CINEUROPA
Cineuropa torna su Instagram

04/04/2024 - La nostra rinnovata pagina sul social network promette di offrire contenuti accattivanti e scorci esclusivi sul mondo del cinema.
After a brief hiatus, Cineuropa is thrilled to announce its revived and reinvigorated presence on Instagram, promising a treasure trove of captivating content and exclusive glimpses into the world of cinema.
At Cineuropa, we are dedicated to celebrating the art of filmmaking in all its diversity and splendor. Our renewed Instagram profile will serve as a dynamic hub where followers can immerse themselves in the magic of cinema, discover hidden gems and stay updated on the latest happenings in the film industry.
One of the highlights of our return is our commitment to bringing you closer to the heart of the most prestigious film festivals, such as Berlin, Cannes, Venice, San Sabastian, Tallinn and many others. Through our Instagram platform, we will be sharing exciting photos, behind-the-scenes moments and insightful commentary from the main film festivals, offering you a front-row seat to these cinematic extravaganzas.
In addition to festival coverage, Cineuropa will be curating a diverse range of content, including film reviews, interviews with industry insiders and trailers. We invite you to join us on this exhilarating journey as we explore the boundless creativity and storytelling power of the silver screen.


CANNES 2024 di Fabien Lemercier

Cannes tesse la sua coperta da cerimonia a 7 giorni dall'annuncio del programma
04/04/2024 - Tendenze, indiscrezioni e ipotesi si rincorrono nel nebuloso periodo che precede la conferenza stampa di presentazione della Selezione ufficiale l'11 aprile
I registi Andrea Arnold (© Oscilloscope Pictures), Yorgos Lanthimos (© Fabrizio de Gennaro/Cineuropa), Audrey Diwan (© MI482MFLL), Miguel Gomes (© Telmo Churro/O Som e a Fúria), Athina Rachel Tsangari, Jacques Audiard (© La Biennale di Venezia - foto ASAC), Alain Guiraudie (© Erdrokan), Dea Kulumbegashvili (© Jorge Fuembuena/SSIFF) e Paolo Sorrentino (© La Biennale di Venezia - foto ASAC)
With some very lengthy shortlists, films being submitted later and later, decisions to follow suit (compounded by the festival’s wish to allow itself the greatest possible clarity when making its selection, and maybe even by the tactic of making life a tad more difficult for the selectors at major festivals coming later in the year) and a stricter code of silence, the task of identifying, in advance, the lucky titles chosen for the different selections of the Cannes Film Festival has become an increasingly divinatory exercise fueled by a number of investigatory elements collating rumors, tips, trends (before being chosen – or not – the films are seen by certain people, and their potential for Cannes is evaluated in a wider context), and even intuitions. The only things we currently know for certain are that The Second Act by Quentin Dupieux (see the news) will open the 77th edition (14-25 May) and that Furiosa: A Mad Max Saga by Australia’s George Miller (see the news) will make a splash out of competition.
However, the crystal ball is rapidly getting clearer and clearer now, exactly one week away from the Official Selection press conference in Paris, during which Thierry Frémaux (flanked by president Iris Knobloch) will reveal the results of his ruminations, judicious balancing acts and combinations that will inevitably have a snowball effect, subsequently redefining the content of the parallel sections. And so, let us fling open the window to Cannes and gaze into the 2024 "palantír".
In the official competition, jury chair Greta Gerwig (see the news) should allegedly be able to watch Bird by Brit Andrea Arnold, Kind of Kindness by Greece’s Yorgos Lanthimos, Limonov by Russia’s Kirill Serebrennikov, Grand Tour by Portugal’s Miguel Gomes, The Shrouds by Canada’s David Cronenberg, two Italian films (one of which is Parthenope by Paolo Sorrentino and the other a total surprise), Ainda estou aqui by Brazil’s Walter Salles, Anora by the USA’s Sean Baker, Oh, Canada by his fellow countryman Paul Schrader, Everybody Loves Touda by Morocco’s Nabil Ayouch, Serpent's Path by Japan’s Kiyoshi Kurosawa and a documentary by China’s Lou Ye. If he manages to finish it before the deadline, we could add The Apprentice by Danish-based, Iranian-born director Ali Abassi, and we also mustn’t overlook the likelihood of Maria by Chile’s Pablo Larrain being picked. Then, all bets are off for the remaining slots (apart from the French contingent) with, among other outsiders, Georgia’s Dea Kulumbegashvili with Those Who Find Me, Greece’s Athina Rachel Tsangari with the English-language flick Harvest, and even a wild card in the form of L’effacement by Algeria’s Karim Moussaoui.
As for the French hopefuls (the fates of whom are traditionally sealed on the evening before the revelation of the Official Selection), it’s anybody’s guess, apart from Jacques Audiard, who seems an almost dead cert with Emilia Perez. The most prominent predictions swirling around are Miséricorde by Alain Guiraudie and La Chambre de Mariana by Emmanuel Finkiel. The eagerly anticipated Emmanuelle by Audrey Diwan is apparently in a somewhat uncertain position, going for the competition or nothing at all. The other female directors among the most credible candidates are Delphine and Muriel Coulin with The Quiet Son, and Patricia Mazuy with Les prisonnières. In addition, Thierry de Peretti might be in the running with À son image (which is in the final stages of editing).
For the rest of the Official Selection (Out of Competition, Cannes Première, Un Certain Regard, Special Screenings and Midnight Screenings), a lap of honour for the USA’s Francis Ford Coppola (with this year marking the 50th anniversary of his first Palme d’Or, for The Conversation) with his new opus, Megalopolis, is not totally out of the question (provided that a distributor such as Apple gets on board quickly). The programme could potentially also comprise the documentaries La belle de Gaza by France’s Yolande Zauberman and Meeting with Pol Pot by Cambodia’s Rithy Panh, When the Light Breaks by Iceland’s Runar Runarsson, The Village Next to Paradise by Somalia’s Mo Harawe, Viet and Nam by Vietnam’s Truong Minh Quy, Une part manquante by Belgium’s Guillaume Senez, Submergée by French-Lithuanian director Alanté Kavaité, Things That You Kill by Iran’s Alireza Khatami, Dreams by Norway’s Dag Johan Haugerud (the second instalment in his trilogy that began in the Berlin Panorama with Sex [+]), Mexico 86 by Belgian-Guatemalan helmer Cesar Diaz and On Becoming a Guinea Fowl by British-Zambian filmmaker Rungano Nyoni. Standing out among the possible French features (unless they are headed to Venice) are Three Friends by Emmanuel Mouret, Spectateurs ! by Arnaud Desplechin, Marcello Mio by Christophe Honoré, Quand vient l’automne by François Ozon, and Jim’s Story by Arnaud and Jean-Marie Larrieu, and perhaps even Beating Hearts by Gilles Lellouche or the medium-length film C'est pas moi by Leos Carax. It’s also worth pointing out the tight competition between a handful of young French filmmakers: Noémie Merlant with The Balconettes, Jessica Palud with Maria, Charlène Favier with Oxana, Aude Léa Rapin with Planète B., Laetitia Dosch with Who Let the Dog Bite? and Ghost Trail by Jonathan Millet.
As for the parallel sections, Ma vie, ma gueule by the late Sophie Fillières could embellish the showcase of the Directors’ Fortnight, much like, among others, Sang craché des lèvres belles by France’s Jean-Charles Hue, Une langue universelle by Canada’s Matthew Rankin, All We Imagine as Light by India’s Payal Kapadia, Milano by Belgium’s Christina Vandekerckhove, the documentary La chambre d’ombres by Colombia’s Camile Restrepo, Morlaix by Spaniard Jaime Rosales, Agora by Tunisia’s Ala Eddine Slim, Stranger Eyes by Singapore’s Yeo Siew Hua and Eight Postcards from Utopia by Romania’s Radu Jude and Christian Ferencz-Flatz, and even Horizonte by Colombia’s César Augusto Acevedo.
Moving on to the Critics’ Week, some of the titles that we could highlight from the extensive shortlists still in consideration today (while we await the definitive choices for the Official Selection) are Sisters by French-Greek helmer Ariane Labed, The Mountain Bride by Italy’s Maura Delpero, Little Trouble Girls by Slovenia’s Urška Djukić, Simón de la montaña by Argentina’s Federico Luis Tachella, My Sunshine by Japan’s Hiroshi Okuyama, and the French movies Eat the Night by Jonathan Vinel and Caroline Poggi, Diamant brut by Agathe Riedinger, Un mohican by Frédéric Farrucci, Le Royaume by Julien Colonna and Vingt dieux by Louise Courvoisier.
Finally, a clutch of animated flicks could also manage to wangle their way onto the Croisette this year (although Cannes has never been very fond of the genre, especially with the Annecy Film Festival coming soon after it in France). In particular, the potential titles include Memoir of a Snail by Australia’s Adam Elliot, Flow by Latvia’s Gints Zilbalodis, Ghost Cat Anzu by Japan’s Yoko Kuno and Nobuhiro Yamashita, and The Most Precious of Cargoes by France’s Michel Hazanavicius.
CANNES 2024 Semaine de la Critique di Fabien Lemercier
Rodrigo Sorogoyen presidente di giuria della Semaine de la Critique a Cannes
05/04/2024 - Il cineasta spagnolo presiederà il mese prossimo la giuria della sezione parallela cannense. Tasked with handing out the Grand Prize in the 63rd Critics’ Week, which will unspool from 15-24 May as an integral part of the 77th Cannes Film Festival, the section’s jury will be chaired by Spanish filmmaker Rodrigo Sorogoyen, who steps into the shoes of previous presidents Audrey Diwan, Kaouther Ben Hania, Cristian Mungiu, Ciro Guerra, Joachim Trier, Kleber Mendonça Filho, Valérie Donzelli, Ronit Elkabetz, Andrea Arnold, Miguel Gomes, Bertrand Bonello and Lee Chang-dong.
As a reminder, Rodrigo Sorogoyen presented The Beasts [+] in the Official Selection (Cannes Première) in 2022 and Madre in Venice’s Orizzonti in 2019. He has also taken part in the competition at San Sebastián twice (with The Realm in 2018 and with May God Save Us in 2016, which took home the Best Screenplay Award).
The remaining members of the jury will be unveiled at a later date.
CANNES 2024 di Fabien Lemercier
Le Deuxième Acte apre Cannes
03/04/2024 - Il nuovo film di Quentin Dupieux, con Léa Seydoux, Vincent Lindon, Raphaël Quenard e Louis Garrel, aprirà la 77ma edizione del Festival di Cannes il 14 maggio
The daring, unpredictable and funny Quentin Dupieux will open the 77th edition of the Cannes Film Festival (14-25 May) with his 13th feature, The Second Act, presented Out of Competition and released in all French cinemas on the same day by Diaphana.
As a reminder, the prolific filmmaker has already been to the Croisette three times (2010 Critics' Week with Rubber, 2019 Directors' Fortnight with Deerskin, and in the 2022 Official Selection, in a Midnight Screening, with Smoking Causes Coughing). He has also been selected three times for Venice (Out of Competition in 2020 and 2023 with Mandibles and Daaaaaali!, in Orizzonti in 2014 with Reality), at Sundance in 2012 with Wrong, Out of Competition at the 2022 Berlinale with Incredible but True and twice at Locarno (in the 2013 Piazza Grande with Wrong Cops and in Competition last year with Yannick).
The film stars Léa Seydoux, Vincent Lindon, Raphaël Quenard, Louis Garrel and Manuel Guillot. Written by the director himself, the screenplay homes in on Florence, who wants to introduce David, the man she’s madly in love with, to her father, Guillaume. But David isn’t attracted to Florence and wants to throw her into the arms of his friend Willy. The four characters meet in a restaurant in the middle of nowhere.
The Second Act is produced by Chi-Fou-Mi Productions, and its international sales are handled by Kinology.
CANNESERIES 2024 di Fabien Lemercier
Canneseries: un canto del cigno per la stagione 7?
03/04/2024 - 27 serie, di cui 21 in concorso, brillano nel programma dell'evento di Cannes, che in futuro dovrà fare i conti con l'annunciata partenza del MipTV per Londra
While there may be legitimate doubts about its longevity or, at the very least, about its dates, given that the MipTV market (8-10 April) it had been attached to is set to make a definitive move from Cannes to London in 2025, the Canneseries festival will unspool its seventh edition from 5-10 April. It’s a turbulent new episode in a saga worthy of Clochemerle, as the event was originally born of Canal+ and the city of Cannes’ refusal to accept the French government’s choice of Lille and Series Mania as the venue to organize an international series showcase in France.
However, these questions swirling around its future have by no means prevented Canneseries from offering another superb programmed this year, including a main competition that pits eight series (six of which are European) against each other, with four world and four international premieres. The jury is chaired by Danish actress Sofie Gråbøl (flanked by her colleagues Alice Braga from Brazil, Macarena García from Spain and Alix Poisson from France, as well as by composer Amine Bouhafa and director Olivier Abbou).
Featuring on the menu of this main competition are the 6 x 36-minute Danish show Dark Horse (which explores a mysterious and toxic mother-daughter relationship against a backdrop of addiction), created by Sara Isabella Jønsson, and the 10 x 30-minute Norwegian series Dumbsday (crated by Marit Støre Valeur, Erlend Westnes and Christopher Pahle), which tells of the rite of passage of a bunch of six no-hopers on whom the entire future of humankind depends, following a deadly pandemic. Also vying for the prize is a show bringing together Spain, Sweden, Germany and Finland, the 8 x 40-minute This Is Not Sweden (created by Aina Clotet, Valentina Viso and Daniel González), which recounts the turbulent journey of two young parents who have left the city behind in order to enjoy the countryside and all its benefits.
Also duking it out is the 6 x 50-minute show Moresnet (produced by Belgium, the Netherlands and Germany, and created by Frank Van Passel, Jef Hoogmartens and Jonas Van Geel), which thrusts two childhood friends into an investigation blending fantastical elements and a neurotechnology multinational. Lastly, also taking part are the 6 x 45-minute German effort The Zweiflers (which examines a case of inheritance involving a family at the helm of a delicatessen empire, created by David Hadda) and the 8 x 50-minute Operation Sabre (produced by Serbia together with Bulgaria, and created by Vladimir Tagić and Goran Stanković), which looks back at the dark hours following the fall of Milošević, with a detailed reconstruction of the assassination of prime minister Zoran Djindjic in 2003.
Another two competitions will see eight short series (with Norwegian actress Henriette Steenstrup chairing the jury) and five documentary series (with French director Ovidie presiding over the jury) locking horns. Six titles screening out of competition round off the programme, with particular highlights being the French series Becoming Karl Lagerfeld (see the news), Fiasco (toplined by Pierre Niney) and Terminal (which will open the festival), plus the Netherlands’ Máxima.
Interestingly, the Icon Award will be handed to the USA’s Kyle MacLachlan, the Commitment Award to his fellow countrywoman Michaela Jaé Rodriguez and the Rising Star Award to Brit Ella Purnell.