Christophe Honoré with Anne-Katrin Titze at Rendez-Vous with French Cinema in New York Photo: Anne-Katrin Titze
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
Christophe Honoré (Winter Boy), Florent Gouëlou (Three Nights A Week), Vuk Lungulov-Klotz (Mutt), and Georden West (Playland), will participate in a Rendez-Vous with French Cinema Free Talk: Queer Identities On Screen, moderated by filmmaker and Cuny professor Yoruba Richen (director of The Green Book: Guide to Freedom) on Friday, March 10 at 4:00pm inside the Amphitheater of the Elinor Bunin Munroe Film Center.
Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph
Christophe is also presenting Dans Paris and Sorry Angel, Alain Resnais’s Providence, Catherine Breillat’s 36 Fillette, and Kenneth Lonergan’s Manchester By The Sea in Autofiction at Work: An Intimate Portrait of Christophe Honoré at Metrograph this weekend, curated by Uptown Flicks Adeline Monzier with the support of Unifrance and Villa Albertine.
“As a queer auteur and a...
- 3/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
After going virtual in 2021, the Rendez-Vous With French Cinema Festival is returning as an in-person event at the Lincoln Center in New York with a bevy of heavy hitters, including Claire Denis, Juliette Binoche, Jacques Audiard, Arnaud Desplechin and Mathieu Amalric.
Kicking off with the North American premiere of Denis’ Berlinale Silver Bear winning movie “Fire” (also called “Both Sides of the Blade”) on March 3, the festival’s roster is curated by Film at Lincoln Center, which is also co-organizing the event with Unifrance, the French film advocacy org.
Besides “Fire,” starring Binoche and Vincent Lindon as two lovers whose relationship falls apart, the main highlights of the 27th edition include Audiard’s sexy relationship drama “Paris, 13th District,” Charline Bourgeois-Tacquet’s debut “Anaïs in Love,” which premiered at Cannes’ Critics Week, and Desplechin’s “Deception” with Lea Seydoux.
“We feel lucky to have assembled such a prestigious roster of...
Kicking off with the North American premiere of Denis’ Berlinale Silver Bear winning movie “Fire” (also called “Both Sides of the Blade”) on March 3, the festival’s roster is curated by Film at Lincoln Center, which is also co-organizing the event with Unifrance, the French film advocacy org.
Besides “Fire,” starring Binoche and Vincent Lindon as two lovers whose relationship falls apart, the main highlights of the 27th edition include Audiard’s sexy relationship drama “Paris, 13th District,” Charline Bourgeois-Tacquet’s debut “Anaïs in Love,” which premiered at Cannes’ Critics Week, and Desplechin’s “Deception” with Lea Seydoux.
“We feel lucky to have assembled such a prestigious roster of...
- 3/4/2022
- by Elsa Keslassy
- Variety Film + TV
Film professionals mourn the loss of the former head of acquisitions at Folkets Bio Distribution, also a board member of the distributors' association until 2017. Marie Strauss, one of Europa Distribution’s founders, has passed away. Strauss was a board member of the independent distributors' association until 2017. Adeline Monzier, former General Manager of Europa Distribution, remembers her key role in shaping the association back in 2006. “Marie was one of the key European distributors who started Ed. She was passionate about the idea of building something collectively with fellow distributors to ensure that European cinema could continue thriving. In Sweden, she was always a fervent advocate of world cinema, fighting hard for films she believed in, even the smaller ones. The international film industry has lost a great distributor and an important person.” Marie started her career at Folkets Bios as Head of the Cinema Zita in Stockholm where she...
Hirokazu Kore-eda’s The Truth (La Vérité) star Ethan Hawke: "If you guys could be with these remarkable women, as I was, Catherine Deneuve and Juliette Binoche. They think differently and they speak differently and approach our work differently.” Photo: Anne-Katrin Titze
On Wednesday, March 4, it was announced by UniFrance that the French delegation, including UniFrance President Serge Toubiana, Lucie Borleteau, Maïmouna Doucouré, Mehdi Idir, Claude Lelouch, Valérie Perrin, Chiara Mastroianni, Mounia Meddour, Nicolas Pariser, Bruno Dumont, Sarah Suco, Pascal Bonitzer, Cédric Klapisch, Alice Winocour, and Juliette Binoche would not be attending Rendez-Vous with French Cinema in New York. Who You Think I Am (Celle Que Vous Croyez) director Safy Nebbou and An Easy Girl (Une Fille Facile) director Rebecca Zlotowski are still scheduled to do a Q&a.
Juliette Binoche with sea turtle: “I can say that this film had been a dream. I had been nagging Kore-eda...
On Wednesday, March 4, it was announced by UniFrance that the French delegation, including UniFrance President Serge Toubiana, Lucie Borleteau, Maïmouna Doucouré, Mehdi Idir, Claude Lelouch, Valérie Perrin, Chiara Mastroianni, Mounia Meddour, Nicolas Pariser, Bruno Dumont, Sarah Suco, Pascal Bonitzer, Cédric Klapisch, Alice Winocour, and Juliette Binoche would not be attending Rendez-Vous with French Cinema in New York. Who You Think I Am (Celle Que Vous Croyez) director Safy Nebbou and An Easy Girl (Une Fille Facile) director Rebecca Zlotowski are still scheduled to do a Q&a.
Juliette Binoche with sea turtle: “I can say that this film had been a dream. I had been nagging Kore-eda...
- 3/6/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
France’s Oscar® Entry for Best International Feature ‘Les Miserables’ 2019Les Miserables directed by Ladj Ly is not based on Victor Hugo’s classic story, but it’s set in the same region in France and has the spirit of the original. Ly originally directed an acclaimed short in 2017 of the same name that set the stage for this larger feature focused on police brutality and crime. This is a powerful, powerful film coming from the inner city of Paris.
Les Misérables, French director Ladj Ly’s debut film, was inspired by his original short. It was the joint winner of the Jury Prize at the 72nd Cannes Film Festival
Les Misérables depicts life in the gritty Paris suburb of La Cité des Bosquets. It is a powder keg ready to ignite, with tensions running high between the immigrant community and the authorities.
Director Ly, who grew up...
Les Misérables, French director Ladj Ly’s debut film, was inspired by his original short. It was the joint winner of the Jury Prize at the 72nd Cannes Film Festival
Les Misérables depicts life in the gritty Paris suburb of La Cité des Bosquets. It is a powder keg ready to ignite, with tensions running high between the immigrant community and the authorities.
Director Ly, who grew up...
- 12/8/2019
- by Sydney Levine
- Sydney's Buzz
The heart of Paris beats for film industry in June. Industry Week is the professional part of the Champs-Elysées Film Festival.
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
- 7/26/2017
- by Sydney Levine
- Sydney's Buzz
As the film distribution landscape keeps evolving, distributors of foreign language fare in the United States are struggling to keep up with a brave new world. French cinema, a niche favorite of American audiences for decades, is struggling to stay in the game — and right now, its future is uncertain.
“Ten years ago, we had more success at the box office,” Isabelle Giordano, the Executive Director of UniFrance, recently told IndieWire. “We have to admit that the situation is not as good as it was then.”
But it’s not for lack of effort. Thanks to a number of initiatives headed up by UniFrance – a government-supported body that operates with the sole aim of promoting French cinema throughout the world – French films are fighting to find new life at the U.S. box office.
Per Deadline, ticket sales in foreign markets for French titles dipped to $35 million in 2016, down 69% from...
“Ten years ago, we had more success at the box office,” Isabelle Giordano, the Executive Director of UniFrance, recently told IndieWire. “We have to admit that the situation is not as good as it was then.”
But it’s not for lack of effort. Thanks to a number of initiatives headed up by UniFrance – a government-supported body that operates with the sole aim of promoting French cinema throughout the world – French films are fighting to find new life at the U.S. box office.
Per Deadline, ticket sales in foreign markets for French titles dipped to $35 million in 2016, down 69% from...
- 3/9/2017
- by Kate Erbland
- Indiewire
The 5th edition of the Us in Progress co-production forum was held on October 22-23, 2015, during the 6 th American Film Festival in Wrocław. Director Shaz Bennett and producers Melanie Miller and Diane Becker acquired the most awards and therefore emerged as Us in Progress winners for "Alaska is a Drag".
Us in Progress is an industry event that aims to strengthen the trans-Atlantic film industry collaborations and partnerships and help European film professionals establish working relationships with new emerging American filmmakers. The event is a bi-annual program conducted at the Champs-Elysées Film Festival in Paris during the summer before kicking-off in Wroclaw at Aff during the fall.
At the 6th American Film Festival, six films in various stages of post-production have conducted private screenings for film industry professionals, including Laurent Danielou (Loco Films), Mathieu Delaunay (Memento Films), Oda Schaeffer (k5), Silje Grimsdal (Trust Nordisk), and festival programmers from Edinburgh, Locarno, Tribeca, and a jury composed of yours truly, Sydney Levine, and Polish post-producers, to compete for post-production and promotional packages. In addition to the filmmaking duo, Shaz Bennett and Melanie Miller, two films have earned significant post-production awards - "Actor Martinez" by Nathan Silver and Mike Ott and "The Loner" by Daniel Y-Li Grove.
Here is a detailed listing of the awards:
"Alaska is a Drag" by Shaz Bennett, produced by Melanie Millerwill received:
post-production services up to the value of €10.000 (e.g. color grading or conforming, master Dcp, master Hdcam Sr, master Blu-ray, master DVD) from Chimney Poland, based in Warsaw; part of Chimney Groupa score composed by Maciej Zielinski from Soundflower Studiofinal mix 5.1 sound post-production to the value of $20.000 Euro (including rental of sound mixing studio with Thx and Dolby Premier certificates) from Toya Studios an offer to acquire Polish TV rights from Ale Kino+Several years ago, the filmmakers also received a couple of grants to develop the script from Clever in San Francisco (Cheryl Dunye’s company) and Naked Angels.
The script was developed through several programs at Sundance, Film Independent and Fox as well as the AFI Directing Workshop for Women.
"The Loner" by Daniel Grove and produced by Reza Sixo Safai received:
digital post-production services up to the value of €10.000 (excluding 35mm processing/scan; including conforming, color grading, grain/noise management, finishing, mastering, simple VFX, Dcp and other file based master from Fixafilm based in Warsaw and free registration to Producers' Network at Cannes 2016. "Actor Martinez" (working title) by Mike Ott and Nathan Silver (produced by Britta Erickson) received a second acquisition offer by Ale Kino+
Selected projects participating in last year's Us in Progress Wrocław or 2015 Us in Progress Paris were included in the Aff program: "Take Me to the River," dir. Matt Sobel (Polish premiere); "Stinking Heaven" (dir. Nathan Silver); "Ma" (dir. Celia Rowlson-Hall) and Reza Safai and Daniel Y Grove-produced "A Girl Walks Home Alone at Night" returned to the Aff to let the audiences benefit from the creators' attendance.
For the missing color correction, sound mix, VFX, and other deliverables for Bennett's and Miller's "Alaska is a Drag", the Us in Progress prize adds significant value in the finishing stage of post-production. The organizers and programmers of Us in Progress, Ula Śniegowska (artistic director of Aff), Adeline Monzier and Marie Zeniter (Black Rabbit Film), and Chantal Lian (Champs-Elysées Film Festival), look forward to following all the participating unfinished projects, and the future work and collaborations of all Us in Progress filmmakers.
More about Us in Progress and American Film Festival on www.americanfilmfestival.pl.
Us in Progress is an industry event that aims to strengthen the trans-Atlantic film industry collaborations and partnerships and help European film professionals establish working relationships with new emerging American filmmakers. The event is a bi-annual program conducted at the Champs-Elysées Film Festival in Paris during the summer before kicking-off in Wroclaw at Aff during the fall.
At the 6th American Film Festival, six films in various stages of post-production have conducted private screenings for film industry professionals, including Laurent Danielou (Loco Films), Mathieu Delaunay (Memento Films), Oda Schaeffer (k5), Silje Grimsdal (Trust Nordisk), and festival programmers from Edinburgh, Locarno, Tribeca, and a jury composed of yours truly, Sydney Levine, and Polish post-producers, to compete for post-production and promotional packages. In addition to the filmmaking duo, Shaz Bennett and Melanie Miller, two films have earned significant post-production awards - "Actor Martinez" by Nathan Silver and Mike Ott and "The Loner" by Daniel Y-Li Grove.
Here is a detailed listing of the awards:
"Alaska is a Drag" by Shaz Bennett, produced by Melanie Millerwill received:
post-production services up to the value of €10.000 (e.g. color grading or conforming, master Dcp, master Hdcam Sr, master Blu-ray, master DVD) from Chimney Poland, based in Warsaw; part of Chimney Groupa score composed by Maciej Zielinski from Soundflower Studiofinal mix 5.1 sound post-production to the value of $20.000 Euro (including rental of sound mixing studio with Thx and Dolby Premier certificates) from Toya Studios an offer to acquire Polish TV rights from Ale Kino+Several years ago, the filmmakers also received a couple of grants to develop the script from Clever in San Francisco (Cheryl Dunye’s company) and Naked Angels.
The script was developed through several programs at Sundance, Film Independent and Fox as well as the AFI Directing Workshop for Women.
"The Loner" by Daniel Grove and produced by Reza Sixo Safai received:
digital post-production services up to the value of €10.000 (excluding 35mm processing/scan; including conforming, color grading, grain/noise management, finishing, mastering, simple VFX, Dcp and other file based master from Fixafilm based in Warsaw and free registration to Producers' Network at Cannes 2016. "Actor Martinez" (working title) by Mike Ott and Nathan Silver (produced by Britta Erickson) received a second acquisition offer by Ale Kino+
Selected projects participating in last year's Us in Progress Wrocław or 2015 Us in Progress Paris were included in the Aff program: "Take Me to the River," dir. Matt Sobel (Polish premiere); "Stinking Heaven" (dir. Nathan Silver); "Ma" (dir. Celia Rowlson-Hall) and Reza Safai and Daniel Y Grove-produced "A Girl Walks Home Alone at Night" returned to the Aff to let the audiences benefit from the creators' attendance.
For the missing color correction, sound mix, VFX, and other deliverables for Bennett's and Miller's "Alaska is a Drag", the Us in Progress prize adds significant value in the finishing stage of post-production. The organizers and programmers of Us in Progress, Ula Śniegowska (artistic director of Aff), Adeline Monzier and Marie Zeniter (Black Rabbit Film), and Chantal Lian (Champs-Elysées Film Festival), look forward to following all the participating unfinished projects, and the future work and collaborations of all Us in Progress filmmakers.
More about Us in Progress and American Film Festival on www.americanfilmfestival.pl.
- 11/6/2015
- by Sydney Levine
- Sydney's Buzz
Us in Progress, developed in the framework of Champs Elysées Film Festival in Paris, is the first and only industry event devoted to U.S. indies in Europe. Its aim is to foster the circulation and distribution of films between U.S. and Europe.
The event takes place twice yearly: November at the American Film Festival in Wroclaw, Poland and June here in Paris.
Usually five or six films are selected, all in post production stag, and a jury then decides which will be given further support to finish the film. Sponsors give needed technical support to the winner.
The European trade publication Cineuropa conducted interviews with the co-Founder and Head of Us In Progress, Adeline Monzier, and with Jury Member and Cannes Marche du Film Executive, Julie Bergeron.
The winning film this year was "Diverge".
The team from runner up film here "Queen of Glory" is also interviewed below.
“Most American producers have no idea how to reach the European market”, Adeline Monzier , Founder and organizer, Us in Progress
by Claire La Combe
Cineuropa sat down with Adeline Monzier at Us in Progress Paris to discuss various aspects of both American and European indie film circulation.
Four years ago, when she was head of the Europa Distribution network, Adeline Monzier created Us in Progress, a program dedicated to low-budget U.S. indie films. Today, she is also in charge of the Unifrance office in New York and runs a production company, Black Rabbit Film. In Paris, Cineuropa took the opportunity to discuss various aspects of both American and European indie film circulation with her.
Cineuropa: Why set up a U..S indie event in Europe?
Adeline Monzier: I realized that most American producers had no idea how to reach the European market. Usually, they lack a distribution strategy, not doing the right things at the right time. Films weren’t able to have the run that they could have had. Us in Progress is based on that idea: we show a selection of films to European professionals before they hit the festival circuit. It is about raising awareness. We are focusing on very few films that we think can have a career in Europe or that are worth discovering.
Do you have any success stories?
We have a few success stories. For example, two years ago, we had "Ping Pong Summer" by Michael Tully: Films Boutique discovered the film here and picked up the rights; they knew it would be a niche film with a specific audience, but they sold it in a lot of territories… Not always theatrically… But in terms of revenues for the filmmaker, it was a very interesting deal.
What’s your opinion of the circulation of indie films?
American indies in Europe have a tough time because there are no subsidies to support the distribution of these movies. The European markets are so overwhelmed by American movies that for national bodies, it doesn’t make sense to support their circulation. When faced with a very good European film and a very good U.S. film, distributors will always pick the European one because they can get subsidies. That said, for the audience, American films still have an appeal. The English language will always be easier to sell… So there is ambivalence.
What about the European indies on the U.S. market?
European film is a very small market in the U.S… Foreign movies represent around 2% of the market share, and between 0.5% and 1% are French films. That means there is less space for non-French, non-American movies.
Why?
The American market is very strong and concentrated as well, as in Europe, and blockbusters draw in most of the audience. Plus, Americans are not at all used to subtitled films, and there is no dubbing, because it is too expensive[sic], except for animated films sometimes . (Editor, Sydney here: because Americans do not like dubbed films!)
Do you see any differences in terms of financing practices between Europe and the U.S.?
They are two very different systems. The entire system in the U.S. is based on private equity. You need to have the right connections. Also, the average production budget for an indie film is very low compared to a European film. But Americans are very resourceful; they can usually play several different roles in their films, from editing to producing, just because they want to achieve economies of scale, whereas in Europe, it is much rarer to have a director juggling different positions.
Do you think digitization has had an impact on film circulation?
It is definitely easier for indie filmmakers to distribute their films nowadays. They have access to platforms and VOD. A lot of independent directors now use the day-and-date release because theaters enable you to raise awareness about the film and to help the audience to go and see the film on VOD. Still, income from VOD is very low for independent films. With digital, the problem remains the same! You have to market a film; if you don’t have the money to promote the film, then it is going to be lost within the platform.
Can we predict that digital will foster a common system between the Us and Europe in terms of producing?
No; the markets are too diverse. A lot of European filmmakers go to the Us to shoot because they want to enjoy the freedom of not having the old subsidy system schemes. On the other hand, you have American filmmakers looking for European producers in order to benefit from the whole funding system. So today, there are a lot more cross-connections, but the systems are very different, and I don’t think they will merge, even with digital.
“The biggest challenge is to make a film that will circulate and find an audience”
Julie Bergeron, Cannes Film Market, member of the Us in Progress jury
by Claire La Combe
Cineuropa sat down with Julie Bergeron at Us in Progress Paris to discuss support for independent film and its future prospects
On Wednesday night, the American film "Diverge" by James Morrison was awarded the Us in Progress Award. Just after the ceremony, Cineuropa met up with one of the jury members, Julie Bergeron, head of industry programs at the Cannes Film Market. She elaborated on her views on the topic of support for independent film and its future prospects.
Cineuropa: Why are you part of the Us in Progress jury?
Julie Bergeron: There is a lot of interest in seeing films from Us independents; it is always interesting to look out for films that are made on a low budget and with strong stories. We support the winning producers by offering an accreditation for the Producers’ Network at Cannes to help them to pursue meetings and networking, and hopefully find distribution for their films.
Have you seen any kind of evolution in the selections?
Yes. It seems that they are receiving more and more projects. It is an event that is now well known in the U.S. and Europe. With the link to Poland and the event happening twice a year, we saw an evolution in the diversity of the projects. This year, the diversity was very strong, with a horror-comedy film, a sci-fi movie and an Lgbt romance.
Do you think all of this diversity has a place in the next Producers’ Network?
Yes, of course! We welcome 200 producers at the Breakfast Meetings every morning in Cannes, and they come from all over the world. It is a place where they wish to connect with sales agents, financiers and potential partners to network and discuss their projects. The idea is specifically to support producers who want to connect with the international market. That is the biggest challenge for every filmmaker: to make a movie that will attract a larger audience than in its own country.
Do you see any similarities between American and European independent films?
They are different because in Europe, there is a lot of public support for films, and there is a strong tradition of the author-driven movie. In the U.S., the independents have to find private financing for the films. Plus, they don’t have access to any co-production, because there are no co-production treaties in the Us, whereas in Europe, the movies can access funding from many territories. The Us independents are very much on their own when it comes to financing their films.
What kind of qualities was the jury looking for in the winning film?
We had a lot of discussions; the stages of the presented films were not the same. "Diverge" is the one we found to be the most advanced: it is a low-budget film, and the story – while there is some work still to be done – is really there. There are a lot of genre-film festivals, and hopefully the movie will travel. And also, I think that a young audience driven by sci-fi and genre would like it.
Do you think such an event should be created for European films in America?
I’m not sure; it would be difficult… If a European film does not find a sales agent in Europe, it might be difficult to find one in the USA. The movie would need to have a strong “American” sensibility… There are some work-in-progress (Wip) experiences in Latin America, and they work well. But in Latin America, they don’t have a lot of sales agents; they have to show their films anyway to break through, as they have no alternative. Europeans are more reluctant to show a film that is not yet finished, especially those who are in countries with a strong production capacity. Now the market goes really fast, the windows for the films are getting smaller and smaller, and you have to be sure whenever you show the film that it is the best way to present it to professionals… But wait… I’m not saying that such an event shouldn’t exist!
How do you see the future of the independent film industry?
I think there will always be filmmakers making films independently because it’s a strong medium for expression. In fact, it’s the strongest: you have the sound, the image, the music, the story… You have everything!
Who will be financing them?
Well, you still have strong companies! My hope is that companies that own the distribution platforms, like VoD players, Netflix and all these people, will start investing in the creation process. Canal+ in France takes part in the financing, so if we can bring these “pipes” to invest in the content, then we have a chance, and they are starting to do so, slowly. But it is going to be increasingly driven by big audiences. The pressure there for the kind of independent films that we saw at Us in Progress is enormous. If these small films are not picked up by a big festival and noticed by the industry, their chances of finding distribution are tiny.
"European audiences are more film-educated"
Us in Progress Filmmakers Speak Up
by Claire La Combe
Cineuropa sat down with Jamund Washington ("Queen of Glory"), Nana Mensah ("Queen of Glory"), Baff Akoto ("Queen of Glory") and Gabe Klinger ("Porto, Mon Amour") at Us in Progress Paris to chat about the current and future independent film environment
The four young filmmakers, all living and working in New York City but hailing from diverse backgrounds ranging from Ghana to Brazil, via London, exchanged their opinions on the current and future independent film environment during a chat characterized by idealization and a smidgen of pessimism.
Cineuropa: What is your opinion of film festivals? What role do they play?
Jamund Washington: Anything that gets people to go and sit and watch your story is great.
Nana Mensah: At this point, in the way the game has been shaped, it would not be possible to make independent films without festivals; they are great entry points for films outside the system. There is a sort of renaissance that allows people like me to make films now – the barriers are lower.
Why come here to Paris, to Europe?
Nm: In Paris, I can put my fingers on the pulse of European culture. I think "Queen of Glory" has more meaning here than perhaps in an American market. With its visual aspects and its African topic, our film has links with Europe. We have already received such a warm reception here in France, so I’m hoping that will continue.
Jw: European audiences are more film-educated. We feel like the audience will better understand the stage that we are now at. Not that there are no places where you can find that audience in the United States… I’m just generalising.
Gabe Klinger: Parisian moviegoers are the most sophisticated in the world, and that’s a fact! No one can contest that.
Baff Akoto: The French would contest that (laughs). But seriously, film is culture here, as opposed to predominantly entertainment, which is the case in the Us.
Jw: Yes, culture in the Us is like a small subculture of big entertainment.
Do you have an opinion on the European film-financing system?
BA: I know that the co-production financing system is good. And the soft money in Europe attracts everybody in America from big studio productions to small indie films because it allows a lot of projects to get made that would not necessarily find money. And it provides a framework, too, alternatives that are available for films that would never get financed in America.
How do you feel about digitisation?
BA: In England, a lot of films only get the chance to break out because of digital prints. Anything that helps smaller films to become more visible is good.
Gk: I’m going to be the contrarian. Because digital is not an archival medium, and so we are risking losing all the digital information in 25 years, all these files and DCPs can be corrupted and become inaccessible. In terms of circulation, digital is going to be your best friend, but still… For Porto Mon Amour, we will use digital distribution and on-film copies. It is a luxury; a lot of producers would spend the money on something else. It is the way I want to engage with an audience that still appreciates watching a movie on film. It’s just more expensive.
How do you see the future for independent films?
Jw: I wish I knew – it would make my life a lot easier.
BA: Netflix!
Jw: I don’t know; I think a lot of stuff is going to happen… We should just keep telling stories.
Gk: It is exciting because there is a lot of demand for content right now, and that’s because of the new platform for distribution. Unfortunately, most of it is not in theaters… We will see… The pessimist in me says that the content we are producing now is not going to live very long in cinemas.
BA: Cinema is not going to die, though. No one goes to church, and people still go to the cinema; it is the one place where we still commune.
The event takes place twice yearly: November at the American Film Festival in Wroclaw, Poland and June here in Paris.
Usually five or six films are selected, all in post production stag, and a jury then decides which will be given further support to finish the film. Sponsors give needed technical support to the winner.
The European trade publication Cineuropa conducted interviews with the co-Founder and Head of Us In Progress, Adeline Monzier, and with Jury Member and Cannes Marche du Film Executive, Julie Bergeron.
The winning film this year was "Diverge".
The team from runner up film here "Queen of Glory" is also interviewed below.
“Most American producers have no idea how to reach the European market”, Adeline Monzier , Founder and organizer, Us in Progress
by Claire La Combe
Cineuropa sat down with Adeline Monzier at Us in Progress Paris to discuss various aspects of both American and European indie film circulation.
Four years ago, when she was head of the Europa Distribution network, Adeline Monzier created Us in Progress, a program dedicated to low-budget U.S. indie films. Today, she is also in charge of the Unifrance office in New York and runs a production company, Black Rabbit Film. In Paris, Cineuropa took the opportunity to discuss various aspects of both American and European indie film circulation with her.
Cineuropa: Why set up a U..S indie event in Europe?
Adeline Monzier: I realized that most American producers had no idea how to reach the European market. Usually, they lack a distribution strategy, not doing the right things at the right time. Films weren’t able to have the run that they could have had. Us in Progress is based on that idea: we show a selection of films to European professionals before they hit the festival circuit. It is about raising awareness. We are focusing on very few films that we think can have a career in Europe or that are worth discovering.
Do you have any success stories?
We have a few success stories. For example, two years ago, we had "Ping Pong Summer" by Michael Tully: Films Boutique discovered the film here and picked up the rights; they knew it would be a niche film with a specific audience, but they sold it in a lot of territories… Not always theatrically… But in terms of revenues for the filmmaker, it was a very interesting deal.
What’s your opinion of the circulation of indie films?
American indies in Europe have a tough time because there are no subsidies to support the distribution of these movies. The European markets are so overwhelmed by American movies that for national bodies, it doesn’t make sense to support their circulation. When faced with a very good European film and a very good U.S. film, distributors will always pick the European one because they can get subsidies. That said, for the audience, American films still have an appeal. The English language will always be easier to sell… So there is ambivalence.
What about the European indies on the U.S. market?
European film is a very small market in the U.S… Foreign movies represent around 2% of the market share, and between 0.5% and 1% are French films. That means there is less space for non-French, non-American movies.
Why?
The American market is very strong and concentrated as well, as in Europe, and blockbusters draw in most of the audience. Plus, Americans are not at all used to subtitled films, and there is no dubbing, because it is too expensive[sic], except for animated films sometimes . (Editor, Sydney here: because Americans do not like dubbed films!)
Do you see any differences in terms of financing practices between Europe and the U.S.?
They are two very different systems. The entire system in the U.S. is based on private equity. You need to have the right connections. Also, the average production budget for an indie film is very low compared to a European film. But Americans are very resourceful; they can usually play several different roles in their films, from editing to producing, just because they want to achieve economies of scale, whereas in Europe, it is much rarer to have a director juggling different positions.
Do you think digitization has had an impact on film circulation?
It is definitely easier for indie filmmakers to distribute their films nowadays. They have access to platforms and VOD. A lot of independent directors now use the day-and-date release because theaters enable you to raise awareness about the film and to help the audience to go and see the film on VOD. Still, income from VOD is very low for independent films. With digital, the problem remains the same! You have to market a film; if you don’t have the money to promote the film, then it is going to be lost within the platform.
Can we predict that digital will foster a common system between the Us and Europe in terms of producing?
No; the markets are too diverse. A lot of European filmmakers go to the Us to shoot because they want to enjoy the freedom of not having the old subsidy system schemes. On the other hand, you have American filmmakers looking for European producers in order to benefit from the whole funding system. So today, there are a lot more cross-connections, but the systems are very different, and I don’t think they will merge, even with digital.
“The biggest challenge is to make a film that will circulate and find an audience”
Julie Bergeron, Cannes Film Market, member of the Us in Progress jury
by Claire La Combe
Cineuropa sat down with Julie Bergeron at Us in Progress Paris to discuss support for independent film and its future prospects
On Wednesday night, the American film "Diverge" by James Morrison was awarded the Us in Progress Award. Just after the ceremony, Cineuropa met up with one of the jury members, Julie Bergeron, head of industry programs at the Cannes Film Market. She elaborated on her views on the topic of support for independent film and its future prospects.
Cineuropa: Why are you part of the Us in Progress jury?
Julie Bergeron: There is a lot of interest in seeing films from Us independents; it is always interesting to look out for films that are made on a low budget and with strong stories. We support the winning producers by offering an accreditation for the Producers’ Network at Cannes to help them to pursue meetings and networking, and hopefully find distribution for their films.
Have you seen any kind of evolution in the selections?
Yes. It seems that they are receiving more and more projects. It is an event that is now well known in the U.S. and Europe. With the link to Poland and the event happening twice a year, we saw an evolution in the diversity of the projects. This year, the diversity was very strong, with a horror-comedy film, a sci-fi movie and an Lgbt romance.
Do you think all of this diversity has a place in the next Producers’ Network?
Yes, of course! We welcome 200 producers at the Breakfast Meetings every morning in Cannes, and they come from all over the world. It is a place where they wish to connect with sales agents, financiers and potential partners to network and discuss their projects. The idea is specifically to support producers who want to connect with the international market. That is the biggest challenge for every filmmaker: to make a movie that will attract a larger audience than in its own country.
Do you see any similarities between American and European independent films?
They are different because in Europe, there is a lot of public support for films, and there is a strong tradition of the author-driven movie. In the U.S., the independents have to find private financing for the films. Plus, they don’t have access to any co-production, because there are no co-production treaties in the Us, whereas in Europe, the movies can access funding from many territories. The Us independents are very much on their own when it comes to financing their films.
What kind of qualities was the jury looking for in the winning film?
We had a lot of discussions; the stages of the presented films were not the same. "Diverge" is the one we found to be the most advanced: it is a low-budget film, and the story – while there is some work still to be done – is really there. There are a lot of genre-film festivals, and hopefully the movie will travel. And also, I think that a young audience driven by sci-fi and genre would like it.
Do you think such an event should be created for European films in America?
I’m not sure; it would be difficult… If a European film does not find a sales agent in Europe, it might be difficult to find one in the USA. The movie would need to have a strong “American” sensibility… There are some work-in-progress (Wip) experiences in Latin America, and they work well. But in Latin America, they don’t have a lot of sales agents; they have to show their films anyway to break through, as they have no alternative. Europeans are more reluctant to show a film that is not yet finished, especially those who are in countries with a strong production capacity. Now the market goes really fast, the windows for the films are getting smaller and smaller, and you have to be sure whenever you show the film that it is the best way to present it to professionals… But wait… I’m not saying that such an event shouldn’t exist!
How do you see the future of the independent film industry?
I think there will always be filmmakers making films independently because it’s a strong medium for expression. In fact, it’s the strongest: you have the sound, the image, the music, the story… You have everything!
Who will be financing them?
Well, you still have strong companies! My hope is that companies that own the distribution platforms, like VoD players, Netflix and all these people, will start investing in the creation process. Canal+ in France takes part in the financing, so if we can bring these “pipes” to invest in the content, then we have a chance, and they are starting to do so, slowly. But it is going to be increasingly driven by big audiences. The pressure there for the kind of independent films that we saw at Us in Progress is enormous. If these small films are not picked up by a big festival and noticed by the industry, their chances of finding distribution are tiny.
"European audiences are more film-educated"
Us in Progress Filmmakers Speak Up
by Claire La Combe
Cineuropa sat down with Jamund Washington ("Queen of Glory"), Nana Mensah ("Queen of Glory"), Baff Akoto ("Queen of Glory") and Gabe Klinger ("Porto, Mon Amour") at Us in Progress Paris to chat about the current and future independent film environment
The four young filmmakers, all living and working in New York City but hailing from diverse backgrounds ranging from Ghana to Brazil, via London, exchanged their opinions on the current and future independent film environment during a chat characterized by idealization and a smidgen of pessimism.
Cineuropa: What is your opinion of film festivals? What role do they play?
Jamund Washington: Anything that gets people to go and sit and watch your story is great.
Nana Mensah: At this point, in the way the game has been shaped, it would not be possible to make independent films without festivals; they are great entry points for films outside the system. There is a sort of renaissance that allows people like me to make films now – the barriers are lower.
Why come here to Paris, to Europe?
Nm: In Paris, I can put my fingers on the pulse of European culture. I think "Queen of Glory" has more meaning here than perhaps in an American market. With its visual aspects and its African topic, our film has links with Europe. We have already received such a warm reception here in France, so I’m hoping that will continue.
Jw: European audiences are more film-educated. We feel like the audience will better understand the stage that we are now at. Not that there are no places where you can find that audience in the United States… I’m just generalising.
Gabe Klinger: Parisian moviegoers are the most sophisticated in the world, and that’s a fact! No one can contest that.
Baff Akoto: The French would contest that (laughs). But seriously, film is culture here, as opposed to predominantly entertainment, which is the case in the Us.
Jw: Yes, culture in the Us is like a small subculture of big entertainment.
Do you have an opinion on the European film-financing system?
BA: I know that the co-production financing system is good. And the soft money in Europe attracts everybody in America from big studio productions to small indie films because it allows a lot of projects to get made that would not necessarily find money. And it provides a framework, too, alternatives that are available for films that would never get financed in America.
How do you feel about digitisation?
BA: In England, a lot of films only get the chance to break out because of digital prints. Anything that helps smaller films to become more visible is good.
Gk: I’m going to be the contrarian. Because digital is not an archival medium, and so we are risking losing all the digital information in 25 years, all these files and DCPs can be corrupted and become inaccessible. In terms of circulation, digital is going to be your best friend, but still… For Porto Mon Amour, we will use digital distribution and on-film copies. It is a luxury; a lot of producers would spend the money on something else. It is the way I want to engage with an audience that still appreciates watching a movie on film. It’s just more expensive.
How do you see the future for independent films?
Jw: I wish I knew – it would make my life a lot easier.
BA: Netflix!
Jw: I don’t know; I think a lot of stuff is going to happen… We should just keep telling stories.
Gk: It is exciting because there is a lot of demand for content right now, and that’s because of the new platform for distribution. Unfortunately, most of it is not in theaters… We will see… The pessimist in me says that the content we are producing now is not going to live very long in cinemas.
BA: Cinema is not going to die, though. No one goes to church, and people still go to the cinema; it is the one place where we still commune.
- 6/15/2015
- by Peter Belsito
- Sydney's Buzz
Benjamin Dickinson’s dark sci-fi comedy took the top prize at the Us In Progress independent showcase in Paris on Wednesday (11).
The event, hosted by the Champs-Elysées Film Festival, aims to connect upcoming films from the Us independent scene with distributors and sales agents in Europe.
It is Dickinson’s second feature film after his debut First Winter, about a group of Brooklynite yoga students attending a retreat in an old house in upstate New York, which premiered in Tribeca.
In Creative Control, Dickinson has set the tale in the heart of Brooklyn’s creative community. The director stars as an ambitious young ad executive working on a campaign for a new generation of augmented reality glasses.
He loses his own hold on reality after he creates a life-like avatar of his fashion photographer best-friend’s girlfriend, played by up and coming actress Alexia Rasmussen (pictured). The youthful ensemble cast also features Nora Zehetner and Dan Gill.
Shot...
The event, hosted by the Champs-Elysées Film Festival, aims to connect upcoming films from the Us independent scene with distributors and sales agents in Europe.
It is Dickinson’s second feature film after his debut First Winter, about a group of Brooklynite yoga students attending a retreat in an old house in upstate New York, which premiered in Tribeca.
In Creative Control, Dickinson has set the tale in the heart of Brooklyn’s creative community. The director stars as an ambitious young ad executive working on a campaign for a new generation of augmented reality glasses.
He loses his own hold on reality after he creates a life-like avatar of his fashion photographer best-friend’s girlfriend, played by up and coming actress Alexia Rasmussen (pictured). The youthful ensemble cast also features Nora Zehetner and Dan Gill.
Shot...
- 6/11/2014
- ScreenDaily
Event, hosted by Champs-Elysées Film Festival, aims to find European distribution for upcoming Us fare. By Melanie Goodfellow Tommy Oliver’s drama 1982 about a father’s efforts to protect his daughter from the impact of his wife’s crack cocaine addiction has won the top prize at the Us in Progress showcase in Paris. The event, hosted by the Champ-Elysées Film Festival, s Event, hosted by Champs-Elysées Film Festival, aims to find European distribution for upcoming Us fare. By Melanie Goodfellow Tommy Oliver’s drama 1982 about a father’s efforts to protect his daughter from the impact of his wife’s crack cocaine addiction has won the top prize at the Us in Progress showcase in Paris. The event, hosted by the Champ-Elysées Film Festival, showcased five films in post-production by upcoming Us independent filmmakers. Shawn Telford’s Bfe, following the adventures of a terminally ill old man and his grandson as they look for a way to...
- 6/15/2013
- ScreenDaily
Event, hosted by Champs-Elysées Film Festival, aims to find European distribution for upcoming Us fare.
Tommy Oliver’s [pictured] drama 1982, about a father’s efforts to protect his daughter from the impact of his wife’s crack cocaine addiction, has won the top prize at the Us In Progress showcase in Paris.
The event, hosted by the Champ-Elysées Film Festival, showcased five films in post-production by upcoming Us independent filmmakers.
Shawn Telford’s Bfe, following the adventures of a terminally ill old man and his grandson as they look for a way to end the former’s life, was given a special mention.
It is the second time the Champs-Elysées Film Festival has hosted the progress event.
Last year’s winner A Teacher by Hannah Fidell went on to premiere at Sundance and was subsequently picked up by Oscilloscope Laboratories for the Us. It will be released in the Us in September.
The Us in Progress...
Tommy Oliver’s [pictured] drama 1982, about a father’s efforts to protect his daughter from the impact of his wife’s crack cocaine addiction, has won the top prize at the Us In Progress showcase in Paris.
The event, hosted by the Champ-Elysées Film Festival, showcased five films in post-production by upcoming Us independent filmmakers.
Shawn Telford’s Bfe, following the adventures of a terminally ill old man and his grandson as they look for a way to end the former’s life, was given a special mention.
It is the second time the Champs-Elysées Film Festival has hosted the progress event.
Last year’s winner A Teacher by Hannah Fidell went on to premiere at Sundance and was subsequently picked up by Oscilloscope Laboratories for the Us. It will be released in the Us in September.
The Us in Progress...
- 6/14/2013
- ScreenDaily
Us In Progress Paris, a two-day works in progress event targeted at American independent filmmakers and European buyers, will take place in the scope of Champs-Elysées Film Festival on June 13-16 2013 in Paris.
The event is looking for 6 Us independent films at post-production stage (rough & fine cuts). The call for entries is open till April 1st 2012. Application form and Terms and Conditions can be found online:
The application requirements for the films are the following:
Narrative feature projects in post-production are eligible. Production Company needs to be Us based. Films looking for completion money, services and sales agent or European distribution should apply. Films in post-production when applying, with at least 30 min of the film edited and to reach feature format by June 1st 2013. If selected, the feature length version of the rough/fine cut will be presented on June 14-15. No excerpts or trailers will be accepted. Films with no Us or international premiere nor European sales representation prior to June 13 2013 are eligible.
Us in Progress is a joint initiative between New Horizons Association (American Film Festival), Sophie Dulac’s Champs-Elysées Film Festival and Black Rabbit Film. It presents independent Us films in final production stages to European buyers, post-production houses and festivals in order to help them achieve completion and to foster the circulation and distribution of American indie films in Europe. Us In Progress involves two yearly get-togethers at two different festivals (Paris in June and Wroclaw in November). The next event will take form of two days of exclusive screenings of the 6 selected films (behind closed doors, for registered guests only) and one-to-one meetings on June 13-16 2013.
As a bonus to contracts resulting from the presentations and meetings, a jury made of professionals will award one of the selected works in progress. The awarded movie will get post-production and promotion services in kind.
The last Paris and Wroclaw editions attracted more than 60 buyers and producers. Paris Alumni Hannah Fidell (A Teacher - Us in Progress Paris Award) and Wroclaw alumni Matt Porterfield (I used to be darker) and David Andalman (Milkshake) were selected in the Sundance competition (Next Section). Wroclaw alumni Matt Porterfield and Dan Carbone (Hide your Smiling Faces) will have their European premiere during the next Berlinale.
The second edition of Champs-Elysées Film Festival is to take place in Paris on June 12-18 2013.
Contact: Adeline Monzier, Black Rabbit Film adeline[at]brfilm.com...
The event is looking for 6 Us independent films at post-production stage (rough & fine cuts). The call for entries is open till April 1st 2012. Application form and Terms and Conditions can be found online:
The application requirements for the films are the following:
Narrative feature projects in post-production are eligible. Production Company needs to be Us based. Films looking for completion money, services and sales agent or European distribution should apply. Films in post-production when applying, with at least 30 min of the film edited and to reach feature format by June 1st 2013. If selected, the feature length version of the rough/fine cut will be presented on June 14-15. No excerpts or trailers will be accepted. Films with no Us or international premiere nor European sales representation prior to June 13 2013 are eligible.
Us in Progress is a joint initiative between New Horizons Association (American Film Festival), Sophie Dulac’s Champs-Elysées Film Festival and Black Rabbit Film. It presents independent Us films in final production stages to European buyers, post-production houses and festivals in order to help them achieve completion and to foster the circulation and distribution of American indie films in Europe. Us In Progress involves two yearly get-togethers at two different festivals (Paris in June and Wroclaw in November). The next event will take form of two days of exclusive screenings of the 6 selected films (behind closed doors, for registered guests only) and one-to-one meetings on June 13-16 2013.
As a bonus to contracts resulting from the presentations and meetings, a jury made of professionals will award one of the selected works in progress. The awarded movie will get post-production and promotion services in kind.
The last Paris and Wroclaw editions attracted more than 60 buyers and producers. Paris Alumni Hannah Fidell (A Teacher - Us in Progress Paris Award) and Wroclaw alumni Matt Porterfield (I used to be darker) and David Andalman (Milkshake) were selected in the Sundance competition (Next Section). Wroclaw alumni Matt Porterfield and Dan Carbone (Hide your Smiling Faces) will have their European premiere during the next Berlinale.
The second edition of Champs-Elysées Film Festival is to take place in Paris on June 12-18 2013.
Contact: Adeline Monzier, Black Rabbit Film adeline[at]brfilm.com...
- 3/29/2013
- by Sydney Levine
- Sydney's Buzz
Festival initiative “U.S. in Progress” introduces four U.S. productions in post-production to European buyers.
American Independent films, French Independent Films and Oscar Nominated Foreign Language Films will be showcased.
The Weinstein Company’s Harvey Weinstein wil receive a tribute and will host a retrospective of his films.
Donald Sutherland will host a screening of Klute and will receive a Medal of Arts and Letters bestowed by Frederic Mitterrand.
The Champs Elysees Film Festival’s U.S. President is Michael Madsen
The French Festival President is Lambert Wilson
The discussions held so often about the sustainability of arthouse theaters, about the joining of forces between them and festivals and the ownership of festivals themselves, and sometimes of theaters as well, by distributors as a way to sustain the three key players of this precious triangle of culture, continue as the first Champs Elysees Film Festival presents a jam-packed line up and full program of events at its inaugural edition.
The seven day festival, June 6-12, has been formed and is owned by the independent distributor Sophie Dulac. It is exciting for me to go to see the arthouses we have already written about in the area of the Champs Elysees - the Balzac, its rival the Lincoln, the Publicis, and the two major chains, Gaumont Champs Elysees and Ugc George V. Another interesting aspect of this upcoming event is the festival's ownership by a French distributor, Sophie Dulac. This is one of two similarities between Gutek and Dulac. The New Horizons and the American Film Festivals are owned by Roman Gutek whose distribution company Gutek is the largest arthouse distributor in Poland. Similarly Sophie Dulac seems to "own" this festival. Somewhat analagous to this is the "owning" of distribution company Tribeca Films by the Tribeca Film Festival or the Sundance Select Distribution arm owned by the Sundance Film Festival. The New York Film Festival and the Toronto International Film Festivals have yet to declare themselves distributors but do own the arthouses in which to show "their" films year round in festival settings.
Dulac explains the impetus to launch the Champs Elysees Film Festival, “As Paris’ first truly international film festival, our mission is to create a bridge between the independent American and French film industries. In the most beautiful city in the world and one with a worldwide association to cinema, the Champs Elysées Film Festival will be a celebration of film promoting the work of young filmmakers and honoring the work of established directors.” She adds, “We want to throw a spotlight on independent film from France and the U.S. We will welcome famous names, offer new films, open up discussions between members of the film industry, give short films a special showcase and invite audiences to gala previews.”
I personally hope the tourists of Champs Elysees see this as a special opportunity to share inside festival experiences with international professionals and that it brings in more business than ordinary theatrical fare brings to the same theaters, thus proving that festivals serve as a new branch of film distribution and that the joining of forces between distributor, exhibitor and festival point toward a new mode of profitability for all parties.
U.S. in Progress was first presented at the American Film Festival in Wroclaw Poland in November. This is the second similarity between Dulac and Gutek. U.S. in Progress will now be here as well. U.S. in Progress is in fact a joint initiative between the American Film Festival in Wroclaw, the Champs Elysees Film Festival in Paris and Black Rabbit Film, a company of Adeline Monzier who also created the association of European indie distributors called EuropaDistribution. It is the first and only industry event devoted to U.S. indies in Europe. Its aim is to present U.S. indie films in post-production to European buyers in order to foster the circulation and distribution of American indie films in Europe. This presentation of American independent films in post-production to European buyers to promote the distribution of American independent films in Europe is uniquely one of the top new developments in the industry. The program works to forge inroads between the generation of talented American filmmakers emerging today and European buyers. I am so proud to be serving on its jury as I did on the first edition as well.
The other sections are: Official Selection of American Independent Films, French Galas, American Galas, Oscar Nominated Foreign Language Films and Shorts. A tribute to Harvey Weinstein will be presented on June 6 at an event to celebrate his career. Weinstein will participate in a roundtable conversation to discuss French/American co-productions and a Retrospective of 11 of his films will be shown throughout the week.
The American independent films selected as part of the inaugural program include Richard Linklater’s Bernie (Isa: Hyde Park, U.S.: Millennium) with Jack Black, Shirley Maclaine and Matthew McConaughey; Jesus Henry Christ (Isa: Im Global, U.S. E1) with Toni Collette and Michael Sheen; Bruce Beresford’s Peace, Love & Misunderstanding (Isa: Voltage, U.S. IFC) starring Jane Fonda, Catherine Keener and Elizabeth Olsen and Marina Abramovic: The Artist is Present (Isa: Submarine, U.S. Music Box). An Audience Award will be given out to the most popular American Independent. American Galas include Jennifer Westfeldt’s Friends with Kids (Isa: Red Granite, U.S. Roadside Attractions/ Lionsgate) and Wes Craven’s My Soul to Take (2010) in 3D.
French films include Comme Un Homme (Isa: Memento) directed by Safy Nebbou; Journal de France (Isa: Wild Bunch) directed by Claudine Nougaret and Raymond Depardon; Vous n'avez encore rien vu (Isa: Studiocanal) directed by Alain Resnais and Wrong (Isa: Kinology) helmed by Quentin Dupieux.
The Champs Elysees Film Festival has selected esteemed French Actor Lambert Wilson for the role of French President and Michael Madsen has accepted the role of the Festival’s U.S. President.
The festival will pay tribute to the actor Donald Sutherland who will be at the Festival to host a screening of the masterpiece Klute directed by Alan J. Pakula followed by a “Hollywood Conversation” with the iconic actor. Frederic Mitterrand will bestow Sutherland with the medal of Commander of Arts and Letters that evening.
Official Selection of American Independent Films
Blank City, a documentary directed by Celine Danhier’s
Bernie directed by Richard Linklater starring Jack Black, Shirley Maclaine and Matthew McConaughey
Jesus Henry Christ with Toni Colette, Jason Spevack and Michael Sheen
Keep The Lights On directed by Ira Sachs
Luv directed by Sheldon Candis
Marina Abramovic: The Artist Is Present, Matthew Akers acclaimed documentary
Not Waving But Drowning directed by Devyn Waitt, winner of U.S. in Progress Prize, Wroclaw, Poland.
Peace, Love & Misunderstanding directed by Bruce Beresford starring Jane Fonda, Catherine Keener and Elizabeth Olsen
Tabloid, Errol Morris fascinating documentary
The Perfect Family, directed by Anne Renton and starring Kathleen Turner, Emily Deschanel and Jason Ritter
French Galas
Adieu Berthe directed by Bruno Podalydès
Comme Un Homme directed by Safy Nebbou
Du Vent Dans Mes Mollets directed by Carine Tardieu
Journal De France directed by Claudine Nougaret and Raymond Depardon
La Clinique De L’Amour directed by Artus de Penguern
L’Air De Rien directed by Grégory Magne and Stéphane Viard
Mains Armees directed by Pierre Jolivet
Quand Je Serai Petit directed by Jean-Paul Rouve
Vous N’Avez Encore Rien Vu directed by Alain Resnais
Wrong helmed by Quentin Dupieux.
American Galas
After Life directed by Agnieszka Wojtow
Brake directed by Gabe Torres
Bitch Slap directed by Rick Jacobson
Friends With Kids directed by Jennifer Westfeldt
My Soul To Take (3D) directed by Wes Craven
Perfect Host directed by Nick Tomnay
Terri, directed by Azazel Jacobs
Summertime directed by Matthew Gordon.
The Champs Elysees Film Festival intends to reflect the diversity of international production by offering the public a selection of the 2012 Oscar nominated foreign language films, some never before seen in France:
Bullhead directed by Michael R.Roskam (Belgium)
Dans Ses Veux directed by Juan José Campanella (Spain/Argentina)(2010)
Monsieur Lazhar directed by Philippe Falardeau (Canada)
Une Separation directed by Asghar Farhadi (Iran)
72 Days directed by Danilo Serbedzija (Croatia)
Letters To Angel directed by Sulev Keedus (Estonia)
Volcano directed by Runar Runarsson (Iceland)
Films being screened as part of Harvey Weinstein’s retrospective include The Aviator, Chicago, Gangs Of New York, Jackie Brown, Kill Bill 1&2, The English Patient, Pulp Fiction, Shakespeare In Love, Good Will Hunting and The Yards.
More than thirty short films comprise the Champs Elysees Film Festival’s Official Selection of Short Films which were selected by a French industry team as well as four major film school programs: University of Southern California’s School of Cinematic Arts, New York University’s Tisch School of the Arts and Columbia University’s Columbia University Film Festival for the United States and Paris-based film school La Femis for France:
French Shorts Selection
Hurlement D’Un Poisson directed by Sébastien Carfora
It’S A Miracul’House directed by Stéphane Freiss
Les Meutes directed by Manuel Schapira
Mon Canard directed by Emmanuelle Michelet & Vincent Fouquet
Les Grossesses De Charlemagne directed by Nicolas Slomka and Matthieu Rumani,
Plume directed by Barry Purves
Personne(S) directed by Marc Fouchard
La Fille De L’Homme directed by Manuel Schapira
Kiss & Kill directed by Alain Ross
USC School of Cinematic Arts Shorts Selection
Little Spoon directed by Lauren Fash
Ellen directed by Kyle Hausmann-Stokes
Efrain directed by Matthew Breault
Fig directed by Ryan Coogler
The Nature Of Fall directed by Tomer Stolz
New York University Tisch School of the Arts Shorts Selection
Little Horse directed by Levi Abrino
Border Land directed by Alexander Smolowe
Premature directed by Rashaad Ernesto Green
Down In Number 5 directed by Kim Spurlock
Columbia University Film Festival Shorts Selection
Rolling On The Floor Laughing directed by Rusel Harbaugh
Motherland directed by Shario Siddiqui
Hatch directed by Christoph Kusching
Crossing directed by Gina Atwater
Off Season directed by Jonathan Van Tulleken
The Hirosaki Players directed by Jeff Sousa
La Femis Shorts Selection
Goose directed by Morgan Simon
Demain Ce Sera Bien directed by Pauline Gay
On Traks directed by Laurent Navarri
Bye Bye Wild Boy directed by Julie Lena...
American Independent films, French Independent Films and Oscar Nominated Foreign Language Films will be showcased.
The Weinstein Company’s Harvey Weinstein wil receive a tribute and will host a retrospective of his films.
Donald Sutherland will host a screening of Klute and will receive a Medal of Arts and Letters bestowed by Frederic Mitterrand.
The Champs Elysees Film Festival’s U.S. President is Michael Madsen
The French Festival President is Lambert Wilson
The discussions held so often about the sustainability of arthouse theaters, about the joining of forces between them and festivals and the ownership of festivals themselves, and sometimes of theaters as well, by distributors as a way to sustain the three key players of this precious triangle of culture, continue as the first Champs Elysees Film Festival presents a jam-packed line up and full program of events at its inaugural edition.
The seven day festival, June 6-12, has been formed and is owned by the independent distributor Sophie Dulac. It is exciting for me to go to see the arthouses we have already written about in the area of the Champs Elysees - the Balzac, its rival the Lincoln, the Publicis, and the two major chains, Gaumont Champs Elysees and Ugc George V. Another interesting aspect of this upcoming event is the festival's ownership by a French distributor, Sophie Dulac. This is one of two similarities between Gutek and Dulac. The New Horizons and the American Film Festivals are owned by Roman Gutek whose distribution company Gutek is the largest arthouse distributor in Poland. Similarly Sophie Dulac seems to "own" this festival. Somewhat analagous to this is the "owning" of distribution company Tribeca Films by the Tribeca Film Festival or the Sundance Select Distribution arm owned by the Sundance Film Festival. The New York Film Festival and the Toronto International Film Festivals have yet to declare themselves distributors but do own the arthouses in which to show "their" films year round in festival settings.
Dulac explains the impetus to launch the Champs Elysees Film Festival, “As Paris’ first truly international film festival, our mission is to create a bridge between the independent American and French film industries. In the most beautiful city in the world and one with a worldwide association to cinema, the Champs Elysées Film Festival will be a celebration of film promoting the work of young filmmakers and honoring the work of established directors.” She adds, “We want to throw a spotlight on independent film from France and the U.S. We will welcome famous names, offer new films, open up discussions between members of the film industry, give short films a special showcase and invite audiences to gala previews.”
I personally hope the tourists of Champs Elysees see this as a special opportunity to share inside festival experiences with international professionals and that it brings in more business than ordinary theatrical fare brings to the same theaters, thus proving that festivals serve as a new branch of film distribution and that the joining of forces between distributor, exhibitor and festival point toward a new mode of profitability for all parties.
U.S. in Progress was first presented at the American Film Festival in Wroclaw Poland in November. This is the second similarity between Dulac and Gutek. U.S. in Progress will now be here as well. U.S. in Progress is in fact a joint initiative between the American Film Festival in Wroclaw, the Champs Elysees Film Festival in Paris and Black Rabbit Film, a company of Adeline Monzier who also created the association of European indie distributors called EuropaDistribution. It is the first and only industry event devoted to U.S. indies in Europe. Its aim is to present U.S. indie films in post-production to European buyers in order to foster the circulation and distribution of American indie films in Europe. This presentation of American independent films in post-production to European buyers to promote the distribution of American independent films in Europe is uniquely one of the top new developments in the industry. The program works to forge inroads between the generation of talented American filmmakers emerging today and European buyers. I am so proud to be serving on its jury as I did on the first edition as well.
The other sections are: Official Selection of American Independent Films, French Galas, American Galas, Oscar Nominated Foreign Language Films and Shorts. A tribute to Harvey Weinstein will be presented on June 6 at an event to celebrate his career. Weinstein will participate in a roundtable conversation to discuss French/American co-productions and a Retrospective of 11 of his films will be shown throughout the week.
The American independent films selected as part of the inaugural program include Richard Linklater’s Bernie (Isa: Hyde Park, U.S.: Millennium) with Jack Black, Shirley Maclaine and Matthew McConaughey; Jesus Henry Christ (Isa: Im Global, U.S. E1) with Toni Collette and Michael Sheen; Bruce Beresford’s Peace, Love & Misunderstanding (Isa: Voltage, U.S. IFC) starring Jane Fonda, Catherine Keener and Elizabeth Olsen and Marina Abramovic: The Artist is Present (Isa: Submarine, U.S. Music Box). An Audience Award will be given out to the most popular American Independent. American Galas include Jennifer Westfeldt’s Friends with Kids (Isa: Red Granite, U.S. Roadside Attractions/ Lionsgate) and Wes Craven’s My Soul to Take (2010) in 3D.
French films include Comme Un Homme (Isa: Memento) directed by Safy Nebbou; Journal de France (Isa: Wild Bunch) directed by Claudine Nougaret and Raymond Depardon; Vous n'avez encore rien vu (Isa: Studiocanal) directed by Alain Resnais and Wrong (Isa: Kinology) helmed by Quentin Dupieux.
The Champs Elysees Film Festival has selected esteemed French Actor Lambert Wilson for the role of French President and Michael Madsen has accepted the role of the Festival’s U.S. President.
The festival will pay tribute to the actor Donald Sutherland who will be at the Festival to host a screening of the masterpiece Klute directed by Alan J. Pakula followed by a “Hollywood Conversation” with the iconic actor. Frederic Mitterrand will bestow Sutherland with the medal of Commander of Arts and Letters that evening.
Official Selection of American Independent Films
Blank City, a documentary directed by Celine Danhier’s
Bernie directed by Richard Linklater starring Jack Black, Shirley Maclaine and Matthew McConaughey
Jesus Henry Christ with Toni Colette, Jason Spevack and Michael Sheen
Keep The Lights On directed by Ira Sachs
Luv directed by Sheldon Candis
Marina Abramovic: The Artist Is Present, Matthew Akers acclaimed documentary
Not Waving But Drowning directed by Devyn Waitt, winner of U.S. in Progress Prize, Wroclaw, Poland.
Peace, Love & Misunderstanding directed by Bruce Beresford starring Jane Fonda, Catherine Keener and Elizabeth Olsen
Tabloid, Errol Morris fascinating documentary
The Perfect Family, directed by Anne Renton and starring Kathleen Turner, Emily Deschanel and Jason Ritter
French Galas
Adieu Berthe directed by Bruno Podalydès
Comme Un Homme directed by Safy Nebbou
Du Vent Dans Mes Mollets directed by Carine Tardieu
Journal De France directed by Claudine Nougaret and Raymond Depardon
La Clinique De L’Amour directed by Artus de Penguern
L’Air De Rien directed by Grégory Magne and Stéphane Viard
Mains Armees directed by Pierre Jolivet
Quand Je Serai Petit directed by Jean-Paul Rouve
Vous N’Avez Encore Rien Vu directed by Alain Resnais
Wrong helmed by Quentin Dupieux.
American Galas
After Life directed by Agnieszka Wojtow
Brake directed by Gabe Torres
Bitch Slap directed by Rick Jacobson
Friends With Kids directed by Jennifer Westfeldt
My Soul To Take (3D) directed by Wes Craven
Perfect Host directed by Nick Tomnay
Terri, directed by Azazel Jacobs
Summertime directed by Matthew Gordon.
The Champs Elysees Film Festival intends to reflect the diversity of international production by offering the public a selection of the 2012 Oscar nominated foreign language films, some never before seen in France:
Bullhead directed by Michael R.Roskam (Belgium)
Dans Ses Veux directed by Juan José Campanella (Spain/Argentina)(2010)
Monsieur Lazhar directed by Philippe Falardeau (Canada)
Une Separation directed by Asghar Farhadi (Iran)
72 Days directed by Danilo Serbedzija (Croatia)
Letters To Angel directed by Sulev Keedus (Estonia)
Volcano directed by Runar Runarsson (Iceland)
Films being screened as part of Harvey Weinstein’s retrospective include The Aviator, Chicago, Gangs Of New York, Jackie Brown, Kill Bill 1&2, The English Patient, Pulp Fiction, Shakespeare In Love, Good Will Hunting and The Yards.
More than thirty short films comprise the Champs Elysees Film Festival’s Official Selection of Short Films which were selected by a French industry team as well as four major film school programs: University of Southern California’s School of Cinematic Arts, New York University’s Tisch School of the Arts and Columbia University’s Columbia University Film Festival for the United States and Paris-based film school La Femis for France:
French Shorts Selection
Hurlement D’Un Poisson directed by Sébastien Carfora
It’S A Miracul’House directed by Stéphane Freiss
Les Meutes directed by Manuel Schapira
Mon Canard directed by Emmanuelle Michelet & Vincent Fouquet
Les Grossesses De Charlemagne directed by Nicolas Slomka and Matthieu Rumani,
Plume directed by Barry Purves
Personne(S) directed by Marc Fouchard
La Fille De L’Homme directed by Manuel Schapira
Kiss & Kill directed by Alain Ross
USC School of Cinematic Arts Shorts Selection
Little Spoon directed by Lauren Fash
Ellen directed by Kyle Hausmann-Stokes
Efrain directed by Matthew Breault
Fig directed by Ryan Coogler
The Nature Of Fall directed by Tomer Stolz
New York University Tisch School of the Arts Shorts Selection
Little Horse directed by Levi Abrino
Border Land directed by Alexander Smolowe
Premature directed by Rashaad Ernesto Green
Down In Number 5 directed by Kim Spurlock
Columbia University Film Festival Shorts Selection
Rolling On The Floor Laughing directed by Rusel Harbaugh
Motherland directed by Shario Siddiqui
Hatch directed by Christoph Kusching
Crossing directed by Gina Atwater
Off Season directed by Jonathan Van Tulleken
The Hirosaki Players directed by Jeff Sousa
La Femis Shorts Selection
Goose directed by Morgan Simon
Demain Ce Sera Bien directed by Pauline Gay
On Traks directed by Laurent Navarri
Bye Bye Wild Boy directed by Julie Lena...
- 6/7/2012
- by Sydney Levine
- Sydney's Buzz
Us in Progress films start festival careers
More and more participants of the first edition of Wroclaw’s Us in Progress are making a festival splash.
Now, Forager, the film awarded with a Special Mention at the first USiP played in the Bright Future section of the Rotterdam Iff. Now, it will be shown at the prestigious New Directors New Films festival in Lincoln Center/ MoMa in New York. The film was screened in Wrocław at final cut stage and found partners including a Polish co-producer (Monternia.pl) and a sales agent (New Europe Film Sales).
More good news came from other parts of America. Amy Seimetz’s road movie thriller Sun Don’t Shine was screened in the Emerging visions section of the SXSW film festival in Austin, Texas.
Finally, Tribeca Ff recognized two other USiP films: Andrew Semans’ Nancy, Please will compete in the World Narrative Competition this year, while Patricia Benoit’s Stones in the Sun will be shown in the festival’s Viewpoints section.
Us in Progress and American Film Festival in Wrocław are keeping their fingers crossed for all films!
Us in Progress (formerly known as Gotham in Progress) is the first industry event devoted to Us-indies in Europe. After the successful first edition at the 2nd American Film Festival in Wrocław, Us in Progress has evolved into a two-legged event to be held at two festivals every year.
Apart from the regular November get-together in Wrocław, there will be another event at the newly created Champs-Elysées Film Festival on June 7-10 2012 in Paris. The Paris event will also have a form of intense exclusive screenings (behind closed doors, for registered guests only) and one-to-one meetings.U.S. filmmakers of 3-5 selected films will be invited to present their final cuts to a group of around 30 key European buyers.
Independent U.S. films in final production stages should apply to the programme on http://www.blackrabbitfilm.com/us-in-progress/paris-edition-2012/ before 1 April.
Call for projects for Wroclaw (November edition) opens April 1 on www.americanfilmfestival.pl and www.blackrabbitfilm.com.
www.usinprogress.com
American Film Festival
aff@snh.org.pl
www.americanfilmfestival.pl
© Stowarzyszenie Nowe Horyzonty
Deadline For Us In Progress Paris' Postponed To April 1St
http://www.blackrabbitfilm.com/us-in-progress/paris-edition-2012/
Us In Progress (June 7-10 in Paris-France) will present Us indie films in post-production to European buyers (distributors, sales agents, fest programmers) in order to achieve completion and to foster the circulation and distribution of American indie films in Europe. The event will take form of two days of intense exclusive screenings (behind closed doors, for registered guests only) and one-to-one meetings on June 7-10 2012.
Us In Progress Offers :
- Travel and accommodation: flight from the Us and 3 nights in Paris for the producers and directors of the films selected.
- Networking: a chance to present your project in person at exclusive screening (behind closed doors, for registered industry guests only) to ca. 30 key European buyers
- Direct business opportunities: one-to-one meetings to discuss your needs and strike post-production and distribution deals
-Awards: free post-production and professional services from our sponsors.
- Plus pleasures: parties and screenings and further networking at the first Champs-Elysées Film Festival
The application requirements for the films are the following:
- American Narrative Feature Films in postproduction are eligible
- Production Company needs to be Us based
- Films looking for completion money, sales agent or European distribution.
- Films in postproduction when applying, with at least 30 min of the films edited and to reach feature format by March 1st.
- Films with no Us or international premiere
- Only one film in postproduction can be submitted per production company. For more information : Adeline Monzier / adeline@brfilm.com
--
Adeline Monzier
Black Rabbit Film
Us In Progress - Paris / June7-10 2012 & Wroclaw / Nov 2012
Tel: +33 6 07 65 70 40 / +1 646 422 9348
Skype : adeline.monzier
www.blackrabbitfilm.com
adeline@brfilm.com...
More and more participants of the first edition of Wroclaw’s Us in Progress are making a festival splash.
Now, Forager, the film awarded with a Special Mention at the first USiP played in the Bright Future section of the Rotterdam Iff. Now, it will be shown at the prestigious New Directors New Films festival in Lincoln Center/ MoMa in New York. The film was screened in Wrocław at final cut stage and found partners including a Polish co-producer (Monternia.pl) and a sales agent (New Europe Film Sales).
More good news came from other parts of America. Amy Seimetz’s road movie thriller Sun Don’t Shine was screened in the Emerging visions section of the SXSW film festival in Austin, Texas.
Finally, Tribeca Ff recognized two other USiP films: Andrew Semans’ Nancy, Please will compete in the World Narrative Competition this year, while Patricia Benoit’s Stones in the Sun will be shown in the festival’s Viewpoints section.
Us in Progress and American Film Festival in Wrocław are keeping their fingers crossed for all films!
Us in Progress (formerly known as Gotham in Progress) is the first industry event devoted to Us-indies in Europe. After the successful first edition at the 2nd American Film Festival in Wrocław, Us in Progress has evolved into a two-legged event to be held at two festivals every year.
Apart from the regular November get-together in Wrocław, there will be another event at the newly created Champs-Elysées Film Festival on June 7-10 2012 in Paris. The Paris event will also have a form of intense exclusive screenings (behind closed doors, for registered guests only) and one-to-one meetings.U.S. filmmakers of 3-5 selected films will be invited to present their final cuts to a group of around 30 key European buyers.
Independent U.S. films in final production stages should apply to the programme on http://www.blackrabbitfilm.com/us-in-progress/paris-edition-2012/ before 1 April.
Call for projects for Wroclaw (November edition) opens April 1 on www.americanfilmfestival.pl and www.blackrabbitfilm.com.
www.usinprogress.com
American Film Festival
aff@snh.org.pl
www.americanfilmfestival.pl
© Stowarzyszenie Nowe Horyzonty
Deadline For Us In Progress Paris' Postponed To April 1St
http://www.blackrabbitfilm.com/us-in-progress/paris-edition-2012/
Us In Progress (June 7-10 in Paris-France) will present Us indie films in post-production to European buyers (distributors, sales agents, fest programmers) in order to achieve completion and to foster the circulation and distribution of American indie films in Europe. The event will take form of two days of intense exclusive screenings (behind closed doors, for registered guests only) and one-to-one meetings on June 7-10 2012.
Us In Progress Offers :
- Travel and accommodation: flight from the Us and 3 nights in Paris for the producers and directors of the films selected.
- Networking: a chance to present your project in person at exclusive screening (behind closed doors, for registered industry guests only) to ca. 30 key European buyers
- Direct business opportunities: one-to-one meetings to discuss your needs and strike post-production and distribution deals
-Awards: free post-production and professional services from our sponsors.
- Plus pleasures: parties and screenings and further networking at the first Champs-Elysées Film Festival
The application requirements for the films are the following:
- American Narrative Feature Films in postproduction are eligible
- Production Company needs to be Us based
- Films looking for completion money, sales agent or European distribution.
- Films in postproduction when applying, with at least 30 min of the films edited and to reach feature format by March 1st.
- Films with no Us or international premiere
- Only one film in postproduction can be submitted per production company. For more information : Adeline Monzier / adeline@brfilm.com
--
Adeline Monzier
Black Rabbit Film
Us In Progress - Paris / June7-10 2012 & Wroclaw / Nov 2012
Tel: +33 6 07 65 70 40 / +1 646 422 9348
Skype : adeline.monzier
www.blackrabbitfilm.com
adeline@brfilm.com...
- 3/19/2012
- by Sydney Levine
- Sydney's Buzz
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