Line up

Belgique, France, Senegal / drama / French, Wolof / 105’

Cast : Mama Sané , Amadou Mbow , Ibrahima Traoré

completed

Along the Atlantic coast, a soon-to-be-inaugurated futuristic tower looms over a suburb of Dakar. Ada, 17, is in love with Souleiman, a young construction worker.
But she has been promised to another man. One night, Souleiman and his co-workers leave the country by sea, in hope of a better future. Several days later, a fire ruins Ada’s wedding and a mysterious fever starts to spread. Little does Ada know that Souleiman has returned.

In her feature debut, Mati Diop continues to harness fantasy and social relevancy in this haunting tale of love.

“This shape-shifting Senegalese drama is pure cinematic poetry. Slipping in and out of modes with a magician’s confidence, Atlantics is mysterious and mythic, with a wizardly use of sound and some unforgettable images.”

★★★★★ The Telegraph - Tim Robey

“An intriguingly poetic movie with a seductive mystery, Atlantics is a voodoo-realist drama that has much to say about the contemporary developing world. It’s a winter’s tale of a film.”

★★★★ The Guardian – Peter Bradshaw

“A striking work, with a lyrical, richly evocative ghost story. Exquisitely shot by Claire Mathon and lushly scored by Fatima Al Qadiri, the film pulls together some exceedingly strong components.”

The Hollywood Reporter - Leslie Felperin

“Constantly intriguing, Atlantics is an intense romance notable for the craft of the filmmaking and Diop’s original approach to complex issues of love, loss and the forces for change that can rise from the ashes of tragedy.”

Screen International - Allan Hunter

“A gorgeous, mesmerizing feature directorial debut. Atlantics is an absorbing, otherworldly vision of an alienated seaside life in Dakar.”

IndieWire - Eric Kohn

“A romantic and melancholy film, part social commentary, part ghost tale, that works best in its evocation of loss and female solidarity.”

Variety - Jay Weissberg

“A harrowing migration narrative of female adolescence, Atlantics bears the aesthetic and thematic hallmarks of an expertly rendered film with an impressively nuanced subjectivity. Cinematographer Claire Mathon casts each image in its own washed-out light, all to the soundtrack of Fatima Al Qadiri’s evocative synth score, vibrating like something out of sci-fi.”

The Playlist – Caroline Tsai

“A haunting romance, political drama and surreal dreamscape all rolled into one. Dreamy yet sensual, fantastical yet rooted in uncomfortable facts, Diop’s beguiling film may even have reinvented a genre.”

★★★★ BBC Culture – Nicholas Barber

“Atlantics deftly entwines a new take on the refugee crises with a look at young female adulthood, and layers it with a dose of West African folklore. It feels in step with the films of Sofia Coppola, only stripped of the layers of privilege that are hallmarks of the latter’s work.”

The Wrap – Ben Croll

“Mesmerisingly strange. Sometimes of course, you’re also knocked out by a film precisely because it’s like nothing you’re used to from a particular cinema. Case in point: Mati Diop’s Atlantics, which isn’t quite like any African film we’ve seen.”

Twitter – Jonathan Romney

“A haunting and atmospheric tale of the supernatural, with a narrative based in a love story with a beautifully empowering coming of age aspect. A ravishing film to experience, glowing in attenuated light, and rife with eerie, magical moments. It presents an Africa that is a rare sight – wedded to the sea, and conflicted home to strong girls with dreams.”

RogerEbert.com – Barbara Scharres

France / historical drama / French / 119’

Cast : Adèle Haenel , Noémie Merlant , Valeria Golino

completed

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.

Céline Sciamma (WATER LILIES, Cannes 2007 Un Certain Regard; TOMBOY, Berlin 2011 Jury Prize; GIRLHOOD, Cannes 2014 Directors’ Fortnight Opening Film;
MY LIFE AS A ZUCCHINI, Cannes 2016 Directors’ Fortnight, Cesar Award for Best Screenplay) reunites with Award-winning actress Adèle Haenel for an intimate and deeply moving period drama.

“GRADE A. A Masterpiece. A devastatingly unforgettable story of love and memory. As perfect a film as any to have premiered this year. Razor-sharp and shatteringly romantic. A profoundly tender story about the process of self-discovery and becoming. Portrait of a Lady on Fire is a period romance that’s traditional in some ways, progressive in others, and altogether so damn true that it might feel more like staring into a mirror than it does running your eyes over a canvas. The film expresses that discovery as vividly as any that’s ever been made, as the drama’s spartan backdrop only adds to the intensity of its blaze. An unforgettable film that cooks at a low simmer until going incandescent in its closing minutes. It’s a magnificent love story about how our formative romances can shape us and sweep us forward, whether we have to move along because life presents us an opportunity or if we have to move on because life denies us a million more. It’s a film that captures the feeling you get from the last scene of “Roman Holiday” and stretches it over a full two hours in which not a single moment is wasted.”

IndieWire– David Ehrlich

“Made by a filmmaker who is herself, as we say in English nowadays, on fire. At this point, Sciamma is practically throwing off sparks and hot coals as she enters a confident, bigger-risk-taking phase of her career. Assaying her first period film, an exquisitely executed love story that's both formally adventurous and emotionally devastating, she sticks the landing like a UCLA gymnast in peak condition. It's so good you'll want to watch again in slow-motion immediately afterwards just to see how she does it. Sciamma is likely to get the lioness' share of praise for this wonderful film, but the contributions from the cast, especially Merlant and Haenel, are huge factors in its success. The two have combustible, practically fissile chemistry, felt not just in the love scenes but from the dramatic moment when they first see one another's faces at the end of a long bravura tracking shot. Not a moment in this film is wasted, which suits a story about lovers without a moment to lose. ”

The Hollywood Reporter - Leslie Felperin

“A vivid, full-blooded oil portrait of the stolen romantic relationship between two young women. This is a strikingly handsome production which will be admired on a technical level. Noémie Merlant and Adèle Haenel, colour coded smouldering red and forest green gowns respectively, have a persuasive onscreen connection which gives this affair a life of its own – one which will continue long after they part. Most powerful is an eerie vocal piece performed by women gathered for a night time fiesta – there’s a haunting, pagan quality to this keening close harmony chant, it breaks over the film like a wave. In its wake, everything is slightly different.”

Screen International – Wendy Ide

France, Roumanie / drama / English, Romanian, Spanish / 97’

Cast : Vlad Ivanov , Catrinel Marlon

completed

Not everything is as it seems for Cristi, a police inspector in Bucharest who plays both sides of the law. Embarked by the  beautiful Gilda on a high-stakes heist, both will have to navigate the twists and turns of treachery and deception. A secret whistling language spoken on the Spanish island of La Gomera might just be what they need to pull it off.

By the director of THE TREASURE (Cannes 2015 Un Certain Regard Screenplay Prize), POLICE, ADJECTIVE (Cannes 2009 Un Certain Regard Jury Prize) and 12:08 EAST OF BUCHAREST (Cannes 2006 Golden Camera).

“An oversized, deliciously twisted ride that runs on an endless supply of black humor and a sizeable body count. It’s a hoot. Nobody’s innocent, hardly anybody survives and the ride is stylish fun the whole bloody way.”

The Wrap - Steve Pond

“An enjoyable affair with just enough of a slant to feel a little offbeat. There’s a lot of fun to be had in the simple eccentricity of the premise, which is pulled back from silliness by the cast’s underplaying and Porumboiu’s natural inclination to tamp proceedings back into drollery. The director has long been established as the most skewedly humorous of the Romanian New Wave brigade, but that mischief-maker reputation does not mean his films have lacked substance. If anything, his style of disingenuously deadpan wit has given us some of the most lacerating commentary of the whole movement, cutting deeper because the critique is hidden under a smile — or more likely, a slow, owlish blink. Moments of transcendent grace occur, sometimes in the very last frames, and always in the least encouraging of environments: bureaucratic offices, police stations, living-room sofas, dismal playgrounds.”

Variety - Jessica Kiang

“Whimsical. Porumboiu’s cinema is about subtle, sly surprises that steal up on you while you think you’re watching something else. It revisits the energy and wit of heist movies before it, as well as the filmmaker’s own structural sophistication from his previous works, and revitalizes both traditions in the process. A polished mashup of genre motifs that suggests what might happen if the “Ocean’s 11” gang assembled on the Canary Islands. Poromboiu is a cerebral director whose narrative style always comes equipped with a prankish spirit, imbues this slick ensemble piece with a wry agenda.”

IndieWire - Eric Kohn

“This highly entertaining but dense tale of a cop double-crossing both his department and the gangsters with whom he's in cahoots constantly corkscrews around in every sense, deploying flashbacks frequently as it reveals twist after twist. Porumboiu's recurring preoccupation with language, loyalty and the legacy of Nicolae Ceaușescu's repressive regime is still there, just approached from another angle.”

The Hollywood Reporter - Leslie Felperin

completed

Sibyl, a jaded psychotherapist, returns to her first passion: writing. But her newest patient Margot, a troubled up-and-coming actress, proves to be a source of inspiration that is far too tempting. Fascinated almost to the point of obsession, Sibyl becomes more and more involved in Margot’s tumultuous life, reviving volatile memories that bring her face to face with her past.

Justine Triet (In Bed with Victoria, Cannes 2016 – Critics’ Week Opening Film) continues her unreserved exploration of the modern woman’s psyche with this intense and layered story.

Etats-Unis, France / drama / English / 94’

Cast : Fionn Whitehead , Leyna Bloom , McCaul Lombardi

completed

On the steps outside New York City’s dizzying central bus station, Port Authority, a girl named Wye vogues with her siblings. Paul, a young drifter, watches her, transfixed by her beauty.
After he seeks her out, an intense love soon blossoms. Wye introduces him to the ballroom community, an underground LGBTQ subculture, to her house, a self-selected chosen family.
But when Paul realizes Wye is trans, he is forced to confront his feelings for her and the social forces that seek to rupture their bond.

Executive-produced by MARTIN SCORSESE. A feature debut by up-and-coming visual artist and writer of MOBILE HOMES (Cannes 2017 Director’s Fortnight) Danielle Lessovitz.

“Endearing. Deeply Romantic. A gritty, naturalistic NYC love story that turns the white male perspective into the outsider and strikes a quietly progressive note. A striking chemistry between Bloom and Whitehead. A strong debut for Lessovitz.”

IndieWire – Eric Kohn

“A disarming gentleness. An affectingly intimate first feature and a tender depiction of the magnetic power of community. The mood is transfixing. Leyna Bloom has an authenticity that invests her performance with ease and authority, alongside a resplendent natural grace. Matched with Whitehead's raw emotional transparency beneath a veneer of toughness, their quiet scenes together are lovely.”

The Hollywood Reporter – David Rooney

“A likable, simple but effective romance in which two star-crossed lovers’ worlds collide. Propelled by a pair of terrific performances, Leyna Bloom is a beauty blessed with a Lena Horne-like magnetism and Fionn Whitehead is great. Lessovitz captures the spirit and energy of the vibrant ball world in a totally fresh way. Sensitive, appreciating rather than appropriating, it ultimately feels authentic to the community it depicts.”

Variety – Peter Debruge

“Mixing tough US social realism with butch femme poses is an intriguing exercise. There’s a sweetness in the central love story between ‘femme queen’ Wye, naturally played by transgender model turned actress Leyna Bloom, and Fionn Whitehead’s probation-dodging loner. This boy-meets-girl story should drive indie traffic beyond LGBT festivals and circuits.”

Screen International – Lee Marshall

“A coming-of-age story for the POSE era. It explores a key question put to its protagonist late in the film: ‘What are you looking for in a family?’ That search for family in all its forms is at the heart of PORT AUTHORITY. With Martin Scorsese on hand as an executive producer, Lessovitz has made a rough but vital film about the ways in which we strive to make the mean streets a little less mean.”

The Wrap – Steve Pond

“Under Lessovitz’s gaze, the kiki world is warmer and more humane than straight partying. Bloom is a magnetic star.”

Vulture– Nate Jones

France, Japon / drama / Japanese

Cast : Mariko Tsutsui , Mikako Ichikawa , Sousuke Ikematsu

in post-production

Ichiko works as a private nurse for a family she has almost became a part of. While Ichiko cares for the grandmother, she is also a confidant to Motoko, the eldest sister.
But one day, Motoko’s younger sister disappears. And the media soon reveal the kidnapper to be Ichiko’s own nephew…

After HARMONIUM (Cannes 2016 Un Certain Regard Jury Prize), Koji Fukada returns with the tense portrait of a woman caught up in a spiral of defamation.

2019 / France / documentary / French

in post-production

Gilles Caron was at the height of his career as a brilliant photojournalist when he went missing in Cambodia in 1970. He was just 30 years old. Through his iconic photographs, and the gaps between them, this film, constructed like an investigation, aims to restore the photographer’s presence, recount the story of his gaze, and how he managed to cover every high profile conflict of his day in such a short period of time.

By award winning director Mariana Otero.
By Archipel 33, producer of the Dardenne Brothers’ films.

France / comedy / French

Cast : Golshifteh Farahani

in post-production

Selma, a psychoanalyst, wrestles with a cast of colourful new clients after returning home to Tunisia to open a practice.

In this sophisticated comedy, Manele Labidi opens a fascinating window into modern Tunisia at a crossroads, with a story of contrasts, contradictions and culture clashes, full of vitality and humour.

in post-production

In Marseille, a family gathers for the birth of baby Gloria. But despite the joy, they have fallen on hard times. However Gloria’s ambitious uncle has a new business idea, which could be a way out of their tough situation.

Director Robert Guédiguian reunites with the cast of THE HOUSE BY THE SEA (Venice 2017 Competition) and THE SNOWS OF KILIMANJARO (Cannes 2011 Un Certain Regard).

France / documentary / English, French / 115’

completed

An unpredictable documentary from a fascinating storyteller, Agnès Varda’s new feature documentary sheds light on her experience as a director, bringing a personal insight to what she calls “cine-writing”.

The “Queen of French Cinema” Agnès Varda returns with a new documentary following her Academy Award nominated sensation FACES PLACES.

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

“Two hours of magic.”

The Guardian

“A cinematic victory lap [which] will delight her recently expanded fanbase”

Variety

“A personal, playful account of a rich creative legacy (...) A heart-warming mood-lifter.”

The Hollywood Reporter

“Both an excellent primer for newcomers, and a wonderful parting gift for longtime fans (...) The perfect way for the legendary auteur to have the last word.”

IndieWire

“Agnès Varda tells her life story, and it’s a pretty picture. (…) Everyone’s favourite maverick nonagenarian guides us through a lively and engaging account of her inspirations, work practises and engagement with the audience.”

Screen Daily

“Varda by Agnès contains the best parts of Agnès Varda: work, wit and wisdom. (…)It is a cathartic, bittersweet swansong from one of cinema’s most endearing and adored auteurs.”

Cinevue

“To capture a lifetime of greatness in just two hours seems like an impossible task, but the French New Wave legend accomplishes this and more. (…) Varda’s eternally bright acceptance of modernity feels like a breath of fresh air, and makes for a viewing experience which is truly magical for any film fan.”

Much Ado About Cinema

France / drama. Fantasy / French / 97’

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

completed

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)

“Phenomenally seductive.”

Film Comment

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

The Hollywood Reporter

“Radical and poetic, JESSICA FOREVER confirms the outstanding talent of its directors.”

Libération

“A feminist subversion of typical savior narratives. There’s poise and flair in the film’s overall stripped-back nature, echoed in its aesthetic touches as well. A high-concept panache.”

Screen

“Long-awaited. One of the best movies of this year’s Berlinale.”

Les Inrocks

“Beautiful cinematography. A journey of both violence and beauty (…) making us contemplate the meaning of family and ultimately the importance of love.”

The Upcoming

“It’s audacity makes it a potentially cult title.”

Cineuropa

“Think the stylised pop nihilism of a director like Gregg Araki channelled through action-adventure video games and star-crossed love poems and you might have an idea of what to expect from JESSICA FOREVER.”

AnOther

“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

France / drama / French / 98’

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

completed

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.”

CineEuropa

“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.”

L'Humanité

“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.”

Libération

France / drama / French / 106’

Cast : Vincent Lacoste , Stacy Martin , Isaure Multrier

completed

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)

Production: Nord Ouest

French distribution: Pyramide

“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.”

Variety

“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.”

Screen

“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.”

Cineuropa

France / drama / English, French / 80’

Cast : Peter Mullan , Julia Föry , Arieh Worthalter

completed

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.

Starring BAFTA-winner Peter Mullan (TYRANNOSAUR, MY NAME IS JOE, TRAINSPOTTING, TOP OF THE LAKE).

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

Screen

“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.”

Indiewire

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

Cineuropa

completed

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

Chine, France / drama / Mandarin / 136’

Cast : Tao Zhao , Liao Fan

completed

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)
DOP : Éric Gautier (INTO THE WILD, THE MOTORCYCLE DIARIES)

“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)

2017 / France / drama / 132’

Cast : Pierre Deladonchamps , Vincent Lacoste , Denis Podalydès

completed

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 bursts...to 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, Inde / drama / English, Hindi / 99’

Cast : Vivek Gomber , Tillotama Shome

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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 ****