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RELEASES Belgium

French Cannes titles hit Belgian screens

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A Cannes breeze is blowing through Belgian theatres this week.

Marina De Van’s Don’t Look Back [+see also:
film review
trailer
film profile
]
, shown as a festival Midnight Screening (see news), is being released by Cinéart on 11 screens.

Fresh from the Directors’ Fortnight, Riad Sattouf’s The French Kissers [+see also:
film review
trailer
film profile
]
, with its hideous but endearing protagonists, is set to benefit from excellent word-of-mouth publicity, which began after its Cannes screening and continued after its domestic release two weeks ago. Alternative is banking on the film’s potential, launching it on 18 screens.

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Meanwhile, Les Films de l’Elysée is releasing a 13-print run of Emmanuel Klotz and Albert Pereira-Lazaro’s animated film Round Da Way [+see also:
trailer
film profile
]
, whose success rests on its urban aesthetic and colourful dialogues, which have already been tried and tested on the TV and Internet. The film has an attractive voiceover cast, including Vincent Cassel, Diane Kruger and Frédérique Bel.

The latter actress also stars in this week’s fourth French film, Emmanuel Mouret’s delightful Please, Please Me! [+see also:
trailer
film profile
]
. Aimed at a limited audience, the film is being launched by Les Films de l’Elysée.

This week’s releases may benefit from the event UGC Fête le Cinéma (“UGC celebrates cinema”). Indeed, there is no national “fête du cinéma” event in Belgium, as it is particularly difficult for the different exhibitors to reach an agreement due to the monopoly position of Kinepolis (market share of almost 40%).

As a result, exhibitors end up launching separate initiatives, whether as a group (like the Diagonale arthouse cinema network) or independently, as UGC is doing from June 24-26.

Finally, Cinéart is launching a three-print run of Let’s Make Money [+see also:
trailer
film profile
]
by Austrian director Erwin Wagenhofer (who won acclaim for We Feed The World [+see also:
trailer
film profile
]
). This time, the director plunges viewers into the heart of the global financial system, offering a chilling portrait of the liberal cynicism of investors who have neither ethics nor remorse.

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(Translated from French)

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