Élie Wajeman’s Le joueur earns a CNC advance on receipts
- The French film centre will also support upcoming films by Valérie Donzelli, Pierre Salvadori, Gustave Kervern, Vincent Le Port, Maxime Roy and Anaïs Volpé, among other directors
Eleven projects have been selected in the CNC’s last advance on receipts session for 2024.
Standing tall among the four projects selected by the 3rd committee (focused on 4th feature films and beyond) is Le joueur, which will be Élie Wajeman’s 4th feature film after Alyah [+see also:
film review
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film profile] (screened in the 2012 Directors’ Fortnight), The Anarchists [+see also:
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film profile] (Cannes’ Critics’ Week 2015) and A Night Doctor [+see also:
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interview: Elie Wajeman
film profile] (gracing Cannes’ 2020 Official Selection). The film is co-written by the director in league with Vincent Sornaga and will be produced by Diaphana.
An advance on receipts is also winging its way to À pied d’œuvre by Valérie Donzelli, which is an adaptation by the director together with Gilles Marchand of Franck Courtès’ novel of the same name. This 7th fiction feature film by Donzelli, following on from The Queen of Hearts [+see also:
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film profile] (selected in Locarno’s 2009 Cineasti del Presente section), Declaration of War [+see also:
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film profile] (gracing Cannes’ 2011 Critics’ Week), Marguerite & Julien [+see also:
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film profile] (in competition in Cannes in 2015) and Just the Two of Us [+see also:
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interview: Valérie Donzelli
film profile] (screened in the Cannes Première line-up in 2023), to name just a few of her works, is set to be steered by Pitchi Poï Productions.
The CNC is likewise throwing its weight behind Vénus Electrificata, which will be the 11th feature film by Pierre Salvadori (notably acclaimed in the 2018 Directors’ Fortnight for The Trouble With You [+see also:
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interview: Pierre Salvadori
film profile]), headed up by Les Films Pelléas.
An advance on receipts has similarly been granted to Voilà, c’est fini by Gustave Kervern, which is the filmmaker’s 11th feature, but also his first solo project, since he’d always co-directed with Benoît Delépine up to this point (notably earning him two selections in competition in Berlin via Mammuth [+see also:
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interview: Gustave Kervern, Benoî…
film profile] in 2010 and Delete History [+see also:
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film profile] in 2020, a screenplay award in San Sebastian in 2008 and a Special Jury Prize at the Sundance Film Festival in 2009 thanks to Louise-Michel [+see also:
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interview: Benoît Delépine and
Gustav…
interview: Benoît Jaubert
film profile], and selection in Cannes, Locarno, Venise and Rotterdam). Production is entrusted to Les Films du Worso.
Three projects were chosen by the 2nd committee (revolving around second and third feature films and beyond): Hautfaye by Vincent Le Port (unearthed in Cannes’ 2021 Critics’ Week via Bruno Reidal, Confessions of a Murdererl [+see also:
film review
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interview: Vincent Le Port
film profile]), set to be steered by Les Films du Losange and Stank, Ma révérence by Maxime Roy (discovered in a Special Screening in Cannes 2021 via The Heroics [+see also:
film review
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interview: Maxime Roy
film profile]), set to be produced by TS Productions and Marianne Productions, and Sans cesse mon chéri by Anaïs Volpé (selected for the 2021 Directors’ Fortnight via The Braves [+see also:
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interview: Souheila Yacoub
film profile]), set to be produced by Unité.
Last but not least, the most eye-catching among the works singled out by the first committee (dedicated to first feature films) are Le Royaume des aveugles by François Robic (awarded the ArteKino International Prize in 2023 at the Les Arcs Film Festival’s Co-Production Village – read our news – produced by Moderato), Lutteurs by Alassane Sy (produced by Colors Films), Nouveau monde by Margaux Elouagari (pitched last November at Arras Days – news – produced by Les Quatre Cent Films) and Maïlys Audouze’s documentary project Fils de la nuée (produced by Unité).
(Translated from French)
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