Looking at the Cannes Film Festival Competition titles, the top international sales agents are Wild Bunch with with 3 films: The Angel’s Share by Ken Loach, Beyond the Hills by Cristian Mungiu and Holy Motors by Leos Carax. Wild Bunch actually has 12 films in all the festival sections including Critic’s Week and not yet counting Director’s Fortnight. MK2 follows with 3 in Competition: After the Battle by Yousry Nasrallah, Like Someone in Love by Abbas Kiarostami, On the Road by Walter Salles and 4 in all sections. FilmNation follows with 2 in Compeitition: Lawless by John Hillcoat and Mud by Jeff Nichols.
U.S. has 5 indies in Competition. Wes Anderson’s opening film Moonrise Kingdom (ISA: Focus), Jeff Nichols’ Mud (ISA: FilmNation), Lee Daniels’ The Paperboy (ISA: Nu Image/ Millenium), whose last feature Precious screened in Un Certain Regard in 2009, New Zealand director Andrew Dominik’s Killing Them Softly, Australia-born John Hillcoat’s Lawless (formerly titled The Wettest County). If you add Philip Kaufman’s Hemingway and Gellhorn (HBO TV) which is out of competition, U.S. has 6.
Thierry Fremaux says, “What I also think is interesting is that none of these films are shot in New York or Los Angeles but rather in the South… they show another America.”
Latin America is represented by Mexico’s favorite arthouse director (in Europe at least) Carlos Reygadas and his Post Tenebras Lux. Brazil’s Walter Salles has made a French Brazilian English language film of American icon Jack Kerouac (On the Road) which might count on the Latin America scorecard. So. Korea has two films: The Taste of Money by Sang-Soo IM and In Another Country by Sang Soo HONG. No women are represented.
LATE ADDITION (April 30): 1 FEMALE DIRECTOR ADDED Out of Competition: Candida Brady whose documentary Trashed (U.K.) has no international representation. THAT MAKES 2 films without international sales representation. Midnight Screenings include The Sapphires by Wayne Blair (Australia), Maniac by Franck Khalfoun (U.S.) (ISA: Wild Bunch) MAKING 7 U.S. films.
Looking at Un Certain Regard sidebar of the Cannes Film Festival, 17 films hold a berth. 2 female directors are included: French Catherine Corsini of Trois Mondes and French Sylvie Verheyde of Confessions of a Child of the Century. Latin American films include La Playa the debut of Juan Andrés Arango (Brazil, Colombia, France), Después de Lucia by Michel Franco (France, Mexico), Elefante Blanco of Pablo Trapero (Argentina, France and Spain), A Musica Segundo Tom Jobim by Nelson Pereira Dos Santos (Brazil), Villegas by Gonzalo Tobal (Argentina, France, Netherlands).and if you can count the French production 7 Dias en la Habana by directors Benicio del Toro, Pablo Trapero, Julio Medem, Elia Suleiman, Juan Carlos Tabio, Gaspar Noé, Laurent Cantet, that will make a total of 6. 2 American indies are Beasts of the Southern Wild by Benh Zeitlin and The Central Park Five by directors Ken Burns, Sarah Burns, David Mcmahon. LATE ADDITIONS (April 30): Djeca – Children of Sarajevo by Aida Bejic ♀ (Bosnia-Herzegovina, Germany, France, Turkey) MAKES 3 female directors, and Gimme the Loot by Adam Leon (U.S.) MAKES 3 U.S. indies. Closing night film will be Renoir by Gilles Bourdo (France) (ISA: Wild Bunch)
Looking at the Critic’s Week, there are no women in Competition. All 7 Competition films are debuts by males. Two French female directors have films in Special Screenings by themselves in their own exclusive ghetto. Sandrine Bonnaire’s second feature (but first fiction feature) J’enrage a son absence (I am Enraged by His Absence) (ISA: Films Distribution), and Alice Winocour’s debut Augustine. 2 films are from Latin America: Argentinian Los Salvages (The Wild Ones) and Mexican-Spanish-U.S. coproduction Aqui y Alla. That is the only U.S. film. The sales agent with the most (2) films is Films Boutique. 4 Films have no international sales agents.
Looking at Directors Fortnight, Latin American films take the center stage in honor of the recently deceased Chilean director Raoul Ruiz. His most recent film The Night in Front (La Noche en Frente) will be premiered in a special tribute session.
“We have seen many good films from Latin America,” said Fortnight artistic director Edouard Waintrop when introducing the 2012 selection to press in Paris. One of four scheduled debates will focus on Latin American cinema, with Waintrop saying this year’s selection was “more sensitive to Latin American cinema than Asian [films].”