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CANNES 2017 Funding/France

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The CNC strongly positioned in the Cannes showcase

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- 20 films supported by the advance on receipts and 13 features backed by World Cinema Support have found a home in the various Cannes selections

The CNC strongly positioned in the Cannes showcase
Rodin by Jacques Doillon

Fostering international co-productions and backing the very best in French arthouse film, particularly that made by the younger generations, through selective support schemes: the strategic approach of the CNC is once again borne out by the various selections of the 70th Cannes Film Festival, which gets going today. Indeed, 33 of the features that have been selected for the Cannes line-up received production support from the CNC.

Twenty of these benefited from an advance on receipts, three of which are in competition: Rodin [+see also:
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 by Jacques DoillonHappy End [+see also:
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Q&A: Michael Haneke
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 by Michael Haneke and BPM (Beats Per Minute) [+see also:
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interview: Arnaud Valois
interview: Robin Campillo
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 by Robin Campillo. Also on the list are the features that will open the festival itself, the Un Certain Regard selection and the Directors’ Fortnight – respectively, Ismael’s Ghosts [+see also:
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Q&A: Arnaud Desplechin
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 by Arnaud DesplechinBarbara [+see also:
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 by Mathieu Amalric and Let the Sunshine In [+see also:
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by Claire Denis. They are joined by some other great names of French cinema, with Lover for a Day [+see also:
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 by Philippe Garrel in the Directors’ Fortnight, and in the official selection the documentaries Visages, villages [+see also:
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 by Agnès Varda and JR (out of competition), The Venerable W. [+see also:
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interview: Barbet Schroeder
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 by Barbet Schroeder and Napalm [+see also:
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 by Claude Lanzmann as special screenings, plus Golden Years [+see also:
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 by André Téchiné, which will unspool as a tribute screening as part of the gathering’s 70th anniversary.

The CNC’s advance on receipts also served to bolster nine first and second features: the documentary Carré 35 [+see also:
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 by Eric Caravaca, being shown as a special screening, Montparnasse Bienvenüe [+see also:
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interview: Léonor Serraille
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 by Léonor Serraille and Après la guerre [+see also:
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interview: Annarita Zambrano
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 by Annarita Zambrano in Un Certain Regard, Nothingwood [+see also:
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 by Sonia Kronlund in the Directors’ Fortnight, and three titles on show in the Critics’ Week: Ava [+see also:
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interview: Léa Mysius
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 by Léa MysiusBloody Milk [+see also:
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interview: Hubert Charuel
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 by Hubert Charuel and A Violent Life [+see also:
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 by Thierry de Peretti. That’s not to mention Belinda [+see also:
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 by Marie Dumora and Pour le réconfort by Vincent Macaigne, which will be presented in the alternative ACID selection.

According to Frédérique Bredin, head of the CNC, “This strong presence of films supported by the advance on receipts demonstrates how fundamentally important this support scheme is for film production. It also allows a new generation of directors to break through, particularly women, with the selection of Léa Mysius, Léonor Serraille and Annarita Zambrano.”

But, as the head of the CNC stressed, France is also “the number-one financier of arthouse cinema in the world”, and it plans to continue “encouraging varied and ambitious cinematic creation all around the world”, as illustrated by the presence of 13 features backed by World Cinema Support in the various Cannes selections this year. They include two contenders for the Palme d'Or, with Radiance [+see also:
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by Japan’s Naomi Kawase and A Gentle Creature [+see also:
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interview: Sergei Loznitsa
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]
 by Ukraine’s Sergei Loznitsa. Other titles that were supported were Beauty and the Dogs [+see also:
film review
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interview: Kaouther Ben Hania
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]
 by Tunisia’s Kaouther Ben HaniaUntil the Birds Return [+see also:
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interview: Karim Moussaoui
film profile
]
 by Algeria’s Karim Moussaoui and The Summit [+see also:
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interview: Santiago Mitre
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]
 by Argentina’s Santiago Mitre, which will all be unveiled in Un Certain Regard, and four films selected in the Directors’ Fortnight: A Ciambra [+see also:
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interview: Jonas Carpignano
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]
 by Italy’s Jonas CarpignanoIntruder [+see also:
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 by his fellow countryman Leonardo Di Costanzo, I Am Not a Witch [+see also:
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 by Zambia’s Rungano Nyoni, and Marlina the Murderer in Four Acts by Indonesia’s Mouly Surya. The list is rounded off by Sicilian Ghost Story [+see also:
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making of
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 by Italian duo Fabio Grassadonia and Antonio PiazzaLos perros [+see also:
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 by Chile’s Marcela Said and Gabriel and the Mountain [+see also:
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 by Brazil’s Fellipe Gamarano Barbosa, which will have their world premieres in the Critics’ Week (the first as the opening film, the other two in competition), without forgetting Requiem for Mrs. J. [+see also:
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interview: Bojan Vuletić
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]
 by Bojan Vuletic, which is on the ACID Trip#1 programme dedicated to Serbia.

In total, if we take into account all forms of support granted by the CNC (development, writing, new production technologies, French-German co-productions, distribution, music and so on), and if we include short films and works being shown in Cannes Classics in this round-up, there are no fewer than 64 films in the Cannes showcase that were backed by the CNC, including two other hopefuls for the Palme d'Or: The Killing of a Sacred Deer [+see also:
film review
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interview: Yorgos Lanthimos
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]
by Greece’s Yorgos Lanthimos and Loveless [+see also:
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]

 by Russia’s Andrey Zvyagintsev, which both received selective distribution support.

(Translated from French)

Jihlava
Focal Production Value
Midpoint
 

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