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Orson Welles Is Coming to Cannes 2018 After All, but Not With Netflix

A FilmStruck-backed Welles documentary is joining movies by Hitchcock, Kubrick, Ozu, and more in the official 2018 Cannes Classics lineup.

Orson Welles Actor and movie director Orson Welles during a press conference in Paris. Welles's last film may finally be nearing release after decades as one of cinema's most storied unfinished creations. The New York Times reported, that a Los Angeles-based production company, Royal Road Entertainment, has agreed to buy the rights to Welles' largely unseen "The Other Side of the WindFilm-Orson Welles Last Film, Paris, France

Orson Welles

Jacques Langevin/AP/REX/Shutterstock

Despite Netflix removing all of its films from the 2018 Cannes Film Festival, Orson Welles will still be represented on the Croisette next month. The festival has announced the official lineup for this year’s Cannes Classics sidebar, and included on the list is the FilmStruck-produced documentary “The Eyes of Orson Welles,” from British documentarian Mark Cousins.

Netflix had originally been set to bring Welles’ unfinished film, “The Other Side of the Wind,” to the festival’s Out of Competition section, but the streaming giant announced it would not be attending the festival in any capacity after Cannes reinstated a rule preventing films without French theatrical distribution from competing for the Palme d’Or. The rule would not have affected “The Other Side of the Wind,” but Netflix wasn’t going to make an exception.

“The Eyes of Orson Welles” includes access to a lifetime of private drawings and paintings by Welles, most of which have never been made public. Cousins worked closely with Welles’ daughter, Beatrice, during the making of the film.

“I always wanted to make a documentary about my father’s artwork,” Beatrice Welles said about the documentary. “After I met Mark at Michael Moore’s, I knew he would be the right person. His idea on how he wanted approach it also seemed just perfect. I trust we will do my father and his work justice. Mark is brilliant.”

Beatrice previously lamented Netflix’s decision to pull “The Other Side of the Wind” from Cannes and urged the streaming company to reconsider. Netflix is also behind a Welles documentary from “20 Feet From Stardom” Oscar winner Morgan Neville, which was also considered a contender for Cannes Classics. Even without Netflix involved at Cannes 2018, Welles will still be represented.

The 2018 Cannes Classics Lineup:

“Be Natural: The Untold Story of Alice Guy-Blaché,” Pamela B. Green (2018, 2h, United States of America)

“Jane Fonda in Five Acts,” Susan Lacy (2018, 2h13, United States of America)

“2001: A Space Odyssey,” Stanley Kubrick (1968, 2h44, United Kingdom, United States of America)

“The Eyes of Orson Welles,” Mark Cousins (2018, 1h55, United Kingdom)

“Searching for Ingmar Bergman,” Margarethe von Trotta (2018, 1h39, Germany, France)

“Bergman – A Year in a Life,” Jane Magnusson (2018, 1h56, Sweden)

“The Seventh Seal,” Ingmar Bergman (1957, 1h36, Sweden)

“Beating Heart,” Henri Decoin (1939, 1h37, France)

“Bicycle Thieves,” Vittorio De Sica (1948, 1h29, Italy)

“Enamorada,” Emilio Fernández (1946, 1h39, Mexico)

“Tokyo Story,” Yasujiro Ozu (1953, 2h15, Japan)

“Vertigo,” Alfred Hitchcock (1958, 2h08, United States of America)

“The Apartment,” Billy Wilder (1960, 2h05, United States of America)

“Diamonds of the Night,” Jan Němec (1964, 1h08, Czech Republic)

“War and Peace. Film I. Andrei Bolkonsky,” Sergey Bondarchuk (1965, 2h27, Russia)

“The Nun,” Jacques Rivette (1965, 2h15, France)

“Four White Shirts,” Rolands Kalnins (1967, 1h20, Latvia)

“The Hour of the Furnaces,” Fernando Solanas (1968, 1h25, Argentina)

“Specialists,” Sergio Corbucci (1969, 1h45, France, Italy, Germany)

João and the Knife,” George Sluizer (1971, 1h30, the Netherlands)

“Blow for Blow,” Marin Karmitz (1972, 1h30, France)

“One Sings the Other Doesn’t,” Agnès Varda (1977, 2h, France)

“Grease,” Randal Kleiser (1978, 1h50, United States of America)

“Grand-père,” Safi Faye (1979, 1h52, Senegal, France)

“Five and the Skin,” Pierre Rissient (1981, 1h35, France, Philippines)

“The Island of Love,” Paulo Rocha (1982, 2h49, Portugal, Japan)

“Bagdad Café,” Percy Adlon (1987, 1h44, Germany)

“The Big Blue,” Luc Besson (1988, 2h18, France, United States of America, Italy)

“Driving Miss Daisy,” Bruce Beresford (1989, 1h40, United States of America)

“Cyrano de Bergerac,” Jean-Paul Rappeneau (1990, 2h15, France)

“Hyènes,” Djibril Diop Mambety (1992, 1h50, Senegal, France, Switzerland)

“Lamb,” Paulin Soumanou Vieyra

“Destiny,” Youssef Chahine (1997, 2h15, Egypt, France)

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