PARIS — “Look Up,” “Lost Wolves” and “Pirate of Love” were the standout projects at Paris Coproduction Village, the mini-market running alongside the Champs Elysees Film Festival.
Showcasing 14 projects out of 270 applications, the Paris conference is organized by the team behind Les Arcs’ Coproduction Village, which discovered this year’s Cannes Grand Prize winner “Son of Son” and Un Certain Regard winner “Rams,” among others. The Paris mart is run by CEO Pierre-Emmanuel Fleurantin and head of industry events Vanja Kaludjercic, co-founder Jeremy Zelnik and managing director Guillaume Calop.
“Look Up” (“Guarda in Alto”) marks Fulvio Risuleo’s follow-up to “Varicella,” the short film that nabbed a prize at this year’s Critics’ Week. “Look Up,” produced by Donatello Della Pepa and Federico Giacinti for Italian shingle Revok, centers on a young man who discovers a marginalized community living on the rooftops of Rome.
“Lost Wolves” is a thriller to be directed by Carlos Moreno, the critically acclaimed Colombian helmer of three Sundance players: “Lifeforever,” “All Your Dead Ones” and “Dog Eat Dog.” Moreno’s project, which will lense in French and English, tells the tale of two men who travel to the countryside and come across a pack of wolves. Diego Ramirez is producing for 64-A Films.
Zelnik said “Lost Wolves” sparked interest from sales agents and co-producers due to Moreno’s track record as well as the project’s arthouse-mainstream crossover appeal. Kaludjercic pointed out Moreno has notably gained recognition with “Escobar, el patron del mal,” a TV miniseries about drug lord Pablo Escobar.
Meanwhile, “Pirate of Love,” an Icelandic project to be helmed by Sara Gunnarsdottir and Arni Sveinsson, is produced by Netop Films, the outfit behind “Rams.” “‘Pirate’ is highly original as it folds live-action, animation and reenactment into a documentary feature that has a similar tone to ‘Sugarman,'” said Fleurantin. “Pirate” centers on two filmmakers who set out to investigate the roots of a mysterious CD filled with love songs that have an impact on the lives of people who listen to it.
Other buzzed-about projects pitched at Paris Coproduction Village included “Zoology,” a black dramedy by Russian up-and-comer Ivan I. Tverdosvsky; “The Omission,” from Sebastian Schjaer, whose short “The Broken Past” played at this year’s Directors’ Fortnight; and “Opening Hours,” “an omnibus feature comprising segments helmed by Anocha Suwichakornpong, Vorakorn Ruetaivanichkul and Wichanon Somumjarn (‘Mother’).”
The Paris Coproduction Village also showcased projects developed at the Cannes Cinefondation residence. The most anticipated titles include “A Cambria” from Italian helmer Jonas Carpignano, whose latest film, “Mediterranea,” played at Critics’ Week. Through the eyes of a young man named Pio, “A Cambia” explores different facets of Southern Italy where African immigrant workers, Eastern Europeans and sex workers live side by side.
The second edition of Paris Coproduction Village, which ran June 9-11, turned the spotlight on Brazil in partnership with Cinema do Brazil. The confab hosted a panel on French-Brazilian co-productions with reps from Bossa Nova Films, Tambellini Filmes, Paprika and Bilboa Films, who discussed recent films and documentaries produced between the two countries, notably “Amazonia” and “Going to Brazil.”