Listen to (and share) episode 28 of our audio podcast Deadline Awards Watch With Pete Hammond a special wrap-up episode from the just-concluded Cannes Film Festival. Deadline’s Awards Columnist talks with host David Bloom about the festival’s winners, led by Blue Is The Warmest Color, a three-hour lesbian love story that captured the Palme D’Or. They also talk about Jerry Lewis’ return to the Cannes spotlight 18 years after his last film, and this week’s notable releases, including the indie coming-of-age tale The Kings Of Summer and the magicians caper movie Now You See Me.
It was announced today by IM Global CEO Stuart Ford and the picture’s financiers Emmett/Furla Films, Paul Breuls’ Corsan Films and Len Blavatnik’s AI Film that IM Global has made a number of important territorial sales on Martin Scorsese’s SILENCE during the past fortnight at the Cannes Film Festival. IM Global is handling foreign sales alongside AI Film.
Key deals closed included Metropolitan for France, Concorde for Germany, Gaga for Japan, RAI for Italy, Gussi for Latin America, Transmission for Australia, Mis Label for Scandinavia, Paradiso for Benelux, JMD Entertainment for South Korea, Aqua for Turkey, Lusomundo for Portugal, United King for Israel, Golden Scene for Hong Kong, Spentzos for Greece, Padora for Ex-Yugoslavia, Catchplay for Taiwan, Apsara for India, Indonesia, Malaysia, Philippines, and Thailand and MVP for Singapore.
Scorsese came to Cannes to help pitch the project and performed a 45 minute presentation in front of more than 300 international distributors on stage with Ford. He also completed select one-on-one meetings with distributors.
IM Global Founder and CEO Stuart Ford has signed a multiple year extension to his CEO service contract it was announced today by a company spokesperson. The 43 year old executive founded the company with a launch at Cannes in 2007 and IM Global has since gone on to become one of the most visible and active companies in the independent sector.
The company had eight new films in the Cannes Market and played host to Martin Scorsese, who was in town to help IM Global promote his longtime passion project “Silence”. On the opening day of the Festival Ford and Scorsese combined to give a presentation to 300 foreign distributors in one of the Croisette’s most high profile events of the opening week.
An international sales powerhouse, the company customarily brings 15-18 new projects a year into the market across its unique structure of four separate sales labels handling mainstream commercial, arthouse, genre and foreign language films.
They’ve announced it and it’s in the trades. Deadline broke the story Saturday. Here’s the official word:
The Weinstein Company (TWC) today announced that it has acquired US rights for Number 9 Films CAROL from HanWay Films. Producers Elizabeth Karlsen and Stephen Woolley simultaneously announced that Academy Award nominee Todd Haynes (I’m Not There, Far From Heaven) has come on-board to direct.
Carol is a love story about pursuit, betrayal and passion that follows the burgeoning relationship between two very different women in 1950s New York. One, a girl in her twenties working in a department store who dreams of a more fulfilling life, and the other, a wife trapped in a loveless, moneyed marriage desperate to break free but fearful of losing her daughter in the process.
Hammond On Cannes: Spielberg And Jury Award France’s Sizzling, Sexy And First Gay Palme d’Or Winner; Is Oscar Next?
Blue Is The Warmest Color (La Vie D’Adele – Chapitre 1 & 2) is only the second purely French film in this most French of festivals to win the Palme d’Or in the past 46 years. The film has had the …
Sundance Selects acquired U.S. rights to Japanese writer-director Kore-eda Hirokazu’s Jury Prize Winner Like Father, Like Son from Wild Bunch. With a screenplay by Kore-eda, the film stars Fukuyama Masaharu, Ono Machiko, Maki Yoko, and Lily Franky, and was produced by Kameyama Chihiro, Hatanaka Tatsuro, and Tom Yoda. …
We are at the end of a long Cannes, and jury members have had the opportunity to see all 20 films in the main competition. But who wins the Palme d’Or? I have learned that jury president Steven Spielberg has specifically instructed his colleagues to remain tight-lipped and not provide any clues. Cannes juries anyway are notoriously hard to predict and critical reaction through the festival doesn’t necessarily mean anything. But, jumping into the shark-infested waters of predictions, I would say frontrunners for the Palme d’Or are likely Joel and Ethan Coen’s Inside Llewyn Davis, Italian director Paolo Sorrentino’s stunning The Great Beauty (La Grande Bellezza), Abdellatif Kechiche’s Blue Is The Warmest Color (thanks to buzz), and possibly Iranian director Asghar Farhardi’s The Past which was shot in Paris and mostly in French. I also would throw in the wonderfully heartfelt Japanese entry Like Father, Like Son, a truly moving film from director Kore-Eda Hirokazu. It’s a long-shot but human emotion goes a long way with juries. I could have picked J.C. Chandor’s All Is Lost with a virtuoso performance from Robert Redford but for some reason it was shown out of competition and not eligible. Otherwise it would have been in the top tier of contenders. Watch for a possible sleeper with the Chinese entry (their first in a few years) ,A Touch Of Sin from director Jia Zhangke who is overdue. Reaction was mixed overall to the overlong four-segment story that examines China today warts and all in some cases. Plus it has some pretty extreme violence. But he could win a prize as a statement supporting more honest and open China filmmaking which this seems to represent. Further down the list are Alexander Payne’s Nebraska and James Gray’s beautifully realized period piece The Immigrant, at least in terms of Palme d’Or buzz for both very American directors. The wild card is likely Steven Soderbergh’s Behind The Candelabra since he said it’s his last film for the forseeable future. But that could be hampered by the fact it premieres on HBO in the U.S. tomorrow and most think it is more likely to win for its acting, specifically Michael Douglas.
The last three days of the festival saw the sun come out on the Croisette and the quality of films particularly impressive. High profile contenders holding premieres included Nebraska, The Immigrant, and the much touted by critics 3-hour French teen lesbian drama Blue Is The Warmest Color. Followed by Jim Jarmusch’s Only Lovers Left Alive, Roman Polanski’s Venus In Fur had its official premiere Saturday night. This entertaining French language adaptation of the hit Broadway play stars his wife Emmanuelle Seigner in an actress audition that turns into a sexual game of cat and mouse with her director portrayed by Mathieu Amalric (who looks uncannily like a younger Polanski – likely on purpose).
The acting categories will provide the most Solomon-like decisions for the jury. Michael Douglas may receive a prize alone or add his equally fine co-star Matt Damon. The actor race is impossibly crowded and also includes the magnificent Toni Servillo of Great Beauty, Oscar Isaac in Inside Llewyn Davis, Bruce Dern and Will Forte of Nebraska, and Amalric of Venus In Fur. And if the jury is watching closely there’s a truly moving performance from Masaharu Fukuyama as the flawed parent in Like Father, Like Son. I would also give a shout-out to the excellent Souleymane Deme as Grigris in a film that didn’t get a lot of traction. On the women’s side, Adele Exarchopoulos and Lea Seydoux could be honored together or apart for brave and explicit work in Blue Is The Warmest Color.
The 2013 Un Certain Regard prizes were handed out by Thomas Vinterberg’s jury this evening in Cannes. Cambodian director Rithy Panh won the top award for his first-person story The Missing Picture. The Jury Prize was given to the well-liked Omar by Oscar nominee Hany Abu-Assad. Alain Guiraudie won the Directing Prize for the controversial but acclaimed erotic thriller Stranger By The Lake which Strand Releasing picked up this week. The Un Certain Talent award was given to the ensemble of actors from Spanish director Diego Quemada-Diez’ The Golden Cage. And Ryan Coogler’s Fruitvale Station was honored with the Prize of the Future. His film, which won the Grand Jury Prize and Audience Award in Sundance, held a berth in UCR that’s usually reserved for movies that made a name in Park City. Eventual Oscar nominee Benh Zeitlin’s Beasts Of The Southern Wild ran in UCR last year.
Whichever way the mistral wind blows on Sunday when Steven Spielberg’s jury hands out its awards, it’s fair to say that, for critics, the Competition has been divisive. While a number of films received huzzahs in the Palais, several met with mixed reactions. Among the best received were the Coen brothers’ Inside Llewyn Davis, Steven Soderbergh’s Behind The Candelabra, Paolo Sorrentino’s The Great Beauty, Hirokazu Kore-Eda’s Like Father Like Son, and Abdellatif Kechiche’s Blue Is The Warmest Color. Among the not so hot were Nicolas Winding Refn’s Only God Forgives and Takashi Miike’s Shield Of Straw, both of which were subject to boos during press screenings. And, yet, each has its supporters.
Sony Pictures Classics acquired North American rights to Jim Jarmusch’s Only Lovers Left Alive, the vampire pic that premieres tomorrow at Cannes in the In Competition section. The film was produced by Jeremy Thomas of Recorded Picture Company and Reinhard Brundig of Pandora Film. Christos Konstantakopoulos of Fairilo House served …
The Directors’ Fortnight sidebar has its closing ceremony tonight with Yolande Moreau’s Henri screening after the prize ceremony. The section is actually non-competitive, but certain partners of the Société des Réalisateurs Français, the French directors’ body that organizes the event, attribute awards. Frenchman Guillaume Gallienne won two prizes tonight for Les Garçons Et Guillaume, A Table!, while Brit helmer Clio Barnard took the Europa Cinema Label honor for The Selfish Giant. Her film was recently acquired by Sundance Selects. Last year’s winners included Pablo Larrain’s No, which went on to be nominated for a foreign language Oscar, and Noémie Lvovsky’s Camille Redouble which later scored 13 nominations at France’s César Awards. Here’s the group that took prizes for the 2013 edition of the Fortnight:
As things wind down here on the Croisette, prizes are starting to roll out across the various sections. Last night was Critics’ Week and later today we’ll have the Directors’ Fortnight winners. The Cinéfondation jury, led by president Jane Campion, has just released its top picks for this year. The selection is made up of 18 student films with the winners taking €15,000 for first prize, €11,250 for second and €7,500 for third. The director of first prize winner, in this case Art Institute of Chicago student Anahita Ghazvinizadeh, is also guaranteed their first feature will be presented in Cannes. Her winning short film Needle is about a girl who goes to have her ears pierced, provoking a quarrel between her parents that overwhelms the situation. Click over for the full list of winners: