Taiwanese cinema is coming to Cannes with a slew of productions showcasing local talent and stories, from Mongrel in Directors' Fortnight and Locust in Critics' Week to The Shameless in Un Certain Regard and Meeting With Pol Pot in Cannes Premiere.

Locust producer Anita Gou, known as the producer of Lulu Wang's award-winning The Farewell, is enthusiastic about this new generation of emerging Taiwanese talent that is eager to engage with the global industry.

"There's more international attention paid to Taiwan these days, and we're seeing more Taiwanese projects at international festivals and pitch forums," says Gou, who splits her time between Los Angeles and Taiwan. "There is more awareness in Taiwan's filmmaking community, especially the younger generation, that they should seek out resources that are available abroad along with what can be found at home."

Taiwan's Ministry of Culture is one of the first organisations to offer subsidies to the local film industry. The inducements are not restricted to production and can be used to cover travel expenses to film festivals, marketing, distribution and special effects. More funding resources have been made available in recent years through Taiwan's International Co-funding Programme (TICP), a flagship incentive scheme launched by Taiwan Creative Content Agency (TAICCA) in January 2021 to facilitate international productions and create collaboration opportunities for Taiwanese creatives.

MONGREL

Like Locust, Mongrel is a three-�country co-production backed by the Ministry of Culture and TAICCA, and was shot in Taiwan. This Taiwan-Singapore-France co-�production also secured the support of Taipei Film Fund, Kaohsiung Film Fund and funds from the Taichung city government.

"Such subsidies are a big help for films like ours that are without backing from large corporate enterprises," says rising Taiwanese producer Lynn Chen of Mongrel. "Government funding is also more credible and stable compared to funding from the private sector as the winning projects would have been assessed by a professional jury and the funding, once granted, is unlikely to be withdrawn unless there are major violations. These give us the upper hand during international negotiations."

Mongrel marks the feature directing debut of Singapore-born Chiang Wei Liang, who has been based in Taiwan for a decade, and Taiwan's You Qiao Yin. It is also the first feature Chen produced through her Taiwan-based Le Petit Jardin. Chen got to know Chiang when they attended the same post-graduate school at Taipei National University of the Arts and ended up producing his short film Anchorage Prohibited, which picked up a prize at the Berlinale in 2016.

Chen believes that funding remains the biggest hurdle for Taiwanese cinema. "The funding size has a direct impact on the dreams that we want to make," she says. "We know that any investment entails risk, but it will dampen investors' interest when it's more like a gamble. There are times when investors back out because they don't see the return on investment."

View the Official Trailer for MONGREL

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Director Tsui Hark's 1984 film SHANGHAI BLUES has been selected to be screened at the 2024 Cannes Film Festival out of competition. The film marks its 40th anniversary this year and was selected to be shown at the festival. The Cannes Film Festival is one of the oldest and largest film festivals and also part of the 'Big Three' European film festivals.

THE STORY

One fateful night in 1937, amidst the bombings of Shanghai, Tung, a young soldier, and Shu find solace under the bridge. Though unable to see each other clearly, the young couple experience an immediate attraction towards each other and plan to meet again when the war is over.

Ten years have passed. Tung is an aspring songwriter, while Shu fends for herself as a showgirl in a nightclub. Enter Stool, a young girl in search of her relatives, whose endeavors prove fruitless until she crosses paths with Shu, who takes Stool into her own home. The two soon form a close, sisterly relationship.

By a twist of fate, Tung settles in the same building above the two women. Stool finds herself falling for Tung. Meanwhile, Shu and Tung are drawn to each other, unaware that they have met before.

Shanghai Blues was the first film Director Tsui Hark produced under his own studio and after its release became a hit in Hong Kong and around Asia. A newly restored 4K version has been released and also re-dubbed for better sound quality, and this restored version is shown at the Cannes Film Festival this year.

View the Official Notification and more information on the website of Cannes Film Festival

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Champions of film culture in Saudi Arabia and across the Arab world. Discover global cinema, support filmmakers, develop skills, and make ideas reality through year-round programs.

Every year, ten days of film, new and old – encounter the makers, learn from the masters, be inspired by the best.

The Red Sea International Film Festival is for film lovers, filmmakers, and the global film industry. See the blockbusters of the future before they hit the big screen. Discover old favorites with lovingly curated retrospectives and restored classics. Explore immersive audio-visual worlds and try something new with experimental and short film strands.

The Festival's fourth edition will take place December 5—14, 2024 in Jeddah, at the new headquarters in Al Balad.

Please also visit the Official Website for more information.

The film selections for this year are:

COMPETITION
Opening Film: LE DEUXIÈME ACTE by Quentin DUPIEUX - Out of competition
(THE SECOND ACT)
 
THE APPRENTICE by Ali ABBASI
MOTEL DESTINO by Karim AÏNOUZ
BIRD by Andrea ARNOLD
EMILIA PEREZ by Jacques AUDIARD
ANORA by Sean BAKER
MEGALOPOLIS by Francis Ford COPPOLA
THE SHROUDS by David CRONENBERG
THE SUBSTANCE by Coralie FARGEAT
GRAND TOUR by Miguel GOMES
LA PLUS PRÉCIEUSE DES MARCHANDISES by Michel HAZANAVICIUS
MARCELLO MIO by Christophe HONORÉ
FENG LIU YI DAI by JIA Zhang-Ke
(CAUGHT BY THE TIDES)
ALL WE IMAGINE AS LIGHT by Payal KAPADIA
KINDS OF KINDNESS by Yórgos LÁNTHIMOS
L'AMOUR OUF by Gilles LELLOUCHE
TREI KILOMETRI PANA LA CAPATUL LUMII by Emanuel PARVU
THE SEED OF THE SACRED FIG by Mohammad RASOULOF
DIAMANT BRUT by Agathe RIEDINGER |  1er film
(WILD DIAMOND)
OH CANADA by Paul SCHRADER
LIMONOV – THE BALLAD by Kirill SEREBRENNIKOV
PARTHENOPE by Paolo SORRENTINO
PIGEN MED NÅLEN by Magnus VON HORN
(THE GIRL WITH THE NEEDLE)

UN CERTAIN REGARD
Opening Film: WHEN THE LIGHT BREAKS by Rúnar RÚNARSSON
 
NORAH  by Tawfik ALZAIDI | 1st film
THE SHAMELESS  by Konstantin BOJANOV
LE ROYAUME by Julien COLONNA | 1st film
VINGT DIEUX by Louise COURVOISIER | 1st film
LE PROCÈS DU CHIEN by Laetitia DOSCH | 1st film
(DOG ON TRIAL)
GOU ZHEN by GUAN Hu
(BLACK DOG)
THE VILLAGE NEXT TO PARADISE by Mo HARAWE | 1st film
SEPTEMBER SAYS by Ariane LABED | 1st film
L'HISTOIRE DE SOULEYMANE by Boris LOJKINE
THE DAMNED by Roberto MINERVINI
ON BECOMING A GUINEA FOWL by Rungano NYONI
BOKU NO OHISAMA by Hiroshi OKUYAMA
(MY SUNSHINE)
NIKI by Céline SALLETTE | 1st film
SANTOSH by Sandhya SURI
VIET AND NAM by TRUONG Minh Quý
ARMAND by Halfdan ULLMANN TØNDEL | 1st film
FLOW by Gints ZILBALODIS

OUT OF COMPETITION

SHE'S GOT NO NAME by CHAN Peter Ho-Sun
LE COMTE DE MONTE-CRISTO by Alexandre DE LA PATELLIÈRE et Matthieu DELAPORTE
HORIZON, AN AMERICAN SAGA by Kevin COSTNER
RUMOURS by Evan JOHNSON, Galen JOHNSON, Guy MADDIN
FURIOSA: A MAD MAX SAGA by George MILLER

MIDNIGHT SCREENINGS

TWILIGHT OF THE WARRIORS: WALLED IN by Soi CHEANG
THE SURFER by Lorcan FINNEGAN
LES FEMMES AU BALCON by Noémie MERLANT
(THE BALCONETTES)
I, THE EXECUTIONER by RYOO Seung Wan

CANNES PREMIERE

EVERYBODY LOVES TOUDA by Nabil AYOUCH
C'EST PAS MOI by Leos CARAX                                                                 
EN FANFARE by Emmanuel COURCOL
(THE MARCHING BAND)
MISÉRICORDE by Alain GUIRAUDIE
LE ROMAN DE JIM by Arnaud LARRIEU and Jean-Marie LARRIEU
VIVRE, MOURIR, RENAITRE by Gaël MOREL
MARIA by Jessica PALUD
RENDEZ-VOUS AVEC POL POT by Rithy PANH

SPECIAL SCREENINGS

LE FIL by Daniel AUTEUIL
SAUVAGES by Claude BARRAS
SPECTATEURS ! by Arnaud DESPLECHIN
ANGELO DANS LA FORÊT MYSTÉRIEUSE by Alexis DUCORD and Vincent PARONNAUD
(IN THE WONDERWOODS)
NASTY – MORE THAN JUST TENNIS by Tudor GIURGIU, Tudor D. POPESCU and Cristian PASCARIU
L'ARTE DELLA GIOIA by Valeria Golino and Nicolangelo GELORMINI
(THE ART OF JOY)
AN UNFINISHED FILM by LOU Ye
ERNEST COLE, LOST AND FOUND by Raoul PECK
THE INVASION  by Sergei LOZNITSA
APPRENDRE by Claire SIMON
LULA by Oliver STONE
LA BELLE DE GAZA by Yolande ZAUBERMAN

Disney has re-released it's first episode of the Star Wars saga THE PHANTOM MENACE on it's 25th anniversary which became an instant hit all over again and brought in $1.5 million on the opening weekend, making it to #2 on the box office spot behind FALL GUY. With a further $287,480 on Monday from ticket sales the re-issue came to almost $1.85 million in total as addition to the $70.5 million from the original release. The combined figures push it back into the top 30 highest-grossing films of all time in the territory.

In addition to battle droids, podracers, Jar Jar, Darth Maul, and all of the Episode I goodness, fans will also be treated to an exclusive look at The Acolyte, the upcoming Disney+ series, as part of The Phantom Menace screenings. Also in celebration of the 25th anniversary of The Phantom Menace, fans will have the chance to experience the entire Skywalker Saga in theaters this May the 4th, also known as Star Wars Day. The Phantom Menace, Episode I of the Star Wars saga and the first film in the prequel trilogy, originally arrived in cinemas on May 19, 1999, following tremendous hype. Written and directed by George Lucas, it introduced the world to young Anakin Skywalker, Padawan Obi-Wan Kenobi, Jedi Master Qui-Gon Jinn, Queen Padmé Amidala, and the evil Sith duo, Darth Sidious and Darth Maul. The Phantom Menace would be a landmark in the development of visual effects and become one of the highest grossing movies of all time.

Visit the Official News on StarWars.com for Star Wars Episode I re-release.

The Cannes Film Festival is one of the oldest and largest film festival on the World and it is part of the 'Big Three' film festivals in Europe along with the Venice Film Festival and the Berlin International Film Festival.

The festival consist different parts:

The Official Selection: The main event of the festival.
In Competition – The films competing for the Palme d'Or. They are projected in the Théâtre Lumière.
Un Certain Regard – Films selected from cultures near and far; original and different works. They are projected at the Salle Debussy. The films competing for the Prix un certain regard.
Out of Competition – These films are selected to have Gala screenings at the Théâtre Lumière, but they do not compete for the main prize.
Midnight Screenings – These films are selected to have Gala screenings at the Théâtre Lumière during midnight, but they do not compete for the main prize.[44]
Cannes Premieres – These films are selected to be projected at the Salle Debussy, but they do not compete for the main prize.
Special Screenings – The selection committee chooses for these films an environment specially adapted to their particular identity.
Cinéfondation – About fifteen shorts and medium-length motion pictures from film schools over the world are presented at the Salle Buñuel.
Short Films – The shorts competing for the Short Film Palme d'Or are presented at Buñuel and Debussy theatres. There are approximately 10 films in this competition.
Cannes Classics – It celebrates the heritage of film, aiming to highlight works of the past, presented with brand new or restored prints.
Cinéma de la Plage – Screenings of Classic films and select new films for the mass public on Macé beach, preceded by a programme dedicated to film music.

Parallel Sections: These are alternative programmes dedicated to discovering other aspects of cinema.
International Critics' Week – Since 1962, it has focused on discovering new talents and showcasing first and second feature films by directors from all over the world.
Directors' Fortnight – Since 1969, it has cast its lot with the avant-garde, even as it created a breeding ground where the Cannes Festival would regularly find its prestigious auteurs.
ACID (Association for Independent Cinema and its Distribution)
Tous les Cinémas du Monde – It showcases the vitality and diversity of cinema across the world. Each day, one country is invited to present a range of features and shorts in celebration of its unique culture, identity and recent film works.

Events:
Marché du Film – The busiest film market in the world.
Masterclasses – Given in public by world-renowned filmmakers.
Tributes – Honors internationally renowned artists with the presentation of the Festival Trophee following the screening of one of their films.
Producers Network – An opportunity to make international co-productions.
Exhibitions – Each year, an artist, a body of work or a cinematographic theme becomes the focus of an exhibition that diversifies or illustrates the event's programme.

Please also visit the Official Website of the festival for more information

Filmmaker Mohammad Rasoulof from Iran was sentenced to 8 years in prison and his properties confiscated by the government for creating and showing the film THE SEED OF THE SACRED FIG that deals with an investigative judge in the Revolutionary Court in Tehran. In the film the judge, named Iman, grapples with mistrust as nationwide political protests intensified.

Mohammad Rasoulof in the past has repeatedly violated Iranian censorship rules and regulations with his film and was already given a three year sentence as well as banned from leaving the country or working with others from outside Iran. This time the government of Iran asked Rasoulof to pull his film from the competition at Cannes but he refused.

 His film THERE IS NO EVIL has won the top award at the 70th Berlin Film Festival where he received the award despite his absence from the event.

A new 4K restored and re-dubbed version of Director Tsui Hark's film SHANGHAI BLUES will be screened at the 77th Cannes Film Festival this year, however problems arise as Director Yang Fan stepped in stating the original story for the film was created by him therefore claiming rights to the story, also stating that no credit was given to him for this before. Letter from Mr.  Yang Fan's lawyer was sent to Director Tsui Hark's studio stating this claim. In 1983 Director Yang Fan authorized the making of the story into a 35mm film from the story without a verbal commitment and without a written contract. Yang Fan continued to point out that the legal rights protection action is not to file a lawsuit or claim compensation, but to reiterate his position. The matter is being resolved and regardless to this issue the screening of the film is still in plan to show the film at the 77th Cannes Film Festival.  Actress Sylvie Chang - who played one of the main roles in the film - will also appear during the screening and will address the crowed talking about her experiences working on the film.

Writers Guild of Canada and the Canadian Media Producers Association have reached an agreement together for a three-year term. This means the threat of a strike by the Writers Guild is no longer valid.

We wish both organizations good success and cooperation in the future.