Latest news with #CannesOfficialSelection
Yahoo
20-05-2025
- Entertainment
- Yahoo
Tony Gatlif's ‘Ange,' Starring Singer-Songwriter Arthur H. and Mathieu Amalric, Debuts Trailer Ahead of Cannes Premiere (EXCLUSIVE)
Les Films du Losange has released the trailer for Tony Gatlif's 'Ange,' starring Arthur H. and Mathieu Amalric, which screens Thursday in Cannes Official Selection as part of the Cinéma de la Plage section. The open-air screening will be preceded by a live concert featuring the film's musicians, including Arthur H. Les Films du Losange will distribute the film in France and is handling international sales. More from Variety Jafar Panahi Makes Triumphant Cannes Return After Prison Release With 'It Was Just an Accident,' Earning Near 8-Minute Ovation 'It Was Just an Accident' Review: Iranian Director Jafar Panahi's Done Being Discreet, Launching an Open Warning to His Oppressors 'Resurrection' Brings Bi Gan Back to Cannes With a 'Movie Monster' That Showcases a Century of Cinema: 'A Celebration of Life on This Earth' (EXCLUSIVE) The film centers on Ange, a rootless musician who, at 60 years old, feels a vital need to reconnect with his old friend Marco. Solea, his past love's daughter, who is in revolt against the world, joins him on this journey. Together, they rediscover the path to joy. As well as Arthur H. and Amalric, the cast includes Suzanne Aubert, Maria de Medeiros and Christine Citti. The producer is Delphine Mantoulet at Prince Production, and the co-producers are Pastorale Productions and Cosmotone. It is produced with the participation of Canal+, Ciné+OCS, Centre National du Cinéma et de l'Image Animée, Fonds Images de la Diversité, l'Agence Nationale de la Cohésion des territoires and Centre National du Cinéma et de l'Image Animée. The film was supported by Région Ile-de-France, CNC, Région Occitanie and La Sacem. The script is by Gatlif with Patricia Mortagne and Valentin Dahmani. The cinematographer is Lazare Pédron, with editing by César Simonot. Sound is by Philippe Welsh and Adam Wolny, and mixing by Dominique Gaborieau. The production designer is Philippe Kara-Mohamed. Music is by Gatlif, Delphine Mantoulet, Arthur H. and Fiona Monbet. Gatlif's films include 1993's 'Safe Journey,' winner of the Un Certain Regard award at Cannes; 2000's 'Vengo,' which was at Venice; 2002's 'Swing,' which was at Berlin; 2004's 'Exiles,' director's award winner at Cannes; 2006's 'Transylvania,' which was at Cannes; 2014's 'Geronimo,' which was at Cannes; 2017's 'Djam,' which was at Cannes; and 2021's 'Tom Medina,' which was at Cannes. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
See - Sada Elbalad
19-05-2025
- Entertainment
- See - Sada Elbalad
Palestine Film Institute Launches Palestine Film Fund
Yara Sameh The Palestine Film Institute (PFI) has launched the Palestine Film Fund (PFF) to support Palestinian filmmakers worldwide in creating authentic narratives and taking control of their images and stories. The body will present the fund at the Cannes Film Festival on Monday, in an event at its pavilion in the Marché du Film's International Village. Palestine is represented in Cannes Official Selection this year by Tarzan Nasser and Arab Nasser's "Once Upon A Time In Gaza", which premieres in Un Certain Regard. The fund will offer grants worth between €5,000 ($5.5k) to €15,000 ($16.7k) to short and feature film projects at various stages of development and production. All Palestinian filmmakers working in challenging circumstances will be eligible for the fund, regardless of their place of residence or nationality. Priority will be given to directors based in Palestine, in lower-income countries, or in regions where discrimination against Palestinian voices restricts access to funding opportunities. The PFI states the fund's key objectives as giving Palestinian filmmakers autonomy over their own stories and images; supporting documentary and other cinema told through a Palestinian perspective; creating impact by expanding the reach of Palestinian films to global audiences; advocating for sustainable film production modes and increasing availability of sectoral support to Palestinian filmmakers. 'For more than a century, Palestinians have created powerful images, films, sounds, and narratives documenting our people's experiences, yet these images have often been silenced, erased, or used against us,' said PFI Executive Board Member Reem Shadid. The fund's founding partners are the Amsterdam-based IDFA Bertha Fund (IBF), the Copenhagen-based International Media Support (IMS), and the Beirut-based Arab Fund for Arts and Culture (AFAC), with additional support from the International Resource for Impact and Storytelling (IRIS). 'In this most critical time for Palestinian cinema, we are extremely grateful for the incredible collaboration and support of the Fund's founding partners," Shadid added. 'The Palestine Film Fund represents a critical step toward ensuring Palestinian filmmakers have the resources and support to tell our own stories, shape contemporary narratives, and build a lasting audiovisual archive that reflects our experiences from within.' Founded in 2001, in the wake of the Rwanda and the Balkans conflicts, IMS works to support local media in places affected by conflict and political transition and has been supporting journalists in Gaza. 'It is more important than ever to support documentaries from Palestine and make sure Palestinian filmmakers have a chance to tell their own stories in a situation that seems to be described by everyone but Palestinians,' said IMS Head of Documentary Rasmus Steen. He continued: 'By documenting the current situation, at least we ensure that future generations have access to authentic narratives. Making documentary films is also contributing to the history books. Who knows, one day, we may be able to learn from this history and hopefully do better.' Focused on supporting creative documentary in Africa, Asia, Eastern Europe, Latin America, the Caribbean, and Oceania, the IDFA Bertha Fund has supported a number of Palestinian documentaries since its creation in 1998, including 2025 Oscar-winner No Other Land, Ambulance, and 5 Broken Cameras. 'The launch of this fund comes at a critical moment where it is urgent to support the autonomous, critical, and artistic voices of Palestinian filmmakers worldwide,' said IDFA Bertha Fund Executive Director Selin Murat. 'We strongly believe in this mandate and our partners' shared vision of a vibrant Palestinian filmmaking community firmly connected to the global film landscape, through direct funding and tailored support.' Beirut-based AFAC is one of the biggest pan-Arab film funds in the world and has backed more than 2,000 projects since its creation in 2007. Recent Palestinian grantees include Lina Soualem's Bye Bye Tiberias and Annemarie Jacir's upcoming drama 36. 'We are honored to partner with PFI in launching their fund. Since the inception of AFAC, we have anticipated the emergence of more film funds in the region to enhance support for local filmmakers,' said AFAC Executive Director Rima Mismar. 'After two years of genocide in Gaza and the silencing of Palestinian voices and their supporters worldwide, a fund specifically dedicated to Palestinian filmmakers and focused on nurturing Palestinian stories represents a significant step forward. It is one way to ensure that Palestinian stories are told through cinema. Our ongoing support for the Palestine Film Institute reflects our commitment, and we view this milestone as one of many developments to come.' The fund builds on PFI's work since its founding in 2019, which includes organising mentorship programs as well as supporting the exhibition and promotion of Palestinian films to international audiences at film festivals and through its established Palestine Film Platform (PFP). The fund continues to actively look for additional partners to join its network of individuals and organisations committed to empowering Palestinian filmmakers. In a bid to make the fund accessible to a diverse range of Palestinian voices and perspectives, the fund will have a simple two-stage application process, which accepts submissions in both English and Arabic. The first call for applications will open in September 2025, with selections to be announced in November 2025. Full application guidelines and criteria will be available on the PFI website. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Egypt confirms denial of airspace access to US B-52 bombers News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies
Yahoo
13-05-2025
- Entertainment
- Yahoo
Cannes Opening Night: Festival Workers Briefly Protest Red Carpet, Deadline Shut Down From Filming
This evening's opening night gala in Cannes was briefly interrupted when festival staffers staged a labor protest next to the red carpet. Around a dozen Cannes staffers, covertly stationed next to the red carpet, blew whistles and held red Sous Les Écrans La Dèche placards as the Cannes jury led by Juliette Binoche made their way into the opening night gala. More from Deadline Matt Rife To Star In Comedy 'The Escort' For 'Wedding Crashers' Director David Dobkin; Upgrade & UTA Launching For Cannes Market Mubi Deep Dive: Founder Efe Cakarel & Content Boss Jason Ropell Lift The Lid On Rapid Growth & Next What Does The Industry Think? Maya Hawke & Rhys Ifans Set For Aisling Walsh's Lucia Joyce Biopic As The Veterans Boards Sales - Cannes The protest was almost immediately shut off by armed police. We captured footage of the brief demonstration, which you can view below. However, Deadline's journalist was barred from filming the demonstration by a festival official. The official told us on the ground, 'Sometimes you're allowed to film but sometimes not.' We broke the news earlier today that Cannes staffers were planning protests at this evening's opening ceremony to raise awareness of their working conditions. The group of protestors is organized under the unofficial union Sous Les Écrans La Dèche, which includes 300 film festival workers from across France, including staff who work on the Cannes Official Selection, the festival's Marché du Film, and parallel sections of Directors' Fortnight and Critics' Week. The group's main objectives are the same as we reported ahead of last year's Cannes Film Festival, during which they executed similar small demonstrations. They want to be included in France's unique unemployment insurance program for entertainment workers and technicians. Known as Intermittence de Spectacle, the scheme supports entertainment workers on short-term contracts with an unemployment benefit when they are between jobs or projects. The payments are funded through taxes paid by employers. Due to quirks in the regulations, many workers at French film festivals have long been excluded from the unemployment benefit. Instead, they are hired and handed flat short-term contracts. The collective is campaigning to be included in the scheme, citing the inherent seasonal nature of the work. The Sous les Écrans la Dèche movement has some high-profile supporters. French filmmaker Justine Triet wore the group's bright red pin on her suit lapel as she walked the red carpet for Palme d'Or winner Anatomy of a Fall at Cannes in 2023. This year's Cannes Film Festival jury member Payal Kapadia was wearing the same pin as she debuted All We Imagine as Light on the Croisette in 2024. Cannes opens this evening with Leave One Day by first-time French filmmaker Amelie Bonnin. The festival runs until May 24. Best of Deadline Book-To-Movie Adaptations Coming Out In 2025 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More Everything We Know About Ari Aster's 'Eddington' So Far
Yahoo
09-05-2025
- Entertainment
- Yahoo
Vincent Maël Cardona Talks Studiocanal Lottery Ticket Thriller ‘No One Will Know' + First Clip
EXCLUSIVE: French director Vincent Maël Cardona makes his Cannes Official Selection debut with huis-clos thriller No One Will Know, which premieres as a Midnight Screening. The drama revolves around the clients and staff of the fictitious Le Roi Soleil café in the Paris periphery who unwittingly assist in the killing of an elderly regular just after he discovers he has won €294 million ($320M) in the lottery. More from Deadline Scarlett Johansson's Directorial Debut 'Eleanor The Great': Watch Exclusive First-Look Clip Mikey Madison And Kirsten Dunst To Star In Alejandro Landes Echavarría's 'Reptilia' From Imperative, Pastel, Black Bear And AF Films Magnolia Takes Nicolas Cage, FKA Twigs & Noah Jupe Young Jesus Christ Pic 'The Carpenter's Son' - Cannes With the life-changing sum in their sights if not their grasp, the disparate group battle with their consciences and one another as they figure out a way to explain the death, as well as whether and how to take possession of the prize. 'They have to agree on a scenario, a fiction and a way of recounting what happened, which is not what happened, in a convincing manner, that stands up to scrutiny,' says Cardona. 'They're doing the work of a screenwriter.' 'But the challenge is keeping the story up and running. The characters become victims of these stories, their own tendencies and desire to distance themselves from reality.' Watch a first clip below. Cardona says the movie has its origin in his reflections on the human psychology around the lottery, rather than a desire to make a huis-clos-style thriller. 'The framework came later,' says Cardona. 'The starting point was my interest in the practices of the people who play the lottery, this social phenomenon which touches all parts of the population, that says something deeper about it at the same time.' 'I hesitated a bit because there are a lot of films about the lottery. It's is its own genre, and one which I'm not necessarily a fan of… There's Abel Ferrara's Go Go Tales, or Fassbinder's Fox and His Friends. I have this sense that as soon as we film someone winning the lottery, we're kind of feeding the propaganda about the winners, when most people lose.' 'What convinced me was my sense that there is nothing rational about playing the lottery. It has less to do with money, and more to do with belief and fiction. When we buy a lottery ticket, which costs less than a cinema ticket, we activate a personal film and story, which is very intimate, that we don't share with others. This fictional refuge in an increasingly materialist world touched me.' Cardona professes to never playing the lottery himself, citing U.S. writer Fran Lebowitz's take on the game of chance. 'She said, 'Your chances of winning the lottery are identical whether you play or not', which for me is the quintessential phrase on the lottery,' he says, adding, however, that his film is not a critique of those who do play. No One Will Know is Cardona's second feature after 1980s radio pirate station drama Magnetic Beats, which premiered in Cannes Directors Fortnight to acclaim in 2021. It won the parallel section's collateral SACD prize, as well as Deauville's Prix d'Ornano Valenti and the 2022 César for Best First Feature. Cardona suggests these accolades helped him secure the high-profile ensemble cast featuring Pio Marmaï (The Three Musketeers) and Sofiane Zermani (Hunting With Tigers) as two police officer colleagues; Panayotis Pascot (Loup Garous) as a paramedic, Lucie Zhang (Paris, 13th District) as a bar tender and Joseph Olivennes (Magnetic Beats), as a dissolute financial markets trader. 'I think the screenplay caught their attention, even if it also could have scared them off because, it's true, you could get lost. They really had to trust me. I think that is where the César helped,' he says. They are joined by Pulp Fiction star Maria de Medeiros as the bar's eccentric landlady who stumbles in on their plotting. 'I was looking for something very particular, someone astonishing for this role, a rare specimen, if you like. I went in a lot of different directions. Of course, I had the memory of Maria de Medeiros in Quentin Tarantino's Pulp Fiction and what she has done with Guy Maddin. I also met her out of curiosity…but she brings something special. Maria de Medeiros is a name that makes you dream.' The events in the café are bookmarked by two scenes in the Chateau of Versailles: one contemporary and set against a no-expense spared corporate party, the other an reenactment of Venetian adventurer Giacomo Casanova's trip to Versailles in 1758 to float the idea of a royal lottery. 'I wanted to evoke this idea of society being ruled by money, with a big 'M' and the power of money, not just in its own right, but also for the way it impacts roles in society,' says Cardona.'Versailles which once embodied the vertical power structure has been completely deconsecrated. Today, all you need is enough money to rent it out, to play the king in a certain way,' he continues. 'It was a good starting point to touch on the strict and brutal class system in today's society, which remains pyramidal even if appearances suggest it's equal and democratic… we shot in Versailles, the Hall of Mirrors is really the Hall of Mirrors, and a bit in the Château de Vaux-le-Vicomte, which often doubles for Versailles.' The $6.8 million (€6.7M) movie reunites Cardona with Magnetic Beats producers Marc-Benoît Créancier at Easy Tiger (Divines) and Christophe Barral and Toufik Ayadi at Srab Fims (Les Misérables, Saint Omer), alongside new partner Studiocanal, which has distribution and international rights. 'We're all from the same generation and were together on my first film. I also had the good luck to be back with many of the same crew,' says Cadona. As No One Will Know launches in Cannes ahead of a late August release by Studiocanal in France, Cardona is already writing the screenplay for what he hopes will be his third feature. He is keeping the details under wraps apart from the fact that it is a climate change-themed adaptation. 'I started looking into climate change a while back and as soon as I dipped my toe in this icy or boiling subject, I'm not sure which, I realized it was an urgent, complex, enormous and fascinating subject.' Best of Deadline All The Songs In Netflix's 'Forever': From Tyler The Creator To SZA 2025 TV Series Renewals: Photo Gallery 2025 TV Cancellations: Photo Gallery
