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Lou Ye and Lee Isaac Chung among the 15 chosen for Cannes' 2008 Atelier

Posted by Eric Lavallee on Mar 31, 2008
Source: Cannes Film Festival

The very young, and so far, extremely successful Cannes Atelier program (now in its 4th year) has announced the 15 projects as part of the 2008 curriculum that basically invites directors and their producers to pitch their projects, find financing and/or find distribution to world investors in film the film festival dates.

This year's batch includes plenty of first time film projects from short film directors who've canvased the festival circuit but the list also two familiar names with the 6th film project from Lou Ye's (Summer Palace) and the sophomore feature (Lucky Life) from Lee Isaac Chung - perhaps 2007's best new director with Munyurangabo (Liberation Day) making waves on the circuit. 

Here are the selected projects:

Australia – Cure For Serpents by Ben Hackworth (2nd feature film)
China – Bitch by Lou Ye  (6th feature film)
Colombia – The Stoplight Society by Ruben Mendoza (1st feature film)
Estonia – One More Croissant by Ilmar Raag (2nd feature film)
USA - Here by Braden King (1st feature film)
USA - Lucky Life by Lee Isaac Chung (2nd feature film)
France – Qu’un seul tienne, et les autres suivront by Léa Fehner (1st feature film)
Hungary – Womb by Benedek Fliegauf (3rd feature film)
Israel – The Policeman by Nadav Lapid (1st feature film)
Romania - First of all, Felicia bby Razvan Radulescu & Melissa De Raaf (1st feature film)
Serbia - White, White World by Oleg Novkovic (4th feature film)
Somalia - Queleh by Abdi Ismael Jama (1st feature film)

Taiwan / USA - First page Taipei by Arvin Chen (1st feature film)
Uruguay - Punta del Este by Juan Pittaluga (2nd feature film)
Vietnam - Bi, don’t be afraid by Phan Dang Di (1st feature film)



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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