2017 could go down in historical past because the yr when China lastly made the distinction on the Cannes Film Market. Up 21% to 600 delegates, China helped drive attendance on the Marché du Film to an all-time document of 12,324 accredited members, up some 400 on 2016. Chinese and Asian markets additionally drove the lion’s share of recent enterprise at Cannes, not solely in massive U.S. indie actioners as prior to now however greater European titles as properly: Witness, for instance, Weying closing China on 9 Wild Bunch titles, together with competitors frontrunner “Loveless” and “Redoutable,” in a single flagship deal. In distinction, gross sales to the U.S. solely actually kicked in briefly in a late market flurry.
Japan (up 13% to 309 attendees), Korea (up 9% to 286 attendees) and India, the Marché du Film’s visitor nation (rising 26% to 204 attendees), additionally contributed to this yr’s attendance uptick, and Japan to buying and selling.
“Beyond Europe, which is our strategic core territory and fairly dynamic this yr, Asia – particularly China, Japan and South East Asia – actually stood out at this yr’s Cannes market,” mentioned Anna Marsh, Studiocanal exec VP, worldwide distribution, asserting close to worldwide sell-outs on Studiocanal’s flagship massive English-language tasks, the Working Title’s “Radioactive,” starring Rosamund Pike; and Nima Nourizadeh’s “The Tracking of a Russian Spy,” produced by The Picture Company.
By means of distinction, “If any territory was a little bit softer this yr, it was South Korea,” Marsh famous.
Cannes greatest single nationwide presence, as in years previous, remained the U.S., with 2,113 members. In phrases of worldwide gross sales to international locations past the U.S., it was U.S. corporations which, as is customary, made among the greatest worldwide gross sales bulletins, Glen Basner’s FilmNation unveiling mid-week that it has close to offered out in worldwide a double-bill of upcoming Sebastian Lelio films: “Disobedience,” with Rachel Weisz and Rachel McAdams; a challenge with Julianne Moore, impressed by Lelio’s “Gloria.”
U.S. market offers remained far slower, till a flurry of bulletins in late week when the marketplace for many corporations had wound down.
In one thing of a late market surge , Cohen Media Group purchased Michel Hazanavicius’ Jean-Luc Godard biopic “Redoubtable” from Wild Bunch; Lionsgate’s acquisition of Aardman Animation’s “Early Man,” financed and offered by Studiocanal, was confirmed at a Lionsgate outcomes name; IFC took Lars von Trier’s upcoming serial killer thriller “House That Jack Built.” A24 tied down the U.S. on Sean Baker’s “The Florida Project,” considered one of Cannes’ hottest tickets after a rave bow in Directors’ Fortnight.
Maybe probably the most lively of U.S. corporations had been STX and The Orchard. STX introduced Ridley Scott’s “All the Money within the World” onto the market at Cannes and took Amy Schumer’s “I Feel Pretty” off the market, shopping for the U.S. for a reported $15 million in maybe the largest deal of this yr’s Cannes.
The Orchard scooped up the U.S, on Robin Campillo’s “BPM (Beats Per Minute),” one of the vital common of Cannes competitors gamers, and closed pre-buys on Deniz Gamze Erguyen’s “Kings” and Archie Border’s “Under the Eiffel Tower.”
As increasingly more films compete for harder theatrical launch slots – the Cannes Film Market noticed 910 films display screen at Cannes, and an unlimited three,820 titles offered at its market – the Cannes Film Market has change into ever extra proactive in guiding members in the direction of on-the-rise nationwide territories, festivals and even sectors which can be seeing market progress.
Among progress drivers, having steadily elevated in recent times, the variety of documentaries on sale at Cannes soared to 650, up on 2016. That additionally displays the success of Marché documentary initiatives, together with the extension of the Doc Corner and second version of the Cannes Film Market’s Doc Day, with two packed out conversations with Amos Gitai and Jude Ratnam, director of “Demons in Paradise,” mentioned Cannes Film Market director Jerome Paillard.
“Despite comparatively small budgets, Jordan Peele’s ‘Get Out,’ M. Night Shyamalan’s ‘Split’ and James Wan’s ‘The Conjuring’ have smashed the $200 million mark. worldwide field workplace,” mentioned Ángel Sala, Sitges Festival director, noticed.
“That didn’t occur years in the past,” he added.
As some style films punch extraordinary numbers, the Marché launched a extremely profitable platform for the Fantasia/Frontières style pageant and market, together with a Fantasia/Frontieres Proof of Concept presentation of 11 style movie tasks from Europe and North America.
With Alejandro G. Iñarritu’s “Carne y Arena” vindicating Virtual Reality as each an artwork kind and social challenge car, the Market targeted this yr at its Next innovation hub, on VR. Next screened 85 VR movies. “VR exhibitors had been in a position to meet much more business gamers than ever earlier than,” Paillard added.
China, Asia Drives Cannes Film Market to Record Attendance by: Elie Abi Younes published: