Spearheading this brilliant trio, The Man Who Killed Don Quixote is already the most anticipated film of the year, as Terry Gilliam has been working on it for over 23 years. A first attempt at filming failed in 2000. The casting was however formidable: Jean Rochefort, Johnny Depp, Vanessa Paradis. But all the gods of heaven conspired to prevent the realization of the project and the documentary Lost In La Mancha, which tells the story of this nightmarish shooting, is a breathtaking document that every film lover must see at least once in his life. Eighteen years later, the maestro shot his film with other actors and not the least: Jonathan Price and Adam Driver! He will unveil his film on the most beautiful screen in Cannes on Saturday, May 19. Co-produced here by Entre Chien et Loup, which allowed the Other Company to create the spectacular special effects at La Hulpe, The Man Who Killed Don Quixote promises to be epic and picaresque: pure Gilliam as we love him.
If we were hoping to see Don Quixote at Cannes, the selection of Mandy at the Directors’ Fortnight is clearly a wonderful surprise. This genre film, which unashamedly leans towards bloody comic books, was shot entirely in Belgium last summer. Nicolas Cage took the opportunity to travel the length and breadth of Wallonia, a journey that he probably never intended to make in his entire life. This is the magic of cinema and probably also the magic of Wallimage. At first, Mandy seemed destined for the VOD market in the United States, and for a theatrical release, coupled with specialized festivals in Europe. And then, unexpectedly, Panos Cosmatos’ second feature film was selected at Sundance and given a standing ovation by the press. As a result, it will be released first in the United States and will be a big event at the Directors’ Fortnight. Because, believe us, the film, mostly produced by Umedia, will not go unnoticed along the Croisette. I promise, I swear. For Wallimage, this is further proof that genre films are particularly suited to our co-financing format. Grave, Muse, A hole in the ground, Sea Fever, The Room, Vivarium or Dreamland proudly enrich our line-up by squatting in territories we didn’t necessarily expect three or four years ago.
Only at my wedding is at the exact opposite of an axis where Mandy would appear. A fragile film initiated in Belgium by director Marta Bergman, produced at Frakas by Cassandra Warnauts, Seule à mon mariage is more than any other a women’s film, carried by female talents in front of and behind the screen. At Wallimage there is no quota based on the gender of those who present and shoot the films. That would be silly and offensive. On the other hand, we can’t help but notice that some of the most enjoyable feature films we’ve co-financed in recent times, from Grave to Nico 1988 (which hit theaters this April 18), are strong, original and compelling women’s films. We haven’t seen Seule à mon mariage yet but the script already hinted at a strong personality and intentions. Long live this new dream team. And thank you again for carrying our colors to the Mediterranean!
