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Key Players in the 2011 Cannes Market: Celluloid Dreams

Posted by Eric Lavallee on May 13, 2011
Source: -

Celluloid Dreams, the Sales Agent and Production Co. based out of Paris have got a pair of films playing in the festival's line-up in the closing night film Honore's Beloved and the UCR selected Loverboy from Romania. The top title in our books is Marjane Satrapi's Chicken with Plums which is currently in post and would currently be a contender for a Venice slot and Frederick Wiseman's next docu (see pic above) and an Italian number from Marco Bellocchio called Sorelle Mai. Here is their menu items:

BELOVED (LES BIEN-AIMÉS) by Christophe HONORÉ - Completed
GREETINGS TO THE DEVIL (SALUDA AL DIABLO DE MI PARTE) by Carlos Esteban OROZCO - Completed
LOVERBOY by Catalin MITULESCU - Completed
ANOTHER SILENCE by Santiago AMIGORENA - Post-Production
ATROCIOUS by Fernando BARREDA LUNA - Completed
BULLHEAD (RUNDSKOP) by Michaël R. ROSKAM - Completed
CHICKEN WITH PLUMS (POULET AUX PRUNES) by Marjane SATRAPI - Post-Production
FREE RADICALS : A HISTORY OF EXPERIMENTAL FILM by Pip CHODOROV - Completed
HAPPY PEOPLE: A YEAR IN THE TAIGA by Dmitry VASYUKOV - Completed
JACK GOES BOATING by Philip SEYMOUR-HOFFMAN - Completed
SORELLE MAI by Marco BELLOCCHIO - Completed
THE STORYTELLING SHOW (ALLEZ RACONTE) by Jean-Christophe ROGER - Completed
WE ARE THE NIGHT by Dennis GANSEL - Completed
WHEN THE NIGHT (QUANDO LA NOTTE) by Cristina COMENCINI - Post-Production
X by Jon HEWITT - Completed
YEAR OF THE SNAKE (THE) by Dennis GANSEL - Post-Production
DESIR by Frederick WISEMAN - Post-Production
YOU WILL NEVER KNOW WHY by Jean-Pierre LIMOSIN - Pre-Production



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Reviews

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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Review: Wrong

"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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