Committed to continue spreading the Joy of Cinema, the 52nd edition of International Film Festival of India invites delegates participating in Toronto Film Festival from all over the world
The 52nd edition of International Film Festival of India (IFFI), slated to be held in a hybrid format from 20 to 28 November 2021 in Goa, looks all set to offer enthralling experience to delegates who are expected to join its physical as well as virtual segments showcasing 300+ screenings during the festival days.
Extending a warm welcome to delegates participating in Toronto Film Festival, Information and Broadcasting Minister Anurag Singh Thakur took to his Twitter handle recently and invited filmmakers and film enthusiasts from around the globe to be a part of IFFI in Goa.”Calling out to Filmbuffs! Delegate registration for 52nd edition of IFFI is now open! Inviting filmmakers and film enthusiasts from around the world to be a part of IFFI in Goa,” tweeted.
Among the many highlights and innovations planned during 52nd IFFI include a parallel fest dedicated to the cinema from BRICS member countries and screening of some of the best works of legendary filmmaker Satyajit Ray as part of his centenary celebrations.
“BRICS film festival to be organised along with the 52nd International Film Festival of India in Goa in November this year will be an opportunity to interact and share the best of cinema,” said Information and Broadcasting Secretary Apurva Chandra.
This year, the Satyajit Ray Lifetime Achievement Award has been added to the list of awards conferred upon filmmakers from across the globe to recognise their contributions to world cinema. Lifetime Achievement Award was already there and it has now been renamed after the legendary filmmaker to mark his centenary. Indian Film Personality of the Year Award, Centenary Award for best debut film of a Director, and ICFT UNESCO Gandhi Award are the names of some of the other awards, besides the Awards for International Competition that will be given away to deserving filmmakers.
A special webpage has been set up where works of Ray and different aspects of filmmaking by the maestro have been put together. As far as restoration of Ray’s films is concerned, the Directorate of Film Festivals has collaborated with people who have restored the master filmmaker’s works that would be showcased at the festival. So far, the Directorate has received 622 films from 95 countries and selections will be unveiled shortly. This year, IFFI will feature at least 16 sections including International Competition, Festival Kaleidoscope, World Panorama, Retrospective of Masters, Country Focus, Retrospective of Lifetime Achievement Awardee, Indian Panorama among others.
To allay fears regarding spread of COVID-19 during the festival, Chaitanya Prasad, Additional Director General, Directorate of Film Festivals, Ministry of Information & Broadcasting and Festival Director of IFFI had earlier said that IFFI team would ensure that “every guest who comes to India becomes IFFI’s responsibility the moment he steps on the Indian soil”.
“We had created systems last year, and there is no cause of worry if International participants are landing at airports in cities like Kolkata, Mumbai or Delhi. There we have appointed teams to look after them because it is our responsibility that guests come to India hassle free, enjoy the flavor of IFFI and go back contented and satisfied,” he added.
IFFI’s theme has been “Joy of Cinema”, which is something that overrides any firewall, as the creative construct of IFFI is wired to get the best of cinema from across the world.
The preparations for the 52nd edition of the IFFI have begun in full swing and some big names in the world cinema are expected to be part of it. Being planned as a hybrid event due to Covid-19, the festival would screen films on its official digital platform along with the theatrical screenings in Goa, which is subject to the prevailing conditions.
Asia’s oldest event of its kind, IFFI still holds on to its pre-eminent position as a showcase of cinematic excellence. It has over the years witnessed numerous alterations in character, nomenclature, location, dates and duration. Through it all, it has remained steadfast in its emphasis on showcasing the diversity of Indian cinema as well as in its commitment to the celebration of excellence across moviemaking genres.
Over the past two and a half decades, several other international film festivals have sprung up across India, notably in Kolkata, Kerala and Mumbai, and they all contribute meaningfully to the collective task of taking quality cinema to people weaned principally on a staple diet of star-driven, song and dance extravaganzas. But IFFI continues to retain its preeminent position owing to its size, scope and vintage.
Not just in the Indian context but also in relation to the other major Asian film festivals, IFFI matters. And this is despite all the inevitable ups and downs that it has seen over the years.
All the other major Asian festivals – Tokyo, Busan and Shanghai – are of far more recent origin and therefore lack the history that is associated with IFFI. IFFI hands out prize money to the tune of US$ 200,000. The winner of the Golden Peacock for the best film takes home $80,000. That apart, the best director and the Special Jury Prize winner bag $30,000 each, while the two acting prizes come with a cash component of $20,000 each.
The moves to push IFFI up a few notches have unfolded since the coastal state of Goa became its permanent venue in 2004. IFFI now has a far more settled feel than ever before, with each improvement in terms of infrastructure and programming initiatives adding value to both the event and the location.
On the programming side, IFFI not only unveils the best films from around the multilingual country with the aim of providing a glimpse of the sheer range and dynamism of Indian cinema, it also puts together a remarkable slate of brand new world cinema titles.
IFFI also hosts many retrospectives, tributes, master classes and special sections, which enhance the variety and depth of the event. The master classes have emerged as a highlight of the festival, especially for film school students who converge in Goa during the ten-day event.
52nd IFFI Highlights
• IFFI will showcase around 300+ screenings during festival days • IFFI will have various sections ranging from World Panorama, where films from across the world will be showcased, to Festival Kaleidoscope, International, Debut and ICFT Competition sections, retrospectives, homage, special screenings. • This edition will also have Master Frames (focusing on renowned cinematographers across the world), Masters of Cinema (focusing on master filmmakers across the world), sports section, Bharat ka Amrit Mahotsav, focus on cinema from BRICS countries, Soul of Asia (focusing on the films of Asia) as major highlights of the festival. • IFFI will have its own virtual platform for delegates to sit back and enjoy the festival from their living rooms. The virtual platform will provide access to registered delegates to watch all the films on the platform at any given time as per their convenience, they can also access live streaming of Masterclasses and In-Conversation sessions, workshops and special events during the festival days. • The live streaming of opening and closing ceremony can also be watched from home on virtual platform as also on social media platforms.
In an effort to reach out to the filming fraternity across the globe, the FFO website http://www.ffo.gov.in has made the single window clearance for filming in India a reality. It helps international and domestic producers cut through the permission process required to shoot films in India.
Laying a red carpet for global producers and studios as part of its mandate to promote India as a filming destination, the Film Facilitation Office (FFO) has set up a web portal, http://www.ffo.gov.in, which provides all filming related information on a single platform.
Having been set up as a single window clearance system for granting mandatory filming permissions from Central and State governments, the portal also lists out all important guidelines and advisories for both international and Indian filmmakers. Whether it is accessing information related to filming, or understanding the processes of international arrivals, visa issuance, or application for quarantine exemption request, it’s all easily accessible to filmmakers at the click of a button.
Applying online for filming in India through the portal is an absolute breeze. Once a filmmaker applies through the portal, there is an automatic transmission of information to all the nodal agencies. The web portal has information regarding the Nodal officers of all Indian States and Union Territories, along with their filming policies and guidelines. Besides enabling online submission of applications for filmmakers, the portal also enlists India’s co-production treaties.
It disseminates information on India’s various shooting locations across all the States (each location having detailed information relevant to that particular location) and lists facilities available with the Indian film industry for postproduction, animation and VFX.
The layout of the website has been kept simple with all information neatly organised under each subhead. For example, if you are an international filmmaker, production house or a domestic filmmaker seeking permissions for shooting there are separate step-by-step guidelines under Permissions tab, which also has online application, and guidelines about aerial filming, filming with animals, application for filming visa and temporary import of filming equipment.
Applying through the FFO portal has never been easier. It requires the applicant to sign up with self-generated username and password to create an account, and start an incredible journey on one of the most user-friendly websites anywhere in the world for obtaining filming permissions with FFO by their side at every step of the way to guide them through all the nitty-gritty associated with filming in India.
The website also allows registration of local representatives or line producers of foreign productions in order to carry out recce of shooting locales.
After completing the registration process by uploading all documents in digital format, such as, detailed script, synopsis or concept, passport details of the crew, details of shooting locations in India and the period of shooting, etc, a nominal application processing fee is required to be submitted to start a one-on-one relationship with nodal officers of various government departments and agencies to help filmmakers realize their celluloid dreams.
The FFO, which became operational in 2016, has since assisted several international and domestic productions to complete their projects (Feature Films, Reality TV shows and/or Commercial TV Serials) in India. The portal bears a testimony to its proactive approach towards strengthening filming ecosystem in India by helping filmmakers link with shooting locations as well as the talent, resources and facilities available within the Indian Film industry for production and post-production. Rest assured you are in good hands.
Expect a keen tussle for the Cannes Film Festival’s top prize this year because it is, for the most part, likely to be a battle of equals, but do keep an eye on the surprises that the Un certain regard section is bound to spring
By Saibal Chatterjee
Three previous Palme d’Or winners – Jacques Audiard, Apichatpong Weerasethakul and Nanni Moretti – are among the 24 directors vying for the top prize at the 74th Cannes Film Festival. Important as that bit of information is, it isn’t the big news. The big news is that one-third of this year’s Palme d’Or contenders – eight of the 24 – are films that were wrapped up last year.
What does that tell us? It is safe to assume that these filmmakers chose to opt out of the Cannes 2020 selection (or sit out other festivals held post-May) so as to be able to bring their films physically to Cannes this year and compete.
The eight 2020 productions in Competition are Weerasethakul’s Colombia-set Tilda Swinton and Jeanne Balibar starrer Memoria, Kirill Serebrennikov’s Petrov’s Flu, Nanni Moretti’s Three Floors, Leos Carax’s opening film Annette, Paul Verhoeven’s Benedetta, a 17th century erotic drama set in an Italian convent, Wes Anderson’s The French Dispatch (which would probably have been the opening film had the festival not been cancelled last year), Bruno Dumont’s France, and Mia Hansen-Love’s Bergman Island.
Serebrennikov will be unable to attend the Cannes Film Festival because he is serving a suspended sentence for embezzlement of government funds (a charge that human rights activists allege is a veiled retaliation against his criticism of the establishment) and is barred from leaving Russia. In 2018, too, the theatre and film director was prevented from making the trip to Cannes, where his musical Leto was in Competition.
Serebrennikov’s latest film Petrov’s Flu, an adaptation of a 2018 novel by Alexei Salnikov described in the synopsis as “a deadpan, hallucinatory romp through post-Soviet Russia”, follows a flu-hit comic-book artist and his family through yet another day as he drifts in and out of bouts of fantasy and a reality in which nothing is as ordinary as it seems.
Also in the Competition line-up is the Hungarian director Ildiko Enyedi, who won the Golden Bear at the 2017 Berlin Film Festival for On Body and Soul. Her new film, The Story of My Wife, starring Leo Seydoux (she has three other films in the festival), Dutch actor Gijs Naber and Louis Garrel, is adapted from a Milan Fust novel of the same name. Enyedi’s debut film, My 21st Century, won the Camera D’Or in Cannes in 1989.
Moretti’s film Tre Piani (Three Floors) tracks a chain of events that alters the lives of the residents of a Rome apartment building where co-existence as parents, siblings and neighbours isn’t the easiest thing to achieve. Moretti won the Palme d’Or exactly two decades ago, for The Son’s Room (2001).
Audiard, whose Dheepan won the Palme d’Or in 2015, is in Cannes with Les Olympiades (Paris 13th District), which was shot in the French capital during the pandemic. It follows four youngsters who are friends and lovers. The brief synopsis reads: “Emilie meets Camille, who is attracted to Nora, who crosses the path of Amber. Three girls and a boy redefine what modern love is.”
Carax, whose Annette stars Adam Driver and Marion Cotillard, and Audiard, are among a record seven French directors in contention for the Palme d’Or. Mia Hansen-Love is competing with Bergman Island, in which a filmmaking couple (Tim Roth and Vicky Krieps) spend a summer in the Swedish island of Faro, where Ingmar Bergman lived and worked, with the intention of completing their respective scripts. As the days pass, they find the lines between reality and fiction blurring.
Another Cannes Competition first-timer Julia Ducournau has Titane, headlined by Cannes best actor winner Vincent Lindon (The Measure of a Man, 2015), in the running.
Catherine Corsini with The Divide, which plays out on the evening of a major ‘yellow vests’ protest in Paris; Bruno Dumont with France starring Lea Seydoux in a portrait of an anchor woman, of a country and of the media”; and Francois Ozon with Everything Went Fine, which has Sophie Marceau in the role of a woman whose octogenarian father wants her to help him end his life, complete the French Competition contingent.
Several other directors are vying for the festival’s top prize for the first time – Sean Baker (The Florida Project, Tangerine) with Red Rocket, Israel’s Nadav Lapid with Ahed’s Knee, Finnish filmmaker Juho Kuosmanen with Compartment No. 6), Belgian director Joachim Lafosse with The Restless, and the French-Moroccan Nabil Ayouch with Casablanca Beats.
A fictional filmmaker is at the centre of Israeli director Nadav Lapid’s Ahed’s Knee. The protagonist, a filmmaker in his mid-40s, travels to a remote desert village to present a film of his and finds himself contending with two deaths: one of freedom in his country, the other of his mother.
Besides Weerasethakul, the the 2021 Cannes Competition features two Asian directors – Cannes regular Asghar Farhadi and Japanese filmmaker Ryusuke Hamaguchi, whose 2018 film Asako 1 & 2 made the cut. This year, the latter is in Cannes with Drive My Car.
Farhadi’s Ghahreman (A Hero) promises to be precisely the kind of probe into human foibles that the director is known for. The film centres on a man imprisoned for failing to repay a debt. Out on parole for two days, he tries to convince the creditor to drop the case against him in exchange for payment of a part of the sum. But matters do not pan out quite the way the protagonist expects them to.
Hollywood star Sean Penn, who was in the Cannes Competition in 2016 with The Last Face, returns to the Croisette with Flag Day, a film based on a true story about one of the most notorious counterfeiters in US history. It is a father-daughter drama that stars Penn himself opposite his real-life daughter Dylan Penn.
Australian director Justin Kurzel, whose Macbeth was in Competition in 2015, has a film among the award contenders this year. Titled Nitram, the film stars Caleb Landry Jones as a loner who goes on a shooting rampage. It is inspired by the real-life 1996 Port Arthur shooting in which 35 people were killed.
Norwegian director Joachim Trier, who competed for the big prize in 2015 with his English-language Louder film than Bombs, has The Worst Person in the World in Competition this time around. The film, a dramedy about a young woman in the throes of an existential angst and a struggle to find true love, rounds off the director’s Oslo trilogy.
Ayouch, a Competition newbie, brings a realistic hip-hop musical to the festival. The film, Casablanca Beats, features many non-pro actors. Set in the Sidi Moumen slum district of Casablanca, the film centres on a bunch of youngsters fighting to break free from the shackles of conservatism and express themselves through music.
Kuosmanen, whose The Happiest Day in the Life of Olli Maki, was in the Un certain regard competition in 2016, has moved a step up this year. His new film, Compartment No. 6, set in the late 1990s, is about a Finnish student Laura who travels from Moscow to Murmansk to see ancient rock paintings. The only other passenger in the compartment is an unsociable, glum Russian miner. In the course of the long rail trip through the snow, the ice begins to breaks between the two travellers.
American director Sean Baker gets his first shot at the Palme d’Or with Red Rocket, about a down-and-out former porn star returns to his small Texas hometown, where nobody really wants him back.
Chadian director Mahamat Saleh-Haroun, who is no stranger to the Cannes Competition (his fourth feature film, A Screaming Man, won the Jury Prize in Cannes in 2010), is back in the reckoning with Lingui. It is a film about a young mother and her pregnant 15-year-old daughter who have to find a way to get an abortion done in a society in which that is easier said than done.
As always, observers looking to discover new stars of world cinema will focus on Un certain regard, where seven of the 20 films have been made by debutants. The competitive section opens with Onoda, a film by French actor-turned-director Arthur Harari that has been filmed entirely in Japan.
Among the Un certain titles to watch out for are Commitment Hasan, the second part of Turkish filmmaker Semih Kaplanoglu’s Commitment trilogy; Bulgarian filmmaking pair Mina Mileva and Vesela Kazakova’s Women Do Cry; Arab-Israeli director Eran Kolirin’s Let There Be Morning;and Russian filmmaker Kira Kovalenko’s Unclenching the Fists.
One film this critic would be particularly keen to watch is from Russia – Alexey German Jr.’s House Arrest. The protagonist of the film, David, is a university professor who launches a broadside against the city administration on social media. But instead of the mayor’s questionable dealings being probed, the whistle-blower is put under house arrest on a trumped-up charge. And thus begins a David-versus-Goliath battle.
Satyajit Ray’s work was showcased in Cannes Film Festival on several occasions. It is a tad disappointing, therefore, to find him missing from Cannes Classics in his centenary year. Wouldn’t it have been wonderful had one of Ray’s masterworks been in the mix this year as well?
By Saibal Chatterjee
Satyajit Ray had a long and symbiotic relationship with Cannes. It began with his very first film, Pather Panchali (Song of the Little Road, 1955), which won the Best Human Document award at the festival’s ninth edition in 1956. The Indian maestro’s work was showcased in Cannes on several occasions thereafter. It is a tad disappointing, therefore, to find him missing from Cannes Classics in his centenary year.
After Pather Panchali, three of Ray’s films were in the Cannes Competition – Parash Pathar (1958), Devi (1962) and Ghare Baire (1984). A late-career work, Ganashatru (1989), played in the Special Screenings section. In 2013, one of his most consummate films, Charulata, was screened in Cannes Classics. Wouldn’t it have been wonderful had one of Ray’s masterworks been in the mix this year as well?
Widely credited with putting Indian cinema on the world map, Pather Panchali has been screened in Cannes on as many as four occasions. Besides the world premiere in 1956, when it heralded Ray’s arrival on the global stage, it was in Special Screenings in 1992 (as a homage to the filmmaker who had passed away weeks earlier), Directors’ Fortnight in 1995 (to mark the film’s 40th anniversary), and Cannes Classics in 2005 (on the occasion of the film’s 50th anniversary). It might have been in the fitness of things to find a slot for a Ray film in the Classics 2021 selection. The Cannes Film Festival is the only one of Europe’s ‘big three’ where the top prize eluded Ray. In Venice, the second part of the Apu trilogy, Aparajito (The Unvanquished), won the Golden Lion in 1958. In 1973, Ashani Sanket (Distant Thunder), which was, like the Apu trilogy, adapted from a Bibhutibhushan Bandopadhyay novel, fetched him the Golden Bear at the Berlin Film Festival.
It may be argued, and not unjustifiably, that Indian cinema has moved on since Satyajit Ray’s passing in 1992. It is also true that nearly 30 years on, the departed maestro continues to be a bright lodestar for contemporary subcontinental filmmakers seeking to make renewed global inroads. Ray perfected the art of making culturally rooted films that were, at the same time, universally relevant. That is an ability that can never go out of vogue.
No filmmaker in this country has reached the heights that Ray consistently did at the peak of his prowess – all the more reason to celebrate what he achieved in terms of paving the way for his successors.
In his centenary year and beyond, Ray remains a constant presence in our midst, reminding us of the intrinsic capacity of the medium to capture the essence of life that might be specific to one part of world and yet communicate with people across the globe. He was an auteur in the truest sense of the word, the kind of filmmaker that the Cannes Film Festival has feted over the decades.
Ray’s oeuvre is important not only as films but also as historical/social chronicles. “Seldom has a film director’s work chronicled the process of social change in a country over as long a span of time as Satyajit Ray’s,” film critic Chidananda Dasgupta wrote in his book The Cinema of Satyajit Ray. “The subjects of his films range over the shifting social scene in India for over one hundred and fifty years (at the time of the book’s publication).”
Dasgupta wrote: “Devi (The Goddess, 1960) is placed in the 1830s. Shatranj Ke Khilari (The Chess Players, 1977) in the 1850s. Charulata (1964) is laid in 1879, Jalsaghar (The Music Room, 1958) at the turn of the century, the Apu trilogy in the early years of the 20th century. Sadgati (The Deliverance, 1981) was written by Premchand in the 1930s about an unspecified, as it were timeless, period. Ashani Sanket (Distant Thunder, 1973) deals with the British-made wartime famine of 1943; besides, he of course made a host of contemporary films.”
Ray’s contemporary films – Abhijan (The Expedition, 1962), Mahanagar (The BigCity, 1963), Aranyer Din Ratri (Days and Nights in the Forest, 1969), Seemabaddha (Company Limited, 1971), and Jana Aranya (The Middleman, 1975), among others – present a vivid portrait of a society and a culture in flux. No filmmaker has ever caught the nuances of this process and its impact on human beings as felicitously as he did. The simplicity of his films was often deceptive. Nothing that Ray made was ever chance-directed.
Ray at Cannes
Beginning with the ninth edition of the Cannes Film Festival (1956), where his debut film PatherPanchali won the Prix du Document Humain, the Indian maestro travelled to the Croisette on several occasions in subsequent years. He had three more titles in the Cannes Competition – Parash Pathar (1958), Devi (1962) and GhareBaire (1984) – besides Ganashatru (1989) in the Special Screenings section. In 2013, one of his greatest films, Charulata, was screened in Cannes Classics.
Pather Panchali is as much a part of Indian cinema folklore as it is of the Cannes Film Festival’s own history. In 1956, it won the Best Human Document Award, narrowly losing the Palme d’Or race to the French documentary Le Monde du Silence (The Silent World), directed by Louis Malle and famed oceanographer Jacques-Yves Cousteau. It was a year of heavy-hitters in the Cannes Competition, with the likes of Ingmar Bergman (Smiles of a Summer Night, which also won a Special Award), Akira Kurosawa (I Live in Fear) and Alfred Hitchcock (The Man Who Knew Too Much) going head to head. It was also the year when Henri-Georges Clouzot, known for his seminal French thrillers, landed a Special Jury Award for his Picasso documentary, Le Mystere Picasso (The Mystery of Picasso).The jury was headed by French actor-director-producer Maurice Lehmann.
Listening to and answering the needs of the industry, the Marché du Film team has decided to run the online Pre-Cannes Screenings from June 21-25, two weeks before the Marché du Film physcial market in Cannes (6-15 July).
Based on the request from sales agents to have an event between the EFM and the Marché du Film in Cannes in July, the Marché du Film announced a few weeks ago the Pre-Cannes Screenings from May 25-28.
Much recently, some sales companies voiced their preference to hold the event later in June. Following this, it was decided to launch a ‘wide survey’ to all buyers and sellers. Over 700 answered and a vast majority confirmed their participation in the Pre-Cannes Screenings and 66 per cent voted in this new context for moving to June 21. “A vast majority confirmed their participation in the Pre-Cannes Screenings and 66% voted in this new context for moving to June21,” Marché du Film said in a statement.
Registration for the Marché du Film was opened recently with an ‘early bird’ rate in place until 19 April 2021 of € 349 (excluding taxes) for the onsite event in Cannes and € 129 (excluding taxes) for the online Marché alone.
In order to enable registered participants to adapt their plans up until the last minute, it will be possible to change from online to onsite accreditation and vice versa without incurring penalties.
In July, the Marché du Film will offer all its usual activities: stands, screenings, the Village International, networking programs, conferences… Professionals unable to travel will still be able to take part via virtual screenings of certain films, conferences that will be broadcasted simultaneously and some of the networking programs.
In the MIPTV Preview 2021 Curtain Raiser Edition, MIPTV director Lucy Smith has given a curtain raiser of sorts on what’s in store this year at the much awaited event. “We are looking forward more than ever to bringing everyone together for the best of MIPTV, MIPDoc & MIPFormats online this April.”
The 58th edition of Cannes’ TV market MipTV, set to run from April 12, will be a virtual affair for the second consecutive year. The 2020 edition was also forced to go digital due to the pandemic.
Organizer Reed MIDEM has said sister events MipDoc and MipFormats will also become virtual events.
According to Lucy Smith, Digital MIPTV, with its rich content showcases will be your guide to the very best in the new programming. The 7th annual MIPDrama, an exclusive look at the most anticipated series in production around the world gets underway just ahead of the MIPTV week.
This is followed by a series of non-scripted showcases offering a first look at factual programming, high-end documentary and factual formats from the biggest names in the industry.
“And our exclusive Fresh TV sessions even more in demand as the industry looks to the future and adjusts to the effects the past year, we introduce two brand new sessions focussing on young-adult content, esports, podcasts and brands,” says Lucy.
She adds: “We’re also excited to be welcoming for the first time two of the biggest names in global entertainment- David Becham and Marc Anthony- as they turn their focus towards television production and share their ambitions for their studio enterprises.”
The launch of the MIP SDG Award last year, supporting the United Nations’ 17 Sustainable Development Goals, underlines our commitment to galvanising the industry to support social change, she says and adds: “This year we honour A+E Networks president Paul Buccieri, for his company’s outstanding efforts in reducing inequality both in programming and behind the camera.”
She says, “we have designed this year’s MIPTV programme around the elements that we know are most valuable to you: one-to-one matchmaking, networking, conferences and market intelligence, with a sharp focus on doing real business.”
Before signing off, she adds: “We have also learned how much Cannes means to you and that nothing replaces meeting face-to-face to share our love of television.”
MIPTV – the 58th Spring International Television Market – will take place online during the annual spring market dates of April 12-16, 2021 and will bring together global distributors, producers, buyers and commissioners of drama, doc, kids, factual and formats programming for a curated week of personalised business meetings, exclusive market intelligence, conference sessions and global networking.
Over 1000 buyers are at Digital MIPTV with a clear objective on what they are looking for.
Reed MIDEM has confirmed strong buyer and commissioner demand for Digital MIPTV 2021 for the one-to-one distribution market, the one-to-one international co-production markets and its digital networking platform in a positive early response for this year’s all digital show.
Peter Andrews of SBS, Australia says they are looking forward for factual series, food content, films and drama. In addition to global territories, SBS is looking for Asia regions- China, India, Indonesia, Japan, South Korea, Taiwan.
As far as VRT from Belgium is concerned, Current Affairs Buyer/Commissioner Jan Konings says they are at MIPTV for pronounced documentaries in series or one-offs, in diverse lengths.
ARTE1 from Brazil is eyeing for sophisticated productions. “Our main request is that all the themes of the programs needs to be related to art topics. We have slots for: documentaries (one-off)/ doc-series with episodes of 26’ or 52’/concerts from classical to modern music / ballet performances from classical to contemporary style / awarded and independent art movies,” says its head of acquisitions and co-productions Janaina Tadeu.
Lei Jing, General Manager, Golden-Spread Entertainments Co., Ltd, China says they are looking for Action, Adventure, Animated Feature, Film, Wild/Nature Documentary, TV series. Their plan is to acquire foreign films and TV series and sell to Chinese clients.
Huawei Technologies Co., Ltd, China is eyeing to acquire VOD programmes including TV series, movies, docs, kids, 4K etc. China’s MediaTV International Service’s General Manager Jing Kang is planning to buy TV programmes from international partners worldwide.
Mira Vocinkic, Editor – Buyer, Acquisitions Department of Croatian public broadcaster Croatian TV is at MIPTV for all kind of documentaries, talk shows, concerts. Vicky Schroderus, Executive In Charge Of International Co-Productions & Acquisitions at Yle Children’s Programs is attending MIPTV for content that will enhance YLE’s offering for kids. The shows need to entertain, bring laughter and awoke curiosity.
ARTE France, a European public-service cultural television channel, is looking for finished films in people, places, human interest, ancient history, civilisations, nature and wildlife.
With the 58th edition of Cannes’ TV market MIPTV, set to run from April 12, majority of Chinese companies are looking to buy animation content, while at the same time domestic animation studios are on the rise.
Demand for good quality animation content is on the rise in China because of growing numbers of Internet users (990 million in China).
China is now the second biggest spender on television content in the world ($10.9 bn in 2017, according to IHS Markit) – surpassed only by the US.
While a significant proportion of this total (49 per cent) can be attributed to the country’s booming domestic production business, the country’s broadcasters and VOD platforms have also developed a voracious appetite for international coproductions and acquisitions. Online giants Baidu, Alibaba and Tencent have invested $4.5 billion to feed the pipelines of their entertainment platforms.
Jetsen Huashi, director of Jetsen Huashi Wangju Cultural Media Co., Ltd., is looking for high quality animation series for kids at MIPTV.
The company had already purchased 35,000 episodes of teleplays, 15,000 episodes of plays that can be sold overseas legally, and 58 episodes in prime time for satellite TV stations, accounting for 30 per cent of the market share, as well as 300,000 minute cartoons, including 100,000 minute HD
Tao Jia, International Contents, Acquisition. JY Animation Co., China, is attending MIPTV to acquire kids animation contents for 0-6 years old kids.
Qi Yu, vice-president of JY Animation Inc., China will be at MIPTV to buy animation and all kinds of kids contents.
Sean Chu, CEO and founder of Wekids Asia Ltd, China, will take part in MIPTV for high quality animations for kids and international artwork or stories.
With the Covid-19 pandemic changing things across the world, everyone is thinking novel methods backed by technology to keep the show going. There is one such innovation by the organisers of Marché
Due to the unusually long delay between the EFM in Berlin and the Marché du Film in Cannes (6-15 July), many international sales agents have expressed the need for an intermediate event in the spring, which will allow them to do business and to network virtually, while awaiting the big rendez-vous in July when the film industry will meet up again in large numbers.
Hence, the Marché du Film is organizing the “Pre-Cannes Screenings”, four days of online screenings, end of May, on a platform that will exclusively offer virtual booths for sales companies and screening rooms in streaming.
This is being done as producers, sales agents, and distributors were pushing for an earlier market. They wanted it to secure financing for projects they can shoot in the summer or, for finished films, to allow time for a theatrical release in early summer by when, it is hoped, cinemas in most regions will again be open after coronavirus shutdowns.
Many independent distributors expect a window of opportunity in the early summer after theaters re-open but before the competitive onslaught of big projects, many of which have been pushed back to the later months to accommodate later cinema openings in the United States.
Access to the pre-Cannes platform will be strictly reserved to buyers already registered with the Marché du Film (either with an online or an onsite accreditation) and this at no extra cost.
In July, the Marché du Film will offer all its usual activities on site in Cannes: stands, screenings, the Village International, networking programs, conferences… Professionals unable to travel will still be able to take part via virtual screenings of certain films, conferences that will be broadcasted simultaneously and some of the networking programs.
For the first time in its history, the Festival de Cannes will roll out its red carpet in the summer this year.
The 74th edition will take place from 6 to 17 July 2021 and accreditations are open. Delegates can check the registration requirements according to their category, submit their accreditation request online and track their application.
The early bird accreditation (March 15-April 15) for physical Cannes Film Festival will be 20 Euros plus VAT, for physical Cannes Film Market (349 Euros plus VAT) and online Cannes Film Market (129 Euros plus VAT). For the regular accreditation beginning (April 16-June 22) physical Cannes Film Festival will be 120 Euros plus VAT, for physical Cannes Film Market (399 Euros plus VAT) and online Cannes Film Market (169 Euros plus VAT).
Details have not been spelt out on travel and visa regulations during Cannes Film Festival and Market. More details are awaited as COVID-19 vaccination drive has been globally rolled out.
The Festival continues to open its doors to the general public with “Cannes Cinéphiles”, and more particularly to younger audiences with “3 Days in Cannes”. These initiatives, which welcomed 7,000 film enthusiasts to screenings in 2019, will continue in 2021.
Applications for “3 Days in Cannes” accreditations will open at the beginning of April. Applications that were accepted in 2020 will be prioritised for processing.
In order to offset the journeys taken by visitors and their accommodations, which represent 89 per cent of the event’s carbon footprint, access to the Festival will now require each accredited person to pay an environmental contribution of €20 (excluding tax).
The Festival de Cannes is also committed to offsetting the other 11% of carbon emissions generated by the organisation of the event by making an environmental contribution. All proceeds will be donated to local, national and international carbon offset programmes.
For the 15th consecutive year, Pickle will have a special India focused edition for Cannes Film Market 2021 (Both print and digital version). As a run up to the market, there will also be dedicated newsletters and special focus on India participation at Cannes with the objectives of producers, filmmakers, buyers, locales, service providers, market reviews and film screenings.