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PRODUCTION / FUNDING France

France's CNC grants an advance on earnings to Katell Quillévéré’s Le temps d’aimer

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- The CNC is also throwing its weight behind films put forward by Ursula Meier, Robert Guédiguian, Philippe Faucon, Tony Gatlif, Mona Achache and the duo composed of Alain Gagnol and Jean-Loup Felicioli

France's CNC grants an advance on earnings to Katell Quillévéré’s Le temps d’aimer
Director Katell Quillévéré

Seven projects were selected during the 5th and final session of the CNC’s second advance on receipts 2019 committee.

Standing out amongst these is Le temps d’aimer which will be Katell Quillévéré’s fourth feature film following on from 2010’s Love Like Poison [+see also:
film review
trailer
film profile
]
(screened in Cannes’ Directors’ Fortnight 2010 and the winner of the Prix Jean Vigo), Suzanne [+see also:
film review
trailer
interview: Katell Quillévéré
film profile
]
(which graced Cannes’ Critics’ Week 2013 and earned itself five César nominations in 2014, including Best Supporting Role) and Heal The Living [+see also:
film review
trailer
interview: Katell Quillévéré
film profile
]
(unveiled in Venice’s Orizzonti line-up in 2016 before participating in Toronto’s Platform competition). Written by the filmmaker alongside Gilles Taurand, the story kicks off in 1947. Madeleine, a waitress in a hotel restaurant and the mother of a small boy, makes the acquaintance of François, a rich and cultured student, whilst on a beach. The forces of attraction which push them towards one another are as weighty as the secrets which each of them bears. We already know what Madeleine is looking to leave behind her as she follows this young man, and soon we will learn what François is desperately trying to escape as he intertwines his destiny with that of Madeleine. Production of this family saga spanning two generations will be headed up by Parisian groups Les Films du Bélier and Les Films Pelléas, with co-production in the hands of Belgian firm Frakas Productions.

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The CNC will also be supporting La Ligne by French-Swiss director Ursula Meier (who took part in Cannes’ Critics’ Week 2008 with Home [+see also:
film review
trailer
interview: Kacey Mottet Klein
interview: Thierry Spicher
interview: Ursula Meier
film profile
]
before walking away with the Berlinale’s 2012 Silver Bear Special Award for Sister [+see also:
film review
trailer
interview: Kacey Mottet Klein
interview: Ursula Meier
film profile
]
, and who was also selected for the 2018 Berlinale’s Panorama section thanks to Shock Waves – Diary of My Mind [+see also:
trailer
film profile
]
). The work is set to be produced by Les Films de Pierre.

An advance on receipts was also granted to Twist à Bamako, which will be the 22nd feature film by Robert Guédiguian (who competed in Cannes in 2002, in Berlin in 2005 and 2008, before travelling to Venice, first in 2017 with The House By The Sea [+see also:
film review
trailer
interview: Robert Guédiguian
film profile
]
, and then again in 2019 with Gloria Mundi [+see also:
film review
trailer
interview: Robert Guédiguian
film profile
]
) and which will be produced by Agat Films.

Likewise selected for support was Les Harkis, which will be the 11th feature film by Philippe Faucon (a regular at the big festivals, chiefly by way of Samia, The Betrayal [+see also:
trailer
film profile
]
, The Disintegration [+see also:
trailer
film profile
]
and Fatima [+see also:
film review
trailer
interview: Philippe Faucon
film profile
]
, not to mention Amin [+see also:
film review
trailer
interview: Philippe Faucon
film profile
]
). The title will be produced by Istiqlal Films and co-produced by Arte France Cinéma alongside Belgian outfit Les Films du Fleuve.

The advance on receipts scheme will also lend its backing to Tom Medina by Tony Gatlif (this 20th feature film by a director who was awarded the Best Direction trophy at Cannes 2004 for Exiles will be headed up by Princes Films), the documentary project Little Girl Blue by Mona Achache (the production details of which are yet to be formalised) and the animated film Tales of the Hedgehog by Alain Gagnol and Jean-Loup Felicioli (Oscar nominated in their category for A Cat in Paris [+see also:
trailer
film profile
]
in 2012 and who subsequently put their names to Phantom Boy [+see also:
trailer
film profile
]
), a project steered by Parmi Les Lucioles Films.

For the record, six projects were selected during the CNC’s first advance on receipts committee: Les amours d’Anaïs by Charline Bourgeois-Tacquet (produced by Année Zéro and Les Films Pelléas), Saint Omer by Alice Diop (SRAB Films), Jacky by Lucas Delangle (Les Films du Clan), Lumière noire by Karim Bensalah (Tact Production) and the documentaries Chantal Birman, la sage (femme) des banlieues by Aude Pépin (Bootstrap Label) and L’État sauvage by Audrey Baudouin (Quartet Production).

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(Translated from French)

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