Few companies in the world have had such as impact on their local film industry than Globo Filmes, the feature co-production arm of Brazilian giant Globo, which is Latin America’s biggest communications conglomerate. Over the last 25 years, Globo Filmes has backed more than 500 movies, almost all through co-production.
Those films have collectively sold 260 million cinema theater admissions, an average of over 10 million admissions a year, accounting for more than 70% of Brazilian market share from 1998-2024.
Globo Filmes greenlights more than 20 movies a year, powering up by far the biggest production slate of any company in Brazil, thanks to article 3A of the country’s audiovisual law, which allows it to tap tax incentives for investing in feature films.
Launching in 1998, Globo Filmes helped accelerate the Brazilian film industry’s recovery after President Fernando Collor de Mello shuttered state film agency Embrafilme in 1990, paralyzing production. Twenty-five years later, after a...
Those films have collectively sold 260 million cinema theater admissions, an average of over 10 million admissions a year, accounting for more than 70% of Brazilian market share from 1998-2024.
Globo Filmes greenlights more than 20 movies a year, powering up by far the biggest production slate of any company in Brazil, thanks to article 3A of the country’s audiovisual law, which allows it to tap tax incentives for investing in feature films.
Launching in 1998, Globo Filmes helped accelerate the Brazilian film industry’s recovery after President Fernando Collor de Mello shuttered state film agency Embrafilme in 1990, paralyzing production. Twenty-five years later, after a...
- 5/16/2024
- by John Hopewell
- Variety Film + TV
Rio De Janeiro — In Brazil, where the majority of the population are of African origin, persons of color are traditionally under-represented on above-the-line TV and film production. This, however, is gradually changing.
For the past years, Poc talents, as well as residents from the impoverished urban areas, LGBTQ and indigenous people, have gained ground in the still white-male dominated production sector.
The diversity drive resisted four years of an extreme-right government and ironically benefited indirectly from it, in the view of director and screenwriter Janaina Oliveira, vice-president of local Association of Black Audiovisual Professionals (Apan).
As the Bolsonaro administration (2019-2022) withheld coin from government incentives, said 42-year-old Oliveira, indie producers resorted to commissions from the large international streaming companies.
“Netflix, Amazon and the other streaming companies have adopted policies that stimulate diversity in their productions, especially after the Black Lives Matter movement, and they enforced them in Brazil. George Floyd had an impact here,...
For the past years, Poc talents, as well as residents from the impoverished urban areas, LGBTQ and indigenous people, have gained ground in the still white-male dominated production sector.
The diversity drive resisted four years of an extreme-right government and ironically benefited indirectly from it, in the view of director and screenwriter Janaina Oliveira, vice-president of local Association of Black Audiovisual Professionals (Apan).
As the Bolsonaro administration (2019-2022) withheld coin from government incentives, said 42-year-old Oliveira, indie producers resorted to commissions from the large international streaming companies.
“Netflix, Amazon and the other streaming companies have adopted policies that stimulate diversity in their productions, especially after the Black Lives Matter movement, and they enforced them in Brazil. George Floyd had an impact here,...
- 4/16/2023
- by Marcelo Cajueiro
- Variety Film + TV
The Rio Intl. Film Festival wrapped Monday amid political tension and with a strong local competition that awarded Marcelo Gomes’ “Paloma” the top film prize. It is based on the true story of a poor trans woman who struggled to marry her partner in a religious ceremony.
Following compact editions over the past three years, Rio Fest – traditionally Latin America’s main film fest – regained part of its original size and importance, as it premiered locally about 120 features selected from the top international film fests, resumed outdoor screenings and featured a hybrid market.
The highlight was Premiere Brasil, the competition of 86 features and shorts for the Redentor kudos.
Adirley Queiros’ and Joana Pimenta’s “Mato Seco em Chamas,” a Brazil/Portugal coproduction, received the jury special prize. The pic combines both fiction and doc elements to tell the story of two sisters who lead a gang that sells oil stolen from a pipeline.
Following compact editions over the past three years, Rio Fest – traditionally Latin America’s main film fest – regained part of its original size and importance, as it premiered locally about 120 features selected from the top international film fests, resumed outdoor screenings and featured a hybrid market.
The highlight was Premiere Brasil, the competition of 86 features and shorts for the Redentor kudos.
Adirley Queiros’ and Joana Pimenta’s “Mato Seco em Chamas,” a Brazil/Portugal coproduction, received the jury special prize. The pic combines both fiction and doc elements to tell the story of two sisters who lead a gang that sells oil stolen from a pipeline.
- 10/17/2022
- by Marcelo Cajueiro
- Variety Film + TV
Julia Murat wins best diretor for Regra 34.
Marcelo Gomes’ trans drama Paloma was named best fiction film at Sunday’s (October 16) closing ceremony of 24th Rio International Film Festival – one of several films that stood out in the traditionally strong Première Brasil section.
Some of the features which received their world premiere in the section leave the so-called Cidade Maravilhosa (Wonderful City) of Rio with chances to build an international career, such as Property (Propriedade), Transe, and Kobra Self Portrait (Kobra Auto Retrato).
Paloma screened for the first time in Munich last July and tells of a trans woman desperate for a traditional church wedding.
Marcelo Gomes’ trans drama Paloma was named best fiction film at Sunday’s (October 16) closing ceremony of 24th Rio International Film Festival – one of several films that stood out in the traditionally strong Première Brasil section.
Some of the features which received their world premiere in the section leave the so-called Cidade Maravilhosa (Wonderful City) of Rio with chances to build an international career, such as Property (Propriedade), Transe, and Kobra Self Portrait (Kobra Auto Retrato).
Paloma screened for the first time in Munich last July and tells of a trans woman desperate for a traditional church wedding.
- 10/16/2022
- by Elaine Guerini
- ScreenDaily
Top brass at the Rio de Janeiro Film Festival announced that 41 feature and 19 shorts from Brazilian filmmakers will screen in the 17th edition, set to run from October 1-14.
The Première Brasil competition section will screen 13 features, of which ten will receive world premieres. An additional two features and two documentaries will screen out of competition.
Other Brazilian productions such as a restoration of Walter Lima Jr’s 1965 classic Menino de Engenho (Plantation Boy) will screen in special Première Brasil sidebars such as New Trends, Panorama, Expectation and Fronteiras.
Première Brasil is the only competitive section of the festival and Redentors will be presented on closing night. The audience will vote on three awards for best Brazilian feature film, best documentary and best short film.
As part of this years commemoration of the 450 years of the founding of Rio, the festival will screen six films that have the city as its setting or reflect the theme of Rio...
The Première Brasil competition section will screen 13 features, of which ten will receive world premieres. An additional two features and two documentaries will screen out of competition.
Other Brazilian productions such as a restoration of Walter Lima Jr’s 1965 classic Menino de Engenho (Plantation Boy) will screen in special Première Brasil sidebars such as New Trends, Panorama, Expectation and Fronteiras.
Première Brasil is the only competitive section of the festival and Redentors will be presented on closing night. The audience will vote on three awards for best Brazilian feature film, best documentary and best short film.
As part of this years commemoration of the 450 years of the founding of Rio, the festival will screen six films that have the city as its setting or reflect the theme of Rio...
- 9/2/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A look back at 2012 reveals an undeniable fact, it has been a great year for Latino film. Sundance started the year off strong with films like Aurora Guerrero’s sweet and tender Mosquita y Mari and Marialy Rivas’ rambunctious Joven y Alocada (Young & Wild). Gina Rodriguez broke out in Filly Brown, as a rapper who needs to make it big so she can raise money to get her mom out of jail. In the film, Jenni Rivera played the part of Filly’s mom in her first, and sadly last, movie role.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
There was also a strong Latin American presence at Cannes this past summer, boasting films from Mexico, Brazil, Uruguay, and Argentina. It might as well have been called Mexi-Cannes, with Mexican films winning awards across all main sections of the festival. Carlos Reygadas was honored as the Best Director for his controversial film Post Tenebras Lux, despite having received boos at its premiere screening. The prize for the Critics’ Week section went to Aquí y Allá (Here and There) and Después de Lucía (After Lucia) won the top prize for Un Certain Regard.
It’s been an especially favorable year for Chilean cinema. The New York Film Festival, in its 50th edition this past Fall, included three highly anticipated films by Pablo Larraín, Valeria Sarmiento, and the late Raúl Ruiz. And Chile continued to outshine the rest of the region by winning two top spots at the Festival Internacional de Nuevo Cine Latino de La Habana (the Havana Film Festival) just a few days ago. Pablo Larraín’s No, starring Gael Garcia Bernal, won the First Coral Prize. It’s a brilliant take on the real life story of an advertising campaign that ousted General Pinochet from power during a shining moment in Chilean politics. Violeta se fue a los cielos (Violeta Went To Heaven), a biopic about internationally famous Violeta de la Parra, a Chilean singer, songwriter, and poet won the Second Prize.
Whether it was at Cannes, Sundance, or countless other festivals, Latino films were winning award after award this year and even getting distribution (albeit usually in limited release). With the flurry of activity surrounding the region’s filmmaking, it can be hard to keep up with it all. Thankfully, there are professionals who get paid to keep track of what movies are receiving accolades, have the most buzz, and got picked up for distribution. LatinoBuzz went straight to the experts, film programmers, to ask, “What’s your top 5 Latino films of 2012?”
Carlos Gutierrez, Co-Founder and Director of Cinema Tropical
In no particular order, a list of five Latin American films that made it to Us screens in the past year (some of them are a couple of years old), which I highly recommend.
De Jueves a Domingo (Thursday Till Sunday), Director: Dominga Sotomayor, Chile
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
El Estudiante, Director: Santiago Mitre, Argentina
El Velador, Director: Natalia Almada, Mexico
El Lugar Más Pequeño (The Tiniest Place), Director: Tatiana Huezo, Mexico/El Salvador
Juan Caceres, Director of Programming at the New York International Latino Film Festival
Mosquita y Mari is a gorgeous film full of heart. Marialy Rivas (Director of Joven y Alocada) is an incredibly exciting new voice in Latin American cinema. She's fearless and full of love. I'm a huge fan of Lucy Mulloy (Director of Una Noche). She draws these wonderful performances from non-professional actors. A natural at using the lens to tell a story. In Las Malas Intenciones Fatima Buntinx plays the lead perfectly. Andres Wood made a beautiful film called 'Machuca', that captured the soul of Chile in the 70's and he does the same with a bio-pic of Violeta Parra, a folk singer who was a part of 'La Nueva Canción Chilena'.
Mosquita y Mari, Director: Aurora Guerrero, USA
Joven y Alocada (Young and Wild), Director: Marialy Rivas, Chile
Una Noche, Director: Lucy Mulloy, Cuba
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
Las Malas Intenciones (The Bad Intentions), Director: Rosario García-Montero, Perú
Christine Davila, Programming Associate at Sundance Film Festival
There are way too many Latino films and not enough coverage on American Latino films so with that -- mine are going to be strictly American Latino films.
Los Chidos, Director: Omar Rodriguez-Lopez, USA/Mexico
Mosquita y Mari, Director: Aurora Guerrero, USA
Elliot Loves, Director: Terracino, USA
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Love, Concord, Director: Gustavo Guardado, USA
Lisa Franek, Artistic Director at the San Diego Latino Film Festival
Just 5?? That's tough! In Filly Brown, Gina Rodriguez turns in a great performance, and I expect to see more great things from her very soon. No, I saw at Cannes, and it was fascinating, especially in contrast to Larraín's previous (amazing) films. La Hora Cero has unforgettable scenes and characters! La Mujer de Ivan has amazing acting, and I believe Maria de Los Angeles Garcia is definitely a talent to watch. Reportero is also fantastic.
La Mujer de Iván, Director: Francisca Silva, Chile
No, Director: Pablo Larraín, Chile/France/USA
La Hora Cero, Director: Diego Velasco, Venezuela
Reportero, Director: Bernardo Ruiz, USA/Mexico
Filly Brown, Directors: Youssef Delara, Michael D. Olmos, USA
Marcela Goglio, Programmer for Latinbeat at The Film Society of Lincoln Center
Las Acacias, Director: Pablo Giorgelli, Argentina
As Cançoes (Songs), Director: Eduardo Coutinho, Brazil
Unfinished Spaces, Directors: Alyssa Nahmias & Benjamin Murray, USA
O Som ao Redor (Neighboring Sounds), Director: Kleber Mendonça Filho, Brazil
Aquí y Allá (Here and There), Director: Antonio Méndez Esparza, USA/Spain/Mexico
Pepe Vargas, Executive Director of the International Latino Cultural Center and Chicago Latino Film Festival
Not an easy task to come up with 5 titles - there are so many good movies.
La Piel que Habito (The Skin I Live In)
Director: Pedro Almodóvar, Spain
Salvando al Soldado Pérez, (Saving Private Perez)
Director: Beto Gómez, Mexico
Un Cuento Chino (Chinese Take-Out)
Director: Sebastián Borensztein, Argentina/Spain
Lobos de Arga (Game of Werewolves)
Director: Juan Martínez Moreno, Spain
Mariachi Gringo
Director: Tom Gustafson, USA/Mexico
Amalia Cordova, Coordinator of the Latin American Program at the Film and Video Center of the Smithsonian National Museum of the American Indian
Granito, Director: Pamela Yates, USA/Guatemala/Spain
Desterro Guarani, Directors: Patricia Ferreira y Ariel Duarte Ortega, Brazil
Violeta Se Fue A Los Cielos (Violeta Went to Heaven), Director: Andrés Wood, Chile
5 x Favela – Agora por nós Mesmos (5 x Favela, Now by Ourselves), Directors: Manaíra Carneiro, Wagner Novais, Cacau Amaral, Rodrigo Felha, Luciano Vidigal, Cadu Barcelos, and Luciana Bezerra, Brazil
Un Cuento Chino (Chinese Take-Out), Director: Sebastián Borensztein, Argentina/Spain
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on twitter.
- 12/19/2012
- by Vanessa Erazo
- Sydney's Buzz
Hollywoodnews.com: On May 12, the Cannes Film Festival will start its 63rd edition. The president of the jury is Tim Burton and the jury consists of Kate Beckinsale – Actress / United Kingdom, Giovanna Mezzogiorno – Actress / Italy, Alberto Barbera – Director of the National Museum of Cinema / Italy, Emmanuel Carrere – Author – Screenwriter – Director / France, Benicio Del Toro – Actor / Porto Rico,Victor Erice – Director/ Spain, Shekhar Kapur – Director – Actor – Producer / India and Alexandre Desplat – Composer / France.
For this year’s line-up Scroll Down.
Below letter from one of the Cannes Film Festival bosses, Thierry Frémaux:
“As happens every year, the Festival´s programme was launched in January with the announcement of who would be the President of the Jury: Tim Burton! The news, which was unanimously greeted with enthusiasm, put the world of film in a good mood. The choice of Tim Burton to head the next edition of the Festival brings with...
For this year’s line-up Scroll Down.
Below letter from one of the Cannes Film Festival bosses, Thierry Frémaux:
“As happens every year, the Festival´s programme was launched in January with the announcement of who would be the President of the Jury: Tim Burton! The news, which was unanimously greeted with enthusiasm, put the world of film in a good mood. The choice of Tim Burton to head the next edition of the Festival brings with...
- 5/8/2010
- by HollywoodNews.com
- Hollywoodnews.com
The Festival de Cannes lives up to its name in its selection of its first 16 Competition Films from 13 countries. But an international cry went up when at the first announcement not a single picture was directed by a woman in the Competition area. (Last year there were directors Jane Campion, Isabel Coixet and Andrea Arnold.) However, the Closing Night film was just announced and it is Julie Bertucelli’s The Tree, starring Charlotte Gainsbourg, Marton Csokas and Aden Young. It will close the 63rd Festival de Cannes on Sunday, May 23rd following the Awards Ceremony. Memento is the international sales agent. Contacts for all films are listed below.
The other women invited can be found in the special screening sidebar where Sophie Fiennes' Over Your Cities Grass Will Grow about the German artist Anselm Kiefer, one of five docs chosen to be in the festival, Sabina Guzzanti's Draquila...
The other women invited can be found in the special screening sidebar where Sophie Fiennes' Over Your Cities Grass Will Grow about the German artist Anselm Kiefer, one of five docs chosen to be in the festival, Sabina Guzzanti's Draquila...
- 4/30/2010
- by Sydney
- Sydney's Buzz
The Official Selection of the 63rd edition of the Festival de Cannes is now complete. The additions to the lineup are: - Chongqing Blues, by the Chinese film director Wang Xiaoshuaï and Tender Son - The Frankenstein Project, directed by Kornél Mundruczó (Hungary) are the last two titles to complete the Competition of the Official Selection, which will present 18 films competing for the Palme d’Or. - Carancho, by Argentinian film director Pablo Trapero and I Wish I Knew by Jia Zhang Ke (China) in Un Certain Regard.- The Autobiography Of Nicolae Ceausescu, directed by the Romanian Andrei Ujică, Out of Competition.- Carlos, by French film director Olivier Assayas, which will be presented Out of Competition.- Countdown To Zero, directed by Lucy Walker (United States), Special Screening. - 5Xfavela, directed by Carlos Diegues and made up of five short films by Brazilian film directors Manaira Carneiro, Wagner Novais,...
- 4/26/2010
- by NewsDesk
- DearCinema.com
When Kathryn Bigelow became the first woman to win a Best Director Oscar, I noted: "we must remember that there is still a long battle ahead. This is a great step that only marks change in the industry if women continue to stay in the spotlight with critical and box office success. This could, very easily, become a fluke in Hollywood's boys' club. As it stands, 2010 doesn't seem to have the same femme-centric punch as 2009." Well, forget about punch. When it comes to Cannes Film Festival, there's barely a murmur.
Last week, Cannes announced their film lineup for next month's festivities. After the fest kicks off with Ridley Scott's Robin Hood, the Cannes Competition lineup (competing for the Palme d'Or) features notable filmmakers like Kiarostami, Inarritu, and Leigh, but not one woman. If you jump to the Official Selection list, there is one -- Agnes Kocsis and her film Pal Adrienn.
Last week, Cannes announced their film lineup for next month's festivities. After the fest kicks off with Ridley Scott's Robin Hood, the Cannes Competition lineup (competing for the Palme d'Or) features notable filmmakers like Kiarostami, Inarritu, and Leigh, but not one woman. If you jump to the Official Selection list, there is one -- Agnes Kocsis and her film Pal Adrienn.
- 4/20/2010
- by Monika Bartyzel
- Cinematical
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