Guillaume de Seille

Art-house film producer, new talents and festivals worldwide

[Deadline @DEADLINE]

‘My Father’s Scent’ Teaser: ‘Boiling Point’ Actor Ahmed Malek Stars In Mohamed Siam’s Father & Son Drama https://t.co/EYSrpvSDhn

[Philippe Machado @2philenaiguille]

Un néoréalisme poétique d’une grande force émotionnelle, jamais forcée, le tout avec une économie de plans et de mots remarquable; ABOUNA de Mahamat-Saleh Haroun est un très beau coming-of-age sur le départ des pères et la fracture laissée derrière.

[Guillaume de Seille @GdSArizona]

Shortlisted tonight in Utrecht, The Hunt for Meral Ö, fiction debut by Dutch Stijn Bouma, relies on a sharp script (Roelof Jan Minneboo), a very fair actress (Dilan Yurdakul) and skillful, underfunded producers (Kepler). Likely audience award at its French premiere in November.

[Guillaume de Seille @GdSArizona]

After a discreet launch in Telluride and Toronto, Josua Oppenheimer presents The End in @sansebastianfes comp for Match Factory - a confusing musical, at least the third of the year, apocalyptic but too elusive and above all far too long. Still more interesting than Emilia Pérez.

[Guillaume de Seille @GdSArizona]

Standout at Cologne Ewip last autumn, Swiss-American Jasmin Gordon's debut The Courageous shines at @TIFF_NET Discovery. Scary and moving at the same time, based on a skilful script and a wonderful actress, Ophelia Kolb. Crossover potential. Locarno snub. Media desastrous effect.

[Guillaume de Seille @GdSArizona]

In @TIFF_NET Discovery, Gülizar, debut by Turkish Belkıs Bayrak coproduced with Kosovo, the script is still a little short but the visual talent is undeniable. Possible award afterwards in @sansebastianfes New Directors, definitely strong (Biennale too) in first Turkish features.

[Guillaume de Seille @GdSArizona]

Somewhat sadly, we've reached the point where, in a jury of likely strong-heads, it's Pedro who becomes the lowest common denominatorpossible, the only nice compromise.

[Guillaume de Seille @GdSArizona]

Pupi Avati is closing #Venezia81 OoC with The Backyard for Minerva, a bizarre and heavy American-Venetian homage to post-WWII b&w films, far less convincing and attractive than a recent Ripley, for example. Clearly a self-adaptation primarily aimed at older Italian audiences

[Guillaume de Seille @GdSArizona]

After the first in Cannes, Horizon: An American Saga - Chapter Two by Kevin Costner is screened OoC in #Venezia81. The new king of VOD may disappoint with this talky, stagey opus, which pushes back the bravura bits as much as possible. Still, it's a little better than the first.

[Guillaume de Seille @GdSArizona]

@lemagcinema Le générique du début annonce clairement qu'il s'agit de la troisième partie - et l'épilogue pitoyable le confirme à mon avis. La seconde, Dreams, aurait pu être lancée à Haugesund fin août par exemple. Et puis non. Grosse grosse pression sur la nouvelle équipe de la Berlinale là

[Guillaume de Seille @GdSArizona]

After Sex, awarded in last Berlinale Panorama, Norway's Dag Johan Haugerud presents Love in #Venezia81 comp for m-appeal, second but final part of his Oslo trilogy. A writer's work in the form of a rather unusual medical pamphlet. Catastrophic epilogue, ridiculous score. Again.

[Guillaume de Seille @GdSArizona]

@lepastier Orizzonti : Familia, Familiar Touch, Feeling Better & Mistress Dispeller

[Guillaume de Seille @GdSArizona]

@lepastier Joker FÀ2, The Order, April, Trois amies, The Room Next Door

[Guillaume de Seille @GdSArizona]

After a doc in Cannes UCR and a first fiction in Locarno, Israeli Dani Rosenberg is presenting Of Dogs and Men in #Venezia81 Orizzonti for Rai. A surprisingly mainstream proposal: if the aim is to launch debates after domestic screenings, why invite such a politically weak film?

[Guillaume de Seille @GdSArizona]

Broken Rage by Japanese Takeshi Kitano in #Venezia81 out of comp for Amazon is short but also a bit sad. Watching Beat Takeshi sum up his work in a double pirouette is certainly watchable, especially in a large, sold-out theater, but the best moments are in the text messages.

[Guillaume de Seille @GdSArizona]

Third and final part of Youth, Wang Bing's Homecoming is launched at #Venezia81 for Pyramide. The familiarity with the places and the city, the young people and the special accent, all this is working fine. But refusing to be attractive for 10 hours today is a little bit long.

[Guillaume de Seille @GdSArizona]

One of Those Days Where Hemme Dies, debut by Turkish Murat Firatoğlu, launched at Orizzonti in #Venezia81 for Luxbox, stretches its tenuous scenes so thinly that a kind of hypnosis sometimes envelops the viewer - an interesting experience rather expected at Locarno's sidebar.

[Guillaume de Seille @GdSArizona]

Following a Golden Leopard for his sophomore feature in 2018, Singaporean Siew Hua Yeo is presenting Stranger Eyes in #Venezia81 comp for Playtime after turning down Cannes Fortnight - overdevelopped theoretical ideas that never produce emotion. Lee's face foreshadow the twist.

[Guillaume de Seille @GdSArizona]

After two overrated films at Cannes, Italian Fabio Grassadonia and Antonio Piazza present their third overlong Sicilian Letters in #Venezia81 comp for Losange - meant to be an entertaining thriller with impressive cast but just a heavy, pathetic, overfinanced TV movie.

[Guillaume de Seille @GdSArizona]

After four main awards in San Sebastian for her 2020 debut, Georgian Dea Kulumbegashvili turned down Cannes UCR with April, #Venezia81 comp for Goodfellas. Dea is a fascinating nocturnal painter, even with her flaws (the monster, the over-mixed sound design). And Rati is missed.