23/05/2025 - CANNES 2025: The French producer discusses the project she is introducing, a South African-French co-production directed by Dian Weys, whose short film Vultures is competing for the Palme d’Or

As part of its ongoing mission to support first-time feature filmmakers, the Focus COPRO’ programme organised by the SFC | Rendez-vous Industry at the Marché du Film provides a vital platform for producers to showcase promising projects to top industry professionals. Developed in collaboration with Cannes’ parallel sections, it connects emerging talents with experienced decision makers and encourages international co-productions from the earliest stages of development. This year, producer Émilie Dubois (of Insolence Productions) presented Bergies, an ambitious feature-length project directed by Dian Weys and bridging South Africa (Electronic Roof Films), France and, potentially, the Netherlands. After its participation in the event, the film has been selected to benefit from a three-week residency programme provided by the Pop Up Film Residency.

Cineuropa: Tell us a bit about your project. Why do you think it was selected for Focus COPRO’?
Émilie Dubois: I’m here with Bergies, the first feature by South African director Dian Weys. It’s a co-production between France and South Africa. The project continues the aesthetic and thematic approach of the short film Vultures, which we also co-produced and which is currently competing in Cannes’ Short Film Competition.

What is Vultures about?
It follows a tow-truck driver who arrives at the scene of a car accident. In South Africa, these operators are often the first to arrive, before the police, ambulances or firefighters. It’s a real industry with territorial wars. These drivers often find themselves dealing with very intense situations, victims, or suspects trying to flee. The film addresses themes of accountability and how we treat the most vulnerable people around us, whether economically or socially.

And does your feature project develop similar themes?
Yes, absolutely. Bergies follows a police officer nearing retirement who is assigned to lead a forced-eviction operation in a so-called “torn city”, an informal settlement that has grown around a historical site. The story is inspired by real events. He has to manage the eviction of people from their own homes, often nothing more than a tarp or shack, while navigating political factions, media attention, and even the discovery of a body on site. That’s all I’ll say for now!

How are you structuring the financing and co-production?
We’re currently in development and are looking primarily for institutional support for this phase. As for the co-production, we’re aiming to add a third country, ideally a European one. The Netherlands seems like a natural fit due to its strong cultural and historical ties with South Africa. One of our co-producers is already based in the Netherlands, so the idea would be to build a tripartite co-production, and perhaps even bring in a fourth partner further down the line.

Finally, how has Focus COPRO’ helped you here in Cannes in terms of contacts and potential partners?
It’s been really valuable. The visibility offered by Focus COPRO’ has opened doors to people I wouldn't have met otherwise. I’ve had meaningful conversations with potential co-producers and fund representatives, especially from countries we’re targeting. Being part of this programme gives your project real legitimacy, which helps a lot when you’re building trust in the early stages.