volatile performance as Moonee’s mother. Basically a big kid herself, Halley is not raising her child so much as recruiting a best friend. Vinaite relishes playing such a spirited, insufferable soul but, once the authorities intervene, she locates the character’s caged-animal ferocity, giving us a hint of how she has managed to survive.

Dafoe exudes exhaustion and patience, but, as Moonee, Prince delivers a sketch of feral childhood that makes one grieve for the difficult life Moonee has ahead and the lack of means she has to change it.

8 Screen International at Cannes May 24, 2017

DIRECTORS’ FORTNIGHT US. 2017. 112mins Director/editor Sean Baker Production companies June Pictures, Cre Film, Freestyle Picture Company International sales Protagonist Pictures, info@protagonistpictures. com Producers Sean Baker, Chris Bergoch, Shih-Ching Tsou, Andrew Duncan, Alex Saks, Kevin Chinoy, Francesca Silvestri Executive producers Darren Dean, Elayne Schneiderman Schmidt Screenplay Sean Baker, Chris Bergoch Cinematography Alexis Zabé Production design Stephonik Youth Main cast Willem Dafoe, Brooklynn Prince, Bria Vinaite, Valeria Cotto, Christopher Rivera, Caleb Landry Jones

Tackling once again the burning topics of the day — in this case France at a political and demographic crossroads — with subtle intelligence and a profoundly humanistic touch, Laurent Cantet (The Class) delivers a film that should connect strongly with the arthouse and festival crowds that have admired his previous work. The Workshop (L’Atelier) is the story of a successful crime novelist invited to a small town to take charge of a writing project and is part social survey, part political documentary, with the potential flicker of romance and the touch of a thriller.

Cantet’s latest conveys a stunningly authentic portrait of French youth today; their class, racial and occupational concerns. The seven young people under the tutelage of author Olivia (Marina Foïs) represent a snapshot of the country’s colourful young population, none particularly well-read or with any writing experience.

Charged with producing a book to promote the image of La Ciotat, a small seaside town located inbetween Marseille and Toulon, Olivia soon discovers the one subject that interests all her students is murder, although they can’t decide how to write about it.

As their work progresses, the discrepancy between their world and that of their tutor becomes painfully evident. No less visible are the fissures separating these young people, the grasp they have on their lives and the one common denominator they all share: the desire to break away from it.

Each student quickly reveals a distinct personality, closely observed by the camera. The most remarkable of the seven is Antoine (Matthieu Lucci), whose rebellious conduct is in conflict not only with Olivia but his peers.

It is Antoine who will be the one to finally define that youthful unease with attempting to find a place in a society that does not acknowledge his existence.

Working from a script written with Robin Campillo — whose own BPM (Beats Per Minute) is featured in Competition this year — Cantet’s most impressive achievement is integrating the characters of his amateur performers with the parts they play. The use of several cameras for the entire shoot (a technique used in The Class) ensures that no detail of their performances is lost.

UN CERTAIN REGARD Fr. 2017. 113mins Director Laurent Cantet Production companies Archipel 35, France 2 Cinema International sales Film Distribution, agathe@filmsdistribution. com Producer Denis Freyd Screenplay Robin Campillo, Laurent Cantet Cinematography Pierre Milon Editor Mathilde Muyard Music Bedis Tir, Edouard Pons Main cast Marina Foïs, Matthieu Lucci, Warda Rammach, Issam Talbi, Florian Beaujean, Mamadou Doumbia, Julien Souve, Mélissa Guilbert, Olivier Thouret, Lény Sellam

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Napalm Reviewed by Jonathan Romney

Promised Land Reviewed by Sarah Ward With Promised Land using the rise and fall of Elvis Presley to look at the fate of the US since his death, framing its thesis through his lyrics is simple: what was once a hunk of burning love is now nothing but a hound dog. Indeed, were his point not so pertinent, director Eugene Jarecki could be accused of brandishing a suspicious mind in his latest polemic against the US societal reality. The US is caught in a trap, he posits, and it can’t get out.

Unsurprisingly, in a documentary that follows Jarecki driving Elvis’s Rolls Royce across country before the 2016 presidential election, metaphors flow freely; however, it possesses an intellectual hit rate on a par with its subject’s musical successes. Jarecki’s piercing ideas on fame, power, money and corruption, and a succession of talking heads including Alec Baldwin, David Simon and Emmylou Harris, should help it swagger towards an audience beyond its assured festival berths.

As Jarecki rolls from Elvis’s birthplace of Tupelo, Mississippi, through Memphis, New York, Hollywood and Las Vegas, his passengers show affection for the singer, but the film delves deeper — and bites harder. Soundbites dubbing the US “the bloated, white jumpsuit Elvis, who forgets words to the song, shoots out the TV and pops a bunch of Percocets” make an impression, but the film has more than attention-grabbing on its mind.

With credit due to its quartet of editors and the clips they have assembled, Promised Land flits deftly from biography to impact study to essay on the boom and bust of happiness-peddling myths, drawing a clear line from the King to the current US leader. It is an account of a democratic country all too eager to embrace its versions of royalty, and an exploration of cultural appropriation.

The film is an engaging and informative journey and, while Jarecki poses questions rather than presents answers, he has a solution to what could have been the documentary’s flattest note: its penchant for slathering its central point across the screen as thickly as the peanut butter in one of Elvis’s beloved sandwiches. When other musicians climb in to pay tribute, their entertaining interludes offer a break from the bleak but crucial underlying message. But in shaking his hips and embodying the American dream to the masses, didn’t Elvis do the same thing?

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SPECIAL SCREENING US-Ger-Fr. 2017. 117mins Director/screenplay Eugene Jarecki Production companies Ghost In The Machine, Charlotte Street Films, Backup Studio International sales United Talent Agency, shumakern@unitedtalent. com Producers Christopher St John, David Kuhn, Eugene Jarecki Co-producer Manuel Chiche Executive producers Barbara Biemann, David Atlan Jackson, Jean-Baptiste Babin, Joel Thibout Cinematographers Etienne Sauret, Tom Bergmann Editors Simon Barker, Elia Gasull Balada, Alex Bingham, Laura Israel Music Robert Miller, Antony Genn, Martin Slattery

SPECIAL SCREENING

In documentaries such as his classic Holocaust statement Shoah, Claude Lanzmann has shown the power of the voice and narrated memory to tell stories where visual images can prove inadequate or inappropriate. It is a strategy that shows its limitations in Napalm. Ostensibly a record of Lanzmann’s recent visit to North Korea, it is a film frustratingly low on images and built around the director’s long-winded account of a romantic encounter he had there in 1958. Viewers hoping for revealing images of a little understood country will feel shortchanged, as much of the film rides on Lanzmann, the raconteur who has lived through extraordinary times.

The film begins with a stopover in Beijing’s Forbidden City, as Lanzmann, narrating in voiceover, awaits longdeferred permission to shoot in North Korea. He and DoP Caroline Champetier film anyway, showing us corridors of identical skyscrapers in North Korean capital Pyongyang, a city mostly rebuilt after its destruction in the Korean War. Lanzmann offers some intriguing insights on the real project behind the society initiated by late communist leader Kim Il-sung; notably the idea that this nation represents an attempt to stop time. His footage of North Korea now, supplemented by Iris van de Waard’s still photos, have enjoyable travelogue interest.

After a section focusing on the devastating effect of the war on civilians in the north, Lanzmann begins the story that takes up a good chunk of the film, narrating to camera with a mischievous glint in his eye. It concerns his first visit to North Korea in 1958 as a member of the first western delegation, and involves him receiving vitamin jabs from a beautiful Korean nurse, a clandestine rowing trip and a poignant exchange in which the nurse’s one non-Korean word explains the film’s title.

The punchline of the narrative is poignant, but the story could have been edited more economically to make its points about old and new North Korea. As it is, you understand that filming possibilities on his latest trip must have been limited; Lanzmann is visibly testy with his official escort. Even so, Napalm feels like a missed opportunity to get deeper under the skin of a nation Lanzmann clearly knows better than most.

Fr. 2017. 100mins Director Claude Lanzmann Production companies Margo Cinéma, Orange Studio International sales Orange Studio, aida. benelkhadir@orange.com Producer Francois Margolin Cinematography Caroline Champetier Editor Chantal Hymans

May 24, 2017 Screen International at Cannes 9

REVIEWS

Out Reviewed by Wendy Ide

Montparnasse Bienvenue Reviewed by Lisa Nesselson A fearless, powerhouse performance by Laetitia Dosch infuses every frame of Montparnasse Bienvenue (Jeune Femme), the kinetic, incident-packed portrait of rudderless yet resilient Paula, a 31-year-old woman in emotional freefall. This first film by writer-director Léonor Serraille is full of snap as energetic scatterbrain Paula ricochets from situation to situation after being dumped by her lover of a decade, her former teacher and prominent photographer Joachim (Grégoire Monsaingeon).

We meet Paula pounding on a door — first with her fist and then with her forehead — demanding to be let in. In a sequence at the hospital where the resulting gash is treated, we witness Paula’s manic gift for navel-centred gab and her oblivious knack for casually insulting the very people trying to help her. She is a walking train wreck who manages to lurch from station to station as we look on. There is never a dull moment.

Paula always has a line of banter and she improvises as if her life depends on it. She probably tells half-adozen lies before lunch but always means well and sees what most people call “reality” as a neverending flux to be selectively edited or embellished.

Since Joachim, the subject of her intense lost affection, is just a voice on the phone or his apartment intercom, it is hard to say whether he contributed to her bereft hysteria. Joachim definitely shot photos of Paula, some of them acclaimed. They once lived together in Mexico and she now has his cat that he would like her to return.

The French title means ‘young woman’ and the English title is that of the large public-transport hub serving the Paris neighbourhood Paula wanders with a few possessions, essentially homeless. Since she is both irresponsible and resourceful, she bounces from temporary crash-pad to cheap hotel to modest but acceptable lodgings.

The film is shot and edited so as to give cohesion to the verbal and physical ramblings of a central character who — by choice or necessity — never stays put for long. Dosch makes Paula’s sometimes implausible trajectory seem utterly true-to-life. A small parade of supporting characters is etched via good casting and effective dialogue. Paris locations, by day and by night, are nicely served.

No normally constituted person would want to live with Paula, but it is a memorable experience to share her life for 97 minutes.

10 Screen International at Cannes May 24, 2017

UN CERTAIN REGARD Fr-Bel. 2016. 97mins Director/screenplay Léonor Serraille Production company Blue Monday Productions International sales Be For Films, sales@ beforfilms.com Producer Sandra da Fonseca Cinematography Emilie Noblet Editor Clémence Carré Production design Valérie Valéro Music Julie Roué Main cast Laetitia Dosch, Grégoire Monsaingeon, Erika Sainte, Souleymane Seye Ndiaye, Léonie Simaga

When fifty-something Agoston (Sandor Terhes) is cut loose from his position in a power plant, he loses a sense of purpose and identity, along with the job. His journey from Slovakia to the Baltics is as much about reconnecting with and rebuilding himself as it is about searching for work. A keen angler, Agoston’s ambition to catch a really big fish is both metaphorical and literal.

A first feature from Gyorgy Kristof, Out combines a striking visual sense with spikes of weirdness. This amiable, offbeat odyssey plods over terrain already well trodden by films such as Bent Hamer’s O’Horten and much of Aki Kaurismaki’s oeuvre. Festival interest, after the film’s premiere in Un Certain Regard, is a given. But like its shambling, taciturn protagonist, Out might be too aimless to venture far from its familiar territory.

Strong locations throughout are never bettered by the backdrop of the power station at which Agoston has toiled most of his adult life. Soviet-era brutalism is bullied into cheerfulness with a bold palette, with accents of turquoise and fire-alarm red. A pleasing shot pans along the workers’ wearied faces as they learn 40% of them will be sacked, and then swivels to gaze up inside a giant cooling tower. Dreams and lives are going up in smoke.

At home, Agoston awkwardly fills the space his wife was used to having to herself. A keen fisherman living in landlocked Slovakia, he is drawn to water and decides to move to Latvia for a job as a welder in a shipyard. There is a hitch when he arrives — the secretary has no record of the job. He must have been scammed, she tells him.

Encounters include a bearded drunk grieving the death of the pet he inadvertently trod on; a woman who carries around a stuffed earless rabbit (until it ends up in Agoston’s possession) and a highly strung Russian man and his surgically enhanced wife. Agoston manages to keep hold of the rabbit, but slowly loses the rest of his possessions. What remains — and seems more powerful than any human connection — is his desire to catch a big fish.

Too episodic to offer a fully satisfying character study, the film’s blurry vignette structure sometimes feels like an evening of bar-room anecdotes that never quite get to the point. That said, Agoston, with his shy smile, his appetite for discovery and his stubborn attachment to a moth-eaten taxidermy rabbit, is a likeable travelling companion on this journey to nowhere and everywhere.

UN CERTAIN REGARD Slov Rep-Hun-Cz Rep. 2017. 88mins Director Gyorgy Kristof Production company Sentimentalfilm, Endorfilm, KMH Film International sales Cercamon, sebastien@ cercamon.biz Producers Marek Urban, Ferenc Pusztai, Jiri Konecny Screenplay Gyorgy Kristof, Eszter Horvath, Gabor Papp Cinematography Gergely Poharnok Editor Adam Brothanek Music Miroslav Toth Production design Branislav Mihalik Main cast Sandor Terhes, Eva Bandor, Judit Bardos, Ieva Norvele-Kristof, Guna Zarina, Viktor Nemets, Ieva Aleksandrova-Eklone, Tibor Gaspar

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CANNES IN PICTURES

Cannes celebrates the best of British Where When Who Why

Gray D’Albion Beach, Cannes Monday, May 22 British Film Commission, Film London, Festival Formula, Twickenham Studios and We Are UK Film Celebrating the UK film community

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Sponsored by

GUEST LIST 1 Alison Small The Production Guild Kate Kinninmont Women In Film & Television (UK) Sarah McKenzie Creative Screen Associates 2 Cassian Elwes producer Wayne Marc Godfrey and Catherine Freeman The Fyzz Facility 3 Liam Cunningham actor, director and producer Andy Paterson Sympathetic Ink 4 Laurence Gornall producer Simon Crowe and Fumie Suzuki Lancaster SC Films International 5 K aren Needham, Col Needham IMDb 6 Maria Walker Twickenham Studios Katie McCullough Festival Formula Adrian Wootton Film London and British Film Commission 7 Chiara Ventura Ardimages UK Manon Ardisson Ardimages UK Helen Gladders Gingerbread Pictures 8 Grimar Jonsson Netop Films Helen Ahlsson Swedish Film Institute 9 Nicole Mackey HanWay Films, Kathleen Drumm Toronto International Film Festival 10 Chris Auty CAP FILMS Victoria Thomas Polkadot Factory Patrick Cassavetti Shaftesbury Films

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May 24, 2017 Screen International at Cannes 13

Theo Wood

In association with

ROUND TABLE GREEN PRODUCTION

The green room Film commissioners, producers and studio owners discussed how to encourage sustainable production in the industry at the Green Production Round Table, held in association with Sargent-Disc and Screen International

T

he steps that film and TV producers could and should be taking to adopt a more eco-friendly approach to making content was the agenda for the Green Round Table, hosted by Screen International and Sargent-Disc at the Radisson Blu hotel in Cannes on Monday morning. While participants all agreed the industry needs to adopt more sustainable practices and cut the carbon footprint for production, there were different thoughts on how to achieve it in a discussion that was notable for everyone’s desire to help bring about change.

At the start of the discussion, it was pointed out that the adoption of common standards would be a significant step, given the variety of carbon calculators currently available to producers. “Every country and even regions [in Europe] are developing their own calculators, which doesn’t make sense,” noted Birgit Heidsiek, editor of the Cine-Regio Green Report 2017. “For European co-productions, it would be good if we had one carbon calculator that everyone used.”

Raising awareness among producers and the production community is an ongoing challenge, even with the availability of free green workshops, but educating people coming through film schools was cited as a key step that could be taken, with one panellist noting some films schools in France and Belgium are already offering such courses. Joanna Gallardo of Ile-de-France Film Commission and Ecoprod said it was technical crew, including line producers and production managers, who were most commonly asking for advice and training on sustainability practices “because they are the ones who every day can see the waste on the shoot, they can see the impact.

The producer can sometimes be a bit far away from that.”

Convincing independent producers, who are focused on raising finance and keeping projects together, to adopt green practices was a difficult process, and the industry needs to get products onto the market that make it easier for producers to go green. “We need to get the whole chain involved. It should not just be on the shoulders of the producers and the technical crew,” said Gallardo, who observed producers need to be convinced that taking green steps can help

14 Screen International at Cannes May 24, 2017

Green Production Round Table delegates

save money. Laurence Sargent of Sargent-Disc added: “If you’re looking at your budget as a head of department, you’re looking at how much money you have to reach the end of the shoot. But if we can concentrate the knowledge or decision-making — who’s sitting there saying yes or no to procurement? Never mind your financial controller, who’s your carbon controller?”

Green ratings Soft measures that could be adopted include taking paper out of the production through digital tools, car-pooling, using electric cars and renewable energy where available, and banning plastic cups and bottles. “I cannot force producers to change,” said Luca Ferrario, film fund manager of Trentino Film Fund and Commission,

which has introduced a T-Green Film rating system for film and TV productions.

Bringing an added financial incentive, the certificate is based on a points system around categories including energy conservation, waste management and catering. In Trentino’s latest round of funding applications, nine of 13 applications signed up. “That was way more than I was expecting,” Ferrario said. “That means they care; they are willing to try.”

Anna Serner, CEO of the Swedish Film Institute, observed that funding bodies needed to get more involved. “We need to start awareness in the funding part.

We need to be the ones having the conversation with producers. If we have simple guidelines, we can have an active role, and you can then take it down to the regional basis,” she said.

“Intelligibility and accessibility is key,” added Adrian Wootton, CEO of Film London, which runs Green Screen, an environmental bestpractice initiative that Luca Ferrario of Trentino Film Fund

‘It would be good if we had one carbon calculator’ Birgit Heidsiek, Cine-Regio Green Report 2017

has been adopted by productions such as Netflix’s The Crown and BBC Films’ City Of Tiny Lights. “There is an interest and desire from producers but you need carrot and stick. For instance, the UK broadcasters have adopted certain policies and said if you don’t adopt [sustainability guidelines], you don’t get the money.”

“The starting point is always the hardest,” noted Bogdan Tomassini-Buechner of Digital Purchase Order. “Productions complain that they have no money, no time, so it would be a good starting point to help them with clear and simple guidelines that they can follow within the normal process of production, so s they don’t have to change the process.” ■

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Laurence Sargent Sargent-Disc Laurence LaďŹ teau Ecoprod Joanna Gallardo Ile-de-France Film Commission and Ecoprod

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May 24, 2017 Screen International at Cannes 15

Theo Wood

GUEST LIST

SCREENINGS Edited by Paul Lindsell

paullindsell@gmail.com

the price of his dreams.

FESTIVAL

Critics’ Week Miramar

AND PRESS

MOBILE HOMES

(Canada) 104mins.

Dir: Vladimir de Fontenay. Cast: Imogen Poots, Callum Turner, Callum Keith Rennie.

A wanderlust young mother must decide between her recklessly hypnotic boyfriend and the unspoken promise of finding a solid home for her son.

08:30 LA FAMILIA

(Venezuela) 84mins.

Dir: Gustavo Rondon Cordova. Cast: Giovanny Garcia, Reggie Reyes.

Twelve-year-old Pedro roams the streets with his friends, raised in the violent, urban atmosphere around him in a workingclass district of Caracas.

After Pedro seriously injures another boy playing a rough game, single father Andres decides they must flee and hide. Andres will realise he is a father incapable of controlling his own teenage son but their situation will bring them closer than they have ever been.

Directors’ Fortnight Arcades 1

12:30 MATZOR

(Israel) 93mins.

Dir: Gilberto Tofano.

Cast: Eran Agmon.

A widow falls in love with the friend of her ex-husband.

Critics’ Week Miramar

FESTIVAL & PRESS

THE BEGUILED

THE BEGUILED

See box, right

(US) 91mins.

Dir: Sofia Coppola.

Cast: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning.

A remake of the 1971 film by Don Siegel.

08:45 THE DRAGON DEFENSE

(Colombia) 80mins.

Dir: Natalia Santa.

Cast: Gonzalo De Sagarminaga, Manuel Navarro, Hernan Mendez.

The story of three old friends in downtown Bogota: a chess player and small-time gambler; a watchmaker who refuses to close down his shop; and a Spanish homeopath obsessed with poker.

Finding comfort in the confines of their routines, they avoid facing failure at all costs. When this comfort is put at risk however, each man will have to figure out that in life, as in love, it’s never too late to take a chance.

Directors’ Fortnight Theatre Croisette

10:00 BLOW-UP

(UK) 110mins. Dir: Michelangelo Antonioni.

Cast: David Hemmings, Vanessa Redgrave.

08:30

Cannes Classics Bunuel

A wounded Yankee soldier finds refuge in an isolated all-girls boarding house at the end of the Civil War and becomes the object of the women’s curiosities.

Competition Lumiere Ticket required, Press & Debussy

The 1966 British-Italian film classic about a fashion photographer who believes he has unwittingly captured a murder on film.

that was invisible to her eyes.

Cannes Classics Bunuel

CLOSENESS

RADIANCE

(Japan) 101mins.

Dir: Naomi Kawase.

Cast: Masatoshi Nagase, Ayame Misaki.

Misako is a passionate writer of film versions for the visually impaired.

At a screening, she meets Masaya, an older photographer who is slowly losing his eyesight.

Misako soon discovers Masaya’s photographs, which will strangely bring her back to her past.

Together, they will learn to see the radiant world

16 Screen International at Cannes May 24, 2017

Competition Salle Du 60Eme

11:00

(Russia) 118mins.

Dir: Kantemir Balagov.

Nalchik, 1998: a Jewish family are in trouble: the youngest son and his bride do not come home and, in the morning, a ransom note arrives.

The ransom is so high that the family are forced not only to sell their small business but also to seek help from their tight-knit community.

Un Certain Regard Debussy Press

DEMONS IN PARADISE

(France) 94mins.

Dir: Jude Ratnam.

Sri Lanka 1983: Jude Ratman is five years old.

On a red train, he flees the massacre of the Tamils instigated by the ProSinhalese majoritarian government. Now a filmmaker, he takes the same train from south to north. As he advances, the traces of violence of the 26-year-old war and the one which turned the Tamil’s fight for freedom into self-destructive terrorism pass before his eyes.

Out of Competition Bazin Press

11:20 THE PRINCE OF NOTHINGWOOD

(France) 85mins.

Dir: Sonia Kronlund.

About a hundred kilometers away from Kabul, Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan, comes to show some of his 110 films and to shoot the 111th in the process. He has brought with him his regular troupe of actors, each more eccentric and out of control than the next. That trip is an

opportunity for us to get to know Shaheen, a real movie buff who has been making Z movies tirelessly for more than 30 years in a country at war. This is the story of a man who spends his life making his childhood dreams come true.

Directors’ Fortnight Theatre Croisette

11:30 THE BEGUILED

(US) 91mins. Dir: Sofia Coppola. Cast: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning.

Competition Lumiere Ticket required

MAKALA

(France) 97mins.

Dir: Emmanuel Gras.

Cast: Kabwita Kasongo.

A young man from a village in the Congo hopes to offer his family a better future. His only resources are his own two hands, the surrounding bush and an iron will.

When he sets out on an exhausting, perilous journey to sell the fruits of his labours, he discovers the true value of his efforts and

13:00 UNTIL THE BIRDS RETURN

(Algeria) 113mins.

Dir: Karim Moussaoui.

Cast: Mohamed Djouhri, Sonia Mekkiou, Mehdi Ramdani, Hania Amar, Hassan Kachach, Nadia Kaci, Samir El Hakim, Aure Atika.

Algeria today: past and present collide in the lives of a newly wealthy property developer, a young woman torn between the path of reason and sentiment, and an ambitious neurologist impeded by wartime wrongdoings.

Three stories that plunge us into the human soul of a contemporary Arab society.

Un Certain Regard Bazin

14:00 MARLINA THE MURDERER IN FOUR ACTS

(Indonesia) 93mins.

Dir: Mouly Surya.

Cast: Marsha Timothy, Dea Panendra, Yoga Pratama, Egi Fedly, Rita Matu Mona, Anggun Priambodo, Ayez Kassar, Safira Ahmad, Indra Birowo. www.screendaily.com

JURY GRID, PAGE 24

» Screening times and venues are correct at the time of going to press but subject to alteration

In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed for her cattle. To defend herself, she is forced to kill. Seeking justice, she goes on a journey of empowerment and redemption. But the road is long especially when the ghost of her headless victim begins to haunt her.

Directors’ Fortnight Theatre Croisette

Monsaingeon.

Broke, with nothing but her cat to her name and doors closing in her face, Paula is back in Paris after a long absence. As she meets different people along the way, there is one thing she knows for sure: she’s determined to make a new start and she’ll do it with style.

Un Certain Regard Bazin

16:00

THE SUMMIT

RODIN

(Argentina) 117mins.

Dir: Santiago Mitre.

Cast: Ricardo Darin, Dolores Fonzi, Erica Rivas, Elena Anaya, Paulina Garcia, Christian Slater.

At a summit for Latin American presidents in Chile, where the region’s geopolitical strategies and alliances are under discussion, Argentine president Hernan Blanco endures a political and family drama that will force him to face his own demons. He’ll have to come to two decisions that could change the course of his public and private life forever: one regarding a complicated emotional situation with his daughter; the other, the most important political decision of his career.

(France) 119mins.

Dir: Jacques Doillon.

Cast: Vincent Lindon, Izia Higelin, Severine Caneele.

Auguste Rodin (1840-1917), man of the people, autodidact and revolutionary sculptor — the most brilliant of his era. At 42, Rodin meets Camille Claudel, a young woman desperate

to become his assistant.

He quickly acknowledges her as his most able pupil, and treats her as an equal in matters of creation. More than a decade of work and passionate engagement ensues. Breakup follows reconciliation until Camille makes the final separation from which she will not recover, and from which Rodin himself will emerge deeply wounded.

Competition Lumiere Ticket required

16:30 CLOSENESS

(Russia) 118mins.

Dir: Kantemir Balagov.

Debussy Press

16:45 THE DRAGON DEFENSE

(Colombia) 80mins.

Dir: Natalia Santa.

Cast: Gonzalo De Sagarminaga, Manuel Navarro,

Hernan Mendez.

Directors’ Fortnight Theatre Croisette

17:00 ZOMBILLENIUM See box, below

17:15 MAKALA

(France) 97mins.

Dir: Emmanuel Gras.

Cast: Kabwita Kasongo.

Critics’ Week Miramar

17:30 AFTER THE WAR

(Italy) 92mins.

Dir: Annarita Zambrano.

Cast: Giuseppe Battiston, Barbora Babulova, Charlotte Cetaire.

Bologna, 2002: the opposition to the Labour Law explodes in universities. The murder of a judge reopens old political wounds between Italy and France. Marco, a former left-wing

activist sentenced for murder and exiled in France for 20 years thanks to the Mitterrand doctrine, is accused of having ordered the attack.

The Italian government requests his extradition.

Forced to flee with Viola, his 16-year-old daughter, his life will change forever, as well as his family’s in Italy, who have to pay for Marco’s past faults.

(France) 94mins.

Dir: Jude Ratnam.

Out of Competition Salle Du 60Eme

Competition Debussy Press

THE PRINCE OF NOTHINGWOOD

THE BATTLE OF THE RAILS

Un Certain Regard Bazin

19:00 DEMONS IN PARADISE

(France) 85mins.

Dir: Sonia Kronlund.

Directors’ Fortnight Theatre Croisette

THE BEGUILED

(US) 91mins. Dir: Sofia Coppola. Cast: Nicole Kidman, Colin Farrell, Kirsten Dunst, Elle Fanning.

Competition Lumiere Ticket required Olympia 1 Market + Festival badges allowed/no press

20:00 LAST LAUGH

24 FRAMES

(Iran) 120mins.

Dir: Abbas Kiarostami.

A compilation of short films from the late auteur.

Out of Competition Salle Du 60Eme

Bunuel

15:30 MONTPARNASSE BIENVENUE

(France) 97mins.

Dir: Leonor Serraille.

Cast: Laetitia Dosch, Souleymane Seye Ndiaye, Gregoire www.screendaily.com

(France) 85mins.

Dir: Rene Clement.

Cast: Marcel Barnault, Jean Clarieux.

Film depicting the wartime efforts of French railwaymen to sabotage German troop movements.

Cannes Classics Bunuel

14:30

84mins.

A GENTLE CREATURE

(France) 143mins.

Dir: Sergei Loznitsa.

Cast: Vasilina Makovtseva, Marina Kleshcheva.

One day, a woman receives a parcel she sent to her incarcerated husband some time earlier. Confused and deeply concerned, she decides to go to the prison in a remote area of Russia to seek information. So begins the story of a journey rife with humiliations and violence, the story of an absurd battle against an impenetrable fortress.

Un Certain Regard Debussy Press

CINEFONDATION 1

19:30

FESTIVAL & PRESS 17:00 ZOMBILLENIUM

(France) 80mins. Dir: Arthur De Pins, Alexis Ducord.

Cast: Emmanuel Curtil, Alain Choquet, Kelly Marot.

Zombillenium is an amusement park like no other: only genuine werewolves, vampires, zombies are employed there… for eternity! One day, Hector, a young compliance officer, comes to control the park’s safety and threatens to

shut it down. Francis, the vampire who manages the park, has no choice but to bite him to protect his business. And so Hector is hired, and could well be Zombillenium’s last chance: attendance figures are down and he could become the new attraction the park needs to avoid bankruptcy.

But deep down Hector longs for his young daughter, Lucy, who’s waiting for him back in the ‘real’ world.

Special Screening Salle Du 60Eme

(China) 80mins. Dir: Zhang Tao. Cast: Yu Fengyuan, Li Fengyun, Chen Shilan, Pan Yun, Ruan Fengming, Zhang Jun, Wei Yongzhi.

After fainting one day, elderly peasant woman Lin Guoshi is immediately declared disabled and placed on the waiting list of a nursing home. Until a vacant room comes up, she is left to wander from one of her children’s houses to the next, experiencing the new values and needs of a fast-changing China.

ACID Arcades 1

May 24, 2017 Screen International at Cannes 17

»

SCREENINGS

Tuncay Akca.

Through the social environments and reports of six detainees on leave, ‘YOL — The Full Version’ visualises the human landscape of Turkey: the oppression endured by its inhabitants and, in particular, that to which the Kurdish nation is subjected; the position of woman in that society; and the appalling consequences of patriarchal morals.

Palais I

10:00 AND MY SEE-THROUGH HEART

FESTIVAL & PRESS 21:30 CHARIOTS OF FIRE

(UK) 124mins.

Dir: Hugh Hudson.

Cast: Ben Cross, Ian Charleson, Nigel Havers.

British film classic about

21:30 CHARIOTS OF FIRE See box, above

I EVEN MET HAPPY GYPSIES

(Yugoslavia) 82mins.

Dir: Alksandar Petrovic.

Cast: Bekim Fehmiu, Olivera Vuco.

Focusing on the lives of Romany villagers under the Tito regime.

Cannes Classics Bunuel

MARLINA THE MURDERER IN FOUR ACTS

(Indonesia) 93mins.

Dir: Mouly Surya.

Cast: Marsha Timothy, Dea Panendra, Yoga Pratama, Egi Fedly.

Directors’ Fortnight Theatre Croisette

22:00 A GENTLE CREATURE

(France) 143mins.

Dir: Sergei Loznitsa.

two rival track athletes — one a determined Jew, the other a devout Christian — who compete in the 1924 Olympics.

Cinema De La Plage Plage Mace

Cast: Vasilina Makovtseva, Marina Kleshcheva.

Competition Bazin Press

adventure while the adults around them struggle with hard times.

Directors’ Fortnight Arcades 1

LAST LAUGH

(China) 80mins.

Dir: Zhang Tao. Cast: Yu Fengyuan, Li Fengyun, Chen Shilan, Pan Yun. ACID Arcades 2

MAKALA

MARKET SCREENINGS

09:30 ANGEL’S SALVATION

(Iran) Filmfestivals.com.

90mins. Dir: Hassan Akhondpoor. Cast: Elahe Shahparast, Roshanak Se Ghalegi, Neda Kohi.

She is Angel, daughter of Ahmad. His debts became her’s.

(France) 97mins.

Dir: Emmanuel Gras.

Cast: Kabwita Kasongo.

Palais B

(Argentina) 117mins.

Dir: Santiago Mitre.

Cast: Ricardo Darin, Dolores Fonzi, Erica Rivas.

Critics’ Week Miramar

Un Certain Regard Debussy Press

(South Korea) 120mins.

Dir: Byun Sung-Hyun.

Cast: Sul Kyung-Gu, Yim Si-Wan, Kim Hie-Won, Jeon Hye-Jin. Jae-ho, who aims to become the number one in a crime organisation, starts to build up trust with Hyun-su, an ambitious newbie in the prison. When they try to take over the organisation following their release from prison, their ulterior motives start to emerge.

(US) Cinephil.

103mins. Dir: Jedd Wider, Todd Wider.

The story of Linda Bishop, a well-educated New Hampshire mother: holed up in a farm house, unable to leave it, she becomes its prisoner and remains there, trapped in her own mind before eventually starving to death, despite rescue being near.

22:15 THE SUMMIT

22:30 THE FLORIDA PROJECT

(US) 112mins.

Dir: Sean Baker.

Cast: Willem Dafoe, Caleb Landry Jones, Brooklynn Prince, Bria Vinaite.

‘The Florida Project’ tells the story of a precocious six-year-old and her ragtag group of friends whose summer break is filled with childhood wonder, possibility and a sense of

18 Screen International at Cannes May 24, 2017

23:00 THE MERCILESS

Out of Competition Lumiere Ticket required

GOD KNOWS WHERE I AM

Doc Corner

YOL — THE FULL VERSION

(Switzerland) The Match Factory. 112mins. Dir: Serif Goren, Yılmaz Guney. Cast: Tarik Akan, Halil Ergun, Necmettin Cobanoglu, Hikmet Celik, Guven Sengil,

(Switzerland) Wide.

90mins. Dir: David Vital-Durand, Raphael Vital-Durand. Cast: Julien Boisselier, Caterina Murino, Serge Riaboukine.

Lancelot’s life is thrown upside-down when he learns of the death of his wife. As he’s trying to cope with his grief, he will have to confront revelations made about his wife’s past.

Palais C

GOLDEN YEARS

(France) Celluloid Dreams/Nightmares.

103mins. Dir: Andre Techine. Cast: Celine Sallette, Pierre Deladonchamps, Gregoire Leprince-Ringuet.

Paul and Louise get married on the eve of the First World War. After two years on the front, Paul injures himself and decides to desert, risking execution.

Louise dresses him up as a woman to hide him.

He becomes ‘Suzanne’, a Parisian celebrity, enjoying a life of lust and pleasure in the ‘roaring 20s’. Louise plays along, willing to sacrifice anything for him.

In 1925, he is granted amnesty. He is free to become Paul again. But can he?

Olympia 5

HAPPY END

(France) Les Films Du Losange. 107mins.

Dir: Michael Haneke.

Cast: Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Franz Rogowski, Fantine Harduin.

A snapshot from the life

of a bourgeois European family.

Palais K

MANSFIELD 66/67

(US) Stray Dogs. 85mins.

Dir: P David Ebersole, Todd Hughes.

The last two years of movie goddess Jayne Mansfield’s life, and the rumours circling after her untimely death about it being caused by a curse after her alleged affair with the head of the Church of Satan.

Gray 5

THE YEAR OF THE MONKEY

(Macedonia) Macedonian Film Agency. 100mins.

Dir: Vladimir Blazevski.

Cast: Marija Kohn, Igor Angelov, Bereda Reshit.

Palais E

11:30 BRAVE STORM

(Japan) Blast. 83mins.

Dir: Junya Okabe.

Cast: Yuki Matsuzaki, Shunsuke Daito, Chihiro Yamamoto.

In the year 2050, mankind is almost extinct on Earth.

The last survivors, five Kasuga brothers, plan to use a time machine and exterminate invader Kyrgyz before he starts to invade Earth. They travel back in time to 2015 with the design data of Kyrgyz’s giant robot, Black Baron, and their three powers: a device for identifying aliens, psychic abilities and powered suits.

Lerins 2

DEALT

(US) Submarine Entertainment. 85mins.

Dir: Luke Korem.

Cast: Richard Turner, Johnny Thompson, Max Maven.

Richard Turner, 62, is renowned as one of the world’s greatest card magicians, yet he is completely blind. In this documentary, Richard traces his journey from his troubled childhood, when he began losing his vision, to the present day as he relentlessly pursues perfection while struggling with the reality that his biggest weakness might also be his greatest strength.

Gray 2

www.screendaily.com

THE FILMS OF CAMPUS MOVIEFEST 2017 - 1

LET THE SUNSHINE IN

RADIANCE

Freak Independent Film Agency. 110mins.

(France) Films Distribution. 95mins.

Dir: Claire Denis. Cast: Juliette Binoche, Xavier Beauvois, Nicolas Duvauchelle, Josiane Balasko, Philippe Katerine, Gerard Depardieu, Valeria Bruni Tedeschi.

Isabelle, Parisian artist, divorced with one child, is looking for love — true love — at last.

Palais H

Arcades 3

KOMBISSIRI DC

OH LUCY!

(France) Star Production.

90mins. Dir: Rene Letzgus.

Gerard Muller, who went blind in the prime of life, decides to travel to Burkina Faso and finds himself embarked on a new human adventure: help Oumar, a little blind boy, to go to France to L’Hopital des QuinzeVingts in Paris.

(Japan) Elle Driver.

97mins. Dir: Atsuko Hirayanagi. Cast: Shinobu Terajima, Josh Hartnett, Kaho Minami.

Setsuko is seemingly stuck in a rut in Tokyo until she is convinced by her niece Mika to enroll in an unorthodox English class that requires her to wear a blonde wig and take on an American persona, ‘Lucy’.

(Japan) MK2 Films.

101mins. Dir: Naomi Kawase. Cast: Masatoshi Nagase, Ayame Misaki.

Misako is a passionate writer of films for the visually impaired. At a screening, she meets Masaya, an older photographer who is slowly losing his eyesight.

Misako soon discovers Masaya’s photographs, which will strangely bring her back to her past.

Together, they will learn to see the radiant world that was invisible to her eyes.

Palais B

Olympia 3

Campus Moviefest.

110mins.

PALAIS F

GRIFFITH FILM SCHOOL SHOWCASE 2017

(Australia) Short Film Corner 2017. 110mins.

Palais F

HEAR MY STORY

Palais J

to fight a cyber criminal threatening their stability and pride.

Gray 4

THIS IS YOUR DEATH

(Canada) Octane Entertainment. 105mins.

Dir: Giancarlo Esposito.

Cast: Josh Duhamel, Famke Janssen, Sarah Wayne Callies.

An unsettling look at reality TV where a disturbing hit game show has its contestants ending their lives for the public’s enjoyment.

Palais D

12:00

TAKE CARE GOOD NIGHT

THE ANGEL IN THE CLOCK

(India) Maharashtra Film, Stage & Cultural Development Corporation. 110mins.

Dir: Girish Jayant Joshi. Cast: Sachin Khedekar, Iravati Harshe, Parna Pethe, Mahesh Manjrekar.

A metro family decides

(Mexico) Mexican Film Institute (Imcine).

85mins. Dir: Miguel Angel Uriegas Flores.

Lerins 1

FRIENDLY BEAST

(Brazil) Stray Dogs.

96mins. Dir: Gabriela Almeida. Cast: Irandhir

Santos, Luciana Paes.

A violent surviva tale that focuses on a restaurant owner who turns tables on an attacker. With the help of his staff he ends up holding everyone inside hostage.

Aleksandar Petrovic, Doris Schretzmayer.

Two unemployed friends pretend to be immigrant petty criminals until the coin flips and reality turns against them.

Palais E

Gray 5

MY LIFE WITHOUT AIR ICE MOTHER

(Czech Republic) The Match Factory.

105mins. Dir: Bohdan Slama. Cast: Zuzana Kronerova, Pavel Novy, Daniel Vicek, Vaclav NeuzIl. Hana has had enough of her selfish family’s behaviour. When she finds a group of eccentric ice swimmers, a new world opens to her.

Palais I

THE MIGRUMPIES

(Austria) Golden Girls Filmproduktion & Filmservices. 98mins.

Dir: Arman T Riahi.

Cast: Faris Rahoma,

(Croatia) Croatian Audiovisual Centremins.

74mins. Dir: Bojana Burnac. Cast: Goran Colak, Ivan Drvis.

A film about the pleasures and risks of holding one’s breath to the maximum, and about the limits of human abilities.

Palais C

PLOT 35

(France) Pyramide International. 67mins.

Dir: Eric Caravaca.

Plot 35 was never mentioned in my family; it is where my elder sister, who died aged three, is buried.

The sister about whom I was told nothing, or nearly

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May 24, 2017 Screen International at Cannes 19

SCREENINGS

nothing, and of whom my parents had oddly never kept a single photograph.

It was to make up for the missing images that I decided to make this film.

stopped when he couldn’t fit in his car anymore, after he piled on too much weight. One day, his brother comes to him with a job: drive a coffin with the body of an Ukrainian bricklayer, from Italy to Ukraine.

Riviera 1

13:30 COMFORT AND CONSOLATION IN FRANCE

Riviera 1

(France) CG Cinema.

90mins. Dir: Vincent Macaigne. Cast: Pauline Lorillard, Pascal Reneric, Emmanuel Matte.

Pascal and Pauline are returning to their parents’ estate. After years of travelling the world they are no longer in a position to afford their property bills. They confront their childhood friends.

THE GOD OF SMALL THINGS

ACID Arcades 1

(Bangladesh) Tutak Films. 47min. Dir: Saud Jubaer. Cast: Samin Sababa, Mahmud Alam.

A story told through the eyes of a cow.

Gray 5

MARKET 21:30 RODIN

(France) Wild Bunch.

119mins. Dir: Jacques Doillon. Cast: Vincent Lindon, Izia Higelin, Severine Caneele.

Auguste Rodin, man of the people, autodidact and revolutionary sculptor — the most brilliant of his era. At 42, Rodin meets Camille Claudel, a young woman desperate to become his assistant. He quickly

(Serbia) Rados Film.

72mins. Dir: Igor Stephen Rados.

Cast: Danijela Veselinovic, Goran Christensen, Sasa Krstic.

When you detox in Serbia, you eat, drink and enjoy the music. The greatest brass band festival in Europe is Guga. About half a million people come to visit every year during August.

Doc Corner

MADE IN QATAR 2017

Doha Film Institute (DFI) 110mins.

Palais H

14:00

Japan is suffering from a sudden increase of children contracting severe diseases, the story follows the maincharacter Hiro, an ill-boy, as he meets a girl named Nana through the social networking ‘Mint-System’ and together they endeavour to beat his illness.

Palais C

ABSENCE

(Chile) Habanero.

76mins. Dir: Liu Marino, Claudio Marcone. Cast: Daniela Ramirez, Diego Noguera, Francisco Ossa.

Chile 1845: the love triangle between a pioneer female writer, her husband — a retired military official — and the love of her life, the painter Moritz Rugenda.

Gray 5

MINT

(Japan) Nega Co. 95mins. Dir: Shutaro Oku. Cast: Takashi Fujii, Tomokazu Seki.

Set in the near future, where

TOMB

(Trinidad & Tobago) Diva Girl Productions.

83mins. Dir: Nick Attin.

Cast: Kearn Samuel, Conrad Parris, Jair Massiah.

An astronaut responding to a distress beacon in deep space slips into a wormhole and finds himself in the afterlife.

Palais I

(France) Short Film Corner 2017. 110mins.

GUCA: SERBIAN DETOX

Gray 5

SHE IS KING

ESRA NEW YORK

Palais F

love while his daily rhythm as the watchman at one of the villas along the coast is disrupted by the arrival of the owner’s son.

PANAMA GOES TO CANNES

International Film Festival Panama.

110mins.

Palais K

15:30 KEEP THE CHANGE

(US) Cinetic Media.

94mins. Dir: Rachel Israel.

David, an upper-class charmer, leads a very comfortable life until he is mandated to attend a support group for adults with disabilities. David is paired with Sarah — a quirky and outgoing

20 Screen International at Cannes May 24, 2017

acknowledges her as his most able pupil, and treats her as an equal in matters of creation. More than a decade of work and passionate engagement ensues. Breakup follows reconciliation until Camille makes the final separation, from which she will not recover, and from which Rodin himself will emerge deeply wounded.

Olympia 1

woman whose optimism initially irks David.

Despite their contrasting personalities, they forge a bond. As their relationship deepens, Sarah challenges David to embrace his own uniqueness.

Palais D

LIFE LINES

(France) Thanx Prod.

95mins. Dir: Thierry Pouget.

The story of a man and a woman who every day of the year work in the vineyards. Despite the difficulties they have encountered since arriving in France, Duarte and Mira always find the strength to start a new season without losing the essence of life: happiness.

Doc Corner

LEO DA VINCI: MISSION MONA LISA

(Italy, Poland) All Rights Entertainment. 85mins.

Dir: Sergio Manfio.

Life flows peacefully in Vinci: Leonardo is struggling with his incredible inventions, Lorenzo helps him and Gioconda observes them mockingly. When a mysterious story-teller comes to town and speaks of a hidden treasure, an adventure begins.

Riviera 1 Press allowed

PARADISO

(India) Rahat Kazmi Films. 96mins. Dir: Sudeep Ranjan Sarkar.

Cast: Mandeep Ghai, Suhas B Suryavanshi, Indira Dutta Chaudhary, Sushil Bhosle, Sanjay Bhatia, Atul Mahajan.

Palais J

15:50 THE LADY IN THE PORTRAIT

(France) All Rights Entertainment. 90mins.

Dir: Charles De Meaux.

Cast: Fan Bing Bing, Yue Wu. Riviera 2 Priority badges only

16:00 ‘ECLAIRCOLOR’ SPECIAL PRESENTATION

(South Africa) The Griot. 94mins.

Dir: Gersh Kgamedi.

Cast: Khabonina Qukeka, Gugu Zulu.

A talented young rural woman travels to Jo’burg, City of Gold, to pursue her dream of being a star.

Gray 1

SNOWBOUND

(US) Infilmity Productions. 78mins.

Dir: Olia Oparina.

Cast: Alice Haig, Laura Aleman, Cerris MorganMoyer.

Lerins 1

16:45 ‘ECLAIRCOLOR’ SPECIAL PRESENTATION

Eclair. 30mins.

Arcades 2

17:30 POTATO POTAHTO

(Ghana) Ascend Talent Management. 115mins.

Dir: Shirley FrimpongManso.

Gray 2

EASY

(Italy) Premium Films.

91mins. Dir: Andrea Magnani. Cast: Nicola Nocella, Ostap Stupka, Orest Garda, Libero De Rienzo, Barbara Bouchet.

Isidoro, aka Easy, is depressed. His career as a car racer golden boy

(France) L’Etang Moderne. 88mins.

Dir: Vincent Orst.

Cast: Eric Collado, JeanFrancois Pastout, JeanChristophe Bouvet.

Following the contamination of its water supply, the majority of the population of a city start to slaughter each other and rise from the dead. Salah, a young ambulance driver, succeeds in escaping.

Palais E

20:00 THE TRIP

(France) L’Etang Modernemins. 88mins.

Dir: Vincent Orst.

Cast: Eric Collado, Jean-Francois Pastout, Jean-Christophe Bouvet, Ludovic Pinette, Tella Kpomahou, Olivier Martial.

Palais E

20:30 RETURN TO RETURN TO NUKE ‘EM HIGH AKA VOL 2

(Ukraine) Short Film Corner 2017mins.

110mins.

(US) Troma Entertainment. 85mins.

Dir: Lloyd Kaufman.

Two lesbian lovers must face and defeat the most corrupt and evil forces ever to descend upon Tromaville.

Palais G

Arcades 3

18:00 CONTEMPORARY UKRAINIAN CINEMA

Eclair. 30mins.

Arcades 2

THE TRIP

EL HOMBRE QUE CUIDA

(Dominican Republic) Habanero. 85mins.

Dir: Alejandro Andujar.

Cast: Hector Anibal, Julieta Rodriguez, Yasser Michelen.

Major tensions hide beneath the otherwise placid surface of this sunny island drama.

Juan tries to forget a lost

21:30 RODIN See box, above

22:15 THE SUMMIT

(Argentina) Film Factory Entertainment. 117mins.

Dir: Santiago Mitre.

Cast: Ricardo Darin, Dolores Fonzi, Erica Riva.

Debussy

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Good

AVERAGE

★★★

SCREEN INTERNATIONAL

KATJA NICODEMUS Die Zeit, Germany

Excellent

ANTON DOLIN Meduza, Russia

TIM ROBEY, ROBBIE COLLIN The Daily Telegraph, UK

NICK JAMES Sight & Sound, UK

JUSTIN CHANG Los Angeles Times, US

STEPHANIE ZACHAREK Time Magazine, US

KONG RITHDEE Bangkok Post, Thailand

MICHEL CIMENT Positif, France Culture, France

★★★★

JULIEN GESTER, DIDIER PERON Libération, France

THE SCREEN JURY AT CANNES

FABIO FERZETTI Il Fatto Quotidiano, Italy

JURY GRID

WONDERSTRUCK (US) Todd Haynes

★★

★★

LOVELESS (Fr-Rus) Andrey Zvyagintsev

★★ ★★

★

OKJA (S Kor-US) Bong Joon Ho

★★

★★ ★★

★★

★★★

★

★★★

★★

★★

★★★

★

★★

2.3

JUPITER’S MOON (Hun-Ger) Kornel Mundruczo

★★

✖

★★

★

★★

★★

★

★★

★

★★

★★★

1.6

BPM (BEATS PER MINUTE) (Fr) Robin Campillo

★★★ ★★★

THE SQUARE (Swe-Ger-Fr-Den) ★★★ Ruben Ostlund THE MEYEROWITZ STORIES (NEW AND SELECTED) (US) Noah Baumbach

✖

★★

★★★

★★ ★★

★★★ ★★★ ★★★

★★ ★★ ★★

★★

★★

★★

★★

REDOUBTABLE (Fr) Michel Hazanavicius

✖

✖

★

★★

★★

THE KILLING OF A SACRED DEER (UK-US) Yorgos Lanthimos

★★

HAPPY END (Fr-Ger-Aust) Michael Haneke

★★★

★★ ★★

★★ ★★

★★ ★★

★★ ★★

★★

★★

★★★ ★★★ ★★★ ★★★ ★★★ ★★★

★

★

★★

★★★ ★★★ ★★★

★★★

✖

★★★

★★ ★★

★★

✖

★★★ ★★★ ★★★ ★★ ★★

★★ ★★

★★ ★★ ★★

★★

★★★

2.7

★★

★★★

3.2

★★

★★★

★★

★★★

2.5 2.7

★★

★★

★★★

2.4

★★

★

★★★

1.5

★★ ★★

★

★★★

1.9

★★

★★★ ★★★

★★

2.2

★★

✖

THE DAY AFTER (S Kor) Hong Sangsoo

★★★

★★ ★★

RADIANCE (Jap-Fr) Naomi Kawase

★★★

THE BEGUILED (US) Sofia Coppola

A★★ Civil War potboiler who stirs★★ up sexual★★ tension at the all-girl’s in Virginia ★★ about ★★ a wounded ★★ Union ★★soldier★★ ★★ ★★school ★★ where Coppola★★ stalwart ★★ Kirsten Dunst alongside★★ Nicole Kidman, Fanning and ★★ he takes ★★shelter. ★★ ★★stars ★★ ★★ Elle★★ ★★Colin Farrell.

RODIN (Fr-Bel) Jacques Doillon

Vincent moody proto-modernist a film that charts ★★ his stormy★★ relationship ★★ Lindon ★★plays ★★ ★★ ★★ sculptor ★★Auguste ★★Rodin in ★★ ★★ with Claudel (Izia his junior, who becomes lover, model ★★Camille★★ ★★Higelin), ★★25 years ★★ ★★ ★★ his★★ ★★and co-worker. ★★ ★★

GOOD TIME (US) Benny Safdie, Josh Safdie

The Safdie brothers for the★★ first time.★★ Robert Pattinson on the run ★★ ★★ step ★★up to Competition ★★ ★★ ★★ stars ★★as a bank ★★robber★★ from streets ★★ of New York.

Jennifer★★ Jason Leigh co-star.★★ ★★dangerous ★★ criminals ★★ on the ★★ ★★ ★★and Barkhad ★★ Abdi ★★

A GENTLE CREATURE (Fr-RusGer-Neth-Lith) Sergei Loznitsa

A★★ Gentle Creature Dostoyevsky of the same about the★★ relationship ★★ is loosely ★★ inspired ★★ by the ★★ ★★ story★★ ★★name★★ ★★between an executioner and his victim, from the ★★ executioner’s of view. ★★ ★★ ★★ ★★ told★★ ★★point ★★ ★★ ★★ ★★

IN THE FADE (Ger-Fr) Fatih Akin

Akin’s death of her in a bomb★★ blast. ★★ Hamburg-set ★★ thriller ★★ follows ★★a woman ★★who takes ★★revenge ★★for the★★ ★★family★★ Germany-born, stars in★★ her first German-language ★★ ★★France-based ★★ Diane ★★ Kruger ★★ ★★ ★★ film. ★★ ★★ ★★

AMANT DOUBLE (Fr-Bel) Francois Ozon

Ozon with Marine and Jérémie in an erotically of a fragile young woman ★★reunites ★★ ★★ Vacth★★ ★★ Renier ★★ ★★ charged ★★ tale★★ ★★ ★★ who moves her therapist, to find he is not what ★★ in with ★★ ★★ only ★★ ★★ ★★he seems. ★★ ★★ ★★ ★★ ★★

YOU WERE NEVER REALLY HERE (US-Fr) Lynne Ramsay

Joaquin this thriller veteran★★ who attempts a young★★ girl from★★ a sex-trafficking ★★ Phoenix ★★ leads★★ ★★as a war ★★ ★★ to save ★★ ★★ ring.

But things not go to plan. Ekaterina co-star.★★ ★★ do ★★ ★★ ★★ Samsonov ★★ and ★★Alessandro ★★ Nivola ★★ ★★ ★★

★★

★★★

★★★ ★★★ ★

★★

★

★★★ ★★★

★★

★

★★

★★★

★★

★★

2.5

★★

★

★

★

★★

★★★

1.8 0.0 0.0 0.0 0.0 0.0 0.0

24 Screen International at Cannes May 24, 2017

★★ Average ★ Poor

✖ Bad

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