Cannes’ Fortnight unveils lineup – Latin American films

17/04/2010 at 6:00 am Leave a comment

Following this year’s light U.S. showing in Cannes’ official selection, the 42nd Directors’ Fortnight unveiled a lineup packed with European and Latin American newcomers, with nearly half the films in its main program competing for the festival’s Camera d’Or prize for first feature.

Of the 24 features announced in the Fortnight (better known in France as the Quinzaine des Realisateurs), 10 hail from Europe, while five are from Latin America. Only two American features are in the main selection, compared with five in 2009. Twenty-one of the films are world premieres.

At a Paris press conference on Tuesday morning, new Fortnight topper Frederic Boyer revealed a program that underlines his mission to open up the sidebar to more eclecticism than ever, and a score of first-time filmmakers.

While Europe is out in full force, Latin American cinema once again shows a strong Fortnight presence with genre-bent films from Argentina, Mexico, Uruguay and Brazil.

“Genre films are really important to me, and I decided to screen them like other titles in the main program, and not only in special or midnight screenings,” Boyer said.

Fest fave Diego Lerman will be making his first Cannes bow with “The Invisible Eye,” a dark parable set during the final days of the Argentine dictatorship. Co-produced with Spain and France, pic will be repped by Gallic outfit Pyramide, who will also be handling French distribution.

Aussie-born helmer Michael Rowe‘s Mexico City-set sex drama, “Leap Year,” will compete for the Camera d’Or along with Jorge Michel Grau‘s “We Are What We Are,” a gory tale of three teenage cannibals trying to survive after their dad passes away.

Brazilian duo Marina Meliande and Felipe Braganca will screen “Joy,” a Rio-set coming-of-ager; and Gustavo Hernandez will debut with “The Silent House,” a Uruguayan horror pic that claims to be the first ever made in one uninterrupted shot.

The sidebar runs May 13-23.


  • “All Good Children,” U.K., Alicia Duffy
  • “Benda Bilili!,” France, Renaud Barret, Florent de la Tullaye (opening film)
  • “Cleveland vs. Wall Street,” Switzerland-France, Jean-Stephane Bron
  • “Des filles en noir,” France, Jean-Paul Civeyrac
  • “Everything Will Be Fine,” Denmark-Sweden-France, Christoffer Boe
  • “Illegal,” Belgium-Luxembourg-France, Olivier Masset-Depasse
  • The Invisible Eye,” Argentina-France-Spain, Diego Lerman
  • Joy,” Brazil, Marina Meliande, Felipe Braganca
  • “Le quattro volte,” Italy-Germany-Switzerland, Michelangelo Frammartino
  • Leap Year,Mexico, Michael Rowe
  • “The Light Thief,” Kyrgyzstan, Aktan Arym Kubat
  • “Lily Sometimes,” France, Fabienne Berthaud (closing film)
  • “Little Baby Jesus of Flanders,” Belgium, Gust Vandenberghe
  • “Love Like Poison,” France, Katell Quillevere
  • “Picco,” Germany, Philip Koch
  • “Shit Year,” U.S., Cam Archer
  • The Silent House,” Uruguay, Gustavo Hernandez
  • “Tiger Factory,” Malaysia, Woo Ming-jin
  • “Todos vos sodes capitans,” Morocco-Spain, Oliver Laxe
  • “Two Gates of Sleep,” U.S., Alistair Banks Griffin
  • “The Wanderer,” Israel, Avishai Sivan
  • We Are What We Are,” Mexico, Jorge Michel Grau


  • “Boxing Gym,” U.S., Frederick Wiseman
  • “Stones in Exile,” U.K., Stephen Kijak


  • “Licht,” Netherlands, Andre Schreuders
  • “Quest,” Romania, Ionut Piturescu
  • “Mary Last Seen,” U.S., Sean Durkin
  • “Petit tailleuer,” France, Louis Garrel
  • “Shadows of Silence,” France, Pradeepan Raveendra
  • “Shikasha,” Japan, Hirabayashi Isamu
  • “A Silent Child,” Sweden, Jesper Klevenas
  • “Tre ore,” Italy, Annarita Zambrano
  • “Zed Crew,” Zambia, Noah Pink
Sourced from:


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