Guillaume Nicloux’s “To the Ends of the World,” Erwan Le Duc’s “The Bare Necessity” and Caroline Poggi & Jonathan Vinel’s “Jessica Forever” are among the ten French and French-language films set to compete at the 10th edition of MyFrenchFilmFestival, the online film showcase created by UniFrance.
Ira Sachs, the American director whose latest film “Frankie” competed at Cannes, will preside over the international jury which will comprise of the French actress Agathe Bonitzer (“Isadora’s Children”), Guatemaltec director Jayro Bustamante (“Ixcanul”), American actor-turned-director Brady Corbet (“Vox Lux”), Belgian director Judith Davis (“My Revolution”) and Czech director Michaela Pavlatova (“My Sunny Maad”). The other jury is made up of members of the international press.
“To the Ends of the World,” which world premiered at Cannes Directors’ Fortnight last year, stars Gaspard Ulliel (“Saint Laurent”) as a young French soldier in Indochina, in 1945, who survives a brutal massacre in which...
Ira Sachs, the American director whose latest film “Frankie” competed at Cannes, will preside over the international jury which will comprise of the French actress Agathe Bonitzer (“Isadora’s Children”), Guatemaltec director Jayro Bustamante (“Ixcanul”), American actor-turned-director Brady Corbet (“Vox Lux”), Belgian director Judith Davis (“My Revolution”) and Czech director Michaela Pavlatova (“My Sunny Maad”). The other jury is made up of members of the international press.
“To the Ends of the World,” which world premiered at Cannes Directors’ Fortnight last year, stars Gaspard Ulliel (“Saint Laurent”) as a young French soldier in Indochina, in 1945, who survives a brutal massacre in which...
- 1/7/2020
- by Elsa Keslassy
- Variety Film + TV
For a country that boasts Europe’s biggest film industry and produces about 300 films per year, France has a fairly bad track record when it comes to the foreign-language Oscar race. Only three French entries have earned an nomination in the last decade, and the last one which took home the statuette was Régis Wargnier’s “Indochine,” in 1993.
Olivier Assayas, who won best director at Cannes two years ago with Kristen Stewart-starrer “Personal Shopper,” believed he had a solid shot with his latest outing, “Non-Fiction,” which stars Juliette Binoche and competed in Venice before earning praise in Toronto. But France’s Oscar committee has caused a ruckus by declaring it ineligible for submission according to rules that Assayas and the film’s U.S. distributor criticize as “arcane.”
“I’ve been making films since 1986, and I think I’m one of the only French directors whose every movie since...
Olivier Assayas, who won best director at Cannes two years ago with Kristen Stewart-starrer “Personal Shopper,” believed he had a solid shot with his latest outing, “Non-Fiction,” which stars Juliette Binoche and competed in Venice before earning praise in Toronto. But France’s Oscar committee has caused a ruckus by declaring it ineligible for submission according to rules that Assayas and the film’s U.S. distributor criticize as “arcane.”
“I’ve been making films since 1986, and I think I’m one of the only French directors whose every movie since...
- 9/21/2018
- by Elsa Keslassy
- Variety Film + TV
France’s thriving animation industry has been getting the biggest boost from the international tax rebate since 2013.
Each year on average, animated films and series represent a third of the productions accessing the international tax rebate and 50% of the expenditure of foreign productions in France, according to Xavier Lardoux, head of films at the Cnc National Film Board.
Since the international tax rebate was revamped in 2016, allowing for a rate increase which grew from 20% to 30%, several French studios such as Mikros Animation, Dwarf Labs or Fortiche Production have followed the footsteps of Illuminated MacGuff and have started working on American projects that have brought nearly 30 million euros ($35 million) in expendirure in France, according to the Cnc.
Dwarf Labs, for instance, began working for Cirrina Studios on William Joyce’s animated feature “The Extincts” (pictured), an adaptation of British writer Veronica Cossanteli’s popular children novel.
France’s technical industries, which include animation services,...
Each year on average, animated films and series represent a third of the productions accessing the international tax rebate and 50% of the expenditure of foreign productions in France, according to Xavier Lardoux, head of films at the Cnc National Film Board.
Since the international tax rebate was revamped in 2016, allowing for a rate increase which grew from 20% to 30%, several French studios such as Mikros Animation, Dwarf Labs or Fortiche Production have followed the footsteps of Illuminated MacGuff and have started working on American projects that have brought nearly 30 million euros ($35 million) in expendirure in France, according to the Cnc.
Dwarf Labs, for instance, began working for Cirrina Studios on William Joyce’s animated feature “The Extincts” (pictured), an adaptation of British writer Veronica Cossanteli’s popular children novel.
France’s technical industries, which include animation services,...
- 6/12/2018
- by Elsa Keslassy
- Variety Film + TV
On the surface, France’s film industry is living la vie en rose. The country recorded its third-largest box office haul in 50 years in 2017, following an even stronger performance in 2016. More than 60 French productions or co-productions have been selected for the upcoming Cannes Film Festival. French sales agents represent more than two-thirds of the films in the festival’s official competition.
But look a little closer, and the cracks start to appear. Although France is continental Europe’s biggest film market, many distributors are in dire straits. Major companies like Wild Bunch and EuropaCorp are seeking white knights. Some banners have consolidated, including Mars Films, which sold a 30% stake in the company to Vivendi. Others — such as MK2, which is focusing more on exhibition and international sales — have shut down their distribution businesses or, like La Belle Co., called it quits entirely.
The distribution sector’s woes stem from an ultracompetitive environment,...
But look a little closer, and the cracks start to appear. Although France is continental Europe’s biggest film market, many distributors are in dire straits. Major companies like Wild Bunch and EuropaCorp are seeking white knights. Some banners have consolidated, including Mars Films, which sold a 30% stake in the company to Vivendi. Others — such as MK2, which is focusing more on exhibition and international sales — have shut down their distribution businesses or, like La Belle Co., called it quits entirely.
The distribution sector’s woes stem from an ultracompetitive environment,...
- 5/3/2018
- by Elsa Keslassy
- Variety Film + TV
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