Eric Lavallée

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Eric Lavallée is the founder, CEO, editor-in-chief, film journalist, and critic at IONCINEMA.com, established in 2000. A regular at Sundance, Cannes, and Venice, Eric holds a BFA in film studies from the Mel Hoppenheim School of Cinema. In 2013, he served on the narrative competition jury at the SXSW Film Festival. He was an associate producer on Mark Jackson’s "This Teacher" (2018 LA Film Festival, 2018 BFI London). He is a Golden Globes Voter, member of the ICS (International Cinephile Society), FIPRESCI and AQCC (Association québécoise des critiques de cinéma).

Exclusive articles:

Key Players in the 2011 Cannes Market: Sierra/Affinity

The U.S based Sales Agent and Production Co. company comes to Cannes with items for sale and surprisingly enough, they've got a Main Comp entry in Nicolas Winding Refn's Drive. We've got big eyes for a title Sierra/Affinity is repping in Oren Moverman's Rampart which I predict great things for, and Matt Piedmont directorial debut film which might confirm the genius I found in his Sundance winning short films.

Key Players in the 2011 Cannes Market: Rezo

The French Sales Agent, Theatrical Distribution and Production company based out of Paris comes to the fest with a pair of items (Cristian Jimenez's Bonsai and Liza Johnson's Return) but Rezo also got a pair of must sees in Julie Delpy's 2 Days in New York (which we could technically find at TIFF and will once again back a Stéphane Brize project -- his A Few Hours of Spring is currently in pre-production.

Key Players in the 2011 Cannes Market: Pyramide

Pyramide, the French sales agent and theatrical distribution had a great Cannes last year repping films that collected prizes in: A Screaming Man and Ano Bisiesto. This year they've got another Bruno Dumont film (see pic above), the closing film in the UCR section with Andrey Zvyagintsev's Elena and Ismael Ferroukhi receives an invite as well for Free Men in a Cannes' section that we figure isn't really part of the festival since there are no official press screenings made available.

Review: Tuesday, After Christmas

"Because Muntean refrains from taking a moral stance and is more curious about what a cerebral, adulterous behaviour looks and feels like, it is in the poignant announcement sequence that is the cherry of the film -- we are treated to a long take that culminates in years of one's life lost in one snap statement."

Tuesday, After Christmas | Review

Habit Forming: Muntean Doesn't Cheat His Audience

Breaking

One Minute to Midnight (Un peu avant minuit) | 2026 Venice Film Festival Review

The Man Who Snubbed Women: Pariser Performs a Patriarchal...

NAZA | 2026 Venice Film Festival Review

Destroy Everything You Touch: Abraham & Szor Explore the...

The Fire Within You (Il fuoco che ti porti dentro) | 2026 Venice Film Festival Review

The Shrill Seekers: De Angelis Turns to Comedic Caricature For...

A Good Little Soldier (Un bon petit soldat) | 2026 Venice Film Festival Review

A HR Manager Never Cries: Brize Takes on Executive...
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