Line up

2018 / France / historical drama / French

Cast : Adèle Haenel

in pre-production

Brittany, France, 1760. Marianne, a painter, is commissioned to do the wedding portrait of Héloïse, a young lady who has just left the convent. Héloïse is a reluctant bride to be and Marianne must paint her without her knowing. She observes her by day and secretly paints her at night.
Intimacy and attraction grow between the two women as they share Héloïse’s first and last moments of freedom, all whilst Marianne paints the portrait that will end it all.

2018 / France, Roumanie / drama. thriller / English, Romanian, Spanish

Cast : Vlad Ivanov

in pre-production

From Bucharest to the Canary Islands: treason, comic twists and a femme fatale abound in this film noir crime story from Romanian new wave master Corneliu Porumboiu.


A coproduction between 42 KM FILM (Romania), Les Films du Worso (France), Komplizen Film (Germany) and Arte Grand Accord. Marcela Ursu is producing and Patricia Poienaru is the executive producer. The coproducers are: Sylvie Pialat, Benoît Quainon, Janine Jackowski, Jonas Dornbach and Maren Ade. The Romanian Film Centre is supporting together with Eurimages.

France / drama / French / 106’

Cast : Vincent Lacoste , Stacy Martin , Isaure Multrier


David, who gets by doing odd jobs, meets Lena, who has just moved up to Paris, and falls in love. But soon after, his life is brutally interrupted by the sudden death of his sister. Beyond the shock, and the pain, David now finds himself alone with his young niece Amanda to care for.

By the director of THIS SUMMER FEELING (Rotterdam 2016, Official Selection) and MEMORY LANE (Locarno 2010, Official Selection)

“Vincent Lacoste is irresistible in Mikhaël Hers's tender, airy study of a young Parisian learning to care for his orphaned niece. A nourishingly classical tear-jerker as well as a glowing valentine to Paris’s endurance in the age of modern terrorism. Vincent Lacoste has grown one of contemporary French cinema’s great faces.”


“AMANDA is immensely touching in the way it bridges minor-key sketchiness and full-on contemplation of the human condition. An involving and typically graceful piece with a terrifically likeable central performance by Vincent Lacoste. Mikhaël Hers is one of the better-kept secrets in current French cinema.”


“A calm, healing film with utterly heartfelt, honest and sympathetic performances and a pleasingly emphatic emotional climax.”

The Guardian

“A quietly moving celebration of human resilience with subtle, sensitive lead performances from Lacoste and Multrier, who has a rare easy naturalism for such a young performer.”

The Hollywood Reporter

“Vincent Lacoste is perfectly cast.”


2017 / France / drama / English, French / 80’

Cast : Peter Mullan , Julia Föry , Arieh Worthalter


72 hours from the final of an international female bodybuilding championships. Lea Pearl is set to compete for the prestigious title of Miss Heaven. But her past catches up with her, when her ex-lover Ben shows up with the 6-year-old son she has not seen in 4 years.


“A fresh eye to genre conventions [...] Julia Föry cuts a formidable figure as Lea Pearl and Peter Mullan’s performance is typically uncompromising.”


“An intensely tactile look into a little-known world […] Visually striking, like watching a Nicolas Winding Refn film but without the violence.”

The Hollywood Reporter

“Deeply affecting. The film challenges and interrogates traditional notions of femininity and beauty. PEARL subverts the male gaze in striking fashion. Elsa Amiel makes a striking first impression with her feature debut. Lean, muscular filmmaking that manages to be sensual and gruff in the span of a single scene.”


“The visually appealing and cinematic character of this paradoxical world makes Pearl a solid, important and original first film.”


France / drama. Fantasy / French / 97’

Cast : Aomi Muyock , Lukas Ionesco , Maya Coline , Paul Hamy


Jessica is the leader of a group of lost boys with a violent past who now seek peace and harmony. She is the only one to have ever brought them love and understanding. They only wish to create a world where they can live in peace together, and forever.

By the directors of:
Golden Bear, Best Short Film, Berlin 2014: AS LONG AS SHOTGUNS REMAIN and AFTER SCHOOL KNIFE FIGHT (Cannes 2017, Critics Week)

“Dystopian drama from France stands out from the crowd. A high-concept panache. With the charismatic Jessica offering a ray of hope for the wayward souls in her care, the film presents a feminist subversion of typical savior narratives. Jessica Forever possesses an otherworldly look and feel […] that helps it stand out in the heavily populated dystopian realm. There’s poise and flair in the film’s overall stripped-back nature, echoed in its aesthetic touches as well.”


“Beautifully shot. A wild genre-bender with visual magic.”

The Hollywood Reporter

“A stylistically measured pace. A clinical look at the characters within. An oddly quiet strain of surrealism that takes hold of the imagery to share metaphor, give pain physical form, and unleash dark premonitions of impending carnage. These transitions from reality to hallucination are absolutely heartbreaking.”

The Film Stage

“Its audacity makes it a potentially cult title, which for a first feature, is already somewhat of a success.”


2017 / France, Pologne, Royaume-Uni / drama / French, Polish / 90’

Cast : Tomasz Kot , Joanna Kulig , Agata Kulesza , Jeanne Balibar , Cédric Kahn


Cold War  is a passionate love story between two people of different backgrounds and temperaments, who are fatally mismatched and yet fatefully condemned to each other. Set against the background of the Cold War in the 1950s in Poland, Berlin, Yugoslavia and Paris – the film depicts an impossible love story in impossible times.

“Luminous presence of Joanna Kulig, who on this performance is a powerful enough to become the Jeanne Moreau de nos jours.This film fizzes with a devotional energy and political relevance”

Nick James, Sight & Sound

“Kulig, as effervescent in her way as the young Jeanne Moreau, is the film’s life force”

Tim Robey, Telegraph 4****

“This is a movie of the flesh, not the spirit. Pawlikowski is a lyrical, mysterious filmmaker with a ravishing visual sense”

Steve Pond, The Wrap

“A mysterious, musically glorious and visually ravishing film. An elliptical, episodic story of imprisonment and escape, epic in scope. The musical ensemble performances are staggering – brilliantly choreographed by Pawlikowski and filmed by cinematographer Łukasz Żal.”

Peter Bradshaw, The Guardian 4****

“A glorious throwback – a film made with a verve and lyricism which rekindles memories of the glory days of European New Wave cinema. Decades-spanning romantic drama that never loses its ironic edge. Pawlikowski invokes memories of Milos Forman, Jiri Menzel and François Truffaut at the start of their careers. The film never loses its intimate and playful quality. The film retains a quiet humour throughout.”

Geoffrey McNab, The Independent

“Bittersweet and unbearably lovely. A musicologist's delight, featuring an eclectic swathe of songs that range from traditional "mountain" tunes and Soviet-era hymns to agricultural reform, classical pieces to snatches of George Gershwin and other jazz numbers up to Bill Haley & His Comets”

Leslie Felperin, THR

“Should secure it plum arthouse slots across the globe. Wholly riveting to watch, Kulig rifles through moods and attitudes with the casual magnetism of a young Jeanne Moreau, or even a Euro Jennifer Lawrence. Cold War is a soberly moving study of the disappointment and insecurity that can blossom from supposed renewal: It’s a romance in which new beginnings and endings can be hard to tell apart.”

Guy Lodge, Variety

“Cold War is glorious, sophisticated film-making. Pawlikowski’s camera feels thrillingly liquid.”

Finn Halligan, Screen

“Another powerhouse turn by a female actor, Joanna Kulig, is the mesmerizing centerpiece of "Cold War". Crystalline black-and-white camerawork, a boxy aspect ratio, bursts of jazz music and an exacting sense of narrative concision. A globe-trotting postwar romance and a work of exquisite self-containment.”

Justin Chang, LA Times

“This miniature monochrome epic from Pawel Pawlikowski is an extraordinary piece of cinematic craftsmanship. Immaculately crafted and abrasively personal. An often breathtaking work, Pawlikowski has clearly laboured over each and every shot to finesse camera movement, framing, choreography and shot length.”

David Jenkins, Little White Lies

2017 / Chine, France / drama / Mandarin / 136’

Cast : Tao ZHAO , Liao Fan


Qiao is in love with Bin, a local mobster. During a fight between rival gangs, she fires a gun to protect him. Qiao gets five years in prison for this act of loyalty. Upon her release, she goes looking for Bin to pick up where they left off.

By the director of STILL LIFE (Golden Lion for Best Film, Venice 2006) and A TOUCH OF SIN (Best Screenplay, Cannes 2013)

“Chinese gangster’s girlfriend saga burns bright. With Ash is Purest White, the always surprising, habitually envelope-pushing film-maker Jia Zhang-Ke gives us a complex romantic tragedy from China’s aspirational gangster-classes.”

Peter Bradshaw, The Guardian ****

“A restless journey through the political and social mainstreaming of China in the first two decades of the 21st century, and in counterpoint, the development of a gangster’s moll into an independent woman capable of resisting the patriarchal values of state and family. The jury’s disregard notwithstanding, the best performance by an actress was Zhao Tao in Jia Zhangke’s Ash Is Purest White.”

Amy Taubin, Film Comment

“An epic tale. Further proof that Zhao Tao is one of the greatest actresses in the world.”

David Ehrlich, IndieWire

“The film provides a transfixing leading role for Jia's wife and indispensable muse Zhao Tao... Their partnership is one of the great husband-and-wife collaborations of contemporary cinema. The performances of the two leads are riveting.”

David Rooney, The Hollywood Reporter

“Ash is Purest White, Chinese auteur Jia Zhangke’s most serious foray into the gangster genre since A Touch of Sin, is a winding tale of love, disillusionment and survival that again represents his vision of his country’s spiritual trajectory... Jia delves deep into the protagonists’ most vulnerable feelings as they pay dearly for both sin and honor… Zhao Tao surpasses herself in a role of mesmerizing complexity.”

Maggie Lee, Variety

“Jolting, seismic shifts in 21st century Chinese society are viewedthrough the bittersweet ebb and flow of an epic love story in Ash Is Purest White. The latest state of the nation report from Jia Zhang-Ke gives the viewer plenty to chew over and is suffused with a mournful melancholy… A thoughtful, measured piece that is rich in atmosphere,and a fantastic showcase for the skills of Zhao Tao whose character is the film’s purest spirit, seeking to recreate something that has already vanished and can never be again.”

Allan Hunter, Screen International

“Beautifully unsettling, poetic and dazzling, simultaneously dark and radiant, Ash is Purest White will surely count as one of Jia Zhang-Ke’s greatest films.”

Jacques Mandelbaum, Le Monde

“Fierce, gripping, emotionally generous and surprisingly funny... a story of thwarted yet oddly resilient love, as well as a beautiful marriage of the political and the personal... the revered Chinese writer-director's work brings the chaos of life in his rapidly evolving country into hyper-crisp digital focus”

Justin Chang, LA Times

“Jia Zhang-Ke is the greatest Chinese filmmaker. His latest film is a cynical, brilliant and secretly romantic film noir.”

Louis Guichard, Télérama

“China’s foremost auteur Jia Zhangke returns with a stirring and constantly surprising social critique. Zhao Tao is never-less-than astonishingly good.”

Anon, Little White Lies

“A digressive and baffling work, held together by a rich, expressive performance from Zhao Tao.”

Joseph Owen, The Upcoming****

“This outstanding Chinese film features a performance that will be a strong candidate for the Best Actress prize. Zhao is magnificent throughout. With her smile she can project warmth or daggers, and she seems able to grow younger or older at will. She has become one of the finest actors in world cinema and is well worth an early flutter for the Cannes Best Actress prize”

Raphael Abraham, The Financial Times****

“Ash is Purest White - Wow. Jia Zhang-ke's sprawling drama of human connection is part gangster film, part romantic epic, ultimately about how everything changes around us but we never change ourselves. This one is deep, very deep.”

Alex Billington, First Showing (on Twitter)

“Jia has become something of a cinematic poet of 21st-century China. The film is a journey... Continually thought-provoking, given the ephemerality of whole cities, much less love affairs.”

Emily Yoshida, New York Magazine, Vulture (on Twitter)

“Jia Zhang-Ke's Ash is Purest White is a fascinating, sprawling, violent, and, ultimately, romantic look at a low-rent underclass of aspiring gangsters in Eastern China… Zhao Tao is a contender for actress.”

Jordan Ruimy, The Playlist (on Twitter)

France / documentary / English, French / 113’


For the first time, 40 years after her death, the most famous opera singer ever tells her own stor y – in her own words. Featuring previously unknown footage, unseen photographs, personal Super 8 films, private live recordings, intimate letters and rare behind-the scenes archival footage for the first time in colour .

Featuring images and footage of Callas, Onassis, Marilyn Monroe, Alain Delon, Yves Saint-Laurent, J.F. Kennedy, Luchino Visconti, Winston Churchill, Grace Kelly and Liz Taylor, among others.


The Hollywood Reporter

“Such artistry!”

Figaro Magazine

“A generous, full-throated defense of a tarnished icon.”


“An unique documentary without clichés on the work of the artist”


“The words and the extraordinary career of the great singer inspire a documentary full of love and elegance”

Journal du Dimanche

“We are conquered by the woman, her mix of strength and vulnerability. Her moral elegance, above all. Brava... bravo!”


“A film very respectful of the legend, that will delight the fans of Callas”


“A wonderful documentary (...) A valuable firsthand account from Maria's point of view”

Corriere della Sera

“Magnificent. When the film comes out, do yourself a favor and go see it”

La Reppublica

“A must for the fans and for those who wish to discover her”

*** Studio Ciné Live

“An enchanting story”

Vanity Fair

“A magnificent film”

Huffington Post

Japon / drama / Japanese / 120’

Cast : Masahiro Higashide , Erika Karata


One day Asako’s first love suddenly disappears. Two years later, she meets his perfect double.

By the director of Locarno revelation HAPPY HOUR (Best Actress & Special Mention for the Script, Locarno 2015)


“An intoxicating drama. Hamaguchi orchestrates the narrative with such a deft and delicate touch, that there’s always a hint of something more mysterious at play. His mastery is making you hang on every moment to see how he undercuts or develops on his thesis. It’s thrilling to try and guess where he’ll take the story next. His young stars serve him perfectly. This poignant treatise on love at first sight is one of the best films in the 2018 Cannes competition line-up.”

David Jenkins, Little White Lies

“An inventive new take on relationship problems. An exquisite showcase for nuanced performances and a filmmaker in complete control of idiosyncratic material.... wouldn’t look out of place in Eric Rohmer’s oeuvre, and suggests what might happen if the New Wave auteur attempted to revise “Vertigo” with a fresh context. Hamaguchi is one of the most innovative filmmakers in contemporary Asian cinema. A meditation on the definition of true love. It’s refreshing to see a high-concept movie that doesn’t assume every love story has to reach a tidy conclusion, and implies that some happy endings are best left open-ended.”

Eric Kohn, Indiewire

“Great work from Higashide. An arresting metaphor for a certain phenomenon: settling. An amusing essay in amorous delusion.”

Peter Bradshaw, The Guardian

“Beguiling and mysterious. A drama wrought from doubt – sweet, soulful and achingly sad.”

Michael Leader, Sight & Sound

“A lovely meditation on memory and loss, about the power that the past can have to keep us from growing. There are moments of real beauty in the film, which is an unassuming and contemplative excursion into how we love, and why.”

Steve Pond, The Wrap

“After the magnificent Happy Hour, Asako I & II confirms Ryūsuke Hamaguchi's talent for writing beautiful female characters. Right from the opening scene and the love at first sight (or rather the fireworks) between sweet Asako and handsome Baku, the Japanese director makes our hearts pound and fall madly in love with his characters.”

Yannick Vely, Paris Match

“An astonishing portrait of a young modern woman, wonderfully interpreted by Erika Karata. "Asako" can almost be looked at as a feminist film… If Hagashide (who plays both male roles) does well, we only have eyes for Erika Karata, who plays such a singular Asako. Often withdrawn, but with astounding and unexpected moments, the young actress delivers a delicate interpretation with rare accuracy: a serious contender for the Best Actress Award”

Renaud Baronian, Le Parisien

“A precise and romantic work, paying close attention to the evolution of its characters. Captivates above all by the delicacy of its editing. Hamaguchi describes love as the perpetual reiteration of an initial impression.”

Mathieu Macheret, Le Monde

“Ryusuke Hamaguchi’s Asako I & II is very special. A film like this is why we come to Cannes. Quietly blown away.”

David Jenkins, Little White Lies (on Twitter)

2018 / France / romantic comedy / French / 108’

Cast : Adèle Haenel , Pio Marmaï , Damien Bonnard , Audrey Tautou , Vincent Elbaz


Yvonne is a police detective in a town on the French Riviera and the young widow of police chief Santi, a local hero. One day, she learns that her husband was in fact a crooked cop. Determined to right all the wrongs he committed, she will cross paths with one Antoine, who was unjustly imprisoned by Santi for 8 long years. Their encounter leads to a troublesome sequence of wild mishaps. A comedy with romance unlike any other!

By the director of PRICELESS (2006)

“A romantic farce that couldn’t be more preposterous or delightfully goofy. A sexy, funny performance from Adèle Haenel. A polished crowd-pleaser, ‘Trouble’ could be a winning attraction.”

Tim Grierson, Screen Daily

“Exhilarating ... As crazed and lawless as the action gets in either the real or imagined scenarios, or those that blur the two, it's the underlying sweetness of The Trouble With You that makes it so pleasurable.”

David Rooney, The Hollywood Reporter

“Carried by an excellent cast, Pierre Salvadori’s comedy is inhabited by a poetic density which keeps on increasing up to a surprisingly dreamy summit. Its funniness combines efficiency, inventiveness, intelligence and sensitivity. The Trouble with You is a marvel of French comedy.”

Bruno Deruisseau, Les Inrockuptibles

“Ripples of laughter and bursts of applause following the screening of the new film by Pierre Salvadori, the best confectioner of comedies in France. We’ve never seen Adèle Haenel like this before. This comedy is a renewal of the genre. Great pacing, brilliantly written, The Trouble with You is heady like champagne – and even more magic, because it reflects who we are: an audience thirsty for emotions.”

Jacques Morice, Télérama ***

“A comedy as violent as it is elegant, shaken by gags which carried away Cannes audiences. The Trouble with You makes you laugh, and out loud. And fortunately, Pierre Salvadori does not just make people laugh. His at once burlesque, violent, macabre and sweet film contains, in addition to a range of gags and replicas ranging from the most refined to the most distressing, auxiliary mechanisms that generate, along with comedy, complex trains of thought circulating on the frontier between fiction and reality, and between freedom and servitude. It is only after the last laugh that we perceive this delicate balance that preserves the film from the grotesque and gives to the burlesque an elegance that it rarely reaches.”

Thomas Sotinel, Le Monde

“Brilliant new comedy by Pierre Salvadori, a worthy successor of Blake Edwards. Strong, exhilarating and particularly hilarious. Adèle Haenel and Pio Marmaï play truly endearingly mad characters. Audrey Tautou and Damien Bonnard are just as excellent. A great generosity in both humour and emotion. The Trouble with You proves that comedy is never as satisfying as when it is daring.”

Renan Cros, Cinemateaser

“Brilliant. The Trouble with You, a romantic comedy about the devils inside everyone of us and about guilt. Funny and mad. Adèle Haenel and Pio Marmai are great. Salvadori at his best.”

Olivier Joyard, Les Inrockuptibles (on Twitter)

“The Trouble with You at La Quinzaine: ten gags per second, perfect cast, sharp writing. Pure pleasure.”

Raphaël Clairefond, So Film (on Twitter)

“A very smart, well-written French comedy. The poetic and loony duo Haenel-Marmaï is one of the most likeable, alchemical and exciting ones in ages.”

Mehdi Omaïs, Konbini

“Great feedback from the audience at La Quinzaine. Pierre Salvadori in great shape. The previously unseen Pio Marmaï – Adèle Haenel duo makes sparks.”

Thierry Chèze (Studio, on Twitter)

“Pierre Salvadori at his best in this bright and totally exhilarating comedy combining romance and a detective story… the inexhaustible power of fiction.”

Eric Vernay (Première, Les Inrockuptibles, on Twitter)

“The Trouble with You is a joyous, complex, clever, poetic and crazy comedy… A total success. Bravo!”

Thomas Baurez (Studio, on Twitter)

“The film has universal appeal given that its humour isn't based on dialect”

Bénédicte Prot, Cineuropa

2017 / France / drama / 132’

Cast : Pierre Deladonchamps , Vincent Lacoste , Denis Podalydès


Jacques is a writer living in Paris. He hasn’t turned 40 but already mistrusts that the best in life is yet to come. Arthur is a student living in Brittany. He reads and smiles a lot and refuses to think that everything in life might not be possible. Jacques and Arthur will like each other. Just like in a lovely dream. Just like in a sad story.

By the director of LOVE SONGS (Cannes 2007, Competition) and METAMORPHOSES (Venice Days 2014, Official Selection)

“A radiant new film. Vibrant and Moving. A complex dynamic that Honoré teases out with warmth, intelligence and more than a dash of mischief. Both leads give luminous, deeply nuanced performances; it’s a pleasure to watch them fuss and flirt, then figure their way into something more meaningful. There’s also a generosity, a compassion here that feels more profound than usual.”

Jon Frosch, The Hollywood Reporter

“A deeply felt crossover drama about two gay men wrestling with incompatible ideas of love… A sincere portrait of modern love a major stride in the treatment of gay relationships on-screen”

Peter Debruge, Variety

“A bittersweet marvel. Beautifully renders a poignant moment in gay history… A rich and thoughtful romantic drama that is less about politics than it is about matters of the heart.”

Richard Lawson, Vanity Fair

“The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ‘90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”

Eric Kohn, IndieWire

“Sorry Angel is one of Honore’s best. Love, death, time, desire, all that, a very adult drama. Vincent Lacoste & Pierre Deladonchamps among the best performances we’ll see this fest. La tendresse, quoi.”

Jonathan Romney, Film Comment

“This eloquent and expressive gay romance from Christophe Honoré is one of the director's finest achievements. Well, as you can probably guess from this somewhat hackneyed (re)introduction, Honoré’s back, baby, and his new film, Sorry Angel, sees him newly invigorated and mobilising all of his qualities as a maker of droll, quietly affecting and perceptive human dramas… Sorry Angel is an affirmative and sometimes jubilant film.”

David Jenkins, Little White Lies

“Sorry Angel, Christophe Honore's 1993 Paris-set portrait of gay loves evokes a wonderful mood of time, place and romantic memory. It's a work of high craft and deep feeling.”

Nick James, Sight & Sound (on Twitter)

“Of the four films I saw today, the one I enjoyed most was Christophe Honoré's Sorry Angel. Novelistic depth & breadth, finally very moving.”

Geoff Andrews, Sight & Sound (on Twitter)

“The best film to play in competition so far at this year's festival. Honoré's playful pop instincts are on display throughout Sorry Angel in short, affecting tether the film, and its aesthetic methods, simultaneously to Arthur's youthful idealism and Jacques's aged fatalism, both equally representing Honoré's artistry at different stages.”

Sam Mac, SLANT (US)

“Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “BPM.” Set 25 years ago, close enough to the present to not feel too much like a period piece but just before the technological, medical and political advances that would forever alter LGBTQ life, the film navigates the fluidity of interpersonal relationships.”

Ben Croll, The Wrap

“A superbly acted romance from the French writer-director Christophe Honoré. "Sorry Angel" is a lovingly detailed affirmation of gay male identity, albeit one that never feels as diagrammed or predetermined as that description.”

Justin Chang, LA Times

“Graceful, subtle, satisfying and emotionally complex, this is one of Christophe Honoré’s best films, with a standout performance from Vincent Lacoste. A film that not only perfectly encapsulates the Honoré identity – at least in his realist mode – but is his most satisfying achievement in arthouse mainstream terms. Sorry Angel is deeply involving on every level. This very adult, emotionally complex film is fabulously acted. Deladonchamps’s Jacques starts off exuding a muscular, faded golden-boy insouciance, modulating into more nuanced emotional weight as his solipsistic identity reveals its fault lines. And the film is a career high point for Lacoste. Arthur is his high point so far, a tender narcissist with more depth than we expect. A nicely curated 90s soundtrack puts the final polish to a film of real grace, subtlety and brio.”

Jonathan Romney, Sight & Sound

France / drama / French / 98’

Cast : Dewi Kunetz , Hugues Njiba-Mukuna , Sandra Poitoux , Bruck , Lilith Grasmug


Sophia Antipolis: a technopole on the French Riviera, a place where dreams should come true. But fear and despair lurk beneath the surface. Under a deceitful sun, five lives map out the haunting story of a young woman: Sophia.

“Vernier exhibits a rare knack for evoking the ennui of modern life and the ghosts that haunt the margins of even the most unassuming environments. Shot on beautifully textured 16mm, Sophia Antipolis imaginatively depicts an ostensibly alien landscape with just enough real world detail to genuinely unsettle.”

Film Comment

“One of the things that make a movie remarkable, is that it suddenly feels perfectly synced with its times, like the most faithful reflection of what is real, an absolute metaphor. That is the case of Virgil Vernier’s new film. [...] Both sophisticated and of a rare clarity, Sophia Antipolis is a great film."”

Les Inrockuptibles

“[Virgil Vernier]’s fifth feature is another fine example of his outstanding anthropological mapmaking in France, in the same vein as his previous effort, Mercuriales.”


“It feels cold at first, like a blade’s touch, but the film is worth the wait and emotion eventually sinks in, in this turning point of a film.”


“The high-tech city of the Maritime Alps and its urban surroundings are the set of a series of strange and familiar phenomena, drowned in a sunset science-fiction vibe, bound by the idea of the imminent catastrophe: we are in a world of obsessions, of an apocalyptic and arcane order, security obsessed and pre-fascist, aesthetic and plastic, towards which the film feels, and gives to feel, the dialectic of attraction and rejection, of emotion and terror. It exposes and repeats a contemporary imaginary of France or the modern Western world (here “the sun rises in the West”) to which it grants, through the taste of boundaries and borderline, the beauty of the undecidable.”


France / documentary / English, French

in production

An unpredictable documentary from a fascinating storyteller, Agnès Varda’s next film sheds light on her experience as a director, bringing a personal insight to what she calls “cine-writing,” traveling from Rue Daguerre in Paris to Los Angeles and Beijing.

Honorary Academy Award Winner: 2017
Cesar Award Winner 2008, Best Documentary: THE BEACHES OF AGNÈS

2019 / drama / English

Cast : Fionn Whitehead , Leyna Bloom , McCaul Lombardi

in production

On the steps outside New York City’s dizzying central bus station, Port Authority, a beautiful girl named Wye vogues with her friends. Paul, a young teenager who has just arrived in the big city, watches,  transfixed by her. Wye belongs to a “ballroom community” of voguing queer minority youth. As their love story blossoms, Paul discovers Wye is trans. Crisis occurs and he is forced to confront his own identity and what it means to belong.


2017 / France / drama / French / 112’

Cast : Vincent Lindon


Despite heavy financial sacrifices on the part of their employees and record profits that year, the management of Perrin Industries decides to shut down a factory. The 1100 employees, led by their spokesman Laurent Amédéo, decide to fight this brutal decision, ready to do everything to save their jobs.

Following Cannes winner THE MEASURE OF A MAN (Best Actor, 2015) Stéphane Brizé reteams with Vincent Lindon

“A story worth telling, well told, the aptly named At War takes a wrenchingly intimate look at hundreds of French factory workers fighting to keep their jobs, with solidarity and conviction as their main weapons against cavalier corporate overlords. Ripped from the headlines, keenly researched and carefully crafted, this fictional tale has near-universal resonance. Although every word is scripted and every camera move pre-planned, the impression is of authentic situations springing spontaneously to life.”

Lisa Nesselson, Screen Daily

“Another stellar Vincent Lindon performance, [who] adds another rivetingly real characterization to his muscular everyman repertoire. Cinematographer Éric Dumont’s handheld, impeccably vérité images exercise a kind of cinematic socialism. At War gives Lindon another opportunity to wear the undersung virtue of ordinary, rough-hewn decency the way a superhero might wear a cape.”

Jessica Kiang, Variety

“Vincent Lindon in a potent lead performance. Feels closer to Ken Loach or to early Paul Greengrass, depicting the plight of laborers with a gripping, handheld verve. At War feels much closer to documentary than fiction — and the movie itself less like a workplace drama than the chronicle of a soldier in the heat of battle”

Jordan Mintzer, The Hollywood Reporter

“Stéphane Brizé is a thoughtful filmmaker and the title of his film crystallizes the violence he portrays with as much anger as lucidity”

Thomas Sotinel, Le Monde

“The reaction of 2,000 spectators in Cannes' largest cinema hall was overwhelming; no film had received such ovations for a long time.”

Hanns-Georg Rodek, Die Welt

“If anyone had a doubt, Brizé confirms the extraordinary director that he is, able to deal with different stories each time with an appropriate, coherent and powerful performance. Vincent Lindon’s acting is monumental”

Adriano De Grandis, Il Gazzettino

“Stéphane Brizé and Vincent Lindon are fast becoming the Scorsese and De Niro of French social realist cinema. At War isn’t some one-note or cartoonish I, Daniel Blake rant against the system, it’s a far more nuanced drama fronted by another sterling performance by Lindon, who disappears completely into his role as chief strike leader and could earn him another Best Actor award after his 2015 win for The Measure of a Man. Brizé masterfully directs these scenes with predominantly handheld camera, shallow focus and medium shots, all designed to keep the tension constant and riveting. The music, too, blasts with foghorn intensity and occasionally uses pounding drums to further evoke the sense of warfare.”

Martyn Conterio, Cine-Vue ****

“An astounding, committed and furious film performed by amazing actors full of truth”

Olivier Bombarda, Bande à Part

“An incredible emotional power, based on real-time narration, punchy dialogues and breathtaking shots.”

Stéphanie Belpêche, Le Journal du Dimanche

“The French know how to fight for their rights and Stéphane Brizé knows how to make a protest film… Suffocating, in a good way. Vincent Lindon is one of the best actors on planet.”

Jamie Graham, Total Film

France, Inde / drama / English, Hindi / 99’

Cast : Vivek Gomber , Tillotama Shome


Ratna works as domestic live-in help with Ashwin, a man from a wealthy family. Although Ashwin seems to have it all, Ratna can sense that he has given up on his dreams and is somewhat lost… On the other hand, Ratna who seems to have nothing, is full of hope and works determinedly towards her dream. As these two worlds collide and the two individuals connect, the barriers between them seem only more insurmountable…

“An intelligent romance within the confines of upper-crust Indian society. Premiering in the Cannes Critics’ Week sidebar, the film could occupy the same slot that The Lunchbox did back in 2013, providing feel-good fodder for international markets. A warmly nuanced look at love in a place filled with constraints and contradictions, and where a broken heart could perhaps be the first step toward emancipation.”

Jordan Mintzer, The Hollywood Reporter

“An appealing, understated sweetness. Thanks to the disarming performance from Tillotama Shome, the audience is likely to be just as smitten with Ratna as is Ashwin.”

Wendy Ide, Screen Daily

“Thoughtful and heartfelt drama. There is real depth, poignancy and strength to Shome’s character. A delicately observed and attractive drama with some great Mumbai cityscapes and an excellent performance from Shome.”

Peter Bradshaw, The Guardian ***

“A modern-day Cinderella story with an edge, presenting a side of Mumbai that is rarely seen in cinema and tying in with strong themes of female independence.”

Leo Barraclough, Variety

“A deceptively simple, emotionally resonant drama that (rightly) puts its characters before its themes”

Baradwaj Ragan, Film Companion ****

2017 / France, Japon, Singapore / drama / Cantonese, English, Japanese, Mandarin / 90’

Cast : Takumi Saitoh , Mark Lee , Jeanette Aw , Tsuyoshi Ihara , Tetsuya Bessho , Beatrice Chien , Seiko Matsuda


Masato, a young ramen chef, leaves his hometown in Japan to embark on a culinary journey to Singapore to find out the truth about his past. He uncovers a lot more than family secrets and delicious recipes.

“A mouthwatering drama… that should not be approached on an empty stomach”


“Watching 'Ramen Shop' felt a lot like having a hot, perfect bowl of ramen at the end of a hard day at work. Exactly what your body and soul need.”

E. Nina Rothe

“Certainly one of the most moving films of this Berlinale, "Ramen Shop" seduced without difficulty, thanks to well-positioned flashbacks and a certain romanticism that infuses little by little. A real success.”

Abus De Ciné

“A good portion of Kore-Eda, a pinch of Naomi Kawase, a bit of Ang Lee, all mixed with the poetry of the author of My Magic ...”

Angles de Vue

Roumanie / documentary / Romanian / 70’

Cast : Laurenţiu Ginghină , Corneliu Porumboiu


“Last fall, a good childhood friend of mine, Florin, told me that his brother, Laurențiu, invented a new sport by changing the rules of the football game. One month later I went to my hometown, Vaslui, with a small film crew, to learn more about the new sport …”

“Another playful exploration of the titular sport’s philosophical-figurative potential...Corneliu Porumboiu’s portrait of his eccentric childhood friend with big dreams of reinventing soccer is hilarious, heartbreaking and pleasingly subtle”

Sight & Sound

“Infinite Football has moments of nicely deadpan humor and some deft little touches of insight along the way courtesy of Porumboiu's offbeat protagonist”

The Hollywood Reporter

“Edited perfectly into a series of neatly unified and unpredictable punch lines, Infinite Football is often laugh-out-loud funny, if you watch it with the right crowd… The purest and funniest moments I have seen in any film at Berlinale…”

Screen Anarchy

France / documentary / French / 122’


Women of African descent converse about what it means to be a woman today and belong to the Afro community. By sharing their experiences and aspirations for the future, they speak up and take control again of their own representation.

“A touching and lucid Afro-feminist documentary, showing how racist clichés are thick skinned”

Les Inrockuptibles

“As radically frank in style as in substance, [...] a film of experience and of reflection. It is both a vital film in itself and a virtual kit for the inspiration of other filmmakers; it’s an opening of voices and of paths”

The New Yorker

1972 / France / drama / French / 90’


In a small textile factory, like many others, women produce clothing and weaving in a workshop despite the heat, forced pace, and enduring tiredness, until one day they cannot bear the oppression anymore: they sabotage the machines.

“Political, violent, revolutionary ... the film is first and foremost the direct and sincere expression of those we never listen to when making a movie: the workers”