The US deal with Séville International comes nearly eight weeks after Xavier Dolan’s Cannes world premiere earned the 25-year-old film-maker the jury prize.
Leading figures from film festivals in Cannes, London, Edinburgh and Hong Kong revealed their top tips for standing out from the rest when gaining selection to festivals.
The distributor has pounced on US rights to Pathe International’s comedy drama set during the Margaret Thatcher regime that closed the recent Directors’ Fortnight section in Cannes.
The Turkish director Nuri Bilge Ceylan is glad to be back in Cannes, where he has a happy history. He won the Grand Jury Prize in 2002 for Distant and in again 2011 for Once Upon A Time In Anatolia and a Best Director Award in 2008 for Three Monkeys.
“It’s more than the army - it’s the theme of survival” that interests Thomas Cailley in his Director’s Fortnight entry Love at First Fight (Les Combattants).
The New York based director delivers a buzzy thriller with his second trip to Cannes.
Mumbai-based filmmaker Kanu Behl is making his feature debut with Titli, about the youngest member of a car-jacking brotherhood attempting to escape his oppressive family.
Having had his debut feature Calvaire selected for Critics’ Week in 2004, Fabrice du Welz returns to Cannes with Alleluia in Directors’ Fortnight.
Geoffrey Macnab speaks to the English film-maker about the sequel to his autobiographical feature Hope and Glory.
The actor/model talks about working on Bertrand Bonello’s Saint Laurent.
The omnibus feature film The Bridges Of Sarajevo, consisting of 13 short films by 13 European directors, will have its world premiere as a Cannes Special Screening on Thursday.
“Forsaken is a story of survival,” says director Jonas Cuaron of his Mexico-France thriller that recently wrapped in Baja, California.
Dean DeBlois’ dragon-flying sequel How To Train Your Dragon 2 takes a bolder, braver approach than the first in the trilogy - bringing heavier topics to the table that according to DeBlois, “have made some people very nervous.”
Kristian Levring tells Wendy Mitchell about the inspiring process of making The Salvation, a ‘Western that’s a myth about Westerns’
The veteran editor talks about moving into the director’s chair with his story set in London’s East End.
Italian director Sebastiano Riso’s debut feature Darker Than Midnight - about a gay teenager living on the streets of the Sicilian city of Catania to escape a violent father who disapproves of his girlish looks - is premiering in Critics’ Week. Rai Trade handles sales.
The director talks about the “incredible beauty and incredible menace” of Australia.
Thirty-two year-old Italian director Alice Rohrwacher returns to the Croisette with Competition entry The Wonders (Le Meraviglie), a coming-of-age story set in the Italian countryside.
Veteran Israeli producers Menahem Golan and Yoram Globus hit the Palais des Festivals this evening for the Cannes Classics premiere of Hilla Medalia’s documentary The Go-go Boys, charting the rise and fall of their infamous indie studio the Cannon Group.
Céline Sciamma talks to Melanie Goodfellow about her Directors’ Fortnight opener Girlhood, about teenage girls in Paris.
Mike Leigh returns to the Croisette for a fifth time with his biggest-canvas film to date, a biopic of British Romantic painter JMW Turner, who was known as the ‘painter of light’.
“It’s the kind of film that’s very funny until it’s not funny,” says Bennett Miller of his US competition entry Foxcatcher, backed by Megan Ellison’s Annapurna Pictures and Columbia Pictures.
The sibling film-making duo talk to Sarah Cooper about the third film in their trilogy, which screens in Directors’ Fortnight.
Despite increasing pressures on the funding of French film, local producers are bringing an exciting selection of projects to Cannes. Interviews by Melanie Goodfellow.
When veteran producer Pierre-Ange Le Pogam first came to Cannes in the 1970s, he slept in a tent. Some 40 years later, the former Gaumont and EuropaCorp exec is on the Croisette with his fledgling company Stone Angels and opening night film Grace Of Monaco. Melanie Goodfellow reports.
The festival’s artistic director discusses his selection and why he put Zhang Yimou’s film out of competition, how he has yet to see the final cut of Abel Ferrara’s latest work and why he will not broach the subject of women at the festival right now.
Find out who are the dynamic, inspiring executives who will be driving the sector forward.