Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
- 5/3/2017
- ScreenDaily
While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
- 5/3/2017
- by Jordan Raup
- The Film Stage
We all know that Adopt Films has acquired all U.S. rights to the 2014 Cannes Film Festival Palme d’Or Winner, Nuri Bilge Ceylan’s “Winter Sleep.” And we all know that Memento, with three films in the festival (“Cold in July” by Jim Mickle and the Argentinean “Refugiado” by Diego Lerman in the Quinzaine des Realisateurs, and “Winter Sleep” in Competition) is one of the top international sales agents of the best arthouse cinema today…
Our Pre-Cannes Film Festival Report, the Pre-Festival Report which Tom Brueggemann and I publish before the Festivals of Toronto, Sundance and Cannes. (Ask me if you want a free copy and I’ll send it to you.) lists international sales agents’ films in all sections of the Cannes Film Festival by numbers:
Wild Bunch
7
Le Pacte
5
Pyramide
4
3 films: Memento , Bac, Doc & Film, Films Distribution, Gaumont, Other Angle
2 films: Cj, Visit, Elle Driver, eOne, Seville, Urban Distribution Int’l, Les Films du Losange, MK2, Ndm, Sierra/ Affinity, The Match Factory, Westend
1 film: Alpha Violet, Altitude, Cinetic, Filmnation, Dreamworks Animation, Showbox, Films Boutique, Rezo, Myriad, Indie Sales, Snd - Groupe 6, Sunray, The Coproduction Office, Kinology, Pathe, The Festival Agency, Trust Nordisk, Versatile, Premium Panorama/ Annapurna, Kazak, Lotus,
Celluloid Nightmares, Film Factory, Rai Trade, 31 Juin Films, Alfama, Alice Films, Atoms & Void, Aud, Capricci, Morgane, Paraiso, Six Island Productions
Regarding this film, read my Cannes Blog: Cannes 2014 What I Saw #2: Palme d’Or Winner 'Winter Sleep' or just continue reading here:
Here is what I had to say about the film after I saw it in Cannes:
Whether this film will find a home in the U.S., whose audiences and movie theaters are so impatient, is questionable. At the very least, it should screen at New York’s Film Forum and in L.A. at the American Cinematheque or UCLA’s Film Program. Certainly it will play in the top film festivals forever. It is the sort of classic movie cinephiles will love, along the line of Tarkovsky or Angelopoulos. It is the sort of movie one wishes to see, to fully immerse oneself in, an experience only available in a certain type of movie or after reading a deeply immersive novel of Proust, Tolstoy or Marquez.
Once again, Jeff Lipsky and Adopt Films President Tim Grady who negotiated the deal with Memento Films International head of International Sales and Acquisitions, Tanja Meissner, have proven that they have an impeccable eye for quality.
Adopt plans a year-end 2014 U.S. release for “Winter Sleep.”
Nuri Bilge Ceylan’s epic and yet personally intimate story is about a wealthy self-absorbed Anatolian hotelier and landowner and his uneasy relationships with those around him. Is he evil? Is the power of evil best resisted by giving in to it?
This is Nuir Bilge Ceylan’s first Palme d’Or but he has received the Grand Prix twice already: once for “Distant” (2002) and again for 2011 for “Once Upon a Time in Anatolia”. He also won for the Director Award in 2008 for “Three Monkeys”. It also won the Fipresci prize in Cannes.
“Winter Sleep” is also the second film by a Turkish director to win the Palm, after Yilmaz Guney and Serif Goren’s “The Way” in1982.
When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. “This is a great surprise for me,” Ceylan said, “I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.”
“Winter Sleep” is being sold internationally by Memento who will also release it in France. Ama Films acquired Greek rights before Cannes. New Wave acquired U.K. rights in Cannes. Stadtkino-Filmverleih has rights for Austria, Film Point Group has Poland.
Mexico
Mantarraya Producciones
Norway
As Fidalgo Film Distribution
Slovak Republic
Film Europe Media Company
Memento coproduced the film with the director's company, NBC Film, in collaboration with Turkey's Zeynofilm, Germany's Bredok Film Production. Eurimages backed the film with 450,000 € of the total 3.6 million € allocated to 13 film productions announced in March 13. (Parenthetically, seven of the Eurimages backed productions had French participation and five German were co-productions. “One, “Lucy in the Star” by Giuseppe Petitto an Italian, Swiss and Austria co-production received 130,000 €. “All My Children” by Ladislav Kabos from Slovakia and Czech Republic received 30,000 €.
To return to “Winter Sleep”: The opening scene of the stunning and surrealistic landscape of Cappadocia, Anatolia immediately establishes this story as exotic and yet familiar. The actor, Haluk Bilginer, seems to be a familiar type – and in fact, his character is that of a former actor who has turned hotelier and landowner; he is attractive in an actor sort of way and seems always somehow distracted while maintaining a hawk’s eye on the household and the area he appears to rule in an almost feudal style. The household he enters and its inhabitants fall into place like pieces of a puzzle one did not realize was, in fact, a puzzle, with the housekeeper, the sister and the young wife slowly taking on a shape within a larger context in this beautiful and ancient city built in the rocks like caves, with a primitively frightening side, personified by the impecunious family living on the property of the landlord. A modern and affable meeting of concerned citizens of the town establishes his relationship with his wife who lives an uneasy truce until he makes one final effort at destabilizing her hard-won independence of mind.
The 3-½ hours of the film pass without ever loosing the audience interest as the story unfolds about the relationship among the townspeople and the landowning man who, in factm is a tyrant until he is forced to see his own powerlessness.
The philosophic underpinnings, discussed in several intimate conversations, about the best way to resist evil, about wealth and the power it bestows and the resentment it engenders, finds a quiet resolution, which arrives unexpectedly along with the end of the story.
One wonders at the movie’s end if one is about to settle into a long winter sleep or if, in fact, one is emerging from such a sleep in which one dreamt of the previous autumn. And does Winter Sleep solve the problem of evil? In a silent and enigmatic way, it says that the power of money and of tyranny, in the face of resistance by one whose soul is not to be conquered, is null.
In a joint statement Grady and Lipsky said: “ ‘Winter Sleep’ is an epic film: A symphony of words and a sonata of visual splendor. A significant stylistic departure from one of the greatest international filmmakers working today. ‘Winter Sleep’ is a motion picture that will have movie audiences discussing with great passion its provocative discussions about art and artists, class struggle, and love and marriage. A film like this, so rich with ideas, dazzling dialogue, and intelligent characters, is one that is instantly unforgettable. We are proud to partner with Nuri Bilge Ceylan on his achievement of a lifetime. “
Adopt Films just debuted Martin Provost’s follow-up to “Seraphine,” “Violette,” starring Emmanuelle Devos and Sandrine Kiberlain. (Another great film)
Read our coverage here:
'Violette' by Martin Provost
Other recent successes for Adopt Films include the Oscar nominated “Omar” from Hany Abu-Assad, and Yuval Adler’s Venice Film Festival award-winning thriller “Bethlehem.” Its upcoming releases include Vinko Brešan’s Karlovy Vary comedy hit “The Priest’s Children,” Oscar winner Caroline Link’s new drama “Exit Marrakech,” Frederik Steiner’s Zurich,” starring Liv Lisa Fries, and Jacques Doillon’s “Love Battles.”
www.facebook.com/adoptfilms
www.twitter.com/adoptfilms...
Our Pre-Cannes Film Festival Report, the Pre-Festival Report which Tom Brueggemann and I publish before the Festivals of Toronto, Sundance and Cannes. (Ask me if you want a free copy and I’ll send it to you.) lists international sales agents’ films in all sections of the Cannes Film Festival by numbers:
Wild Bunch
7
Le Pacte
5
Pyramide
4
3 films: Memento , Bac, Doc & Film, Films Distribution, Gaumont, Other Angle
2 films: Cj, Visit, Elle Driver, eOne, Seville, Urban Distribution Int’l, Les Films du Losange, MK2, Ndm, Sierra/ Affinity, The Match Factory, Westend
1 film: Alpha Violet, Altitude, Cinetic, Filmnation, Dreamworks Animation, Showbox, Films Boutique, Rezo, Myriad, Indie Sales, Snd - Groupe 6, Sunray, The Coproduction Office, Kinology, Pathe, The Festival Agency, Trust Nordisk, Versatile, Premium Panorama/ Annapurna, Kazak, Lotus,
Celluloid Nightmares, Film Factory, Rai Trade, 31 Juin Films, Alfama, Alice Films, Atoms & Void, Aud, Capricci, Morgane, Paraiso, Six Island Productions
Regarding this film, read my Cannes Blog: Cannes 2014 What I Saw #2: Palme d’Or Winner 'Winter Sleep' or just continue reading here:
Here is what I had to say about the film after I saw it in Cannes:
Whether this film will find a home in the U.S., whose audiences and movie theaters are so impatient, is questionable. At the very least, it should screen at New York’s Film Forum and in L.A. at the American Cinematheque or UCLA’s Film Program. Certainly it will play in the top film festivals forever. It is the sort of classic movie cinephiles will love, along the line of Tarkovsky or Angelopoulos. It is the sort of movie one wishes to see, to fully immerse oneself in, an experience only available in a certain type of movie or after reading a deeply immersive novel of Proust, Tolstoy or Marquez.
Once again, Jeff Lipsky and Adopt Films President Tim Grady who negotiated the deal with Memento Films International head of International Sales and Acquisitions, Tanja Meissner, have proven that they have an impeccable eye for quality.
Adopt plans a year-end 2014 U.S. release for “Winter Sleep.”
Nuri Bilge Ceylan’s epic and yet personally intimate story is about a wealthy self-absorbed Anatolian hotelier and landowner and his uneasy relationships with those around him. Is he evil? Is the power of evil best resisted by giving in to it?
This is Nuir Bilge Ceylan’s first Palme d’Or but he has received the Grand Prix twice already: once for “Distant” (2002) and again for 2011 for “Once Upon a Time in Anatolia”. He also won for the Director Award in 2008 for “Three Monkeys”. It also won the Fipresci prize in Cannes.
“Winter Sleep” is also the second film by a Turkish director to win the Palm, after Yilmaz Guney and Serif Goren’s “The Way” in1982.
When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. “This is a great surprise for me,” Ceylan said, “I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.”
“Winter Sleep” is being sold internationally by Memento who will also release it in France. Ama Films acquired Greek rights before Cannes. New Wave acquired U.K. rights in Cannes. Stadtkino-Filmverleih has rights for Austria, Film Point Group has Poland.
Mexico
Mantarraya Producciones
Norway
As Fidalgo Film Distribution
Slovak Republic
Film Europe Media Company
Memento coproduced the film with the director's company, NBC Film, in collaboration with Turkey's Zeynofilm, Germany's Bredok Film Production. Eurimages backed the film with 450,000 € of the total 3.6 million € allocated to 13 film productions announced in March 13. (Parenthetically, seven of the Eurimages backed productions had French participation and five German were co-productions. “One, “Lucy in the Star” by Giuseppe Petitto an Italian, Swiss and Austria co-production received 130,000 €. “All My Children” by Ladislav Kabos from Slovakia and Czech Republic received 30,000 €.
To return to “Winter Sleep”: The opening scene of the stunning and surrealistic landscape of Cappadocia, Anatolia immediately establishes this story as exotic and yet familiar. The actor, Haluk Bilginer, seems to be a familiar type – and in fact, his character is that of a former actor who has turned hotelier and landowner; he is attractive in an actor sort of way and seems always somehow distracted while maintaining a hawk’s eye on the household and the area he appears to rule in an almost feudal style. The household he enters and its inhabitants fall into place like pieces of a puzzle one did not realize was, in fact, a puzzle, with the housekeeper, the sister and the young wife slowly taking on a shape within a larger context in this beautiful and ancient city built in the rocks like caves, with a primitively frightening side, personified by the impecunious family living on the property of the landlord. A modern and affable meeting of concerned citizens of the town establishes his relationship with his wife who lives an uneasy truce until he makes one final effort at destabilizing her hard-won independence of mind.
The 3-½ hours of the film pass without ever loosing the audience interest as the story unfolds about the relationship among the townspeople and the landowning man who, in factm is a tyrant until he is forced to see his own powerlessness.
The philosophic underpinnings, discussed in several intimate conversations, about the best way to resist evil, about wealth and the power it bestows and the resentment it engenders, finds a quiet resolution, which arrives unexpectedly along with the end of the story.
One wonders at the movie’s end if one is about to settle into a long winter sleep or if, in fact, one is emerging from such a sleep in which one dreamt of the previous autumn. And does Winter Sleep solve the problem of evil? In a silent and enigmatic way, it says that the power of money and of tyranny, in the face of resistance by one whose soul is not to be conquered, is null.
In a joint statement Grady and Lipsky said: “ ‘Winter Sleep’ is an epic film: A symphony of words and a sonata of visual splendor. A significant stylistic departure from one of the greatest international filmmakers working today. ‘Winter Sleep’ is a motion picture that will have movie audiences discussing with great passion its provocative discussions about art and artists, class struggle, and love and marriage. A film like this, so rich with ideas, dazzling dialogue, and intelligent characters, is one that is instantly unforgettable. We are proud to partner with Nuri Bilge Ceylan on his achievement of a lifetime. “
Adopt Films just debuted Martin Provost’s follow-up to “Seraphine,” “Violette,” starring Emmanuelle Devos and Sandrine Kiberlain. (Another great film)
Read our coverage here:
'Violette' by Martin Provost
Other recent successes for Adopt Films include the Oscar nominated “Omar” from Hany Abu-Assad, and Yuval Adler’s Venice Film Festival award-winning thriller “Bethlehem.” Its upcoming releases include Vinko Brešan’s Karlovy Vary comedy hit “The Priest’s Children,” Oscar winner Caroline Link’s new drama “Exit Marrakech,” Frederik Steiner’s Zurich,” starring Liv Lisa Fries, and Jacques Doillon’s “Love Battles.”
www.facebook.com/adoptfilms
www.twitter.com/adoptfilms...
- 7/1/2014
- by Sydney Levine
- Sydney's Buzz
Winter Sleep , Nuri Bilge Ceylan’s epic and yet personally intimate story of a wealthy self-absorbed Anatolian hotelier and landowner and his uneasy relationships with those around him. Is he evil? Is the power of evil best resisted by giving in to it?
This is Nuir Bilge Ceylan’s first Palme d’Or but he has received the Grand Prix twice already: once for Distant (2002) and again for 2011 for Once Upon a Time in Anatolia. He also won for the Director Award in 2008 for Three Monkeys. It also won the Fipresci prize.
Winter Sleep is also the second film by a Turkish director to win the Palm, after Yilmaz Guney and Serif Goren’s The Way in1982. When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. “This is a great surprise for me,” Ceylan said, “I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.”
Winter Sleep is being sold internationally by Memento who will also release it in France. Ama acquired Greek rights before Cannes. New Wave acquired U.K. rights in Cannes. Stadkino has rights for Austria, Film Point has Poland. Memento coproduced the film with the director's company NBC Film in collaboration with Turkey's Zeynofilm, Germany's Bredok Film Production. Eurimages backed the film with 450,000 € of the total 3.6 million € allocated to 13 film productions announced in March 13. (Parenthetically, seven of the Eurimages backed productions had French participation and five German were co-productions. One Lucy in the Star by Giuseppe Petitto an Italian, Swiss and Austria co-production received 130,000 € and All my Children by Ladislav Kabos from Slovakia and Czech Republic received 30,000 €.)
The opening scene of stunning and surrealistic landscape of Cappadocia, Anatolia immediately establishes this story as exotic and yet familiar. The actor, Haluk Bilginer, seems to be a familiar type – and in fact, his character is that of a former actor who has turned hotelier and landowner; he is attractive in an actor sort of way and seems always somehow distracted while maintaining a hawk’s eye on the household and area he appears to rule in an almost feudal style. The household he enters and its inhabitants fall into place like pieces of a puzzle one did not realize was, in fact, a puzzle, with the housekeeper, the sister and the young wife slowly taking on a shape within a larger context in this beautiful and ancient city built in the rocks like caves, with a primitively frightening side, personified by the impecunious family living on the property of the landlord. A modern and affable meeting of concerned citizens of the town establishes his relationship with his wife who lives an uneasy truce until he makes one final effort at destabilizing her hard-won independence of mind.
The 3-½ hours of the film pass without ever loosing the audience interest as the unfolds about the relationship among the townspeople and the landowning man who in fact is a tyrant until he is forced to see his own powerlessness. The philosophic underpinnings, discussed in several intimate conversations, about the best way to resist evil, about wealth and the power it bestows and the resentment it engenders finds a quiet resolution, which arrives unexpectedly along with the end of the story.
Whether this film will find a home in the U.S. whose audiences and movie theaters are so impatient is questionable. At the least, it should show at New York’s Film Forum, at L.A.’s UCLA Film Program or at the American Cinematheque and certainly it will play in the top film festivals forever. It is the sort of classic movie cinephiles will love, along the line of Tarkovsky or Angelopoulos. It is the sort of movie one wishes to see, to fully immerse oneself in an experience only available in a certain type of movie or after reading a deeply immersive novel of Proust, Tolstoy or Marquez.
One wonders at the movie’s end if one is about to settle into a long winter sleep or if, in fact, one is emerging from such a sleep in which one dreamt of the previous autumn. And does Winter Sleep solve the problem of evil? In a silent and enigmatic way, it says that the power of money and of tyranny, in the face of resistance by one whose soul is not to be conquered is null.
This is Nuir Bilge Ceylan’s first Palme d’Or but he has received the Grand Prix twice already: once for Distant (2002) and again for 2011 for Once Upon a Time in Anatolia. He also won for the Director Award in 2008 for Three Monkeys. It also won the Fipresci prize.
Winter Sleep is also the second film by a Turkish director to win the Palm, after Yilmaz Guney and Serif Goren’s The Way in1982. When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. “This is a great surprise for me,” Ceylan said, “I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.”
Winter Sleep is being sold internationally by Memento who will also release it in France. Ama acquired Greek rights before Cannes. New Wave acquired U.K. rights in Cannes. Stadkino has rights for Austria, Film Point has Poland. Memento coproduced the film with the director's company NBC Film in collaboration with Turkey's Zeynofilm, Germany's Bredok Film Production. Eurimages backed the film with 450,000 € of the total 3.6 million € allocated to 13 film productions announced in March 13. (Parenthetically, seven of the Eurimages backed productions had French participation and five German were co-productions. One Lucy in the Star by Giuseppe Petitto an Italian, Swiss and Austria co-production received 130,000 € and All my Children by Ladislav Kabos from Slovakia and Czech Republic received 30,000 €.)
The opening scene of stunning and surrealistic landscape of Cappadocia, Anatolia immediately establishes this story as exotic and yet familiar. The actor, Haluk Bilginer, seems to be a familiar type – and in fact, his character is that of a former actor who has turned hotelier and landowner; he is attractive in an actor sort of way and seems always somehow distracted while maintaining a hawk’s eye on the household and area he appears to rule in an almost feudal style. The household he enters and its inhabitants fall into place like pieces of a puzzle one did not realize was, in fact, a puzzle, with the housekeeper, the sister and the young wife slowly taking on a shape within a larger context in this beautiful and ancient city built in the rocks like caves, with a primitively frightening side, personified by the impecunious family living on the property of the landlord. A modern and affable meeting of concerned citizens of the town establishes his relationship with his wife who lives an uneasy truce until he makes one final effort at destabilizing her hard-won independence of mind.
The 3-½ hours of the film pass without ever loosing the audience interest as the unfolds about the relationship among the townspeople and the landowning man who in fact is a tyrant until he is forced to see his own powerlessness. The philosophic underpinnings, discussed in several intimate conversations, about the best way to resist evil, about wealth and the power it bestows and the resentment it engenders finds a quiet resolution, which arrives unexpectedly along with the end of the story.
Whether this film will find a home in the U.S. whose audiences and movie theaters are so impatient is questionable. At the least, it should show at New York’s Film Forum, at L.A.’s UCLA Film Program or at the American Cinematheque and certainly it will play in the top film festivals forever. It is the sort of classic movie cinephiles will love, along the line of Tarkovsky or Angelopoulos. It is the sort of movie one wishes to see, to fully immerse oneself in an experience only available in a certain type of movie or after reading a deeply immersive novel of Proust, Tolstoy or Marquez.
One wonders at the movie’s end if one is about to settle into a long winter sleep or if, in fact, one is emerging from such a sleep in which one dreamt of the previous autumn. And does Winter Sleep solve the problem of evil? In a silent and enigmatic way, it says that the power of money and of tyranny, in the face of resistance by one whose soul is not to be conquered is null.
- 6/1/2014
- by Sydney Levine
- Sydney's Buzz
The Palme d’Or of the 67th annual Cannes Film Festival went to Winter Sleep, Nuri Bilge Ceylan’s epic and yet personally intimate story of a wealty self-absorbed Anatolian hotelier and landowner and his uneasy relationships with those around him. Ceylan’s first Palme d’Or, he has received the Grand Prix twice already. Once for 2002′s Distant and again for 2011′s Once Upon a Time in Anatolia. He also won for best director in 2008 for Three Monkeys.
Winter Sleep is the second film by a Turkish director to win the Palme, after Yilmaz Guney and Serif Goren’s The Way in1982. When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. This is a great surprise for me, Ceylan said, I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.
Winter Sleep is being sold internationally by Memento who will also release it in France. Ama acquired Greek rights before Cannes.
The Grand Prix was awarded to Alice Rohrwacher’s semi-autobiographical drama The Wonders ( Le meraviglie), one of the true wild-card selections in the Competition. Rohrwacher’s only other film was Corpo Celeste. Isa: The Match Factory and distributed in its home country, Italy, by Bim.
Best Director Award went to Bennett Miller (Moneyball, Capote) for Foxcatcher, about the complex relationship of Olympic wrestlers Mark and Davd Schultz and the Pennsylvania millionaire John du Pont. It is being sold internationally by Kimberly Fox’s new production and sales company Panorama who had pre-sold rights before Cannes for U.S. to Sony Pictures Classics, Canada to Métropole Films Distribution and Mongrel Media Inc., France to Mars Films, Germany to Koch Media Gmbh, Japan to Longride Inc., Switzerland to Ascot Elite Entertainment Group, Taiwan to Long Shong International, U.K. to Entertainment One UK.
The Actress Prize went to Julianne Moore for her role in David Cronenberg’s Maps to the Stars , a Hollywood saga where in order to succeed you must be incestuous or schizophrenic. Written by Bruce Wagner it is being sold internationally by Entertainment One, it had pre-sold before Cannes to Benelux to Cdc United Network and Cineart , Colombia to Babilla Cine, France to Canal + and Le Pacte, Germany to Mfa Film Distribution and Rtc Media, Greece to Hollywood Entertainment S.A., Italy to Adler Entertainment Srl, So. Korea to Doki Entertainment, Mexico to Cine Video Y Tv, Norway to Star Media Entertainment, Romania to Independenta Film, Switzerland to Pathe Films Ag, Turkey to Calinos Films, Ukraine to Top Film Distribution (Ukraine), U.K. to Entertainment One Films International.
The Actor Award went to Timothy Spall for his role as the renowned British artist J.M.W. Turner whose use of light and color made him a pioneering and controversial figures of his day. Mr. Turner was directed by seven-time Academy Award® nominated and multiple BAFTA winning writer/director Mike Leigh (Another Year, Vera Drake, Secrets & Lies). The legendary British actor Timothy Spall (Harry Potter, Secrets & Lies) also includes frequent Leigh collaborators, including Academy Award® nominated cinematographer Dick Pope (Vera Drake, Secrets & Lies, The Illusionist) and Academy Award®-winning costume designer Jacqueline Durran (Another Year, Anna Karenina, Atonement). Leigh works in close collaboration with his actors, using his unique methods of improvisation to bring Turner and his 19th century world to life. Mike Leigh said: Turner as a character is compelling. I want to explore the man, his working life, his relationships and how he lived. But what fascinates me most is the drama that lies in the tension between this driven eccentric and the epic, timeless world he evoked in his masterpieces.
I’ve spent a lot of time being a bridesmaid. This is the first time I’ve ever been a bride, so I’m quite pleased about that, Spall said in a long, moving acceptance speech. This is as much an accolade for Mr. Leigh as it is for me. Spall recalled that when Leigh’s Secrets & Lies, in which he also starred, won the Palme d’Or, he was undergoing chemotherapy for leukemia. I thank God that I’m still here and alive.
The film was already pre-sold before Cannes by Isa Pyramide to U.S. to Sony Pictures Classics, Canada to Mongrel Media Inc., France to Canal + and Diaphana Distribution, Germany to Prokino Filmverleih Gmbh, Switzerland to Pathe Films Ag.
The Jury Prize went to two films from the Competition’s youngest and oldest directors: Xavier Dolan’s Mommy and Jean-Luc Godard’s Goodbye to Language. Dolan thanked the Jury President Jane Campion and cited her Palme d’Or-winning The Piano as one of the first and most influential films he watched as a teenager. Godard did not attend the festival. Mommy is being sold internationally by both Seville and Entertainment One and was pre-sold before Cannes to Benelux to ABC - Cinemien, France to Diaphana Distribution, Japan toDongyu Club and Pictures Dept. Co. Ltd.
Camera d'Or went to Party Girl, Un Certain Regard Opening Night Film, the debut feature of three directors including two women, Marie Amachoukeli-Barsacq, Claire Burger and Samuel Theis. It had won the ensemble acting prize the night before at the Certain Regard Awards ceremony. It is being sold internationally by Pyramide. The Caméra d'Or ( Golden Camera ) is the award of the Cannes Film Festival for the best first feature film presented in one of the Cannes' selections (Official Selection, Directors' Fortnight or International Critics' Week). The prize was created in 1978 by Gilles Jacob and is awarded by an independent jury which this year was headed by Nicole Garcia.
Screenplay Award went to Andrey Zvyagintsev and Oleg Negin, Leviathan which was highly praised. Its Isa Pyramide presold the film to Australia to Palace Films, Benelux to Lumière, Brazil to Imovision, Greece to Seven Films, Spain to Golem Distribución, Taiwan toPomi International, U.K. to Artificial Eye,Curzon Cinemas and Curzon Film World
Other prizes:
Short Films Palme d’Or: Leidi (Simon Mesa Soto), a U.K. – Colombia coproduction.
Short Films Special Mention: Aissa (Clement Trehin-Lalanne) from France
Ecumenical Jury Prize: Timbuktu (Abderrahmane Sissako, Mauritania-France) being sold internationally by Le Pacte who is also distributing it in France with TV5Monde.
Un Certain Regard Prizes
Un Certain Regard Prize: White God (Kornel Mundruczo, Hungary-Germany-Sweden). Isa: The Match Factory
Jury prize: Force Majeure (Ruben Ostlund, Sweden-France-Denmark-Norway) Isa: The Coproduction Office, sold to Benelux to Lumiere and to Norway’s Arthaus.
Special Prize: The Salt of the Earth (Wim Wenders and Juliano Ribeiro Salgado, France-Italy). Isa: Le Pacte who is distributing it in France and has licensed it to
Italy to Officine Ubu and to Romania to Independenta Film.
Ensemble: Party Girl (Marie Amachoukeli, Claire Burger, Samuel Theis, France) Isa: Pyramide
Actor: David Gulpilil, Charlie’s Country (Rolf de Heer, Australia)
Directors’ Fortnight Prizes
Art Cinema Award: Les Combattants (Thomas Cailley, France) Isa: Bac Films presold to Haut et Court for France.
Society of Dramatic Authors and Composers Prize: Les Combattants
Europa Cinemas Label: Les Combattants
Critics’ Week Prizes
Grand Prize: The Tribe (Myroslav Slaboshpytskiy, Ukraine) Isa: AlphaViolet (also French distributor)
Visionary Prize: The Tribe
Society of Dramatic Authors and Composers Prize: Hope (Boris Lojkine, France) Isa: Pyramide. France TV5Monde.
Fipresci Prizes
Competition: Winter Sleep
Un Certain Regard: Jauja (Lisandro Alonso, Denmark-u.S.-Argentina)
Directors’ Fortnight: Les Combattants...
Winter Sleep is the second film by a Turkish director to win the Palme, after Yilmaz Guney and Serif Goren’s The Way in1982. When Ceylan received the award, he noted that 2014 was the 100th anniversary of Turkish cinema. This is a great surprise for me, Ceylan said, I want to dedicate the prize to all the young people of Turkey, including those who lost their lives over the past year.
Winter Sleep is being sold internationally by Memento who will also release it in France. Ama acquired Greek rights before Cannes.
The Grand Prix was awarded to Alice Rohrwacher’s semi-autobiographical drama The Wonders ( Le meraviglie), one of the true wild-card selections in the Competition. Rohrwacher’s only other film was Corpo Celeste. Isa: The Match Factory and distributed in its home country, Italy, by Bim.
Best Director Award went to Bennett Miller (Moneyball, Capote) for Foxcatcher, about the complex relationship of Olympic wrestlers Mark and Davd Schultz and the Pennsylvania millionaire John du Pont. It is being sold internationally by Kimberly Fox’s new production and sales company Panorama who had pre-sold rights before Cannes for U.S. to Sony Pictures Classics, Canada to Métropole Films Distribution and Mongrel Media Inc., France to Mars Films, Germany to Koch Media Gmbh, Japan to Longride Inc., Switzerland to Ascot Elite Entertainment Group, Taiwan to Long Shong International, U.K. to Entertainment One UK.
The Actress Prize went to Julianne Moore for her role in David Cronenberg’s Maps to the Stars , a Hollywood saga where in order to succeed you must be incestuous or schizophrenic. Written by Bruce Wagner it is being sold internationally by Entertainment One, it had pre-sold before Cannes to Benelux to Cdc United Network and Cineart , Colombia to Babilla Cine, France to Canal + and Le Pacte, Germany to Mfa Film Distribution and Rtc Media, Greece to Hollywood Entertainment S.A., Italy to Adler Entertainment Srl, So. Korea to Doki Entertainment, Mexico to Cine Video Y Tv, Norway to Star Media Entertainment, Romania to Independenta Film, Switzerland to Pathe Films Ag, Turkey to Calinos Films, Ukraine to Top Film Distribution (Ukraine), U.K. to Entertainment One Films International.
The Actor Award went to Timothy Spall for his role as the renowned British artist J.M.W. Turner whose use of light and color made him a pioneering and controversial figures of his day. Mr. Turner was directed by seven-time Academy Award® nominated and multiple BAFTA winning writer/director Mike Leigh (Another Year, Vera Drake, Secrets & Lies). The legendary British actor Timothy Spall (Harry Potter, Secrets & Lies) also includes frequent Leigh collaborators, including Academy Award® nominated cinematographer Dick Pope (Vera Drake, Secrets & Lies, The Illusionist) and Academy Award®-winning costume designer Jacqueline Durran (Another Year, Anna Karenina, Atonement). Leigh works in close collaboration with his actors, using his unique methods of improvisation to bring Turner and his 19th century world to life. Mike Leigh said: Turner as a character is compelling. I want to explore the man, his working life, his relationships and how he lived. But what fascinates me most is the drama that lies in the tension between this driven eccentric and the epic, timeless world he evoked in his masterpieces.
I’ve spent a lot of time being a bridesmaid. This is the first time I’ve ever been a bride, so I’m quite pleased about that, Spall said in a long, moving acceptance speech. This is as much an accolade for Mr. Leigh as it is for me. Spall recalled that when Leigh’s Secrets & Lies, in which he also starred, won the Palme d’Or, he was undergoing chemotherapy for leukemia. I thank God that I’m still here and alive.
The film was already pre-sold before Cannes by Isa Pyramide to U.S. to Sony Pictures Classics, Canada to Mongrel Media Inc., France to Canal + and Diaphana Distribution, Germany to Prokino Filmverleih Gmbh, Switzerland to Pathe Films Ag.
The Jury Prize went to two films from the Competition’s youngest and oldest directors: Xavier Dolan’s Mommy and Jean-Luc Godard’s Goodbye to Language. Dolan thanked the Jury President Jane Campion and cited her Palme d’Or-winning The Piano as one of the first and most influential films he watched as a teenager. Godard did not attend the festival. Mommy is being sold internationally by both Seville and Entertainment One and was pre-sold before Cannes to Benelux to ABC - Cinemien, France to Diaphana Distribution, Japan toDongyu Club and Pictures Dept. Co. Ltd.
Camera d'Or went to Party Girl, Un Certain Regard Opening Night Film, the debut feature of three directors including two women, Marie Amachoukeli-Barsacq, Claire Burger and Samuel Theis. It had won the ensemble acting prize the night before at the Certain Regard Awards ceremony. It is being sold internationally by Pyramide. The Caméra d'Or ( Golden Camera ) is the award of the Cannes Film Festival for the best first feature film presented in one of the Cannes' selections (Official Selection, Directors' Fortnight or International Critics' Week). The prize was created in 1978 by Gilles Jacob and is awarded by an independent jury which this year was headed by Nicole Garcia.
Screenplay Award went to Andrey Zvyagintsev and Oleg Negin, Leviathan which was highly praised. Its Isa Pyramide presold the film to Australia to Palace Films, Benelux to Lumière, Brazil to Imovision, Greece to Seven Films, Spain to Golem Distribución, Taiwan toPomi International, U.K. to Artificial Eye,Curzon Cinemas and Curzon Film World
Other prizes:
Short Films Palme d’Or: Leidi (Simon Mesa Soto), a U.K. – Colombia coproduction.
Short Films Special Mention: Aissa (Clement Trehin-Lalanne) from France
Ecumenical Jury Prize: Timbuktu (Abderrahmane Sissako, Mauritania-France) being sold internationally by Le Pacte who is also distributing it in France with TV5Monde.
Un Certain Regard Prizes
Un Certain Regard Prize: White God (Kornel Mundruczo, Hungary-Germany-Sweden). Isa: The Match Factory
Jury prize: Force Majeure (Ruben Ostlund, Sweden-France-Denmark-Norway) Isa: The Coproduction Office, sold to Benelux to Lumiere and to Norway’s Arthaus.
Special Prize: The Salt of the Earth (Wim Wenders and Juliano Ribeiro Salgado, France-Italy). Isa: Le Pacte who is distributing it in France and has licensed it to
Italy to Officine Ubu and to Romania to Independenta Film.
Ensemble: Party Girl (Marie Amachoukeli, Claire Burger, Samuel Theis, France) Isa: Pyramide
Actor: David Gulpilil, Charlie’s Country (Rolf de Heer, Australia)
Directors’ Fortnight Prizes
Art Cinema Award: Les Combattants (Thomas Cailley, France) Isa: Bac Films presold to Haut et Court for France.
Society of Dramatic Authors and Composers Prize: Les Combattants
Europa Cinemas Label: Les Combattants
Critics’ Week Prizes
Grand Prize: The Tribe (Myroslav Slaboshpytskiy, Ukraine) Isa: AlphaViolet (also French distributor)
Visionary Prize: The Tribe
Society of Dramatic Authors and Composers Prize: Hope (Boris Lojkine, France) Isa: Pyramide. France TV5Monde.
Fipresci Prizes
Competition: Winter Sleep
Un Certain Regard: Jauja (Lisandro Alonso, Denmark-u.S.-Argentina)
Directors’ Fortnight: Les Combattants...
- 5/24/2014
- by Sydney Levine
- Sydney's Buzz
Photo: Wild Bunch I have never seen a Ken Loach film, but if I time things properly I will be seeing his latest feature, Route Irish as it was announced this morning as the nineteenth and final entry into the Competition category and will have its first screening on May 20.
Cannes General Delegate Thierry Fremaux commented on that addition saying, "The opportunity of adding another film to the Competition brings the total number of films presented to 19. So it is manageable and we decided to go for it."
He also points out this isn't the first time last minute additions have been made, and to impressive results. "Gilles Jacob included Yilmaz Guney and et Serif Goren's film Yol, Andej Wajda's L'Homme de fer and Abbas Kiarostami's Le Goût de la cerise at the last minute. That's not the end of the story: all three won the Palme d'Or for that year.
Cannes General Delegate Thierry Fremaux commented on that addition saying, "The opportunity of adding another film to the Competition brings the total number of films presented to 19. So it is manageable and we decided to go for it."
He also points out this isn't the first time last minute additions have been made, and to impressive results. "Gilles Jacob included Yilmaz Guney and et Serif Goren's film Yol, Andej Wajda's L'Homme de fer and Abbas Kiarostami's Le Goût de la cerise at the last minute. That's not the end of the story: all three won the Palme d'Or for that year.
- 5/10/2010
- by Brad Brevet
- Rope of Silicon
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