The Virtual India Pavilion at Marche Du Film provides Indian delegates with an opportunity to meet and conduct business with leading members of the international film fraternity thus creating a global footprint for Indian Cinema. This is a one point contact for Indians at Cannes. The interactive sessions at the India Pavilion are the sought after ones. The Ministry of Information & Broadcasting, in partnership with FICCI, is organising the India Pavilion.
The objective behind India’s participation at Cannes Film Market is to promote Indian films across linguistic, cultural and regional diversity so as to forge an increasing number of international partnerships in the realms of distribution, production, filming in India, script development and technology, thereby accelerating the growth of the film sector in India.
There are close to 100 online delegates from India at Cannes Film Market this year.
India has audio visual co-production treaties with over 15 countries — Bangladesh, Canada, China, France, Germany, Israel, Italy, Republic of Korea, New Zealand, Poland, Portugal, Spain, UK & Northern Ireland, Bangladesh and Russia.
The 52nd Edition of IFFI 2021 will take place from November 20-28, 2021. The 9-day cinematic feast will embrace the works of a wide variety of filmmakers across the world with masterclasses and knowledge series. Asia’s oldest event of its kind, IFFI still holds on to its pre-eminent position as a showcase of cinematic excellence. IFFI 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 movie making genres.
Film Facilitation Office (FFO), set up by the Ministry of Information & Broadcasting, acts as a single point of contact for filmmakers to get all the relevant information about India’s film industry ecosystem, and help them navigate through filming guidelines of key Central government Ministries and State governments. http://www.ffo.gov.in
Marathi cinema is the flavour from India at Cannes. Maharashtra Film, Stage and Cultural Development Corporation has supported half-a-dozen Marathi filmmakers to participate virtually at the Cannes Film Market. It has selected two films to represent at the Cannes Film Market – Ananth Narayan Mahadevan’s ‘Bittersweet’, which examines the plight of sugarcane crop workers; and ‘Mee Vasantrao’ which is the biopic of Vasantrao Deshpande directed by Nipun Dharmadhikari.
6th July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST The official opening of the Virtual India Pavilion
7 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Showcasing International Film Festival of India (IFFI)
5 pm – 6 pm IST / 1:30 pm – 2:30 pm CEST Filming in India
8 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Co-productions: New markets, New possibilities
9 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Film Production: Challenges faced & learnt in making global films
10 July 3 pm – 4 pm IST / 11:30 am – 12:30 pm CEST Taking Indian Content to Global Markets: Importance and role of film festivals in the age
From March 2 to 5, 2021, the seventh edition of “Berlinale Series Market & Conference” will present a top-notch conference programme, international showcases, a curated selection of commercially promising series under the newly created label “Berlinale Series Market Selects”, and regular market screenings. Like at the EFM itself, the screenings and conference will take place digitally, and will be structured to suit the virtual format. The “Mix and Mingle” format within the online version of the “Berlinale Series Market & Conference” will also provide networking for series industry professionals.
Dennis Ruh, EFM director: “With the ‘Berlinale Series Market & Conference’ we’ve again created a ‘market within the market’ where everything revolves around high-quality series content. Series professionals, industry experts and buyers will find numerous opportunities to learn about current trends and trendsetting developments, to discover commercially promising series recommendations, and to see the first images from 2021’s most important series from Germany and other countries. All of it concentrated and located in one place – the EFM website.”
Conference programme highlights: impact storytelling and narrative trends
The digital conference on March 3 will be opened in cooperation with the Film- und Medienstiftung NRW, main partner of “Berlinale Series Market & Conference”. The official Berlinale Series programme includes the new series It’s a Sin by legendary British series creator Russell T Davies (Doctor Who, Queer as Folk, Years and Years), and in his opening keynote conversation, he will talk about his wish to address complex subjects and make them accessible to a large audience.
In the masterclass “Social Impact Storytelling”, Maurício Mota (Wise Entertainment) will show how serial storytelling can change hardened perceptions and promote inclusion. Guy Bisson (Ampere Analytics) presents global narrative trends and current facts. In the discussion that follows, high-profile industry representatives will debate the influence of current world events on the detailed strategy of fictional content producers.
Series showcases from all over the world will complement the programme and present new productions and themes. Another high point will be the “Upcoming Series from Germany” selection, which gives insight into the newest German series: Para – Wir sind King (W&B Television, TNT Serie, WarnerMedia), Wild Republic (Lailaps Pictures / X Filme Creative Pool, MagentaTV / WDR / SWR / arte / One, Beta Film), Blackout – Morgen ist es zu spät (W&B Television, SAT.1 / Joyn, Red Arrow Studios International) and Terra Vision (WT) (Kundschafter Film / Sunny Side Up, Netflix). The complete programme will be announced in February.
Series available for online screening
The newly created special label “Berlinale Series Market Selects” highlights extraordinary series of high commercial potential within the “Berlinale Series Market” screenings. The selection – limited to 15 projects maximum – is made by the Berlinale Series committee. With a strong focus on new European productions as well as series from Australia, Russia and Canada, the twelve projects in total bearing the “Berlinale Series Market Selects” label exemplify the global and thematic diversity of the series market: Potential discoveries include crime stories and contemporary family constellations from Scandinavia; creator Albert Espinosa focuses on mental illness in the young adult series Alive & Kicking; and Keeley Hawes and Joanna Lumley grapple with smart houses and the bereavement process in Finding Alice. In the series Katakomben, from Germany, Munich’s surface and its underworld collide in explosive ways.
The “Berlinale Series Market & Conference” is a joint initiative of the European Film Market, the Berlinale Co-Production Market and Berlinale Talents, and is organised in close collaboration with Berlinale Series. The “Berlinale Series Market & Conference” takes place in partnership with Film- und Medienstiftung NRW, and is funded by Medienboard Berlin-Brandenburg.
“Series Market Selects” 2021
Aftertaste, Australia Creator: Julie De Fina, Matthew Bate Director: Jonathan Brough with Erik Thomson, Natalie Abbott, Rachel Griffiths Production company: Closer Productions Broadcaster: ABC (Australian Broadcasting Corporation) World Sales: ABC Commercial
Episodes 1-3 of 6
When his latest outburst goes viral, volatile celebrity chef Easton West flees back to his hometown and tries to reinvent himself through an unlikely partnership with his 19-year-old pastry wunderkind niece.
Alfa (Grow), Denmark Creator: Milad Avaz Director: Milad Avaz with Lars Mikkelsen, Andreas Jessen, Sebastian Jessen Production company: SF Studios Productions, Rocket Road Pictures Broadcaster: TV2 Denmark, TV4 Sweden World Sales: ZDF Enterprises
Episodes 1 and 2 of 8
A stockbroker remembers his family roots in organised crime and dives ever deeper into the world of Danish biker gangs. His ambition is only matched by the efforts of his brother, a drug enforcement officer, to save him.
Сны Алисы (Dreams of Alice), Russia Creator: Anastasia Volkova Showrunners: Valeriy Fedorovich, Evgeniy Nikishov Director: Andrey Dzhunkovskiy with Alina Gvasaliya, Aleksey Rozin, Ekaterina Vilkova Production company: 1-2-3 Production Broadcaster: TV-3 World Sales: 1-2-3 Production
Episode 1 of 8
Teenage girl Alice lives in a small town where everything seems ordinary at first sight. She can’t wait to get away from it: the bullying at school, the fights with her mother – and the bloody premonitions that keep haunting her. But what if there is no way to leave?
Los Espabilados (Alive and Kicking), Spain Creator: Albert Espinosa Director: Roger Gual with Álvaro Requena, Marco Sanz, Sara Manzano, Aitor Valadéz Production company: Movistar+ in co-production with Dynamo Audiovisual Broadcaster: Movistar+ World Sales: Beta Film
Episodes 1 and 2 of 7
Four teenagers escape from a psychiatric institution. With a detective on their heels, they take on life with their very own wit, humor and charm – challenging our conception of sanity.
Finding Alice, United Kingdom Director: Roger Goldby with Keeley Hawes, Joanna Lumley, Nigel Havers Production company: Red Production Company Broadcaster: ITV World Sales: STUDIOCANAL
Episodes 1 and 2 of 6
The night Alice and her family move into the dreamhouse her husband Harry built, he has a fatal accident. His sudden death kicks up a storm of secrets, debt and suspicion which Alice is forced to confront in order to survive.
Katakomben (Echos), Germany Creators: Jakob M. Erwa, Florian Kamhuber Showrunner: Jakob M. Erwa, Florian Kamhuber Director: Jakob M. Erwa with Lilly Charlotte Dreesen, Sabine Timoteo, Mercedes Müller Production company: NEUESUPER Broadcaster: ProSiebenSat.1, JOYN Word Sales: Beta Film
Episodes 1 and 2 of 6
When a group of bored high-society kids meets the invisible lower class in the Munich catacombs, everything crashes.
Io ti cercherò (Standing Tall), Italy Creator: Leonardo Fasoli, Maddalena Ravagli Director: Gianluca Maria Tavarelli with Alessandro Gassman, Maya Sansa, Andrea Sartoretti Production company: Publispei Broadcaster: RAI World Sales: ZDF Enterprises
Episodes 1 and 2 of 8
An ex-police officer investigates into his estranged son’s alleged suicide. With the help of old allies and facing the demons of his past, he risks everything to keep the promise he made to his only child.
Mon Fils (Son of Mine), Canada Creators: Michel D’Astous, Anne Boyer Director: Mariloup Wolfe with Antoine L’Écuyer, Élise Guilbault, Patrice Godin Production companies: Quebecor, Duo Productions Broadcasters: Club Illico, TVA World Sales: Oble
Episode 1 and 2 of 6
18-year-old Jacob’s life is shattered by the sudden onset of schizophrenia. His once-bright future is irretrievably shaken by this unforgiving mental illness. As is his mother Marielle’s life, who won’t give up on her son and is determined to help him to get onto the road of recovery.
Outlier, Norway Creators: Arne Berggren, Kristine Berg Showrunners: Arne Berggren, Kristine Berg Directors: Ken Are Bongo, Arne Berggren, Kristine Berg with Hanne Mathisen Haga, Stein Bjørn, Eila Ballovara Varsi Production Company: Shuuto Norway Broadcaster: A Media World Sales: REinvent International Sales
Episodes: 1 and 2 of 8
A criminology student returns to her home town in Northern Norway to throw herself into the investigation of what turns out to be a serial killer case.
OVNI(s) (UFOs), France Creators: Clémence Dargent, Martin Douaire Director: Antony Cordier with Melvil Poupaud, Michel Vuillermoz, Géraldine Pailhas Production company: Montebello Productions Broadcaster: CANAL+ World Sales: STUDIOCANAL
Episodes 1-4 of 12
1978. Didier, a brilliant space engineer, is assigned a new task after his rocket launch went awry: As the head of GEPAN, he has to solve the many mysteries of UFO sightings and lead his team of misfits to efficiency and success.
Pørni (Suck it up), Norway Creator: Henriette Steenstrup Directors: Gunnar Vikene, Charlotte Blom with Henriette Steenstrup, Nils Ole Oftebro, Gunnar Eiriksson Production company: Monster Scripted Broadcaster: Viaplay World Sales: TBA
Episodes 1-3 of 6
Pørni has two daughters, an irresponsible ex, a father and a nephew she took in after a family tragedy, a job in child welfare and a house and garden. Why would she have trouble finding time for herself – especially her love life?
Seeds of Deceit, Netherlands Director: Miriam Guttmann Production company: De Familie Film & TV Broadcaster: VPR World Sales: Dogwoof
Episodes 1-3 of 3
Dr. Karbaat, a pioneer in artificial insemination, became subject to controversy when evidence accumulated that he used his own semen for the process. The documentary series portrays the shocking revelations and the people whose lives were affected by this.
The 73rd Locarno Film Festival is reinventing its 2020 edition and has developed a new initiative, The Films After Tomorrow, aimed at supporting projects that aim to help filmmakers (10 international and 10 Swiss filmmakers) who had their projects put on hold because of Coronavirus pandemic. Locarno managed to raise $220,000 of prize money for The Films After Tomorrow initiative.
FilMart Hong Kong August 26-29
Amid lockdown and travel restrictions, the Hong Kong Trade Development Council has decided to migrate the Hong Kong International Film & TV Market (FILMART) to a virtual platform. FILMART Online will take place from August 26-29 and Hong Kong Asia Film Financing Forum will take place from August 26-28. The virtual FILMART will enable buyer-seller meets, showcase content and seminars.
Venice International Film Festival Venice, Italy September 2-12
The 77th Venice International Film Festival will be a toned down physical festival. Around 50 films will be part of official selection on July 28. The main competition, Venezia 77, will feature approximately 20 films. All other titles in official selection will debut either in Out of Competition or Horizons sections. Venice Gap Financing Market will happen in virutal format.
Toronto International Film Festival & Market Canada September 10-20
The 45th edition of Toronto International Film Festival will take place September 10–19 with socially distanced screenings, digital screenings, virtual red carpets, press conferences and industry talks. For the first time, TIFF will launch a digital platform, affording new opportunities to connect with audiences beyond Toronto. TIFF has partnered with Shift72 to develop this platform to host screenings and events.
Moscow International Film Festival Moscow October 1-8
The 42nd edition of Moscow International Film Festival, Russia’s main international film event, is scheduled to run October 1-8. The objective is to promote cultural exchanges and mutual understanding among nations and to develop further cooperation among filmmakers of the world. It is supported by the Ministry of Cultural Federation and the Department of Culture of the City of Moscow.
MipJunior JW Marriott, Cannes, France October 10-11
MIPJunior 2020 will push beyond physical boundaries with its first ONLINE+ Digital Hybrid Edition. MIPJunior gathers the most influential buyers, commissioners, producers, development executives and distributors from the global Kids TV industry. MIPJunior is the perfect destination for producers to stand out and for buyers to discover the latest kids programming before sealing partnerships at MIPCOM.
MipCom Cannes, France October 12-15
MIPCOM 2020 will push beyond physical bounaries with its first ONLINE+ Digital Hybrid Edition. MIPCOM is the world’s largest exhibition of studios and distributors, as well as the top showcase for content across all genres and platforms. A world-class market place where leading professionals gather to promote hit-defining content, strike distribution and co-production deals and network face-to-face with creative forces.
American Film Market Santa Monica, California November 9-13
The American Film Market will bring its 2020 edition online, said the Independent Film & Television Alliance® (IFTA®). AFM 2020 Online will run from November 9 to November 13. This year will be the 41st market. “AFM 2020 Online will give global film community opportunities that are always critical to our success,” said Michael Ryan, Chairman, IFTA and Partner, GFM Films.
IFFI Goa, India November 20-28
Preparations for 51st edition of the International Film Festival of India (IFFI) have begun. Asia’s oldest event of its kind, IFFI still holds on to its pre-eminent position as a showcase of cinematic excellence. It has remained steadfast in its emphasis on showcasing the diversity of Indian cinema The festival will take place in limited physical and online format.
Italy is the partner country in the five-day eFICCI FRAMES beginning July 7. Because of the Covid pandemic Italian institutions and producers will participate virtually with Indian M&E industry professionals. Pickle chats with Roberto Stabile, Head of International Department of ANICA (Italian Film Audiovisual Multimedia Industries Association) & ITA (Italian Trade Agency) Audiovisual Desks Coordinator who has been instrumental forging new partnership between India and Italy in the audiovisual space
It is great that business is coming back and Italy is the partner country with FICCI FRAMES? What is your immediate objective?
Our objective is to get to know each other better, so that we can develop future collaborations in the audiovisual sector: we would like to set up coproductions, sell films and TV series to Indian distributors and television and bring Indian productions to Italy to highlight our beautiful territory by helping them take advantage of our fiscal incentives. Only by meeting and discussing issues as we do on occasions such as FICCI can we understand how we can collaborate to our reciprocal satisfaction.
How did you decide to become partner country for FICCI FRAMES?
It is very important for our international relationship with India. FICCI FRAMES is the best place to start our collaboration with India and bring producers of two countries together.
What’s the current COVID scenario in Italy? We read that things are getting normal, shootings have begun and theatres opened?
We have finally started production again, but we have to respect extremely complicated and rigid protocols, it will take some time to bring us back up to speed. Many cinemas are still closed although they have been authorised to open again. The cost of opening the cinemas half empty to allow distancing imposed by the security measures means that they are not economically viable. People are also still very careful and don’t like the idea of sitting in closed spaces next to strangers. It is also true that after months of lockdown they want to go out, walk, meet friends more than shut themselves up to watch a film. Traditionally cinemas in Italy are empty during summer so to see the cinemas open again will have to wait for autumn.
How would you like to give shape to the India-Italy collaboration in the filmed entertainment space?
We have to make sure that our producers and authors meet and discuss ideas and allow that through this process projects are developed together so that new business will grow. It is a long but natural process which can’t be forced but helped and nurtured, with time we will have some interesting results.
Where is the India-Italy relationship at this point of time?
Politically, we have very good relationship with India. Unfortunately, we have few collaborations in the audiovisual space. So we will start from FICCI FRAMES to push our producers to know exactly what they can do with Indian producers. And also to explain, what Italy offers in terms of ideas, projects and funds for collaboration. The best way is to connect Indian and Italian producers. We must dream together, tweet together, discuss projects and ideas (virtually for the time being) and we will get results. Also, we want to push people doing something because we truly believe that we can make great projects working together in the film industry.
What is it that Italy offers to Indian co-producers?
In our new law we have incentives and funding for collaboration. We offer huge support for people coming to shoot movies from India. They can come and shoot without any kind of co-production. We have opened Italian doors to Indian filmmakers.
India has signed Co-production Treaty with Italy over a decade back. Why it has not taken off ?
This is the problem of political bureaucracy in India and alo in Italy. We need to work more closer than ever before. We need to add streaming and animation in the coproduction treaty. We will have a deliberation on animation. In fact, we can begin our new collaboration with animation.
How do you like to see collaboration going forward and do you see more collboarion during IFFI and Film Bazaar 2020?
I am sure that all this could start by bringing some important Indian productions to Italy, I think this is the first important step to take and also the easiest. I am ready to increase our collaboration with all the most important cinema events in India starting with those mentioned and I would be honoured to organise a Focus dedicated to India during the next Venice Production Bridge at the Venice International Film Festival.
The Government of the Republic of india and the Government of Italian Republic, hereinafter referred to as the parties,
CONSIDERING that it is desirable to establish a framework for the development of their audiovisual relations and particularly for film television and video Co-Productions;
CONSCIOUS that quality Co-Productions can contribute to the further expansion of the film, television and video production and distribution industries of both countries as well as to the development of their cultural and economic exchanges;
CONVINCED that these exchanges will contribute to the enhancement of relations between the two countries;
Have agreed as follows:
In this Agreement, unless the Agreement otherwise requires:
A Co-Production is a film including feature films, documentaries, science films, animation films and commercials, irrespective of length, either on film, videotape or videodisc, which can be shown in cinemas, on television or on video recorders jointly’ invested in and produced by producers from the two countries and made in accordance with the terms of recognition given by the competent authorities of India and Italy under this Agreement. New forms of audio-visual production and distribution shall be included in the present Agreement by exchange of notes between the Parties.
Co-Production projects undertaken under the present Agreement must be recognized by the following authorities, referred to hereinafter as the competent authorities:
In Italy- by the Ministry of Cultural Properties and Activities, Department of Entertainment and Sport, General Management of Cinema; and
In India by the Ministry of Information and Broadcasting.
Co production produced under the terms of this Agreement shall be taken in either of the two countries as National Production with every benefit available as National Production but will abide by applicable national law for distribution and production. These benefits, however, accrue to the producer from the country, which grants them.
The co- producers in either of the two countries shall satisfy themselves about each other’s capability, including their professional knowledge, organizational capability, financial backing and professional reputation.
The Government of India and Italy shall in no way be responsible or liable with regard to satisfaction of either of the co producers.
Any benefits under this Agreement shall be available for co production only when investment of finance, material and management including creative and other inputs not below 20% of the total cost comes from Co-producer of one country provided always that specific percentage contribution will be decided amongst producers themselves.
Notwithstanding anything stated in above paragraph, the two parties may at any time decide jointly in writing to make appropriate changes, in percentage, as maybe deemed fit.
The producers of a Co-Production shall be citizens or permanent resident either of Italy or India subject to any sort of compliance of the obligations created by European Union Italy as a member.
In the event of dire need of Co-Production, persons other than citizen or permanent resident as stated hereinabove are permissible to be engaged without losing the character of Co-Production in case advance written permission from both the countries is obtained after explaining the reasons of inclusion of such person.
Live action shooting and animation works such as storyboards, layout, key animation, in between and voice recording must, in principle, be carried out alternatively in Italy or in India.
Location shooting, exterior or interior, in a country not participating in the Co-Production however, is acceptable at discretion if the script or the action so requires and if technicians from Italy and India take part in the shooting.
The laboratory work shall be done in either Italy or India, unless it is technically impossible to do so, in which case the laboratory work in a country not participating in the Co-Production can be permitted by the competent authorities of both countries.
The Co-Production shall have the original soundtracks in English or Italian or in other Indian language or dialect, which can further be dubbed in any of these languages.
In the event, if script so desires, any other language can be used for stray dialogues with permission from authorities
It will be necessary that the dubbing or sub-titling of the Co-Production will be done or performed either in India or Italy. Dubbing or sub-titling in Indian languages should be performed in India and dubbing or sub-titling in Italian in Italy and dubbing or sub-titling in English could be performed in Italy or India depending upon the agreement between Co-producers.
A Co-produced film shall have two negatives or one negative and one dupe negative, or as agreed between the two Co-producers, with two international sound tracks for making copies. Each Co-producer shall own one good quality print, one dupe positive and one international sound track and have the right to make copies. Moreover with the approval of the Co-producers either Co-producer may use the footage from the above-mentioned material for other purposes. Furthermore, each Co-producer shall have access to the original production material in accordance with the conditions agreed upon between the Co-producers.
Both Italy and India will facilitate entry and short stay in either of the two countries for directors, actors, producers, writers, technicians and other personnel prescribed in each co production contract as per the applicable laws and importing of equipment shall also be in accordance with the applicable laws.
The sharing of revenues by he co-produces shall, in principle, be proportional to their respective contributions and be specifies in the agreement between the co producers. The respective contribution of each Co-producer may be decided mutually on the basis of principles elaborated in Article 3.
The minority investment Co-producer shall pay any balance outstanding on his contribution to the majority investment Co-producer within sixty (60) days following delivery of all the materials required for the production of the version of the film in the language of the minority country. The majority investment Co-producer will have the same obligations towards the minority investment Co-producer.
Failure to meet this requirement shall entail the loss of benefit of the Co-Production. This requirement will invariably be reflected in the contract drawn up between the
Co-producers to enable projects to be recognized under this Agreement.
Approval of a proposal for the Co-Production of a film by the competent authorities of both countries is in no way binding upon them in respect of the granting of permission to show the film thus produced.
When a Co-produced film is exported to a country, which has quota limitations:
in principle, the Co-produced film shall be included in the quota of the country of the majority investment;
if both Co-producers have made an equal investment, Co-producers of both sides shall decided the quota in question through mutual consultation, so that the Co-produced film can be included in the quota of the country that can make better arrangements for the export of the film;
if difficulties still exist, the co produced film shall be included in the quota of the country of which the director is a national
Notwithstanding the above, in the event that one of the Co-producing countries enjoys unrestricted entry of its films into a country that has quota regulations, a
Co-Production under this Agreement shall be entitled as any other national production of that country to unrestricted entry into the importing country if that country so agrees.
A Co-Production shall when shown, be identified as an Italy-India Co- Production; or India-Italy Co-Production according to the origin of the majority Co-producer or in accordance with an agreement between Co-producers.
Such identification shall appear in the credits, in all commercial advertising and promotional material and whenever the Co-Production is shown.
In the event of presentation at international film festivals, and unless the Co-producers agree otherwise, a Co-Production shall be entered by the country of the majority investment Co-producer or, in the event of equal financial participation of the Co-producers, by the country of which the director is a national.
Prizes, grants, incentives and other benefits awarded to the cinematographic or audiovisual works may be shared between the Co-producers, in accordance with what has been established in the Co-Production contract and in conformity with applicable laws in force.
All prizes which are not in cash form, such as honorable distinctions or trophies awarded by third countries, for cinematographic and audiovisual works produced according to the norms established by this agreement, shall be kept in trust by the majority Co-producer or according to terms established in the Co-Production contract/agreement.
The competent authorities of both countries shall jointly establish, through a subsequent exchange of notes the rules of procedure for Co-Productions, taking into account the laws and regulations in force in Italy and in India.
No restrictions shall be placed on the import, distribution and exhibition of Indian film, television and video productions in Italy or that of Italian film, television and video productions in India other than those contained in the legislation and regulations in force in each of the two countries, including in case of Italy the obligation deriving from the norms of the European Union insofar as the free circulation of goods among Italy and other European Union countries in concerned, will be respected.
Any difference or dispute regarding the implementation of this Agreement shall be settled by mutual consultation and negotiation. This does not absolve the right of co producers who enter into various contracts to seek legal remedies- such remedies may include conciliation, mediation and arbitration.
The rights arising out of this Agreement will not be enforceable at the instance of third party (ies) who are not signatory to this Agreement.
An appropriate Joint Commission may look after the implementation of this Agreement. A meeting of the Joint Commission shall take place in principle once every two years alternately in the two countries. However, it may be convened for extraordinary sessions at the request of one or both authorities, particularly in the case of major amendments to the legislation or the regulations governing the film television and video industries in one country or the other, or where the application of this Agreement present various difficulties and shall submit to the Authorities in the two countries, for consideration, the necessary amendments in order to resolve any difficulties arising from the application of this agreement as well as t improve it in the best interest of both countries. The recommendations of the Joint Commission are not binding on the two Governments.
The present Agreement shall come into force when each Party has informed the other that its international ratification procedures have been completed.
It shall be valid for a period of three (3) years from the date of its entry into force, a tacit renewal of the Agreement for like periods shall take place unless one or the other Party gives written notice of termination six (6) months before the expiry date.
Co-Productions which have been recognized by the authorities and which are in progress at the time of notice of termination of this Agreement by either Party shall continue to benefit fully until completion from the provisions of this Agreement. After expiry or termination of this Agreement, its terms shall continue to apply to the division of revenues from completed Co-Productions.
DONE in three originals at Rome, this 13th Day of 2005, each in Italian, English and Hindi language, all versions being equally authentic. In case of any divergence in interpretation, the English text shall prevail.
In Witness Whereof, the undersigned, duly authorized thereto by their respective Governments, have signed this Agreement.
Asghar Farhadi’s psychological thriller “Everybody Knows”, starring real-life couple Javier Bardem and Penelope Cruz, will open the Cannes Film Festival.
The film, which also features “The Secret in their Eyes” star Ricardo Darin, will be the second film, which is neither in English nor in French, to open the festival after Pedro Almodovar’s “Bad Education” in 2004, the organisers said in a statement.
The film is a psychological thriller about a woman called Laura (Cruz) who journeys from Buenos Aires with her family to the vineyard where she was born in Spain for her sister’s wedding. Their intended celebrations are disrupted by unexpected events that expose a hidden past and change the course of their lives.
Produced by Paris-based Memento Films Production’s Alexandre Mallet-Guy and Alvaro Longoria of Spain’s Morena Films, plus Italian coproducers Lucky Red and Rai Cinema, the film will be released by Memento in France on May 9, the day after the Cannes red carpet premiere. North American rights are still available for the film.
This is the eighth feature film by the Iranian director, who is best known for Oscar winning films “A Separation” and “The Salesman”.
Farhadi and Mallet-Guy have previously worked together on The Salesman and The Past, with both films produced and distributed by Memento in France.
Memento Films International, which is handling international sales of Everybody Knows, has released the first trailer for ‘Everybody Knows’.
The film is already widely sold internationally: Germany and Austria (Prokino), Latin America (Leda Films), Japan (Longride), Benelux (Cineart), China (Hi-Show), Greece (Seven), Hong Kong (Golden Scene), Hungary (Mozinet), Israel (Lev), Poland (Gutek), Czech Republic and Slovakia (Aero Films), Russia and the Baltics (Mauris Films), Scandinavia (Scanbox), Switzerland (Frenetic), Taiwan (Movie Cloud), Turkey (Zeyno Films) and former Yugoslavia (Megacom).
Everybody Knows was filmed in Torrelaguna, a small town on the outskirts of Madrid. The film is entirely in Spanish, despite Farhadi not speaking the language. It will be the second Spanish-language film to open the festival, following Pedro Almodovar’s Bad Education in 2004.