Cannes 15: Kering Presents Women in Motion

The Kering Foundation, in partnership with the Cannes Film Festival, created ‘Women in Motion’ as a five-year initiative to advocate women’s rights and fair representation of their perspectives and stories in the film industry. Kering is a luxury goods company, originally called Ppr when founded in 1963 by French billionaire François Pinault. Now run by his son François-Henri Pinault, Chairman and CEO, it has recently changed its name to Kering to signify the profound change in the strategy of the group. Its two segments include Luxury and Sporting Groups. Think of the luxury offered by Balenciaga, Gucci, Alexander McQueen, Stella McCartney, Bottega Veneto, Boucheron, Brioni among others in this group and Sport & Lifestyle which includes Puma, Volcom and others.

When Thierry Fremaux of Cannes introduced the Cannes Film Festival line-up this year at the official press conference, he also introduced Kering as a Cannes Partner and in doing so unleashed accusations of commercial opportunism Never before has Cannes linked its festival films in the press conference with commercial sponsorship.

When Kering made the announcement that they would work with Cannes, critics closest to them, that is, the French press particularly, accused Kering of being opportunistic in taking up the banner of women, their rights, stopping the violence against women, as if jumping on the band wagon of a cause for reasons other than those of altruism was not legitimate for a commercial entity.

Thierry Fremaux is also the constant target of criticism on the woman front and has stated (erroneously) that only during Cannes does the subject of the paucity of women directors and in the industry at large make headlines. In fact, women have been weighing the imbalance of women in this public form of entertainment for the past five years and at every key event they have been making public statements and holding meetings about the disproportion of women to men in a concerted effort to bring continued momentum to the movement toward equal representation.

Furthermore and for the record, Kering has expressed its strategic shift to a new sort of advocacy away from outright branding to showing its interest in events of value to society in other ways beyond this important event in Cannes.

François-Henri Pinault was the first to stand up publicly against Shariah law of active discrimination of the Lgbt community by forbidding Kering employees in all its companies from entering the Dorchester chain of hotels such as the Beverly Wilshire Hotel, Beverly Hills Hotel, The Bel Air Hotel, the Peninsula, St. Regis, Raffles, Claridges, Mandarin, Principe de Savoie, Adlon Kempensky and other worldwide luxury class hotels owned by the Republic of Bahrain which enforces its religious (Shariah) laws of discrimination with cruel and unusual punishment against homosexuality, lesbianism and transexuality.

He is also married to Salma Hayek, one of our most socially committed, feminist actors. Kering’s privileged position is a visible asset in standing up and out for women’s equality. And in today’s world of social networking, the nature of “advertising” is changing drastically. Attaching companies’ logos to every event and every item is often crassly “in your face”. (I won’t go into FIFA here). To quote one of my favorite brands, Bottega Veneta, also one of the Kering Group: “When your own initials are enough”, then you can attach value to more than a brand name product.

By attaching the name Kering to issues that matter on the level of humane well-being, the luxury products of Kering are enhanced by a benevolence for those who buy them or want to buy them. Caring people today are more consciously allying themselves with products which support humane causes for well-being rather than going for brand-names announcing their ability to pay high prices for things. I would prefer to buy Puma than a sports shoe whose company flaunts humane labor laws for example.

This trend in fact was recently elaborated upon by Johann Rupert, chairman of Richemont, owner of Cartier and Van Cleef & Arpels who warned of the damage the luxury goods industry faces from growing wealth inequality and resentment among the have-nots of those who flaunt luxury watches and jewellery. Read more about this side of the discussion in the Financial Times reporting from the Ft Business of Luxury Summit in Monaco as Rupert discussed his fear that artificial intelligence will kill jobs. At the same time he appealed to Kering and Lvmh to join the online retailer being created by the merger of Yoox of Italy and Richemont’s Net-a-Porter in order to increase their 6% market share online to reach its 32% share now held through branded stores.

Today’s ubiquitous commercial opportunism takes a break at the great cultural event taking place every year at Cannes. And so, let us move on to the content of Kering’s Women in Motion.

Read: Kering to Launch 'Women in Motion' Awards and Discussion ...

The series opened with a Presidential Dinner:

Presidential Dinner honored Jane Fonda, Olivia de Haviland, the first female Jury Head in Cannes 50 years ago and Megan Ellison of Annapurna Productions. Olivia de Haviland was one of the most influential women of the world of cinema. What became known as the "de Havilland decision" was a court ruling in the 1940s that studios could no longer treat their performers as mere cattle. She and Joan Fontaine are the first sisters to win Oscars and the first ones to be Oscar-nominated in the same year. In 1965, she became the first female president of the jury at the Cannes Film Festival.

The first Women in Motion opening conference featured Isabella Rossellini, this year’s President of the Jury for Un Certain Regard. She spoke with French producer Claudie Ossard about Female Discrimination in Media. That was a very closed affair as was the exclusive and star-studded Presidential Dinner.

Other speakers in the series included:

Claire Denis with her guests Chinese female director and producer from La Fabrique des Cinémas du Monde, Isabelle Huppert with Coen Brothers’ Sylvie Pialat moderated by Le Figaro’s François Aubel; Rebecca Zlotowski speaking about Femininity/Masculinity, in collaboration with Le Deuxième Regard, Golshifteh Farahani, Agnès Varda, Salma Hayek Pinault, Frnaces McDermond and Thierry Frémaux

Some portions were covered by my colleagues at Indiewire.

Read Women in Hollywood’s Laura Berger . Read Erin Grover’s coverage of the Roundtable Discussion on Gender Equality and Rape. How can cinema help improve women’s rights? Cinema as a platform to raise awareness about women’s causes has examples. On the roundtable are Inbal Lessner, producer and editor, and Linor Abargil, Miss World 1998, rape survivor, and activist (“Brave Miss World”) Leslee Udwin, director, producer and actress (“India's Daughter”) Deniz Gamze, director and actress (“ Mustang”) The discussion was moderated by Eric Garandeau, former president of Centre National du Cinéma (France’s national film board). o “Brave Miss World” (2013) sold internationally by Cinephil. At 18, Israeli beauty queen Linor Abargil was violently raped in Milan, Italy, and won the Miss World crown only six weeks later. The Emmy nominated documentary “Brave Miss World” follows her fight for justice and journey to encourage survivors globally to speak out about rape, from South Africa to Hollywood’s living rooms, to U.S. college campuses. When her serial rapist becomes eligible for parole, Linor has to track down his previous victims in order to help keep him behind bars.

o “India's Daughter” (2015) is the story of the short life, and brutal gang rape and murder in Delhi in December 2012, of an exceptional and inspiring young woman. The rape of the 23 year old medical student and her death sparked unprecedented protests and riots throughout India and led to the first glimmers of a change of mind-set. The film examines the society and values which spawn such violent acts, and makes an optimistic and impassioned plea for change.

o “Mustang”(2015) sold internationally by Kinology, is a French-Turkish movie to be released in 2015 that tells the story of a family of five teenage sisters in a small Turkish village. The film highlights their fight to break free from social constraints and sexual taboo. It screened in the Directors’ Fortnight section at the 2015 Cannes Film Festival.

You can watch all the speakers live on The Kering Group videos here:

The Kering Foundation combats violence against women. In line with the Group’s new identity and to enhance its impact internationally, the Foundation has refocused its actions on three geographic areas and prioritizes one cause in each:

Sexual violence in the Americas (United-States, Brazil and Argentina) Harmful traditional practices in Western Europe (France, Italy and United-Kingdom) Domestic violence in Asia (China) The Foundation structures its action around 3 key pillars:

Supporting local and international NGOs Awarding Social Entrepreneurs (Social Entrepreneurs Awards) Organizing awareness campaigns Launched in 2009, the Kering Corporate Foundation combats Violence against Women. It supports NGOs and social entrepreneurs, helps raise awareness on Violence against Women and encourages employee involvement in the Americas, Western Europe and Asia. More than 140,000 women have benefited from the Foundation’s support since its inception.

For more information: @KeringForWomen

Follow the next two Women in Motion presentations on SydneysBuzz.
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Cannes: Isabella Rossellini Talks Ageism in Film

Cannes: Isabella Rossellini Talks Ageism in Film
The “Women in Motion” talks kicked off Thursday with a spirited discussion with Isabella Rossellini and French producer Claudie Ossard about aging in Hollywood and why there’s a lack of female representation behind the camera. “Is it so horrible to grow old?” Rossellini asked when an audience member suggested that advances in special effects technology could keep an actress forever young onscreen. The series of talks, which mark a partnership between The Hollywood Reporter and luxury group Kering and will run throughout the 68th Cannes Film Festival, launched with the Rossellini-Ossard conversation, spanning such topics as pay discrepancy

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Cannes: Isabella Rossellini to discuss sexism

Cannes: Isabella Rossellini to discuss sexism
Isabella Rossellini to discuss on and off camera sexism in cinema at Cannes’ Women in Motion event; other female-focused Cannes events include #SeeHerNow twitter campaign.

Film-maker and actress Isabella Rossellini will kick off the inaugural edition of the Women in Motion programme in Cannes on Thursday (May 14).

A joint initiative between the festival and its new sponsor the luxury goods group Kering, the new event is aimed at highlighting women’s contribution to the film industry.

Alongside French producer Claudie Ossard, the Italian-American actress will discuss the subject of female representation in the film industry and sexism in cinema, both on screen and behind the scenes.

The Blue Velvet actress is in Cannes this year as the president of the Un Certain Regard jury.

Industry veteran Ossard has produced numerous films over the last 30 years including Jean-Jacques Beineix’s Betty Blue and Jean-Pierre Jeunet’s Amélie.

Other speakers at the inaugural edition of Women in Motion will include
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2014 was Record Year for U.S and Asian Productions Shooting in France

2014 was Record Year for U.S and Asian Productions Shooting in France
Paris: France hosted an unprecedented number of major Hollywood productions in France in 2014, including “The Hunger Games: Mockingjay,” “Bastille Day” and NBC mini-series “Rosemary’s Baby.” The number of high-budget Asian productions also rose.

Foreign shoots confirmed in France in 2015 include Keith Parner’s “The Penrose Affair,” according to information disclosed by France’s national cinema agency, the Cnc.

Parner is prepping an action thriller about a French detective in Paris, combining influences from Hitchcock and Pierre Morel’s “Taken,” and reportedly to star Jean-Claude Van Damme. The pic will be produced by Film Invaders, which also produced his previous Van Damme-starrer, “Swelter.”

Tax Rebate for International Production (Trip) financing for animation films currently in production include three projects from Universal set up at Illumination Mac Guff – “The Secret Life of Pets” by Chris Renaud (“Despicable Me”), Untitled (Img 6) Project by Garth Jennings (“The Hitchhiker’s Guide to the
See full article at Variety - Film News »

Garcia, Ossard, Neville, Fremaux, Konchalovsky, Make Kusturica’s 8th Kustendorf Fest

L.A.-based Mexican producer-financier Alex Garcia, French producer Claudie Ossard and Amanda Neville, British Film Institute CEO, form the three-member jury panel at this year’s 8th Kustendorf Intl. Film and Music Festival, which opened Jan. 21 with a gala screening of Venice competition player “The Postman’s White Nights.”

Beforehand, director Andrei Konchalovsky took an audience through some of the challenges of filmmaking, such as the stolidity of the camera, which, per a festival report, he explained, citing Robert Bresson’s diktat: “The camera is like the eye of a cow.”

Also in attendance: Cannes director Thierry Fremaux, to present a restored copy of 1929’s “In the Night,” the only film helmed by resilient French actor Charles-Marie Vanel, whise 77-year career took included being seen with Cary Grant in Alfred Hitchcock’s “To Catch a Thief.” Vanel received a tribute-retrospective at Lyon’s 2013 Lumière Festival, which Fremaux runs with Institut Lumière president Bertrand Tavernier,
See full article at Variety - Film News »

Auteur Kohei Oguri to Paint Tale of Japanese Artist Leonard Foujita

Auteur Kohei Oguri to Paint Tale of Japanese Artist Leonard Foujita
Tokyo — After a gap of a decade, Japanese auteur Kohei Oguri (“Muddy River,” “The Sting of Death”) is finally shooting his long-anticipated feature “Foujita.” The film is a biopic of seminal 20th century artist Leonard Foujita (Japanese name: Tsuguharu Foujita), a contemporary of Picasso and Modigliani, who was famous for mixing up European and Japanese styles.

Joe Odagiri (“Real,” “Adrift in Tokyo”), plays the title role, which sees Foujita fall for a European model (Ana Girardot) with exquisite white skin and rename her Yuki (“snow” in Japanese.)

The story sees Foujita evolve from humble origins, become a celebrity in Paris known for painting nearly naked ladies in delicate shades of white, and later returning to Japan where he dramatically changes his style to a classical Velazquez- or Delacroix-inspired drama.

Miki Nakatani also stars as Kimiko, Foujita’s first wife, and the woman with whom he has a lifelong relationship.

See full article at Variety - Film News »

French Film Festival unveils final line-up

Hélène Vincent, Guillaume Gouix, and Bernadette Lafont in Attila Marcel French filmmaker Sylvain Chomet will return to the French Film Festival UK this year with his first full foray into live action Attila Marcel, which has been selected as the opening gala film.

Chomet - who spent five years in Scotland making the animated hit The Illusionist - will attend the film's premieres in London, Edinburgh and Glasgow to help kick off the 21st edition of the UK touring event that was founded in Scotland. He expects to be accompanied by his producer Claudie Ossard who has been responsible for some of France’s biggest hits of recent decades, including Amelie, Delicatessen and In The House.

The title of Attila Marcel comes from a song Chomet wrote for his first big hit Belleville Rendez-vous. He said: “I had the title and I knew it was going to be a film
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French Film Festival UK to open with Chomet

  • ScreenDaily
French Film Festival UK to open with Chomet
This year’s French Film Festival UK, celebrating its 21st edition, will present Sylvain Chomet’s Attila Marcel as its opening night gala.

The touring event, founded in Scotland, will welcome Chomet to screenings in London, Edinburgh and Glasgow of his first live-action film. His producer Claudie Ossard will also attend.

Attila Marcel, which premiered in Toronto, is about a mute young man being raised by his accentric aunts; a neighbour gives him a magical potion that unlocks his repressed childhood memories.

Richard Mowe, director and co-founder of the Festival, said: “We are delighted that Sylvain who continues as patron of the event, will come back with such a wonderful gift. When we saw him at the ceremony for his honorary degree he promised we would have the premiere of his new film - and he has been as good as his word. We are hosting a gala party for him and the film at the Caledonian
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Toronto: International Films That Have Festgoers Talking

Toronto: International Films That Have Festgoers Talking
Attila Marcel


International sales: Pathe

With his live-action debut, French animation auteur Sylvain Chomet has transposed the offbeat charm, singular characters and richly layered visual style of his Oscar-nommed hand-drawn toons, “The Triplets of Belleville” and “The Illusionist,” to “Attila Marcel.” A passion project for Chomet — who also penned the screenplay — the musical comedy stars French up-and-comer Guillaume Gouix as a traumatized orphan who gets help from a mysterious woman using herbal medicine and music. Anne Le Ny (“The Intouchables”) and Bernadette Lafont (“Paulette”) play eccentric twin sisters who raise him.

Budgeted at €8 million ($10.7 million), the film is repped by French mini-major Pathe and produced by Claudie Ossard (“Amelie”) at Paris-based Eurowide Film Prod. Pic’s crew includes art director Stephane Cressend (“Now You See Me”) and production designer Carlos Conti (“On the Road”).

It has pre-sold to Australia, Benelux, Brazil, France, Greece, Israel, New Zealand, South Korea and Switzerland.
See full article at Variety - Film News »

Cannes Exclusive: Cohen Media Group Acquires Francois Ozon's 'In the House,' With Kristin Scott Thomas and Emmanuelle Seigner

Cannes Exclusive: Cohen Media Group Acquires Francois Ozon's 'In the House,' With Kristin Scott Thomas and Emmanuelle Seigner
Cohen Media Group has acquired U.S. distribution rights to the Francois Ozon thriller “In the House.” Discussions with the French filmmaker’s Wild Bunch sales reps begun weeks ago were finalized this week in Cannes, though the film is not yet finished. Kristin Scott Thomas (“Bel Ami”), Emmanuelle Seigner (“The Diving Bell and the Butterfly”), Denis Menochet (“Inglourious Basterds”) and Fabrice Luchini (“Potiche”) star. Ozon based his screenplay on Spanish playwright Juan Mayorga’s “The Boy in the Last Row,” which was performed earlier this year at the Bucharest National Theatre. The play’s storyline follows a high school teacher who becomes entangled with a student’s invasion of a classmate’s privacy sparked by an essay assignment. Mandarin FilmsEric Altmeyer and Nicolas Altmeyer (“Potiche”) produced the film project with Claudie Ossard...
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Find Interview: Jan Kounen on Coco Chanel & Igor Stravinsky

Dutch-born director Jan Kounen does not know why producer Claudie Ossard thought of him for his film about the brief but torrid affair between musical genius Igor Stravinsky and fashion icon Coco Chanel.  After all, none of his previous movies had shown any predilection toward classical music or clothing. But when he saw the script, based on the novel Coco and Igor by Chris Greenhalgh, Kounen was smitten. To film Coco Chanel & Igor Stravinsky, he dove into the world of the Parisian Belle Epoque and the textures, sights and sounds of Stravinksy and Chanel's world. To get a better sense of Chanel, Kounen was given unprecedented access to her famous apartment 31, rue Cambon in Paris. Designer Karl Lagerfeld made a glimmering black gown offset by a diamond necklace for a final scene, worn by Chanel (played by Anna Mouglalis, a Chanel model). Kounen, who is based in France, says he
See full article at Film Independent »

Sony Pictures Classics Acquires Cannes Titles

  • The Wrap
Company buys rights to "Coco Chanel," "White Ribbon."

By Michael Speier

Sony Pictures Classics has acquired U.S. rights to the Cannes festival's closing night film, "Coco Chanel and Igor Stravinsky." Terms were not disclosed.

The film, directed by French helmer Jan Kounen, is set in 1920s Paris and tells the story of their love affair amid the backdrop of their artistic achievements.

It's based on the book by Chris Greenhalgh and stars Anna Mouglalis and Mads Mikkelsen.

It was produced by Claudie Ossard ("Amelie" and "Paris Je T'aime").

Sony Classics has also acquired Michael Haneke’s...
See full article at The Wrap »

Paris, I Love You (Paris, Je t'Aime)

Paris, I Love You (Paris, Je t'Aime)
Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up Paris je t'aime, the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient.

Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.

With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.

Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget The Da Vinci Code -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.

An offbeat sense of humor is established from the opening story, subtitled Montmartre, in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.

Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.

Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies.

Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro).

Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.

Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde.

The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.


Victoires International in association with Arrival Cinema


Directors: Bruno Podalydes

Gurinder Chadha, Gus Van Sant, Joel and Ethan Coen, Walter Salles & Daniela Thomas, Christopher Doyle, Isabel Coixet, Nobuhiro Suwa, Sylvain Chomet, Alfonso Cuaron, Olivier Assayas, Oliver Schmitz, Richard LaGravenese, Vincenzo Natali, Wes Craven, Tom Tykwer, Frederic Auburtin & Gerard Depardieu, Alexander Payne

Producers: Claudie Ossard & Emmanuel Benbihy

Co-producer: Burkhard Von Schenk

Executive producers: Chris Bolzli, Gilles Caussade, Sam Englebardt, Ara Katz, Chad Troutwine, Frank Moss, Rafi Chaudry

Original idea: Tristan Carne

Concept: Emmanuel Benbihy

Production designer: Bettina von den Steinen

Editing supervisors: Simon Jacquet, Frederic Auburtin

Original music: Pierre Adenot

No MPAA rating

Running time -- 120 minutes

'Paris' not feeling the love

'Paris' not feeling the love
CANNES -- Paris, je t'aime (Paris, I Love You) may well be a film about amour, but there is little love lost between the producers of the portmanteau picture, which has its gala screening tonight for the opening of Un Certain Regard. The film is the subject of a legal tussle, with the project's initial producer, Emmanuel Benbihy, unhappy that two of a planned 20 segments were cut from the film by Claudie Ossard, who boarded the floundering project two years ago as a white-knight producer. The long-in-the-works movie, which has "an overall winning charm," according to a review in The Hollywood Reporter, features a series of vignettes shot around the French capital from an impressive array of international filmmaking talent. But two of these directors, Raphael Nadjari and Christoffer Boe, ended up on the cutting-room floor after Ossard sidelined Benbihy from the final montage. She also excised linking sequences he had shot.

'Paris' not feeling the love

'Paris' not feeling the love
CANNES -- Paris, je t'aime (Paris, I Love You) may well be a film about amour, but there is little love lost between the producers of the portmanteau picture, which has its gala screening tonight for the opening of Un Certain Regard. The film is the subject of a legal tussle, with the project's initial producer, Emmanuel Benbihy, unhappy that two of a planned 20 segments were cut from the film by Claudie Ossard, who boarded the floundering project two years ago as a white-knight producer. The long-in-the-works movie, which has "an overall winning charm," according to a review in The Hollywood Reporter, features a series of vignettes shot around the French capital from an impressive array of international filmmaking talent. But two of these directors, Raphael Nadjari and Christoffer Boe, ended up on the cutting-room floor after Ossard sidelined Benbihy from the final montage. She also excised linking sequences he had shot.

'Paris' in the spring: Debut set for Cannes

'Paris' in the spring: Debut set for Cannes
PARIS -- Paris, je t'aime (Paris, I Love You), a collection of 20 love stories set in the French capital and directed by a score of internationally acclaimed filmmakers, will open the Festival de Cannes sidebar Un Certain Regard, organizers said Tuesday. The movie has been in production for several years as the various directors successively came on board, but the pace of shooting accelerated last year after producer Claudie Ossard (Amelie) joined the project's originator, Emmanuel Benbihy. The film is told in five-minute segments each focusing on one of Paris' 20 administrative districts, or "arrondissements," then joined by transition elements.

See also

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