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Cannes 2009 Producer's Patch: Studio Canal

Posted by Eric Lavallee on May 13, 2009
Source: IONCINEMA.com Feature

Producer's Patch IONCINEMA.com

European and French-language heavyweight Studiocanal (a production co. and theatrical release company) comes to Cannes with plenty of auteur-driven ammo. They have Robert Guediguian's The Army of Crime (L'Armee du crime) in a non-competitive slot and Nassim Amaouche's debut film Farewell Gary (Adieu Gary) is competing in the Critic's Week section. They'll be starting up sales for Atom Egoyan's latest film Chloe (see poster premiere here) which should receive a logical festival release at Venice and/or Toronto. Here is their slate of titles available.:

AND SOON THE DARKNESS  by Marcos EFRON – Post-Production
AROUND THE WORLD IN 50 YEARS  by Ben STASSEN - Production
CHLOE  by Atom EGOYAN - Post-Production 
COTTON  by Daniel STAMM - Pre-Production
THE ARMY OF CRIME (L'ARMEE DU CRIME)  by Robert GUEDIGUIAN - Completed
BABY(IES)   by Thomas BALMES - Post-Production
BLAME IT ON MUM (QUELQUE CHOSE A TE DIRE)  by Cécile TELERMAN - Completed
CHANGE OF PLANS (LE CODE A CHANGE)  by Danièle THOMPSON - Completed
COCO  by Gad ELMALEH - Completed
FAREWELL GARY (ADIEU GARY)  by Nassim AMAOUCHE - Completed
FRIENDS FOREVER (MULLEWAPP - DAS GROSSE KINOABENTEUER DER FREUNDE)  by Tony LOESER - Completed   
ONE FOR THE ROAD (UN DERNIER POUR LA ROUTE)  by Philippe GODEAU - Completed
OSCAR AND THE LADY IN PINK (OSCAR ET LA DAME ROSE)  by Eric-Emmanuel SCHMITT - Post-Production
QUEEN TO PLAY (JOUEUSE)  by Caroline BOTTARO - Completed
THE RED RIDING TRILOGY  by Julian JARROLD – Completed



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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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