As far as they can remember, the Solé family have spent every summer picking the peaches from their orchard in Alcarràs, a small village in Spain. But this year’s crop could be their last, as they face eviction. The new plans for the land include cutting down the peach trees and installing solar panels, which causes a rift within the large tight-knit family. For the first time, they face an uncertain future and risk losing more than their home.
In Costa Brava, Lebanon, the free-spirited Badri family escape the overwhelming pollution and social unrest of Beirut by seeking refuge in a utopic mountain home they built for themselves. Unexpectedly, an illegal garbage landfill begins construction right next door. With it comes the very trash and corruption they were trying to escape. As the landfill rises, so do family tensions. The Badris are left with a choice: stay off the grid or leave their idyllic home and face the reality they fled, hoping to stay true to their ideals.
“A terrific feature debut from Mounia Akl which works both as a compelling domestic drama and an elegant political allegory. It’s a picture which has much to recommend it, not least the star power and chemistry of Labaki and Bakri. Costa Brava, Lebanon is also tonally intriguing, with a sense of besieged insularity, and layers of symbolism. Distinctive enough to make its mark with arthouse audiences, this is a film which could break out of the festival circuit with the support of an engaged distributor or streaming platform.”
SCREEN, Wendy Ide
“A heartfelt charmer. The way the film skews toward the personal and away from the overtly political can be attributed to the fine performances from its likable ensemble — well, that, and to Akl’s perceptive writing of this family as a collection of singular individuals who just so happen to be related to one one another… Labaki gives a warm, conflicted performance. Costa Brava, Lebanon is lightly embellished with magic realist flourishes, just as Nathan Larson’s pleasant score lets lightly humorous horns meld with more winsome, minor-key melodies. The gentle wisdom it contains is attuned to country, family and lifestyle choices as abstract concepts, as all the things we mean by the word “home,” which is where Akl’s heart is.”
VARIETY, Jessica Kiang
“A stellar near-future family drama. Mounia Akl’s feature début comfortably occupies a space between Beasts of the Southern Wild and Honeyland. Her film is partly magical, partly real, but total fiction, because fiction is the best way to capture the tragicomic clown show that unfolds throughout. Costa Brava, Lebanon possesses a literary quality, but never at the expense of cinema: Akl’s direction lets the story read easily and cleanly, without making the implicit explicit or insulting the audience. Her film has levels. Akl isn’t a humorless sort and finds laughs wherever she can. For a movie about government incompetence married to government malfeasance, Costa Brava, Lebanon is surprisingly funny. It’s clear-eyed, too, and above all sincere, which keeps its tender, vulnerable beats from getting anywhere near cornball territory. Costa Brava, Lebanon puts its characters on equal footing, and then keeps them grounded even in the film’s most dreamlike moments. That’s a feat worth celebrating as much as this is a film worth savoring.”
THE PLAYLIST, Andy Crump
“Costa Brava, Lebanon explores the existential struggle of a nation and becomes a nexus point for hope, despair, progress, and broken promises. Akl provides the scenario a keen insight that only someone going through the same push and pull as the characters could. Die alone or live together. It seems so simple a concept on paper, but Bakri and Labaki’s performances give it so much emotional heft that you can feel the weight of its importance, regardless of whether you’ve ever had to make a similar decision yourself. That Akl allows them the room for humor only adds to its resonance. The time is always now.”
THE FILM STAGE, Jared Mobarak
“Compelling. When it comes to individual people and their hopes, fears and desires, Akl has a talent for both the surreal flourish and the grounded insight.”
THE HOLLYWOOD REPORTER, Keith Uhlich
“Mounia Akl has recruited two magnificent actors in Saleh Bakri and Nadine Labaki to give the utmost force to a metaphorical story on the search for happiness in a tortured country.”
Blanco, the charismatic owner of a family-run factory, is under pressure as he covets a local award for business excellence. Everything needs to be perfect! But the veneer of the perfect company cracks as Blanco has to deal with a vengeful fired worker, a depressed supervisor, and an infatuated ambitious intern.
To win the competiton, the manipulative “good boss” shamelessly meddles in his employees’ private lives and crosses every line imaginable, unknowingly starting an explosive chain reaction with wild consequences.
“It’s Javier Bardem’s show. Bardem’s performance has a depth and complexity that seems to come from somewhere else. Thick with grimaces, gestures, and lengthy pauses as both Blanco and Bardem compellingly hold the stage, this is indeed bravura stuff and Bardem fans can rest assured that they’ll get exactly what they came for. The vehicle for Javier Bardem doubles as a latter-day, comic morality tale, where true danger does break through, supplying a sharp edge to the film. Plotwise, The Good Boss is as smooth and efficient as a well-run factory. Slickly-made and entertaining, there are plenty of smiles and a few outright belly-laughs.”
SCREEN, Jonathan Holland
“Slickly entertaining, A darkly comic look at the workplace. The tone is upbeat. Javier Bardem introduces a new character into his repertoire of charmingly evil men. With a style reminiscent of the Coen brothers’ trademark cinematic sarcasm, especially in their quirkier works like Burn After Reading, León de Aranoa artfully spins a story of bad behavior trying to pass itself off as good.”
THE HOLLYWOOD REPORTER, Jordan Mintzer
“Played with an inspired fusion of mundanity and menace by Bardem, Blanco is a riveting, slippery, unctuous protagonist-villain. With its wry outlook and flashes of visual jokery, the laughs are there.”
VARIETY, Guy Lodge
“The audience-friendly dark comedy had its world premiere last night in front of a raucous crowd. Bardem carries the narrative by delivering a nuanced and engaging performance, filling virtually every frame with subtle charm – it’s a part that is already receiving rave write-ups following the premiere in San Sebastian.”
DEADLINE, Tom Grater
“Javier Bardem and Fernando León de Aranoa are firing on all cylinders in this convulsive, hilarious and accomplished dark comedy about the indignities of working life.Bardem, who scooped the Oscar for No Country for Old Men, is every bit as thrillingly odious here. Benefiting from a pitch-perfect cast, The Good Boss rattles along like a well-oiled machine, churning out a faultlessly bleak and caustic humour that rips the exploitative labour market to shreds. Its genius, power and grimly comic atmosphere lie precisely in its savage critique of neoliberalism’s ethically dubious machinations, its bondage and its hierarchies, raising a torrent of laughter thanks to sublime dialogue and jokes that would be the envy of Groucho Marx. The Good Boss is a tour de force of satire, a delirious trip of a film at a moment when life feels too intense, too broken and just too darn sad.”
CINEUROPA, Alfonso Rivera
“A masterpiece. The best comedy on the market. The film flows across the screen with a martial lightness that tears through everything. With the clarity of a revelation, the film entertains and invites both laughter and despair. Bardem’s performance is close to a miracle.”
EL MUNDO, Luis Martinez
“Javier Bardem in a state of grace. His impressive performance fills the screen, giving his character a very powerful magnetism.”
EL PAÍS, Carlos Boyero
Etats-Unis, France, Italie / drama / Italian / 120’
The Guerrasio family and friends gather to celebrate Claudio and Carmela’s oldest daughter’s 18th birthday. There is a healthy rivalry between the birthday girl and her 15-year-old sister Chiara as they compete on the dancefloor. It is a happy occasion, and the close-knit family are on top form. However, everything changes the next day when the father disappears. Chiara, unconvinced by the cover story, starts to investigate. As she gets closer to the truth, she is forced to decide what kind of future she wants for herself.
“Instantly engaging. A Chiara lifts the director’s scrappy neo-neorealism to another level, showing him increasingly in command of the medium and physically entrenched in the milieu he continues to explore in fascinating detail. His most accomplished, polished and affecting film to date though it still maintains enough grittiness and rough edges to fit the material. Again coaxing impeccably unselfconscious performances out of nonprofessional actors… There’s a new urgency to the drama once it kicks in, a more haunting intimacy that comes in no small part from the churning depths of Rotolo’s central performance. A shattering climax.”
David Rooney, THE HOLLYWOOD REPORTER
“Carpignano’s focus on 15-year-old Chiara (a radiant Swamy Rotolo) is a natural way of prepping the audience’s sympathies, but he aims beyond easy generational assumptions, and even more noticeably than in his sophomore work, he’s imbibed some lessons from Martin Scorsese in refusing to presume a judgmental stance. A Chiara will likely expand the director’s visibility and send people back to watching his earlier features.”
Jay Weissberg, VARIETY
“Carpignano’s anthropological inquests take the shape of a coming-of-age plot for steely-eyed fifteen-year-old Chiara (Swamy Rotolo, a dead ringer for Dixie D’Amelio charged with the steady intensity of Monica Bellucci). To avoid the sensational appeal discordant to his neorealist ethic, Carpignano leaves much of the violence offscreen, a deft choice that also places us in line with Chiara’s fearful curiosity about what went down and what it means. A Chiara caps off Carpignano’s Calabrian triptych in unexpected fashion by orienting itself around a less-marginalized population, reenergizing his style from the brink of stagnation in confronting questions of power that haven’t cropped up before. He’s not quite deconstructing the gangster picture, but he succeeds in draining all its allure. We can see this demimonde through the accessible vantage of an outsider, horrified and yet drawn in all the same.”
Charles Bramesco, THE PLAYLIST
“Shards of furious beauty take us away. The film ungulfs itself in the unsaid, locked to its young heroine and her point of view, embracing her discovery of a reality that had always been hidden from her. Jonas Carpignano explores on-board realism, with a camera that abolish any distance with his character. The film is at its best when it rubs shoulders with a pure present, as during the splendid opening scene: we find ourselves immersed in the heart of the family clan, of its workings, its more or less tacit laws, its ties which gently rise to the surface.”
Mathieu Macheret, LE MONDE
“With humanity and a deep feeling of affection, the director shifts his attention from illegal immigrants to Roma people, and finally to a 15-year-old girl, to explore with an original angle the families of the 'Ndrangheta, the Calabrian mafia that has now conquered Europe. Tim Curtin photographs in natural light, making everything look cruelly real, and the camera is always close to the protagonist's face and eyes, constantly searching and challenged. Compared to Carpignano’s two previous works, A Chiara demonstrates more work on the writing, with a greater awareness of social (and legal) issues. And in its critique, there is a greater concession to the fictional aspect of the story.”
Camillo De Marco, CINEUROPA
David, a university professor, takes to social media to criticize his city’s administration. But instead of the mayor’s dodgy dealings being investigated, David is himself accused of embezzlement and placed under house arrest. Despite the overbearing surveillance, double-crossing acquaintances, and growing media interest, David remains defiant and will not apologise. With the court case drawing ever nearer, does David have any hope of winning this battle against Goliath?
“A Kafkaesque single-location satire about the considerable cost of doing the right thing. The film has a charismatic and textured central character who widens the scope of the picture. Ninidze is an abrasive pleasure.”
Wendy Ide, SCREEN
“Downright accessible and straightforward. The film will resonate with anyone aware of how harshly people are treated who speak out throughout that country. As the world slowly emerges from the trauma of the pandemic, it’s impossible not to see reflections of our recent experiences in the art we consume.”
Leslie Felperin, THE HOLLYWOOD REPORTER
Dreaming, falling, starting over. Margot and Alma are two best friends holding on to the energy of their youth and their burning desire to conquer the world, until life gets in the way. But their ride-or-die friendship can get them through anything: they are inseparable, unstoppable.
“The Braves is about the joys of life, set against the backdrop of a tragedy… It's a story of female friendship that plays to a happy tune, a rare beast in cinema. It's unusual to see so much support between women on screen, even when the story veers towards rivalry territory. Volpé will be a new voice in cinema.”
Kaleem Aftab, CINE EUROPA
“Both lead performers bring a charismatic presence to The Braves. Yacoub is a match for the emotional demands of the role. A film that emerges as a fond remembrance of a cherished friendship.”
Allan Hunter, SCREEN
Bulgarie, France / drama / Bulgarian
A mother stork is shot down from a chimney. A woman suffering from postnatal depression nearly jumps off a balcony. A girl has to deal with the stigma of HIV. A mother looks for magic in the lunar calendar. Fragility and absurdity in this contemporary Bulgarian family are set against the backdrop of violent anti gender-equality protests. Based on a true story.
“"Women Do Cry ’s raw, pulsating anger and some bravura performances make for an explosive drama that should win hearts and minds." "Offers a powerful, blistering indictment of Bulgaria’s attitude towards women. The trials and trauma of an extended family skillfully reflect a wider society enslaved by patriarchy, prejudice and a blind faith." "Shows an affinity with 2017’s Romanian New Wave landmark 4 Months, 3 Weeks, 2 Days as it blends the personal and political into a provocative, compelling drama." "Feels more like a defiant rallying cry than a lecture, and matches substance and style." "Mileva and Kazakova bring out the best in a fine ensemble cast that includes Kazakova and various members of her family. Ralitsa Stoyanova makes Lora a fierce, formidable character. Borat 2 breakout star Maria Bakalova is exceptional as Sonja."”
Allan Hunter, SCREEN
Solange is a typical 13 year old, curious and full of life, with perhaps the peculiarity of being overly sentimental and adoring her parents. But when her parents begin to argue, fight and slowly drift apart, the threat of divorce looms near and Solange’s world begins to splinter. To keep her family together, she will worry, act out, suffer. It’s the story of a young and overly tender teen who wants the impossible: for love to never end.
UK / documentary / English / 93’
“This film is an endeavour to consider cows. To move us closer to them. To see both their beauty and the challenge of their lives. Not in a romantic way but in a real way. It’s a film about one dairy cow’s reality and acknowledging her great service to us. When I look at Luma, our cow, I see the whole world in her.”
– Andrea Arnold
US sales rep : Submarine Entertainment
“Remarkable. Unflinching and empathetic. There is something very heartfelt and committed about Andrea Arnold’s film: a poignancy and intimacy.”
Peter Bradshaw, THE GUARDIAN
“GRADE: A-. Elemental. A hypnotic spell rife with significance. Andrea Arnold generates empathy for animals better than Disney ever could. A stirring contemplation of a life reduced to resources. Wrestles with the bleak nature of the world while acknowledging its transcendent beauty at the same time. It enacts its simple premise in straightforward terms, but assembles them into a profound big picture. A small miracle. The kind of sound and image deep dive that the term “pure cinema” was invented to describe”
Eric Kohn, INDIEWIRE
“A piece of pure cinema that’s also loaded with political meaning. Gripping. A uniquely fascinating experiment. There is remarkable film craft on display, plenty of moments of wonder and beauty, some heart-melting tenderness and a finale to match The Irishman. Compelling and unique. A vital and ground-breaking work of art. It gives any viewer plenty to chew on.”
Jason Solomons, THE WRAP
“Nearly wordless, yet extremely loud. Arnold’s first feature-length documentary applies her characteristic kitchen-sink realism and quotidian poetry to a world where animals exist solely under human control. Captivating. For a brief, divine moment, Cow shows us what a cow’s life could be, were we not there. A mooooving and udderly intimate portrait of bovine life.”
Jordan Mintzer, THE HOLLYWOOD REPORTER
“GRADE: A-. Provides a raw, textured, cinéma vérité view of mortality and animal cruelty—one that forces its viewers to question the nature of human consumption and factory farming, as well as humanity itself. Remarkably moving. Arnold makes cows interesting to look at, if not beautiful: Cow embraces the raw physicality of these animals, from their muscled haunches to their distended udders to their expressive, darting eyes, fringed with white eyelashes.”
Caroline Tsai, AWARDS WATCH
“Andrea Arnold turns her astute observational skills to the bovine world. She has cast a charismatic screen newcomer and kept the camera close to her throughout. Cow gives audiences plenty to chew on.”
Anna Smith, DEADLINE
Finlande, Germany, Inde / documentary / English, Hindi / 70’
In a sprawling mega city where the dangers of climate change are present not future, acclaimed filmmaker Rahul Jain shows a world on the brink. Told through striking images and eye-opening accounts from everyday citizens, Invisible Demons delivers a visceral and immersive journey through the stories of just a few of Delhi’s 30 million inhabitants fighting to survive. Invisible Demons offers a deeply experiential and new perspective on its subject: the clear and present climate reality. Jain engages the senses by directly stimulating our desire to live in a world with equitable access to clean air and water. Is it possible to imagine this future in Delhi, in India, or anywhere in the modern world?
“The shocking documentary Invisible Demons is blowing a wind of dread in Cannes. The climate apocalypse is well underway in the new opus from the Indian director. The visually stunning documentary presents the enormous cost of economic development on the environment in India.”
“Eye-opening. Rahul Jain pulls no punches about his homeland’s environmental crisis. The terrible, incalculable environmental cost of India’s burgeoning economy is the subject of the powerful follow-up to his debut documentary, Machines.”
“Rahul Jain shakes Cannes with a shocking film on pollution.”
“A shock documentary that gives as much to see as to reflect.”
“Rahul Jain's Invisible Demons, a formidable - and frightening - look at pollution in Delhi, received a standing ovation. The film is a noble sequel to Sundance-winning Machines.”
“Jain studies the current state of the planet through visuals that evoke strong feelings rather than only giving informative content.”
Julie is turning thirty and her life is an existential mess. Several of her talents have gone to waste and her older boyfriend, Aksel – a successful graphic novelist – is pushing for them to settle down. One night, she gatecrashes a party and meets the young and charming Eivind. Before long, she has broken up with Aksel and thrown herself into yet another new relationship, hoping for a new perspective on her life. But she will come to realize that some life choices are already behind her.
“An instant classic. A tender relationship comedy with a wonderful freshness. Trier has taken on one of the most difficult genres imaginable, the romantic drama, and combined it with another very tricky style – the coming-of-ager – to craft something gloriously sweet and beguiling. A film that reminds us of the genre’s life-affirming potential. It’s one of Cannes’ best. Renate Reinsve takes off like a rocket, deserving star status to rival Lily James or Alicia Vikander for her tremendously mature, sensitive and sympathetic performance. She’s just so good. A star is born.”
Peter Bradshaw, THE GUARDIAN
“A wry, piercing study of millennial unrest. As this melancholic romantic comedy follows its capricious protagonist, it turns into something lovely and wise: a gentle, unhurried paean to indecision, to making life wait, for better and worse. Perceptively written, pristinely assembled and beautifully performed by Reinsve, this widely accessible arthouse pleasure deserves to become a touchstone film for many an ’80s and ’90s baby… She [Reinsve] and Nordrum play out a performative meet-cute that is the wittiest, most perverse take on that romcom standby in years, but it’s her tense, close chemistry with Danielsen Lie that gives The Worst Person in the World its fragile heart…”
Guy Lodge, VARIETY
“Joachim Trier spins a fun Norwegian riff on Frances Ha. A sharp and entrancing pivot back to the restless films he once made about beautiful young people suffering from the vertigo of time moving through them. The flush-cheeked actress [Reinsve] steps into her first major role with a careful mix of forcefulness and frustration and ensures that The Worst Person in the World delivers on its ironic wink of a title… Quick, vibrant, pulsing with all sorts of crossover appeal.”
David Ehrlich, INDIEWIRE
“Joachim Trier lands back on familiar ground for his latest feature, once again chronicling the joys, sorrows, love affairs and ensuing deceptions of Oslo’s bourgeois-bohemian class…More than ever, Trier reveals how well he can keep shifting tones and emotional arcs without losing narrative momentum… The story jumps back and forth, speeding up in parts and then slowing down to take a breath, with Trier providing the kind of stylish flights of fancy that were on display in Reprise. Renate Reinsve is vibrant.”
Jordan Mintzer, THE HOLLYWOOD REPORTER
“A spirited and thrillingly uninhibited piece of filmmaking from Joachim Trier… it’s lighter, more playful, sexier and funnier than the previous two pictures [of his Oslo Trilogy]. Trier deftly navigates between comedy and pathos, tracing Julie’s bumpy journey to self-knowledge through “12 chapters, a prologue and an epilogue.”
Wendy Ide, SCREEN
“A sharp and poignant look at how one’s supposedly best years pass by so quickly you barely realize it, loaded with freshly observed intimate moments that make up the things of life. A genuinely wonderful (…), deceptively relaxed, beautifully focused cinema. This study of a smart, vibrant young woman is alive with inventive scenes brimming with play and sex. Julie remains vibrant good company. Reinsve is especially fine in scenes in which her character’s self-awareness and innate good judgment are challenged by her impulse to push her limits and take a dare. Her all-in-good-fun attitude makes the edgier scenes a hoot.”
Todd McCarthy, DEADLINE
“Joachim Trier’s fifth feature is an exuberant delight reminiscent of Frances Ha and Reprise. Laugh-out-loud funny and heartbreaking in equal measure, it’s perhaps his best film since Oslo, August 31st. Giddy and joyful and oftentimes hilarious, culminating in a pathos-filled finale that makes you realize how much you’ve fallen in love with every character. At the center is a dazzling performance by Renate Reinsve (a Scandi dead ringer of Dakota Johnson), who truly comes into her own as a lead, portraying Julie with the depth that makes her feel unfailingly human. One of those cinematic protagonists that will be admired and adored by many for a long time.”
Iana Murray, THE PLAYLIST
“Joachim Trier returns to the vibrant energy which graced his forlorn protagonists in Reprise and Oslo, August 31st. Trier manages something which feels unique and transportive in an effortless showcase of four years in the life of a young woman still deciding what she wants to do and who she wants to be. Funny, poignant, and eventually bittersweet, authentically staged asides and a winning, complex performance from Renate Reinsve makes this a thoroughly unexpected offering from Trier.”
Nicholas Bell, IONCINEMA
France / drama / French / 72’
8-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother’s childhood home. She explores the house and the surrounding woods where her mom, Marion, used to play and built the treehouse she’s heard so much about. One day her mother abruptly leaves. That’s when Nelly meets a girl her own age in the woods building a treehouse. Her name is Marion.
“Spellbinding... A moving jewel of a film about memory, friendship and kin... Céline Sciamma’s beautiful fairytale reverie is occasioned by the dual mysteries of memory and the future: simple, elegant and very moving. An artistic masterstroke on Sciamma’s part. What a superb movie – a jewel of this year’s Berlin film festival.”
★ ★ ★ ★ ★ Peter Bradshaw The Guardian
“A piercingly satisfying chamber drama with a lovely intimate feel. An arrestingly original and alive creation that offers acute observations and unexpected grace notes.”
Todd McCarthy, Deadline
“Céline Sciamma returns with a poetic, touching vision of childhood and mothering in the throes of grief. Haunting and extremely touching. A deeply imaginative film. Moving, original and stimulating, and beautifully open to interpretation.”
Dave Calhoun, Time Out
“Impeccably directed and carefully structured… A beautiful ode to mother-daughter love and a melancholy acknowledgment of the distance that always exists in that relationship, when both parties are separated by age and responsibility... Sciamma delivers one of her warmest, most hopeful endings to date.”
Orla Smith, The Film Stage
“Captivating and deeply affecting... A filmmaker at the top of their game.”
Adam Woodward, Little White Lies
“Sciamma’s jewel-like Petite Maman finds the filmmaker literally returning to her roots for another exquisite coming-of-age story about a young girl on the precipice of some new self-understanding. A wise and delicate wisp of a movie. For 72 minutes, everyone can hear each other as clearly as if they were speaking to themselves. If only it could last forever.”
David Ehrlich, Indiewire
“Wonderfully intuitive... Playful without being twee. Sciamma has made a film that children can also appreciate on their own level. An 8-year-old makes a special connection, and so will audiences.”
Peter Debruge, Variety
“A beautiful and mysterious excursion into child's play. Could have been a Miyazaki fantasy. Sciamma is a gifted director of children [who] has always shown impeccable skill at illuminating her characters, and Petite Maman is a beguiling continuation of her work in its purest form.”
David Rooney, The Hollywood Reporter
“A thing of pensive beauty. Its gentle appeal and teasing sense of mystery should chime with audiences for whom Sciamma’s name is a key selling point, both in further festival berths and within a theatrical release. Claire Mathon’s lithe cinematography evokes a timeless, suspended moment of connection between the two lives.”
Wendy Ide, Screen
Mali, 1960. The youth of Bamako dance the twist to rock and roll music newly imported from the West and dream of political renewal. Samba, a young socialist, falls for spirited Lara during one of his missions to the bush. To escape her forced marriage, she secretly flees with him to the city. But Lara’s husband won’t let them be and the Revolution soon brings painful disillusions as they dream of a future together.
2020 / Belgique, France / drama / French / 112’
Elegant, retired architect Shauna (70) crosses paths with Pierre, a happily married doctor in his 40s, who first made an impression on her in a brief meeting 15 years previously.
Both are quite troubled to meet again and begin an affair. While Pierre’s family
life is soon turned upside down, Shauna struggles with feelings she thought belonged to the past.
Jonas, a 40 something Parisian, is still desperately in love with his ex-girlfriend Léa. When he knocks on her door to confess his feelings and she turns him down, he ends up at the café downstairs.
Inspiration strikes and he sits down to write her a long love letter, dodging everything he was supposed to do that day. What begins as a last attempt to get her back surprisingly turns into a vivid musing on the state of his life.
Over the course of a day, helped by a wisecracking bartender and an array of patrons from the neighborhood, Jonas has to face his past relationships, his uncertain future and, most of all, himself.
Empress Elizabeth of Austria and Queen of Hungary is idolized for her beauty and renowned for inspiring fashion trends. But in 1877, ‘Sisi’ turns 40 and is officially deemed an old woman. She fights to maintain her public image by lacing her corset tighter and tighter. Despite being instrumental in Austria’s alliance with Hungary, the Empress’s role has since been reduced against her wishes to purely performative. She becomes restless in Vienna and travels to England and Hungary, visiting former lovers and political allies, seeking the excitement of her youth. With a future of strictly ceremonial duties laid out in front of her, Elizabeth comes up with a plan to protect her legacy.
Buddy is a 20-year-old Civil War reenactor, fresh out of jail and trying desperately to save his parents from eviction. During a botched bank robbery, he crosses paths with the charmingly impulsive Franny, a pregnant 18-year-old with nothing to lose. Together they embark on a road trip, plotting, scheming, and hoping for a better future.
France / animation / French
In the near future, private detective Aline Ruby and her android partner are hired by a wealthy businessman to track down a notorious hacker. On Mars, they descend deep into the underbelly of the planet’s capital city where they uncover a darker story of brain farms, corruption, and a missing girl who holds a secret about the robots that threaten to change the face of the universe.
France / drama / French
On election night in 1981, celebrations spill out onto the street and there is an air of hope and change throughout Paris. But for Elisabeth, her marriage is coming to an end and she will now have to support herself and her two teenage children. She finds work at a late-night radio show and encounters a troubled teenager named Talulah whom she invites into her home. With them, Talulah experiences the warmth of a family for the first time. Although she suddenly disappears, her free spirit has a lasting influence. Elisabeth and her children grow in confidence and begin to take risks, changing the trajectory of their lives.
Jilted on his wedding day, Laurent, a stage actor playing the role of the famous seducer Don Juan, cannot help but see his ex-fiancée in every women he meets. In an attempt to mend his broken heart and ego, he tries to seduce them all but none are receptive to his elaborate (and musical) advances. Meanwhile, at the theater, the leading lady quits and the production brings in Laurent’s ex-fiancée as the replacement.
In the late 1980s, Rose moves from Africa to the Paris suburbs with her two young sons. Spanning 30 years from their arrival in France to the present day, Léonor Serraille’s follow-up to her Caméra d’Or-winner Jeune Femme (Cannes 2017) is a moving chronicle about the construction and deconstruction of an ordinary family.
The insatiably curious and headstrong inventor Leonardo da Vinci leaves Italy to join the French court, where he can experiment freely, inventing flying contraptions, incredible machines,
and studying the human body. There, joined in his adventure by the audacious princess Marguerite, Leonardo will uncover the answer to the ultimate question: “What is the meaning of it all?”
Belgique, France, Germany, Pologne, Royaume-Uni / animation
Bavaria, 1812. A lovelorn young poet banished from society is forced to wander across mountains, ice and snow, on a dangerous journey which will either lead him to death or to a new life.
Belgique, Germany, Irlande / animation / English
Len is the slightly overweight head of a family of foxes who live in the city. Sal is his resourceful partner: bouncy, inquisitive. Kev is their cub. They’re set up in a comfortable garden shed in the suburbs: there’s a steady supply of hamburgers and chips in the bins behind the cafes. Life is easy for the little family. So, when, one Autumn day, young Kev puts on his cutest face and says he’d like to visit the place where Len was born – just to see what it’s like, Dad – he agrees. After all, it’s just a day out in the country. What could possibly go wrong?
France / documentary / English, French / 95’
A modern tale of globalization, THE SAVIOR FOR SALE delves into the unknown secrets of the art world and explores the influence that one painting can exert on personal and geopolitical interests, weaving links between the auction houses of New York, a revered da Vinci expert, an opportunistic Swiss go-between, a Russian oligarch, the Louvre in Paris and an Arabian prince. An astonishing journey on the hidden trails of money, power and deception behind this questionable masterpiece.
After mysteriously reappearing, the painting titled Salvator Mundi (The Savior of the World) was sold at Christie’s for a record 450 million dollars in 2017. Attributed to Leonardo da Vinci after its discovery, what became the most expensive piece of art ever has unleashed passions while revealing the excesses of our time. But is it really the work of the Italian genius, or one of the greatest scams in the history of art?
Production: Zadig Productions
“A Saudi prince, his yacht and the half a billion-dollar painting. Hidden from the public, Leonardo’s Salvator Mundi is causing an ugly battle in the art world… The disclosure of the Salvator Mundi’s itinerary is only one of a cascade of new revelations about the painting provoked by a bold new documentary… ”
“The Savior for Sale sometimes feels like a thriller rather than a documentary. Vitkine has persuaded an impressive number of people to talk to him on camera and what they have to say is riveting.”
“The controversy around the Salvator Mundi painting has made headlines again with this new documentary claiming that the Louvre concluded that Leonardo had “merely contributed” to the painting.”
The New York Times
“No Hollywood director could have chosen such characters better. A masterpiece that is entertaining, elegant, revealing.”
“Including many revelations, The Savior for Sale crosses geopolitics, the world of art and money, lots of money.”
“The mystery of why the Salvator Mundi, the world’s most expensive painting, didn’t appear at the blockbuster 2019 Leonardo da Vinci show at the Louvre in Paris is unraveled.”
“Speculations have been revived in recent days: is the Salvator Mundi, the most expensive painting in the world, by Leonardo da Vinci or not? The new documentary claims it has minimal input from the master himself.”
“Leonardo barely touched most expensive painting (…), according to experts at the Louvre cited in the new documentary.”
“The documentary reveals that the Louvre confirmed the most expensive painting in the world comes from Leonardo Da Vinci's workshop and not the master's himself. The Elysee rejected the pressure from Saudi Arabia to have its origin "whitened" by showing it in an exhibition next to the 'Mona Lisa'.”
“New film lifts lid on Louvre row over famous $450 million painting.”
The Evening Standard
France, Suisse / documentary / English, French, Italian / 103'’
Is it possible to replicate the human brain on a computer? To connect it to machines?
At the start of the 21st century, science-fiction has made its way into reality. Research aimed at understanding the functioning of our biological brain is being matched by spectacular progress in the development of artificial intelligence.
A silent war is raging inside cutting-edge laboratories embodied by two scientists: a father and his son. The father, a renowned researcher, is convinced that the brain can be replicated on artificial systems. His son, a young AI researcher, fears the consequences of such a project. Their captivating confrontations lead us into other stories around the world, that map out a future both fascinating and disturbing.
France / documentary / English / 84’
At the beginning of the 19th century the discovery of the wide-open spaces of the United States and its incredible wildlife was key in the political development of the country. Intent on painting all the birds of America, John-James Audubon became a central figure of America’s national identity. But as these birds started disappearing with the dawn of the industrial era, so did the original American dream. In this “river movie” along the banks of the Mississippi, political, environmental and human rights issues are interwoven with the tales, myths and ghosts of these now extinct birds.
France / documentary / English, French, Italian, Portuguese / 100’
Five adoptees from Brazil, Sri Lanka, Rwanda, Australia and South Korea share their common experiences of being separated from their birth families and communities and raised abroad.
France, Germany / documentary / English, French / 110’
A handful of prisoners in WWII camps risked their lives to take clandestine photographs and document the hell the Nazis were hiding from the world. In the vestiges of the camps, director Christophe Cognet retraces the footsteps of these courageous men and women in a quest to unearth the circumstances and the stories behind their photographs, composing as such an archeology of images as acts of defiance.
“Cognet jumps into this discrepancy by connecting the historical facts to the physical ruins of the past (...) From Where They Stood shows that their resistance fights on, in its vivid and direct communication between their time and ours.”
“Cognet, in recovering the original versions, ultimately aims to give the right recognition to those who risked their lives to obtain cameras and films to steal, to revive the gestures that accompanied the creation of a clandestine shot, to tell the story of each photo in the place where it was produced.”
“So many questions are explored methodically and patiently, offering hypotheses and interpretations based on historical knowledge and on the physical reality of those locations, allowing for a wider and very realistic understanding of the space and of the existence that each picture was a part of. ”
“The director and his collaborators blend the photos with the locations, past and present combine in a way that makes your skin crawl.”
“From Where They Stood is a serious, playful examination of the manufacturing processes that led to these photographs.”
“Step by step, the film composes an archeology of images as acts of sedition and the power of attestation.”