This page contains a Flash digital edition of a book.
NEWS


517.000 ADMISSIONS IN FRANCE AND MORE THAN 250.000


IN GERMANY SINCE RELEASE!


Available for South Korea, Hong Kong, Taiwan, Singapore, Italy, Sweden, Finland, Denmark, CIS, Greece, Turkey, Argentina and others.


Bruno Coppola at Mercy of Highsmith


BY WENDY MITCHELL Bruno Coppola and Joseph Pierson have acquired the fi lm rights to Patricia High- smith’s novel, A Suspension Of Mercy. Coppola has written the


screenplay and will direct. Set in England and Italy


in 1966, the thriller is about a US crime author and his rebellious English wife. The plot involves a missing per-


son and a murder investiga- tion. Nancy Bishop and Alison McBryde are han- dling casting, and the fi lm will shoot in the UK and Italy this autumn. London-based Coppola


previously directed the Cannes award-winning short fi lm Stuff That Bear!, starring Carmen Ungure- anu, and feature Unknown Things. He is Francis Ford


Coppola’s cousin and served as co-screenwriter on The Godfather III. Pierson runs New York-


based Cypress Films and his credits include EvenHand and Julian Po. Highsmith is a favourite


of film-makers after such works as Strangers On A Train (1951), The American Friend (1977) and The Tal- ented Mr Ripley (1999).


AT THE PRODUCERS NETWORK US distribution expert Bob Berney (centre) speaks to attendees yesterday morning


VoD app seeks festival ties a film by


BY ANDREAS WISEMAN The staff behind fledgling VoD Facebook app Cinecliq are in Cannes locking up deals with rights holders and festivals. The streaming service


struck a deal with Russian distributor Central Partner- ship in Berlin and has a deal with Utah-based indie festi-


val Slamdance to show fi lms during its event. Cinecliq is built into


Facebook’s environment in the hope users will share content, which in turn acts as a marketing mechanism for distributors. The company is able to


access statistical informa- tion about its users through


Facebook, and market fi lms to them accordingly. Cinecliq is headed by


CEO Victor Pasilis. Found- ing partner and chief con- tent offi cer Yan Vizinberg of Persona Films was writer- director of 2011 drama Cargo, while Douglas Gra- ham is on board as head of acquisitions.


Soojun Bae kicks off Synca


BY LIZ SHACKLETON Former Stylejam executive Soojun Bae has launched a Tokyo-based production and distribution outfit, Synca Creations. The company is acquir-


www.the –match–factory.com ■ 12 Screen International at Cannes May 20, 2012


ing director-driven fi lms for Japanese distribution, working with two existing distributors — Midship, founded by another former Stylejam executive Jin Suzuki, and Parco, which owns two Tokyo cinemas. Synca has already jointly


acquired Stig Svendsen’s Elevator with Midship,


which the two companies plan to release in September this year. Bae also worked with


Midship to distribute two of its previous acquisitions — the Michael Mann-produced Texas Killing Fields, released in Japan in April, and Sidney Lumet’s Find Me Guilty, which opened May 19. He also co-distributed David Brooks’ ATM with Parco. Synca is also developing


a slate of Japanese films, starting with an adaptation of a manga about high- school students. “In the


long term, I’d also like to help create a more comfort- able environment [in Japan] for international co-produc- tions,” said Bae, who plans to unveil his debut produc- tion slate this summer. Bae’s credits as a pro-


ducer include Japanese films such as Shinji Aoya- ma’s Sad Vacation and inter- national co-productions including Asia Argento’s The Heart Is Deceitful Above All Things, Jan Kounen’s Darshan, Roy Andersson’s You, The Living and Oxide Pang’s The Tesseract.


Marché du Film Screening: MON 21 MAY · 10:00 AM · OLYMPIA 4


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92