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San Sebastian Adds Egoyan

Spielmann, Zbanic also join fest competition

SAN SEBASTIANAtom Egoyan’s “Devil’s Knot,” Jasmila Zbanic’s “For Those Who Can Tell No Tales” and Gotz Spielmann’s “October November” will compete for San Sebastian’s Golden Seashell, the Basque festival announced Wednesday.

The three titles join ten already-announced competition contenders. While the Festival, which runs Sept. 20-28, may still add a competition title or two and has yet to unveil its closing film, the new additions virtually round up 2013’s main competish line-up at the biggest industry gathering in the Spanish-speaking world.

Fest’s official section – which takes in competition and out-of-competition titles – opens Sept. 20 with the international premiere of Juan Jose Campanella’s “Foosball.” Alex de la Iglesia’s “Witching & Bitching” also plays out of competition, coinciding with the concession of a Donostia Award to one of its stars, Spanish actress Carmen Maura, as already revealed.

One of the latest productions from Christopher Woodrow’s New York-based Worldview Entertainment, a burgeoning production-financing force for films by directors on both sides of the Atlantic, in “Devil’s Knot,” Egoyan re-explores the aftermath of the real-life case of the so-called Memphis Three, which saw three boys murdered in a small town in West Memphis. Reese Witherspoon and Colin Firth, also in competition at San Sebastian with “The Railway Man,” co-star.

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The newest film from Sarajevo-born Jasmila Zbanic, whose 2006 drama “Grbavica” won the Berlin Festival’s Golden Bear, “For Those…” stars performance artist Kim Vercoe as an Australian tourist in Bosnia-Herzegovina who gradually wises up to what seems collective amnesia over the Bosnia War’s Visegrad massacre, in which up to 3,000 people died.

Contemplating the re-encounter of two sisters at a mountain inn, The Match Factory-sold family reunion drama “October November” reps Austrian Spielmann’s follow-up to the Academy Award-nominated thriller “Revanche.”

All three films world premiere at Toronto, then segue one week later to San Sebastian. Rather than compete with Toronto – impossible when Toronto screens 146 feature film world preems – the Spanish festival has chosen to stage the European premieres of Toronto titles, focusing on world premieres in its New Directors’ section and on a host of new Latin American film projects and unseen movies in rough-cut in its two main industry sections: the Europe-Latin America Co-production Forum and the Films in Progress pix-in-post showcase.


Fest Opener:

“Foosball,” (Juan Jose Campanella, Argentina, U.K., Spain) (out of competition)

“Enemy,” (Denis Villeneuve, Spain, Canada)

“Cannibal,” (Manuel Martin Cuenca, Spain, Romania, Russia, France)

“Living is Easy with Eyes Closed,” (David Trueba, Spain)

“Witching & Bitching,” (Alex de la Iglesia, Spain, France) (out-of-competition)

“Club Sandwich,” (Fernando Eimbcke, Mexico)

The Railway Man,” (Jonathan Teplitzky, U.K., Australia)

“Wounded,” (Fernando Franco, Spain)

“My Soul Healed By You,” (Francois Dupeyron, France)

“Le Week-end,” (Roger Michell, U.K.)

“Quai d’Orsay,” (Bertrand Tavernier, France)

“Pelo Malo,” (Mariana Rondon, Venezuela)

“Devil’s Knot” (Atom Egoyan, U.S.)

For Those Who Can Tell No Tales” (Jasmila Zbanic, Bosnia-Herzgovina)

“October November” (Gotz Spielmann, Austria)

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