{"id":670071,"date":"2025-05-19T10:55:21","date_gmt":"2025-05-19T07:55:21","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/strong-festival-soft-market-at-cannes-enters-final-stretch\/"},"modified":"2025-05-19T10:55:21","modified_gmt":"2025-05-19T07:55:21","slug":"strong-festival-soft-market-at-cannes-enters-final-stretch","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/strong-festival-soft-market-at-cannes-enters-final-stretch\/","title":{"rendered":"Strong Festival, Soft Market at Cannes Enters Final Stretch"},"content":{"rendered":"
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\n\tPolitics continues to trump business at this year\u2019s Cannes film festival, with little in the way of deals out of the March\u00e9, but lots of activist agitation on the red carpet and beyond. <\/p>\n

\n\tCannes\u2019 first weekend, traditionally the period when the bidding wars begin and the first big buys are announced, has been almost frighteningly quiet. There was a single big deal \u2014\u00a0Mubi\u2019s $20 million multi-territory deal, including North America, the U.K., Latin America and other countries \u2014\u00a0for the Lynne Ramsay\u2019s Jennifer Lawrence Robert Pattinson starrer Die, My Love<\/em>. It was a major deal for a finished film but also threw into sharp relief the lack of major pre-sales at Cannes so far, despite a market featuring jam-packed with hot packages. <\/p>\n

\n\tThe cautious, wait-and-see app<\/a>roach from buyers \u2014 already in evidence in Sundance and Berlin \u2014 continues amid growing uncertainty over financing and distribution models and, let\u2019s face it, over the future of the movie business itself. <\/p>\n

\n\tDonald Trump\u2019s plan to impose tariffs on \u201cforeign-made\u201d films, launched just ahead of Cannes, went off like a bomb under the already shaky foundations of the indie industry. Just how much damage has been done will only be possible to assess post-market when the dust has settled. <\/p>\n

\n\t\u201cThe idea of tariffs is spooking people, especially financiers,\u201d said one veteran indie producer. \u201cFinanciers are already a jumpy bunch, and anything that gives them a reason to doubt the viability of the domestic market, the value of a U.S. presale, is poison.\u201d <\/p>\n

\n\tMost sales execs don\u2019t expect the Trump pronouncement to adversely affect deals \u2014 there are no tariffs yet, and it isn\u2019t clear if there ever will be \u2014 but the news<\/a> killed any positive vibes sellers had going into Cannes. Not that things were sunny on the sales front. On the domestic side, the Sundance Film Festival had some of its slowest dealmaking in recent memory. Neon\u2019s deal for thriller Together<\/em>, Netflix\u2019s for likely awards hopeful Train Dreams<\/em> and A24\u2019s for Eva Victor\u2019s Sorry, Baby <\/em>(also screening in Cannes) were the standouts of an otherwise demoralizing market. In the months after the Park City fest, smaller operations like Magnolia, Briarcliff, Greenwich and Mubi have scooped up a handful of the best-reviewed of the fest, leaving the majority still in limbo. <\/p>\n

\n\tBerlin also started out slow \u2014 most of the deals reported during the EFM were smaller domestic pickups of international art house features, with Sony Pictures Classics taking Rebecca Zlotowski\u2019s French-language murder mystery Vie Priv\u00e9e <\/em>starring Jodie Foster (a Cannes premiere), Mubi snatching up North American rights to Oliver Hermanus\u2019 gay romance The History of Sound<\/em> (a Cannes competition title), and IFC Films and Shudder jointly acquiring Sean Byrne\u2019s shark and serial killer thriller Dangerous Animals<\/em>, which also screened at the March\u00e9. <\/p>\n

\n\tBut a pre-buy bidding war that started in Berlin over the Lena Dunham-directed rom-com Good Sex<\/em>, set to star Natalie Portman, closed in the weeks after the market, with Netflix emerging victorious, inking a worldwide deal with CAA Media<\/a> Finance and FilmNation reportedly priced at the $55 million mark. <\/p>\n

\n\tSo it may be with the March\u00e9. Several festival titles, still unsold for the U.S., are attracting interest, and if deals aren\u2019t signed on the Croisette, many will likely close by the summer. Sean Baker, who triumphed here last year with Anora, winning the Palme d\u2019Or en route to awards season glory and a best picture win at the Oscars, is drawing interest for Shih-Ching Tsou\u2019s Left-Handed Girl<\/em>, the feature Baker co-wrote, and edited, which screened in Cannes Critics Week. The drama follows a single mother and her two daughters who return to Taipei after several years of living in the countryside to open a stand at a buzzing night market. Le Pacte is handling sales. <\/p>\n

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\t\t\t\t\tFrank Dillane in \u2018Urchin.\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Charades<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tUrchin<\/em>, the directorial debut of Babygirl<\/em> and Triangle of Sadness <\/em>star Harris Dickinson, which had its bow in Un Certain Regard, also has multiple buyers circling. Frank Dillane plays a self-destructive addict in the dark drama, which Charades is selling worldwide. THR<\/em>\u2019s review said the film gives Dickinson \u201ca convincing claim for multihyphenate status.\u201d The jury is still out on Kristen Stewart\u2019s claim to that title. The Twilight star\u2019s hotly anticipated turn behind the camera, The Chronology of Water<\/em>, bowed in Un Certain Regard to mixed reviews and a muted response from the premiere crowd. The film, adapted from Lidia Yuknavitch\u2019s acclaimed 2011 memoir of the same name, stars Imogen Poots, Thora Birch, Nick Cave\u2019s son Earl Cave and Sonic Youth bassist Kim Gordon. <\/p>\n

\n\tStewart has acknowledged she rushed to finish the film for Cannes, so she may be going back to the editing suite before a final cut emerges. Whatever the critical response \u2014 and many seem to love the movie \u2014 Stewart\u2019s global fan base means the title will sell (WME Independent are handling North American sales, Les Films du Losange international). It\u2019s only a question of when and for how much. <\/p>\n

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\t\t\t\t\t\u2018Sirat\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tQuim Vives<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tOn the foreign-language side, \u00d3liver Laxe\u2019s Sirat<\/em> is heating up, with sales outfit The Match Factory fielding multiple offers. In the French-born Spanish director\u2019s fourth feature, his first in Cannes competition, a father and son join a group of itinerant ravers in the deserts of Morocco. The Hollywood Reporter<\/em>\u2019s review called it a \u201ctechno-infused meditation on death and grief.\u201d Shot entirely on Super 16mm, Sirat<\/em> may be too art house for studio speciality labels, but expect the indie buyers to step up. <\/p>\n

\n\tFatih Akin\u2019s Amrum, an out-of-competition title, sold well ahead of Cannes, with Beta Cinema closing multiple international deals, including for France, Spain, Japan and Brazil. Beta says it is in negotiations with multiple domestic buyers for the period coming-of-age tale, set on a picturesque, windswept German island in the final days of World War II. Diane Kruger, who last teamed with Akin for In the Fade<\/em> (2017), which won her the best actress honor in Cannes, has a supporting role in Amrum<\/em>. <\/p>\n

\n\tBusiness aside, the festival is getting high marks from the critics, with the competition line-up already throwing up multiple Palme d\u2019Or contenders. At the half-way mark, Sir\u00e2t<\/em> is a strong contender for the top prize, as is The Sound of Falling<\/em>, the second feature from German director Mascha Schilinski (Dark Blue Girl<\/em>), which depicts four generations of young women inhabiting the same farmhouse in northeast Germany. In a rave, THR<\/em> called the drama a \u201chaunting meditation on womanhood and rural strife that heralds the arrival of a bold new talent.\u201d But the film\u2019s slow pace and long running time \u2014 it clocks in at 2 hours 29 minutes \u2014 had some viewers stifling yawns. <\/p>\n

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\t\t\t\t\tJoaquin Phoenix (left) and Pedro Pascal in \u2018Eddington.\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of A24<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tAri Aster\u2019s Eddington<\/em>, arguably the most-hyped movie coming into Cannes, split audiences. Joaquin Phoenix, Pedro Pascal, Emma Stone, Austin Butler, Micheal Ward and Luke Grimes star in the drama, which is set in a small town in New Mexico in May 2020 and depicts a mayoral campaign between the COVID-sceptic sheriff Joe Cross (Phoenix) and the COVID-conscious incumbent Ted Garcia (Pascal). As the campaign intensifies, so does the pandemonium of the pandemic era, with news coverage and social media posts stoking the flames of right-wing conspiracy, rising racial reckoning and protests against police brutality. The film drew raves and pans in equal measure. THR<\/em> was definitely in the pan camp. \u201cA neo-Western, which confuses absurdism with incoherence,\u201d was our verdict (see page 34). <\/p>\n

\n\tBut the critics have never been great at predicting which film the Cannes jury will go for. In a week\u2019s time, the nine jury members under president Juliette Binoche could surprise us all.<\/p>\n<\/div>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Politics continues to trump business at this year\u2019s Cannes film festival, with little in the way of deals out of the March\u00e9, but lots of activist agitation on the red carpet and beyond. Cannes\u2019 first weekend, traditionally the period when the bidding wars begin and the first big buys are announced, has been almost frighteningly…<\/p>\n","protected":false},"author":1,"featured_media":670072,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2025\/05\/Die-My-Love-187836-Okasha-H-2025.jpg?w=1296&h=730&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[28928,155500,32193,147476,156450,124783,81910],"class_list":["post-670071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-cannes","tag-cannes-2025","tag-cannes-film-festival","tag-cannes-film-market","tag-die-my-love","tag-international","tag-mubi"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/670071","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=670071"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/670071\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/670072"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=670071"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=670071"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=670071"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}