Alliance for Development projects include Isis thriller and comic book story.
The Locarno Industry Days’ Alliance for Development wrapped its third edition today with a handful of potential co-productions catching the eye.
The initiative aims to help foster development and co-production between France, Germany, Italy and Switzerland with projects backed by European funds including France’s Cnc, Italy’s MiBACT and Germany’s Ffa.
Among the nine projects in the programme this year was Gigi Roccati’s (Babylon Sisters) Isis-themed thriller My Kin, which has been boarded in Locarno by Belgian producer Hubert Toint (Gangsters).
Italy’s Pilar Saavedra is the main producer alongside Antoine de Clermont Tonnere of MacT productions in France. The team is aiming for a 2019 shoot on the project, which is in the €2m range.
Also catching the eye was romantic-comedy Comic Book Souls, the project with the biggest estimated budget (€4.5m), about a young man who finds life inspiration through his passion...
The Locarno Industry Days’ Alliance for Development wrapped its third edition today with a handful of potential co-productions catching the eye.
The initiative aims to help foster development and co-production between France, Germany, Italy and Switzerland with projects backed by European funds including France’s Cnc, Italy’s MiBACT and Germany’s Ffa.
Among the nine projects in the programme this year was Gigi Roccati’s (Babylon Sisters) Isis-themed thriller My Kin, which has been boarded in Locarno by Belgian producer Hubert Toint (Gangsters).
Italy’s Pilar Saavedra is the main producer alongside Antoine de Clermont Tonnere of MacT productions in France. The team is aiming for a 2019 shoot on the project, which is in the €2m range.
Also catching the eye was romantic-comedy Comic Book Souls, the project with the biggest estimated budget (€4.5m), about a young man who finds life inspiration through his passion...
- 8/6/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
There's a very fluffy cat in MR73. And I mean very fluffy. Strangely, it's this furry feline that holds the key to what makes Olivier Marchal's police thriller tick. The third film in the policeman-turned-film director's thematic trilogy on police corruption, MR73 follows the Heat-esque 36 Quai Des Orfèvres (2004) and Gangsters (2002) as a bleak and stylish vision of modern policing in France. Whilst Orfèvres was the best received (nominated for 8 Cesar Awards) and had the double act of Depardieu and Auteuil to create some extra PR, it's perhaps MR73 that's the most uncompromising.
Again starring the superb Auteuil, it centres on his washed-up, alcoholic Marseille cop, Schneider. Whilst investigating a gruesome series of present day murders, he chances upon the daughter of a murdered couple whose killer he put away 25 years ago. Only it's parole time, and said murderer is getting released. With a wife on life support, a dead daughter,...
Again starring the superb Auteuil, it centres on his washed-up, alcoholic Marseille cop, Schneider. Whilst investigating a gruesome series of present day murders, he chances upon the daughter of a murdered couple whose killer he put away 25 years ago. Only it's parole time, and said murderer is getting released. With a wife on life support, a dead daughter,...
- 4/28/2010
- Screen Anarchy
PARIS -- MR 73 is the third in a trilogy of police thrillers that Olivier Marchal began in 2002 with Gangsters and followed up two years later with Department 36. It also is far and away the darkest of the three movies. While its resolutely dour tone and downbeat ending might deter younger spectators, the convincing portrayal of a cop at the end of his tether should pay off handsomely with mature audiences in many territories.
The announcement that serial killer Charles Subra (Philippe Nahon) is to be released early for good behavior unleashes old demons for his arresting officer Louis Schneider (Daniel Auteuil) at a time when he is struggling to cope with more recent demons -- among them deep pangs of guilt incurred when his wife suffered debilitating Brain Damage in a car crash while he was enjoying a fling with his police colleague Marie (Catherine Marchal).
Complicating matters, a new spate of killings -- clearly the work of another serial killer -- has broken out. Meanwhile, Justine (Olivia Bonamy), the daughter of one of Subra's victims 25 years earlier, writes to Subra in prison and then makes contact with Louis.
As a police detective, Louis is not so much hard-bitten as chewed up and spat out. He is first seen slumped drunk in a bus that he then proceeds to hijack for the hell of it. Asked by a psychiatrist whether he believes in God, he replies that the deity "is a son of a bitch, and one day I'm going to kill him." He's rarely without a bottle close at hand, and it always appears to be three days since his last shave. He inflames relations with his superior Kovalski (Francis Renaud) by joining the investigation into the latest killings, then he assaults him.
In an opening title, Marchal informs spectators that the film is based on a true story. The director, an ex-cop, has hinted that the movie is a transposition of events that caused him to leave the police 15 years ago. But the story of MR 73 is best seen simply as a peg on which Marchal hangs his depiction of a burned-out cop, superbly assisted by Auteuil.
The weakness of the plotting is more than compensated by the strength of the performances and the splendor of the visuals. Rarely has the Mediterranean port of Marseille, where the action is set, appeared so bleak onscreen. The sun is banished to the margins in a succession of night scenes, murky interiors and washed-out colors that provide a fitting setting for a world without redemption.
Marchal arguably overplays the religious connotations (his CV includes a spell spent at a Jesuit school), and the movie's resolution -- in which a Manurhin MR 73 handgun plays a key role -- is too pat. But for all its faults, MR 73 is a powerful piece of filmmaking that marks out its director as a distinctive voice making a personal statement about the more troubling aspects of crime and punishment.
MR 73
LGM Films, Gaumont, TF1 Films Production, Medusa Film
Sales agent: Gaumont
Credits:
Screenwriter-director: Olivier Marchal
Producers: Cyril Colbeau-Justin, Jean-Baptiste Dupont, Franck Chorot
Executive producer: David Giordano
Director of photography: Denis Rouden
Production designer: Ambre Sansonetti
Costume designer: Marie-Laure Lasson
Music: Bruno Coulais
Editor: Raphaele Urtin
Cast:
Louis Schneider: Daniel Auteuil
Justine: Olivia Bonamy
Marie Angeli: Catherine Marchal
Kovalski: Francis Renaud
Mateo: Gerald Laroche
Jumbo: Guy Lecluyse
Subra: Philippe Nahon
Running time -- 124 minutes
No MPAA rating...
The announcement that serial killer Charles Subra (Philippe Nahon) is to be released early for good behavior unleashes old demons for his arresting officer Louis Schneider (Daniel Auteuil) at a time when he is struggling to cope with more recent demons -- among them deep pangs of guilt incurred when his wife suffered debilitating Brain Damage in a car crash while he was enjoying a fling with his police colleague Marie (Catherine Marchal).
Complicating matters, a new spate of killings -- clearly the work of another serial killer -- has broken out. Meanwhile, Justine (Olivia Bonamy), the daughter of one of Subra's victims 25 years earlier, writes to Subra in prison and then makes contact with Louis.
As a police detective, Louis is not so much hard-bitten as chewed up and spat out. He is first seen slumped drunk in a bus that he then proceeds to hijack for the hell of it. Asked by a psychiatrist whether he believes in God, he replies that the deity "is a son of a bitch, and one day I'm going to kill him." He's rarely without a bottle close at hand, and it always appears to be three days since his last shave. He inflames relations with his superior Kovalski (Francis Renaud) by joining the investigation into the latest killings, then he assaults him.
In an opening title, Marchal informs spectators that the film is based on a true story. The director, an ex-cop, has hinted that the movie is a transposition of events that caused him to leave the police 15 years ago. But the story of MR 73 is best seen simply as a peg on which Marchal hangs his depiction of a burned-out cop, superbly assisted by Auteuil.
The weakness of the plotting is more than compensated by the strength of the performances and the splendor of the visuals. Rarely has the Mediterranean port of Marseille, where the action is set, appeared so bleak onscreen. The sun is banished to the margins in a succession of night scenes, murky interiors and washed-out colors that provide a fitting setting for a world without redemption.
Marchal arguably overplays the religious connotations (his CV includes a spell spent at a Jesuit school), and the movie's resolution -- in which a Manurhin MR 73 handgun plays a key role -- is too pat. But for all its faults, MR 73 is a powerful piece of filmmaking that marks out its director as a distinctive voice making a personal statement about the more troubling aspects of crime and punishment.
MR 73
LGM Films, Gaumont, TF1 Films Production, Medusa Film
Sales agent: Gaumont
Credits:
Screenwriter-director: Olivier Marchal
Producers: Cyril Colbeau-Justin, Jean-Baptiste Dupont, Franck Chorot
Executive producer: David Giordano
Director of photography: Denis Rouden
Production designer: Ambre Sansonetti
Costume designer: Marie-Laure Lasson
Music: Bruno Coulais
Editor: Raphaele Urtin
Cast:
Louis Schneider: Daniel Auteuil
Justine: Olivia Bonamy
Marie Angeli: Catherine Marchal
Kovalski: Francis Renaud
Mateo: Gerald Laroche
Jumbo: Guy Lecluyse
Subra: Philippe Nahon
Running time -- 124 minutes
No MPAA rating...
- 3/21/2008
- The Hollywood Reporter - Movie News
PARIS -- Co-producers Gaumont and French production company LGM said Wednesday that Gerard Depardieu and Daniel Auteuil will be pitted against each other as rival policemen battling to get the same girl and the same job in 36, a thriller by French director Olivier Marchal. The two French stars will be teaming up for the second time, following their 2001 comedy Le Placard (The Closet), with shooting scheduled for February in France. The film, called 36 to signify the address of Paris' police headquarters at 36 Quai des Orfevres, is Marchal's second. Like his first film, Gangsters, 36 will explore the confrontation between two powerful policemen who are forced to resolve their conflicts within the boundaries of their profession. "The story is about two people with a great depth to their personalities, and, like the French classic The Count of Monte Cristo, it has grandeur, decadence and vengeance woven into the plot," said Cyril Colbeau-Justin, head of LGM, which also produced Gangsters. "This is more than mere suspense," he added. Gaumont, which will co-produce and finance the film, declined comment on the picture's budget, which according to French film weekly Ecran Total will be 13.5 million ($15.4 million). The film is due to be released by the end of 2004.
- 11/6/2003
- The Hollywood Reporter - Movie News
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