EXCLUSIVE Red Carpet Trio POWER TALK Gibney Assayas Cracks Doc Probes Putin’s Open ‘Network’ Russia By NICK VIVARELLI By ELSA KESLASSY trate those organizations. Assayas wrote the screen- Prolific U.S. documentar- Headlined by play, which is based on ian Alex Gibney has tack- Penelope Cruz and Fernando Morais’ book, led such topics as Scientol- Edgar Ramirez, “Wasp Net- “The Last Soldiers of the ogy, Wikileaks, sports doping work” is world premier- Cold War: The Story of the and the pedophilia scan- ing and competing in Cuban Five.” dal that shook the Catholic Venice, but the Cuba-set Assayas told Variety Church. His latest film, “Cit- film was a long-shot to that Cuban authorities izen K,” which premieres in even get made because of had initially refused to let Venice on Saturday, delves its political subject and the film shoot there. into the case of Mikhail the difficulties in raising “They first refused to Khodorkovsky, once one of financing, director Olivier give us the authorization, the richest men in Russia. Assayas said. but discussions contin- After challenging Rus- “Wasp Network” cen- ued. So we searched for a sian President Vladimir ters on the true story of location that could sub- Putin, Khodorkovsky served Cuban spies in American stitute for Havana and a decade in prison for what territory during the 1990s, were about to start shoot- critics say were trumped-up when anti-Castro groups ing elsewhere... But then charges of tax evasion, and based in Florida carried the Cubans changed their became a world-famous out military attacks on minds and opened all the political dissident. Gibney Cuba, and the Cuban gov- doors for us,” said Assayas, spoke to Variety about how Louis Garrel, Emmanuelle Seigner and Jean Dujardin strike a pose ernment struck back with who lived in Havana for before the premiere of their film “J’Accuse (An Officer and Spy),” the surprising journey of the Wasp Network to infil- → ASSAYAS, P.11 based on the real-life events of the infamous Dreyfus Affair. → GIBNEY, P.11

REVIEW CINEMA WITHOUT BORDERS EXCLUSIVE Polanski Delivers Final Cut Showcases Pics Scribe Lehane Tapped for Lavish ‘Spy’ Epic From Africa, Arab World Sollima’s Western ‘Colt’ By OWEN GLEIBERMAN By CHRISTOPHER VOURLIAS the African continent is cur- By NICK VIVARELLI rah,” Sollima will be in Ven- rently experiencing are also ice for the world premiere “i don’t separate the with the seventh edi- driving cultural and artis- U.S. author and screen- of his anticipated cocaine man from the art. ” So said tion of Final Cut in Ven- tic production, a kind of writer Dennis Lehane trafficking series “ZeroZe- Lucrecia Martel, the Argen- ice, the Venice Production high-tech liberation trig- (“Mystic River,” “The Wire”) roZero,” launching from the tine filmmaker and presi- Bridge’s pics-in-post work- gered by the strong impetus is attached to write the Lido on Sept. 5. dent of this year’s Venice shop for films from Africa of high-speed Internet,” said screenplay for “Colt,” the About the previous- Film Festival jury, at the jury and the Arab world, Final Speciale. English-language Western ly announced “Colt” proj- press conference when asked Cut head Alessandra Spe- Final Cut, which runs based on a Sergio Leone ect, Sollima says that while about “J’Accuse (An Officer ciale points to sweeping through Sept. 2, awards priz- concept, with Italy’s Ste- the concept was developed and a Spy),” the new Roman cultural and technological es and financial assistance fano Sollima directing and by Italians, “obviously, if you Polanski film. Martel stated changes that are transform- to six selected projects, Leone’s children producing. want to shoot the film in In production that she would not attend ing the means of produc- while offering African and Known in Hollywood for English, the next step was to a gala dinner in the film’s tion in those regions. Arab producers and direc- “Sicario: Day of the Solda- find a great American writ- → SPY, P.10 “The big changes that → FINAL CUT, P.11 do” and TV series “Gomor- → LEHANE, P.11 London Munich Milan

Sky_Studios_Variety_Venice_Daily_Press_Ad_245x320mm_100pc_AW.indd 1 20/08/2019 14:35 Untitled-5 1 8/26/19 2:11 PM VENICE FILM FESTIVAL | NEWS

EXCLUSIVE ‘Seberg’s’ New Wave ‘Swan’ Probes Class Struggle in Buenos Aires

By CHRISTOPHER VOURLIAS

“Electric Swan” is the latest from Konstantina Kotzamani, a Greek filmmaker whose hypnotic, fable- like short films have screened in Cannes (“Limbo”), Locarno (“Yellow Fieber”) and Berlin (“Washingtonia”). A co-production between Ecce Films (France), Homemade Films (Greece) and UN PUMA (Argentina), the film had its world premiere with a special screening out-of-competition at the Venice Film Festival. In “Electric Swan,” class anxi- ety interrupts the reveries of the building’s residents in unexpected ways. “Magic realism finds cracks on the walls and intrudes in “Seberg’s” Anthony Mackie (left) Zazie Beetz, Kristen Stewart, helmer Benedict Andrews, Jack O’Connell and Margaret everyday life, connecting different Qualley share a laugh before the film’s presser Friday. “It’s not hard for me to wear my politics. It shows up in the work I do,” and in “conversations that I have,” Stewart told journalists. “I like that interaction. I’m so lucky to have it.” floors and different people,” said Kotzamani. Kotzamani is currently developing “Titanic Ocean,” a com- VENICE DOC ing-of-age story about a professional mermaid school, real-life examples of which exist in Japan, where the film will be shot. Co-production partners in Europe ‘Great Green Wall’ Aims to and Japan are already attached to the project, while Kotzamani searches for further co-production and distribution partners. Tackle Climate Change

By TIM DAMS ja, who travels through Senegal, by documentary specialists Mali, Nigeria, Niger and Ethiopia. Make Waves in association with FILM FUNDS “Buena Vista Social Club” Along the way she meets the United Nations Convention meets “The Year of Living Dan- some of the people most affect- to Combat Desertification, as a gerously” is how director Jared ed by climate change and land “cautionary tale” for the world, Red Sea Fest P. Scott pitches “The Great degradation in the Sahel, and one that lays bare the very real Green Wall,” an eco-documen- highlights the issues that the impact that climate change is Bows With tary that shines a light on one Green Wall aims to counteract: already having in some areas. He of the world’s most ambitious desertification, drought, resource also notes that only 15% of the Cash Prizes but unsung initiatives to tackle scarcity, conflict, migration and Green Wall has so far been plant- By NICK VIVARELLI climate change. The film pre- radicalization. ed. “There is definitely a mis- mieres today in Venice Days. Modja processes the conver- match now between the ambi- The Red Sea Int. Film Festival, Executive produced by Fer- sations and encounters she has tion of this project and the actual which is Saudi Arabia’s first inter- nando Meirelles (“The Two en route through song, collabo- results of it. national film fest, is ramping up Popes”), “The Great Green Wall” rating with renowned African “But in the end ‘The Great operations with the appointment focuses on the plan, agreed to musicians such as Didier Awadi, Green Wall’ is a story of hope,” of French industry veteran Julie by 11 African nations in 2007, Songhoy Blues, Waje and Betty G. said Scott, describing it as a

VARIETY.COM Bergeron as head of its nascent to plant 8,000 kilometers (4,970 “Music is a great way to give soul tale of optimism, solidarity and market. miles) of trees and vegetation to this film,” said Scott. resolve. Ahead of its first edition, to be across the Sahel, the semi-ar- Scott worked with director “If completed, this wall will held March 12–21, 2020, in Jed- id area that stretches the entire of photography Tim Cragg, who be the largest living structure on dah, they’ve also announced width of the continent, just won acclaim for his cinema- Earth, three times the size of the funds providing up to $3 mil- below the Sahara desert. tography on hit documentary Great Barrier Reef,” Scott said.

AUGUST 31, 2019 AUGUST lion in support for emerging Arab The film tells its story “Three Identical Strangers.” The hope is that this film filmmakers and cash prizes total- through the eyes of Malian musi- Scott described “The Great might just provide an impetus to 2 ing $350,000. cian and activist Inna Mod- Green Wall,” which is produced get more of it built.

Untitled-3 1 8/26/19 2:06 PM Untitled-3 1 8/26/19 2:06 PM VENICE FILM FESTIVAL | NEWS Supporting Voices in Cinema Worldwide

Doha Film Institute Grants Programme What explains your absence from Film, TV and Web Series filmmaking for nearly 10 years? Yonfan I was quite hurt by the reception of Doha Film Institute continues its commitment to nurturing emerging filmmakers through its Grants Programme. First- and second-time “Prince of Tears.” I’d spent seven years filmmakers from around the world, alongside established directors from the MENA region, are invited to apply for funding. making it. Building sets, casting and ‘I Love Painting and Have Been waiting for leading men to be free. It Consideration for funding is now open to TV and Web series from the MENA region, as well as short and feature-length films went to several festivals, but it was in development, production and post-production, subject to eligibility criteria. Since 2010, Doha Film Institute supported a big mistake to do something about more than 400 filmmakers across the world. Steeped in It Since Childhood.’ the “White Terror” period in Taiwan. Looking back, no picture about that Yonfan, one of Asia’s most celebrated auteurs, returns to filmmaking — and period has done well. I stopped. And For more information www.dohafilminstitute.com/financing/grants/guidelines Venice competition — with “No. 7 Cherry Lane,” a sexy, three-way love story, told tried to redefine myself, especially through animation. He talks to Variety about the process behind the feature. through writing, for which I’ve always been criticized. After restoring my 1988 Interview by PATRICK FRATER film “Last Romance,” I wrote an article about it for the Apple Daily newspaper. Doha Film Institute congratulates its funding recipients selected Overnight I became a weekly columnist, writing 4,000 words per time. There was for the 76th Venice International Film Festival: so much to come out that I was likened to a pregnant woman. I also wrote two books and got another column in The Orizzonti Competition Venice International Film Critics’ Week One magazine.

How do you make a late career switch from live action to animation? I’m not a regular viewer of animation, not even Pixar or Miyazaki. But I love painting and have been steeped in it since childhood. I can tell you straight away if a picture is real or fake. Indeed, people have sometimes joked that I don’t need to get outside finance for my movies, suggesting that all I need to do ‘A Son’ Opening Night Film ‘Bombay Rose’ Closing Night Film ‘Sanctorum’ is sell one piece of my collection instead. by Mehdi Barsaoui by Gitanjali Rao by Joshua Gil But a painting that moves, and can move the viewer, combined with music which I Venice Days love, well, that is art. I had no animation skills, but when I set out as a filmmaker, I did not know how to do that either.

How did the process go? I joked that this was God’s punishment. I always admired Hitchcock and Miyazaki and said that I wanted to do storyboards like them. But animation required me to do a rough storyboard, then a moving storyboard, then to refine it. We spent a year doing the linear storyboard. ‘You Will Die at Twenty’ ‘All This Victory’ ‘Scales’ But each animation artist interprets by Amjad Abu Alala by Ahmad Ghossein by Shahad Ameen it differently in terms of looks and of movement. So I went to Beijing to see an animation master. He said he’d make a 3D animation, first, get the movements of their bodies and eyes right first. Then Venice Production Bridge we’d make a 2D version by hand. ‘Alam’ ‘The Notebooks’ The film is set in 1967, a time of great political trouble in Hong Kong. What by Firas Khoury by Joana Hadjithomas and Khalil Joreige does the film have to say about Hong Kong’s present-day political

VARIETY.COM upheavals? As far as I’m concerned, Hong Kong has never changed. Of course, the buildings have. I love the place, and, despite all the many exoduses, in 1989 and 1997, I’ve stayed. The purpose of my movie is so

AUGUST 31, 2019 AUGUST that that everyone living in Hong Kong can find a little bit of the happy Hong 4 Kong somewhere within it. DohaFilm @DohaFilm DohaFilm

Untitled-3 1 8/26/19 2:05 PM Supporting Voices in Cinema Worldwide

Doha Film Institute Grants Programme Film, TV and Web Series

Doha Film Institute continues its commitment to nurturing emerging filmmakers through its Grants Programme. First- and second-time filmmakers from around the world, alongside established directors from the MENA region, are invited to apply for funding.

Consideration for funding is now open to TV and Web series from the MENA region, as well as short and feature-length films in development, production and post-production, subject to eligibility criteria. Since 2010, Doha Film Institute supported more than 400 filmmakers across the world.

For more information www.dohafilminstitute.com/financing/grants/guidelines

Doha Film Institute congratulates its funding recipients selected for the 76th Venice International Film Festival:

Orizzonti Competition Venice International Film Critics’ Week

‘A Son’ Opening Night Film ‘Bombay Rose’ Closing Night Film ‘Sanctorum’ by Mehdi Barsaoui by Gitanjali Rao by Joshua Gil Venice Days

‘You Will Die at Twenty’ ‘All This Victory’ ‘Scales’ by Amjad Abu Alala by Ahmad Ghossein by Shahad Ameen

Venice Production Bridge

‘Alam’ ‘The Notebooks’ by Firas Khoury by Joana Hadjithomas and Khalil Joreige

DohaFilm @DohaFilm DohaFilm

Untitled-3 1 8/26/19 2:05 PM VENICE FILM FESTIVAL | REVIEWS PARTNER CONTENT

else their fathers/husbands won’t Suffragette City Haifaa Al-Mansour’s allow them to vote for a woman, “The Perfect Candidate” but when Selma tells her sister, “I explores women’s roles in believe in you,” Maryam finds the a changing Saudi Arabia. confidence to remove her niqab and go on television without a veil over her face. Unsurprisingly, Maryam’s self-assurance keeps growing as she embraces her newfound role as champion not just of women, but the whole community. Equal- ly predictable, Abdulaziz’s band of musicians start their national tour as barely appreciated back- ground players and wind up fight- ing fundamentalist criticism to become wildly popular perform- ers of the kind of traditional music commonly heard in public before the mid-20th-century ultra-Wa- habi crackdown. At every step, Al- REVIEW er whose grief at his wife’s recent Mansour feeds the audience exact- death has made him more hands- ly what she thinks will make them off than usual in looking after feel good about positive change in his daughters. That becomes a Saudi Arabia, setting up conflict ‘The Perfect Candidate’ problem when Maryam wants to and resolution with all the nuance attend a medical conference in of a by-the-numbers construc- How VR By JAY WEISSBERG as a place where female solidari- Dubai but discovers at the airport tion kit. A sense of female solidar- ty and a gradual easing of restric- that her permission to travel is no ity will develop thanks to seeing ON THE OF it’s hard to know who’s the tive rules are leading to more ful- longer valid. Since her father is on roomfuls of Saudi women party- TAIWAN CUTTING EDGE films are perfect audience for “The Perfect filling lives. Activists will argue the the road with his group of musi- ing together without hijabs, and Candidate,” Haifaa Al-Mansour’s pace of transformation is too slow, cians, Maryam goes to her moth- a romance of sorts will potential- putting first Saudi film since “Wadjda.” government defenders will count- er’s cousin Rashid (Ahmad Alsu- ly blossom between Maryam and Even more than in that debut er that real parity is a pipe dream laimy), hoping he’ll act as her Abu Musa’s grandson Omar (Tarek Taiwan on hit, her latest is clearly designed and cultural practices take time to temporary male guardian, but to Ahmed Al Khaldi). VIRTUAL REALITY to demythologize the Kingdom, change. Al-Mansour leans toward see him, she has to get past his sec- Al-Mansour certainly appears the map taking a host of cultural signi- the latter, presenting a challenging retary, who tells her Rashid is only more committed to this proj- fiers and parading them out in but sunny road ahead; it’s a pity meeting with people applying to ect than she did her more West- BY KEVIN MA competition, while arthouse auteur its Vive Studios — will attend. films showed that co-production is the cinematic equivalent of bill- her methods are so blatantly pre- join the electoral rolls for munic- ern-centric projects “Mary Shel- Tsai Ming-liang screened his 55-minute “TAICCA sees this reception as an very important and that it makes sense board-sized letters to show that meditated that you can practically ipal council. Desperate, she says ley” and “Nappily Ever After,” yet aiwan has emerged as a VR film, “The Deserted,” in the main important opportunity for all to see for France and Taiwan to combine Saudi society is heterogeneous see the most basic of script devel- that’s why she’s come; Rashid is its personality lies entirely in the creative hub for Mandarin- competition. how far Taiwan has come in developing our strengths.” Dirler says that the and mutable. The script is so sim- opment notes in every scene. encouraging regarding her appli- characters rather than the story or language content, with such Since then, more Taiwanese VR films VR content and its industry. We want to French Office and TAICCA have begun plistic in how it runs through Dr. Maryam (Mila Alzahrani) cation but can’t break the law any filmmaking style. Visuals by heavyweights as HBO Asia have screened in major film festivals: show content creators from around the discussions about future collaborations. a checklist of cultural practices is first seen driving her car alone to get her the travel permit she DP Patrick Orth (“Toni Erdmann”) andT Netflix collaborating with local TV John Hsu’s “Your Spiritual Temple Sucks” world that Taiwan is a great partner in “Compared to traditional film, VR — women’s dress, gendered — something women were only needs. Defeated in her purpose are blandly undistinguished, but networks and production companies. In and Tsai Tsung-Han’s “Live Stream From producing VR content,” Ting says. films are more costly and have a higher spaces, the role of music — that it able to do as of 2018 — to the hos- but now an official candidate, vibrant social media star Dhay is January, the Taiwan government took the Yuki <3” both unspooled at the Sundance One of the TAICCA’s key strategies technical threshold. There’s a shortage reduces the people themselves to pital where she works in a small Maryam returns home deciding an especially welcome presence, next step to bring its content to a bigger Film Festival, while Lee Chung’s “Mr. is to attract co-productions for VR of funding and qualified VR crew around unsophisticated representatives town in Riyadh province, negotiat- to go through with the election- and Alzahrani grows into her role international audience when President Buddha” was screened at Tribeca this projects. It already has two successful the world. of change, and yet its welcome ing thick mud from the unpaved eering in order to get the hospital once the character herself devel- Tsai Ing-wen signed the Organizational year. The Virtual Reality section of this examples with “Mechanical Souls,” which “As a result, international message of female empowerment access road as she enters the access road paved. ops some gumption. Singing star Act of the Taiwan Creative Content year’s Venice Film Festival features seven was screened at Sundance and South by co-productions that pool financial and Agency, paving the way for the Ministry VR projects from Taiwanese productions, Southwest, and “Gloomy Eyes,” a French- production resources together have will be embraced by Western doors. In the corridor, she tries to Her younger sister Sara is furi- Khadeeja Mua’th (on YouTube of Culture to establish the Taiwan including five in the competition section. Argentinian-Taiwanese co-production by become the mainstream solution,” audiences pleased to see women initiate treatment for Abu Musa ous, convinced the exposure she’ll she’s spelled Khadija Moaz) also Creative Content Agency (TAICCA). (An eighth project — John Hsu and Jorge Tereso and Fernando Maldonado, says Meng-Yin Yang, the director of makes a real impact, playing a removing their niqabs. How it will (Hamad Almuzainy), an elderly receive as a woman attempting Modeled after Korea’s Creative Marco Lococo’s “Great Hoax” — is in that won the Best VR Crystal Award Kaohsiung Film Archive. In the past play regionally is difficult to guess, man injured in a car accident, but to enter politics — even a wom- variation of herself and generating Content Agency (KOCCA) and similar the Venice Gap-Financing Market). at the Annecy Intl. Animation Festival three years, the organization has though it’s encouraging that cine- he refuses to look at a woman, let an with a niqab — will draw sparks of joyful warmth whenever institutions in Europe, TAICCA aims The agency has made the before it was selected for the Venice VR already produced 12 VR projects by mas now exist in Saudi Arabia for alone be touched by her, even a shame on the family. It brings on screen. to aid the development of the island’s development of VR films one of its competition. local filmmakers. It also operates the locals to see it, too. woman wearing a niqab that cov- back memories of their moth- cultural content industry and bring more key projects. TAICCA is hosting the Both productions were assisted by the Kaohsiung VR Film Lab, the only VR While “Wadjda,” with its scrap- ers all but her eyes. When she per- er, a wedding singer whose pub- CREDITS: (Saudi Ara- sour, Brad Niemann. Taiwanese content to global audiences, Taiwan immersive lineup reception in French Office in Taipei, which worked theater in Taiwan. py protagonist, was similarly cal- sists, the hospital administrator Dr. lic visibility created tense situa- bia-Germany) An Al-Man- Camera (color, wides- elevating its cultural soft power in Asia Venice to showcase Taiwan as one of the closely with the Taipei Film Festival Ting adds, “The development of sour Establishment for creen): Patrick Orth. Edi- VARIETY.COM culated to show how a headstrong Ghazi (Bandar Hadadi) tells her tions for her daughters. Selma, an Audiovisual Media, Razor tor: Andreas Wodraschke. and beyond. world’s top producers of VR content. and the Kaohsiung Film Festival on VR any new technology must be matched Film prod., in coopera- Music: Volker Bertelmann. girl with a dream can instigate to leave him alone, as male nurses ebullient wedding photographer, tion with Norddeutscher Reviewed at Venice Film Part of the agency’s first five-year plan Ting Hsiao-Ching, the newly appointed showcases and exchange opportunities. by creativity. Taiwan already has an Rundfunk. (North Amer- Festival (competing), Aug. positive change, “The Perfect Can- will take care of the patient. is more supportive and organiz- ican Sales: United Tal- 28, 2019. (Also in Toronto is to drive innovation in the creation of chairperson of TAICCA, other high- “[“Mechanical Souls” and “Gloomy advantage in terms of manufacturing ent Agency, Beverly Hills. Film Festival — Contempo didate” feels even more by-the- Back home, she and her sis- es a hen party, complete with an International sales: The rary World Cinema.) Run- cultural content. In recent years, Taiwan level agency officials, Taiwanese VR Eyes”] offered Taiwan unprecedented hardware for VR content. Our creators Match Factory, Cologne.) ning time: 101 MIN. book, carefully ensuring its main ters Selma (Dhay) and Sara (Nou- abaya fashion show, to raise aware- Producers: Roman Paul, WITH: Mila Alzahrani, has quickly risen as a leading creator content creators and representatives exposure in the VR field. That’s when were also willing to embrace and explore Gerhard Meixner, Hai- Khalid Abdulraheem, character, a female doctor who ra Al Awad) prepare an elaborate ness of Maryam’s campaign. The faa Al-Mansour, Brad Nie- Dhay, Noura Al Awad, of VR content. In 2017, “La Camera from hardware manufacturers — things really started to change,” says this new technology. I think that’s why mann. Executive produc- Tarek Ahmed Al Khaldi,

AUGUST 31, 2019 AUGUST runs for municipal council, expe- Ramadan evening meal, shared response is less enthusiastic than ers: Faisal Baltyuor, Fahad Shafi Alharthy, Khadeeja Insabbiata,” a Taiwan-U.S. co-production, including electronics maker HTC, which Aurélien Dirler, who is in charge of Taiwan’s VR films have developed so Alsuwayan, Christian Mua’th, Hamad Almuzainy, riences the trajectory deemed with their father Abdulaziz (Kha- hoped for, largely because many Granderath, Rena Ronson. Rakan Abdulrahman, Ban- won the Best VR Experience award at the manufactures VR hardware and has audiovisual cooperation between France quickly and it’s why it has achieved an Director: Haifaa Al-Man- dar Hadadi, Ahmad Alsu- 6 necessary to show the Kingdom lid Abdulraheem), an oud play- of the women are not voting, or sour. Screenplay: Al-Man- laimy. (Arabic dialogue) Venice Film Festival’s first Virtual Reality produced a number of VR films under and Taiwan at the French Office. “These advantage in VR production. ■

TAICCAUntitled-4 no 1folio.indd 5 8/27/19 12:4611:37 PMAM PARTNER CONTENT

How VR TAIWAN ON THE CUTTING EDGE OF films are putting VIRTUAL REALITY Taiwan on the map

BY KEVIN MA competition, while arthouse auteur its Vive Studios — will attend. films showed that co-production is Tsai Ming-liang screened his 55-minute “TAICCA sees this reception as an very important and that it makes sense aiwan has emerged as a VR film, “The Deserted,” in the main important opportunity for all to see for France and Taiwan to combine creative hub for Mandarin- competition. how far Taiwan has come in developing our strengths.” Dirler says that the language content, with such Since then, more Taiwanese VR films VR content and its industry. We want to French Office and TAICCA have begun heavyweights as HBO Asia have screened in major film festivals: show content creators from around the discussions about future collaborations. andT Netflix collaborating with local TV John Hsu’s “Your Spiritual Temple Sucks” world that Taiwan is a great partner in “Compared to traditional film, VR networks and production companies. In and Tsai Tsung-Han’s “Live Stream From producing VR content,” Ting says. films are more costly and have a higher January, the Taiwan government took the Yuki <3” both unspooled at the Sundance One of the TAICCA’s key strategies technical threshold. There’s a shortage next step to bring its content to a bigger Film Festival, while Lee Chung’s “Mr. is to attract co-productions for VR of funding and qualified VR crew around international audience when President Buddha” was screened at Tribeca this projects. It already has two successful the world. Tsai Ing-wen signed the Organizational year. The Virtual Reality section of this examples with “Mechanical Souls,” which “As a result, international Act of the Taiwan Creative Content year’s Venice Film Festival features seven was screened at Sundance and South by co-productions that pool financial and Agency, paving the way for the Ministry VR projects from Taiwanese productions, Southwest, and “Gloomy Eyes,” a French- production resources together have of Culture to establish the Taiwan including five in the competition section. Argentinian-Taiwanese co-production by become the mainstream solution,” Creative Content Agency (TAICCA). (An eighth project — John Hsu and Jorge Tereso and Fernando Maldonado, says Meng-Yin Yang, the director of Modeled after Korea’s Creative Marco Lococo’s “Great Hoax” — is in that won the Best VR Crystal Award Kaohsiung Film Archive. In the past Content Agency (KOCCA) and similar the Venice Gap-Financing Market). at the Annecy Intl. Animation Festival three years, the organization has institutions in Europe, TAICCA aims The agency has made the before it was selected for the Venice VR already produced 12 VR projects by to aid the development of the island’s development of VR films one of its competition. local filmmakers. It also operates the cultural content industry and bring more key projects. TAICCA is hosting the Both productions were assisted by the Kaohsiung VR Film Lab, the only VR Taiwanese content to global audiences, Taiwan immersive lineup reception in French Office in Taipei, which worked theater in Taiwan. elevating its cultural soft power in Asia Venice to showcase Taiwan as one of the closely with the Taipei Film Festival Ting adds, “The development of and beyond. world’s top producers of VR content. and the Kaohsiung Film Festival on VR any new technology must be matched Part of the agency’s first five-year plan Ting Hsiao-Ching, the newly appointed showcases and exchange opportunities. by creativity. Taiwan already has an is to drive innovation in the creation of chairperson of TAICCA, other high- “[“Mechanical Souls” and “Gloomy advantage in terms of manufacturing cultural content. In recent years, Taiwan level agency officials, Taiwanese VR Eyes”] offered Taiwan unprecedented hardware for VR content. Our creators has quickly risen as a leading creator content creators and representatives exposure in the VR field. That’s when were also willing to embrace and explore of VR content. In 2017, “La Camera from hardware manufacturers — things really started to change,” says this new technology. I think that’s why Insabbiata,” a Taiwan-U.S. co-production, including electronics maker HTC, which Aurélien Dirler, who is in charge of Taiwan’s VR films have developed so won the Best VR Experience award at the manufactures VR hardware and has audiovisual cooperation between France quickly and it’s why it has achieved an Venice Film Festival’s first Virtual Reality produced a number of VR films under and Taiwan at the French Office. “These advantage in VR production. ■

TAICCAUntitled-4 no 1folio.indd 5 8/27/19 12:4611:37 PMAM VENICE FILM FESTIVAL | FEATURES

FEATURES “Belle and Sebastian 3” — which Europe, and I think that level of claimed the title last year — have co-operation will increase going led the way, with animated offer- forward.” ings following right behind. Roman Polanski’s big-budget Blockbuster comedies like historical drama “An Officer and Cross-Border “Serial (Bad) Weddings” and “C’est a Spy” offers an illustrative case- la vie!” have found a more tem- in-point. Distributor 01 had pre- pered level of success on the viously picked up the rights to other side of the Alps; instead, the director’s past five films, and Growth on Deck they’ve mostly inspired Italian had a successful track record with producers to closely monitor the the filmmaker. So Rai seized the Italy and France look forward to more French box office for potential opportunity to board his cost- co-productions remakes — a strategy that sky- ly, star-driven prestige pic at a rocketed in popularity ever since much earlier stage, contributing By BEN CROLL tend to be auteur-driven films Dany Boon’s box office sensation €2 million ($2.2 million) towards destined for the major festivals, “Welcome to the Sticks” inspired a the overall budget for the Italian If the days when French actors but the two industries have also pair of equally successful Italian rights and a share of the world- could spend half their time on built strong ties outside the festi- do-overs. wide gross. set at Cinecitta and Italian direc- val circuit. “It’s all a product of our geo- On the other side, the literary tors might find themselves “Italy is one of France’s key graphical and cultural proximi- adaption “Martin Eden” shows splashed on the front of page of worldwide partners,” says Yoann ty,” Ubermulhin explains, “and of how a majority-Italian produc- every Gallic tabloid have long Ubermulhin, head of research our professional closeness as well. tion could benefit French pub- since passed, the bond between and distributor relations at Industry professionals from both lic support. Director Pietro Mar- the two countries endures. French cinema promotion orga- countries have built strong ties cello put his film together with As the industry has evolved nization UniFrance. “The country with one another, communicat- the help from the Franco-Ital- over the years, the Franco-Ital- may not have the population of ing and collaborating on a regu- ian Co-Production Develop- ian partnership has remained a Germany, nor the economy of the lar basis.” ment Fund, a bilateral project fixture of the international film United States, but for French cin- Rai Cinema CEO Paolo Del between France’s CNC, an arm scene, a constant in the business ema, it has often represented our Brocco is one of those profession- of the country’s ministry of cul- for nearly as long as the busi- single-most significant interna- als. His company’s 01 Distribution ture, and Italy’s ministry of cul- ness has been around. With Fran- tional market.” arm has released over 30 French ture (MIBACT). co-Italian co-productions like “An That has certainly been the titles since 2001, while Rai itself In place since 2013, the fund Officer and a Spy,” “Gloria Mun- case in recent vintages; in both has often paired with a French has contributed up to €50,000 di” and “Martin Eden” all premier- 2017 and 2018, Italy represented outfits like Ad Vitam and Le Pacte ($55,000) development funds out ing in competition at Venice this the French industry’s top export to co-produce acclaimed films of its annual €500,000 ($554,000) year, the alliance shows no signs market, accounting for just over like “Dogman,” “The Traitor” and budget towards co-production of winding down. 4 million in ticket sales each year. “Mia Madre.” projects with international festi- Together, various production For the most part, family films “France is our most important val appeal. In the past nine years, outfits in the neighboring coun- like “Mia and the White Lion” — partner,” echoes Del Brocco. “We it has helped films like Lorenzo tries team up for 10–15 co-pro- which is currently France’s top have more co-productions with Mattoti’s “The Bears’ Famous Inva- ductions a year, most of which Italian grosser for 2019 — and France than with anyone else in sion of Sicily” and Fabio Grassa- donia & Antonio Piazza’s “Sicil- ian Ghost Story” — only change is afoot. Partnership Robert Guédiguian’s Venice In August of this year, the CNC fest player “Gloria Mundi” is a announced a vast rethinking of French-Italian co-production. the scheme. By widening its scope to include production funds as well and exponentially increasing the amount of funds offered — bringing it closer in line with the Franco-German mini-treaty budgeted at €3 million ($3.3 million) a year — the French officials hope to balance the scale in terms of co-production output. “For several years now, the most memorable Franco-Italian co-pros have been Italian majority productions,” says Ubermulhin,

VARIETY.COM citing films from directors like Nanni Moretti and Matteo Gar- rone. “There have been compara- tively less from French directors of similar statures.” He adds, “I think this new

AUGUST 31, 2019 AUGUST move is a real vote of confidence in the future of Franco-Italian 8 co-production.” FEATURES | VENICE FILM FESTIVAL

Multinational Olivier Assayas’ “Wasp Network,” starring Gael Garcia Bernal and Penelope Cruz, is a France-Belgium-Brazil- Spain production.

FEATURES is-based sales companies and the outsize influence of French festivals effectively puts local professionals in close contact with rising filmmakers and peers from Courting the World across the globe, while certain French producers partner with global filmmakers to find big success advantageous treaties make sub- sequent co-productions a fait By BEN CROLL Serge Toubiana, chief of French prides itself on that reputation, accompli. film promotion organization and it doesn’t always require When partnering with Ita- though it may share a partic- UniFrance, “and Kore-eda, too.” ambitious local filmmakers to ly for instance, Gallic producers ular affinity with its neighbor Following Asghar Farhadi’s pack their bags for Charles de need only cover 10% of a film’s to the south, the French indus- “The Past,” Paul Verhoeven’s Gaulle. France’s CNC, which over- global budget in order to grant try has always accommodated “Elle” and Nadav Lapid’s recent sees audiovisual content and the project French parentage. As many international partners. Berlin winner “Synonyms,” Kore- operates as an arm of the Minis- a Franco-Italian production, a In Venice this year, the French eda’s Venice opener adds to what try of Culture, has over 57 inter- film can then benefit from pub- delegation will also present Oliv- has become an informal trend, national co-production treaties, lic subsidies while pre-selling to ier Assayas’ “Wasp Network,” with international filmmak- plus an Aid to World Cinema broadcasters like Arte and Canal co-produced with Belgium, Brazil ers not only partnering with the fund with a budget around €5.5 Plus all before production even and Spain; Tiago Guedes’ “A Her- local Gallic producers but actu- million ($6 million) and a man- begins. dade,” a majority Portuguese pro- ally coming to Paris to make date to support 50 films a year. Per UniFrance’s Toubiana, the duction; and Hirokazu Kore-eda’s French-language projects. The sheer quantity of Par- whole of the French value chain “The Truth,” made in partner- Speaking with Variety short- is set up to support and encour- ship with Japan. ly before he began production age world cinema production. The latter film stands out in last year, Kore-eda said the pros- “France is already a platform particular, as it marks the Japa- pect of making a film with- [for international partners],” he nese filmmaker’s follow-up to his in the French industry left him says. “French cinema is a plat- VARIETY.COM Palme d’Or winner “Shoplifters,” “nervous and excited” all at form all by itself. We welcome, and his first-ever production out- once. “Although I will be away we co-finance and we co-pro- side of his native country. from my (physical) home coun- French cinema is a platform duce; our television channels are “We have always served as a try where I grew up, I can also all by itself. We welcome, involved in the process as well, relay, allowing the great inter- interpret it as shooting a film we co-finance and we and with all that in the mix, we

national filmmakers to make in a home country of film,” he co-produce; our television shine. While ours may be a very 31, 2019 AUGUST their films. That was the case for added. channels are involved.” fragile platform, it is tremen- Bergman, Fellini, Kurosawa,” says Indeed, the French industry Serge Toubiana, UniFrance dously dynamic.” 9 VENICE FILM FESTIVAL | REVIEWS

in, but after a while it starts to play like the dramatized version of a Wikipedia entry. It’s meticulous production, made with robust confidence by the 86-year-old director, and I wish I could say it was Polanski working at peak form. But it’s a film that tells you things more than it gets you to feel them. The fascination of “An Offi- cer and a Spy” is that it plays like modern history’s first whistleblower drama. But staying true to history, much as I respect that impulse, isn’t the same as bringing history blazingly to life. “An Officer and a Spy” has a this-happened-and- then-this-happened quality. And Fight for Right that’s why the movie, beneath the Jean Dujardin stars in Roman Polanski’s two-dimensional jauntiness of its historical drama acting and the period vividness of “J’Accuse (An Officer its sets and costumes, feels more and a Spy).” dutiful than riveting. The central character isn’t Dreyfus. It’s Lieutenant Col. Georg- ←SPY, FROM P.1 It seems there are two reasons, deny the facts and condemn me es Picquart (Jean Dujardin), a only one of them good. In France, for things I have not done. Most French officer who had a hand in honor, but defended the Venice the Dreyfus case represents how of the people who harass me do the original Dreyfus court martial, Film Festival’s decision to program anti-Semitic fervor could rise up not know me and know nothing but wound up being the one who it. Nevertheless, what she articu- out of the national soil to become about the case.” tried to clear his name. lated touched a nerve. In general, policy — and that, in hindsight, I’m sorry, but that comparison Picquart has a mistress, played I’m a die-hard advocate of sepa- carried ominous implications for is obscene. We can have a debate, with an eager bloom by Polans- rating artists from their works of where Europe was heading. Giv- and should, about how Holly- ki’s wife, Emmanuelle Seigner, but art. But Roman Polanski has made en the disturbingly explicit rise of wood, and the American legal apart from that there’s not much it all but impossible to do so with anti-Semitism in Europe today, the system, should now treat Roman dimension to him. Dujardin brings “An Officer and a Spy.” parallels are obvious, and it’s clear Polanski. Alfred Dreyfus, however, a charge of nobility to the role, The movie, adapted from a why they matter. was an innocent man; there was and you can always see him think- 2013 historical novel by Robert But there’s another layer of no substance to the accusations ing, but he and Polanski never fig- Harris, who co-wrote the script meaning to “An Officer and Spy.” brought against him at trial. They ure out how to give Picquart a with Polanski (as he did on “The Dreyfus, played in the movie by were manufactured. Whereas dash of mystery. Ghost Writer,” also adapted from a Louis Garrel with the intensity of Polanski, before he fled the Unit- What we call the Dreyfus Harris novel), is a lavishly scaled, a stoic bird, is an honorable soul ed States while awaiting sentenc- affair was, in fact, a series of cov- grandly mounted, rigorously true- who gets slandered, unfairly con- ing in 1977, confessed in court er-ups and breakthroughs and to-the-facts dramatization of the victed and becomes a martyr. His that he was guilty of having sex setbacks that dragged on and on Dreyfus affair — the fabled and time on Devil’s Island, which we with a 13-year-old girl. That’s the like a barely moving roller-coast- scandalous case, starting in 1894, see all too briefly, is a hellish exile reality on which Polanski’s “per- er. It has been an obsession in of the French-Jewish artillery offi- for him, and the whole dramatic secution” rests. So for Polanski France for 100 years. (Century-af- cer Alfred Dreyfus, who was con- momentum of the movie is: How to suggest a parallel between his ter-the-fact spoiler alert: It end- victed of treason in a secret court will his persecution end? Can this case and the Dreyfus case, based ed well!) But if, for a moment, you martial and sentenced to life injustice be overturned? on “things I have not done,” is an leave aside that we’re watching a imprisonment on Devil’s Island. It might be a leap of conjec- outrageous lie. movie about a legendary series of Dreyfus was, in fact, an inno- ture to say that Polanski, dogged I don’t generally quote direc- historical events (or an allegory of cent man who was railroaded. by the charges that resulted in his tor’s statements. But this one is the persecution of Roman Polans- But the forces against him, which own trial, and (self-imposed) exile relevant, because it offers such a ki), what happens isn’t fully satis- amounted to a conspiracy on the from Hollywood, 42 years ago, direct explanation of why Polans- fying as drama. “An Officer and a part of the French military, made now sees himself in the figure of ki made the film in the first place. Spy” is a whistleblower movie that him, by design, a symbolic fig- Alfred Dreyfus. But it doesn’t have And when you see “An Officer and only completely works if you read ure: a totem of the new wave of to be conjecture, because Polans- a Spy,” it may explain even more it as Polanski blowing his own anti-Semitism that was beginning ki has been explicit about it. In an than Polanski thinks, since the whistle.

VARIETY.COM to sweep into the next century. As interview included in the film’s “parallel” — the element of per- the Dreyfus case played out, in an press notes, he says, “I must admit sonal obsession in how he views CREDITS: A Legende Roman Polanski. Camera increasingly fractious and public that I am familiar with many of the Dreyfus case — fills in what’s Films, RP Productions, (color, widescreen): Pawel Eliseo Cinema, Rai Cin- Edelman. Editor: Hervé way, over 12 years, it became a ref- the workings of the apparatus of missing from the movie. Simply ema, Gaumont, France 2 Deluze. Music: Alexandre Cinéma, France 3 Cinéma, Desplat. Reviewed at Ven- erendum on injustice, anti-Sem- persecution shown in the film, put: “An Officer and a Spy,” which Kinoprime Foundation, ice Film Festival (Compe- Kenosis, Horus Mov- tition), Aug. 30, 2019. Run- itism and the moral identity of and that has clearly inspired me.” was made for hefty $28 million, ies production. Producer: ning time: 132 MIN. WITH: Alain Goldman. Executive Jean Dujardin, Louis Gar-

AUGUST 31, 2019 AUGUST France — and, by implication, the Regarding his own case, and the has the textured look of a luscious producers: Ivano Fachin, rel, Emmmanuelle Seigner, Lukasz Raczynski, Zbig- Grégory Gadebois, Mathieu larger world of Europe. So why tell way it’s now viewed, he says, “I can old-fashioned epic, and the first niew John Raczynski. Amalric, Damien Bonnard, Director: Roman Polanski. Melvil Poupad, Denis Poda- 10 that story now? see the same determination to half of the movie sucks you right Screenplay: Robert Harris, lydès, Vincent Grass. NEWS | VENICE FILM FESTIVAL

←ASSAYAS, FROM P.1 ←FINAL CUT, FROM P.1 “Another Day in Baghdad,” by ←GIBNEY, FROM P.1 Maysoon Pachachi (Iraq, France, half a year to make the movie. tors one-on-one meetings with Germany, U.K., Kuwait); “Mica,” this oligarch provides a prism “It was extraordinary participants of the Venice Pro- by Ismaël Ferroukhi (Morocco, through which to look at Putin’s because it was the first time duction Bridge’s Gap-Financing France); “Captains of Za’atari,” iron fist. that the Cubans opened the Market. The program’s growing by Ali El-Arabi (Egypt); “Makon- doors to have a filmmak- reach — which has included go,” by Elvis Sabin Ngaibi- What drew you to the subject er explore their contempo- works-in-progress from coun- no (Central African Repub- matter? rary political history, but at the tries such as Lesotho, Libya and lic, Argentina); “Nardjes, Alger, I’ve always been interested in same time we shot during a the Central African Republic — Mars 2019,” by Karim Ainouz power and the abuse of power. very tense time because of the highlights the increasing capac- (Algeria, France, Germany, Bra- Khodorkovsky understands political context, particular- ity to produce films in coun- zil); and “On the Way to the Bil- power in Russia better than ly due to the Trump adminis- tries without formal industries. lion,” by Dieudo Hamadi (DRC, almost anybody, having been at tration. We were observed very This year’s selections: France, Belgium). the top and at the bottom. For closely by the Cuban state and those reasons it seemed really subjected to the fluctuations of interesting to be able to make a the political climate.” film about him, particularly if he In spite of the glamorous Style Mavens was willing to sit for an extended casting, raising the financing session of interviews. We are all was complicated because of Cultural Giants interested today in the nature the topic — the relationship Golden Lion honoree of power in Russia. Who better Pedro Almodovar and between the Cuba and the U.S. Miuccia Prada pose to help us understand this than — and potential partners were for cameras before Khodorkovsky? reluctant, said Assayas. heading into the Khodorkovsky comes across Warner Bros. Italia/ The Brazilian produc- Prada party for the as a stoic. His human side seems er Rodrigo Teixeira, who pro- filmmaker. rather impenetrable. There are duced the film through his some personal details in the film, banner RT Features with but not many. You sense that he’s Charles Gillibert’s CG Cinema, steering clear of some things, concurs. “In December 2018 such as talking about his family. we didn’t have the money in I decided in the end not to the bank...but once we got delve too deeply into the area of it, everything came together his family for a couple of reasons. so quickly....The film finished First of all, I think for self-pres- shooting on May 4th, and we ervational reasons he’s kept his started editing three days lat- family out of it, mostly. You can er, and here we are today,” said see bits and pieces, and get a Teixeira, who is also in Venice sense of how hard it must have with James Gray’s “Ad Astra.” been to have your kids grow up Assayas said the film takes while you were sitting in pris- an “ambivalent position which on…He doesn’t betray very is both pro-democracy but also much. He’s not going to open tells Cuban history through up in that kind of a way. I think characters who aren’t por- there’s a reason for steering clear trayed like the bad guys but as of getting too involved in his fam- victims of terrorist operations.” ily, in part because they may still The director said he was be at some risk. By and large we impressed with the cast’s dedi- kept the discussion on his per- cation amid the tough shooting sonal journey and the insights he conditions, notably Cruz and has on power in Russia. Ramirez, As with the grand actresses, Penelope brought ←LEHANE, FROM P.1 show. Lehane more recently How did you feel about this issue? some inventiveness into her worked on skein “Mr. Mercedes.” Did it ever cross your mind that character and a humanity, er who can make the characters “Colt” is being produced by there could be a security risk for an emotional dimension and talk and live in a reality that is Leone’s children, Raffaella and you? vitality that was essential to clearly different from our own.” Andrea, through their Leone It did cross my my mind. I got a the film,” Assayas said. The director praised Lehane Film Group, with Italy’s RAI Cin- visa which allowed me to oper- “Wasp Network” marks as “one of the great” contempo- ema on board. They are shop- ate on a business level in Russia. Assayas’ most internation- rary American writers, noting ping the project to prospective They certainly knew I was com- al, American-looking movie to his “depth and ability to drill U.S. partners. ing. I was coming wide open. We date. The film has been picked down on characters.” Originally conceived as a TV took the usual precautions for VARIETY.COM up for Italy (BIM Distribuzi- “Having him on board is the series, “Colt” takes its cue from Russia, which has so much mal- one); Israel (Shoval); Greece best I could hope for,” Sollima the gun packed by Clint East- ware you need a raincoat to pro- (Spentzos); Portugal (Nos Luso- said, adding that he’s a “huge wood in “A Fistful of Dollars,” tect yourself…I would not say mundo); Russia (Mauris Film); fan” of everything Lehane has which becomes a narrative that I felt the kind of intense Poland, Czech Republic, Slo- written, from the novels “Mys- device as it is passed from own- scrutiny that you do feel in China

vakia, Hungary and Romania tic River” and “Shutter Island” to er to owner throughout the Old when you go there. I calculated 31, 2019 AUGUST (Prorom); former Yugoslavia his work on “The Wire,” which West. The plan is for a Canadi- that being open and transparent (MCF); and Baltics (ACME). Sollima called a “seminal” TV an shoot in 2020. was the best policy. 11 VENICE FILM FESTIVAL | REVISIT

Truly a ‘Favourite’ VARIETY.COM

“The Favourite” star Olivia Colman started her run for Oscar at Venice last year when she nabbed the Volpi Cup for best actress. The Brit has been turning in brilliant work for years, and her turn on Phoebe Waller-Bridge’s hit series “Fleabag” had also garnered awards recognition. Fans are now excited about her role as Queen Elizabeth II in the new season of Netflix’s “The Crown.”

AUGUST 31, 2019 AUGUST El-Gouna Film Festival @elgounafilmfestival @ElGounaFilm El Gouna Film Festival

Untitled-5 1 8/26/19 2:08 PM El-Gouna Film Festival @elgounafilmfestival @ElGounaFilm El Gouna Film Festival

Untitled-5 1 8/26/19 2:08 PM 10 NOUVEAUX TALENTS FRANÇAIS À SUIVRE 10 FRENCH RISING 10 TO TALENTS TO WATCH WATCH10 FRENCH TALENTS TO WATCH They were in the spotlight during the last Cannes Film Festival. UniFrance is ready to bet that you will soon again hear about these ten talented people.

SWANN NICOLAS DAMIEN MATI JUDITH LOU LÉVY ARLAUD BEDOS BONNARD DIOP ÈVE ROBIN © Smith © Huma Rosentalski © Matias Indjic / UniFrance © Matias Indjic / UniFrance © Jean-Baptiste Le Mercier / UniFrance ACTOR DIRECTOR ACTOR DIRECTOR PRODUCERS

LADJ NOÉMIE NIELS JUSTINE ALICE LY MERLANT SCHNEIDER TRIET WINOCOUR © Matias Indjic / UniFrance © Renaud Konopnicki © Jean-Baptiste Le Mercier / UniFrance © Jean-Baptiste Le Mercier / UniFrance Rabanier © Yann DIRECTOR ACTRESS ACTOR DIRECTOR DIRECTOR

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