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Jenny S. Li The FIRST International Film Festival, held annually high up on the plains of Tibet, prides itself as a discovery festival and has been described as a Chinese equivalent of Sundance. But noted Chinese filmmaker Guan Hu (“Mister Six,” “Black Dog”) dealt FIRST organizers a blow on Sunday, when as head of the main competition jury, he refused to announce a best film winner. “It is not that we didn’t see any good films, but the selection overall was not bold enough,” Guan said from the stage.

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Athina Rachel Tsangari’s ‘Harvest’ Heads the Match Factory’s Venice Slate

Leo Barraclough International Features Editor Venice Film Festival competition title “Harvest,” directed by Athina Rachel Tsangari, is one of three films at the festival to be represented for sales by the Match Factory as well as being produced or co-produced by the company. The other two are “Edge of Night,” the debut feature by German-Turkish director Türker Süer, screening in Horizons Extra, and “Sanatorium Under the Sign of the Hourglass,” an animated film by the Quay Brothers, playing in Venice Days.

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Medienboard Berlin-Brandenburg MD Named; Venice Days Line-Up; Paul Schrader Leads Sarajevo Jury — Global Briefs

Germany’s Medienboard Berlin-Brandenburg Names New Boss

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Venice Days Unveils Female-Centric Lineup, Including Electropop Pioneer Doc ‘Peaches Goes Bananas’

Nick Vivarelli International Correspondent Films directed by women dominate the Venice Film Festival’s independently run Giornate Degli Autori, which has unveiled a lineup full of first works and special events including “Peaches Goes Bananas,” French filmmaker Marie Losier’s tribute to iconic Canadian electropop provocateur Peaches. Shot over the course of 17 years, “Peaches Goes Bananas” provides an intimate portrait of the former schoolteacher, who during the 1980s moved from Canada to Berlin and became a queer feminist icon, breaking taboos and “transforming her body into art,” as the doc’s synopsis puts it.

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Annecy’s Work-in-Progress Title ‘Death Does Not Exist’ Boarded by Best Friend Forever (EXCLUSIVE)

Elsa Keslassy International Correspondent Brussels-based company Best Friend Forever has boarded international rights to “Death Does Not Exist” (“La mort n’existe pas”) which is being showcased in the work-in-progress section at the Annecy Film Festival. Currently in production, “Death Does Not Exist” is directed by Félix Dufour-Laperrière who previously helmed “Archipel” which won the Annecy Contrechamps Jury Award in 2021, and ‘Ville Neuve’ which had its premiere at Venice Days 2018.

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Adria Arjona, Edgar Ramirez to Co-Star in Jayro Bustamante’s Dystopian Thriller ‘El Sombreron’

Leo Barraclough International Features Editor Adria Arjona (“Andor,” “Hit Man”) and Edgar Ramirez, the Golden Globe-nominated actor of “American Crime Story” and “Carlos,” have been tapped to star in “El Sombreron,” a dystopian thriller from Jayro Bustamante, the acclaimed director of “La Llorona” (2019) and “Ixcanul” (2015). The feature is to be launched at Cannes by the Match Factory, which will represent worldwide sales outside of North America. CAA Media Finance will represent North American rights.

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Les Arcs Festival’s Industry Village Still Champions Indie Movies in Challenging Landscape; ‘Little Trouble Girls’ Among Winners of 15th Edition

Elsa Keslassy International Correspondent “Kingdom of the Blind,” “Little Trouble Girls” and “Wind, Talk To Me” were among the projects which won prizes at the milestone 15th edition of Les Arcs Film Festival‘s Industry Village. The event, held in a popular French Alps resort, was attended by more than 700 professionals, including top sales agents, distributors and festival programmers, on top of high profile talent, such as two-time Palme d’Or winning Ruben Ostlund (“Triangle of Sadness”) who was the festival’s guest of honor.

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August Diehl To Star In Biopic Of German Olympic Athlete Otto Peltzer, ‘The Distant Near’; BBFP Co-Production Selected For Film Bazaar

EXCLUSIVE: Bombay Berlin Film Productions (BBFP) has revealed that August Diehl has been cast to play the role of German Olympic athlete Otto Peltzer in upcoming biopic The Distant Near.

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Ariane Louis-Seize on Her Venice Winner ‘Humanist Vampire Seeking Consenting Suicidal Person’ and the Thirst for Human Connection

Savina Petkova A vampire with qualms about killing to survive is no longer a figure exclusive to the “Twilight” franchise, when a Canadian French-language debut places a teenage girl in a tricky situation, torn between what the world demands of her and what she herself wants. The film’s title is eloquent enough — “Humanist Vampire Seeking Consenting Suicidal Person” — and it already won Ariane Louis-Seize the best director prize at this year’s Venice Days, and was praised for a “strong directorial vision.” The film screened as part of the main competition at the Thessaloniki Film Festival last week.

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Slovak Oscar Entry and Venice Prize Winner ‘Photophobia’ Acquired for World Sales by Filmotor (EXCLUSIVE)

Christopher Vourlias Slovak directors Ivan Ostrochovsky and Pavol Pekarčík’s Ukraine war drama “Photophobia,” which won the Europa Cinemas Label Award after its Venice Days premiere and is Slovakia’s entry in the best international feature film Oscar race, has been acquired by Prague-based sales agent Filmotor. Set on a cold February morning in the wake of the Russian invasion of Ukraine, “Photophobia” follows 12-year-old Niki and his family as they arrive at the Kharkiv metro station to take shelter from the terrifying war raging outside.

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‘Coup!’ Review: Jaunty Class-War Comedy Pits Peter Sarsgaard Against Billy Magnussen

Guy Lodge Film Critic That perky exclamation point sets the tone for “Coup!,” a story of murder, class struggle, One Percent entitlement and a global pandemic that nonetheless unfolds with all the eager, scrappy energy of an off-Broadway musical, minus most of the songs. The pandemic in question is not the one you’re thinking of — Austin Stark and Joseph Schuman’s puckish comic thriller unfolds against the dire backdrop of the 1918 Spanish Flu — but it also sort of is, as its study of wealthy exceptionalism in a time of national crisis is clearly intended to chime with more recent memories of regimented distancing and mixed safety messages from on high.

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‘Humanist Vampire Seeking Consenting Suicidal Person’ Review: Teen Horror so Sweet it’s (Not Even) Scary

Jessica Kiang The unkillable vampire legend gets one of its frequent cinematic resurrections (this Venice Film Festival alone boasted three more: “El Conde” in competition, “En Attendant la Nuit” in Horizons and “The Vourdalak” in Critics’ Week) with Québécois director Ariane Louis-Seize’s sweetly gothy Venice Days winner, a film wittily — if too comprehensively — described by its title: “Humanist Vampire Seeking Consenting Suicidal Person.” The idea of a vampire who doesn’t want to kill is hardly without precedent. But Louis-Seize’s eager debut, intentionally or otherwise, plays to a relatively vamp-starved demographic, providing continuity to kids who have long outgrown the “Sesame Street” version, but are still a bit young for the emo lustiness of the “Twilight” franchise.

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Quebec’s Strong Film Community Flexes at Fests With Venice Winner ’Humanist Vampire,’ ‘Solo’ ‘Kanaval’

Jennie Punter TORONTO: “Humanist Vampire,” “Solo” Heat Up Market for Toronto’s Quebec Feature Slate By Jennie Punter Toronto has long been a go-to place for Quebec filmmakers to launch new work, connect directly to the U.S. marketplace and, by extension, propel their careers to the next level — Denis Villeneuve, Phillippe Falardeau and Jean-Marc Vallée, for example, premiered most of their early films here.

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Adriano Valerio’s Romantic Documentary ‘Casablanca’ Acquired by Salaud Morisset Ahead of Venice Premiere, Clip Debuts (EXCLUSIVE)

Leo Barraclough International Features Editor Adriano Valerio’s documentary “Casablanca,” which will world premiere on Thursday at Venice Days, has been acquired by Salaud Morisset for world sales. Variety has been given an exclusive clip from the film.

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Sydney Sweeney & Fiancé Jonathan Davino Head to London After Busy Few Days in Venice

Sydney Sweeney is on the move.

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‘Sidonie in Japan’ Review: A Haunted Isabelle Huppert Gives This Gently Drifting Ghost Story a Soul

Guy Lodge Film Critic The mythology around Japan as a nation of everyday ghosts — where the living and the dead share space, occasionally in view of each other — can lead certain western filmmakers into dubious territory: If you don’t recall how Gus van Sant floundered with the mawkish, condescending exoticism of “The Sea of Trees,” trust that it’s best forgotten. Centered on a long-grieving Frenchwoman who finally makes peace with her husband’s death over the course of a Japanese work trip, “Sidonie in Japan” risks similar pitfalls — but Élise Girard’s droll, bittersweet romance mostly dodges them with grace and good humor, plus a pointed awareness of the limitations of its outsider perspective.

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Arab Cinema Rises on International Stage

Alissa Simon Film Critic As you read this, new titles from filmmakers of Tunisian, Moroccan and Franco-Palestinian-Algerian heritage are making their mark at the Venice Film Festival, while Toronto Film Festival will premiere a trio of first features from Saudi Arabia, along with discoveries from the UAE and Palestine, plus a handful of Arab titles screened at Cannes and Venice. Those in the know say that the annual number of Arab films produced has increased along with the emergence of new filmmakers, and that fall festivals such as El Gouna, Marrakech, Cairo and Red Sea will be chockablock with fresh regional titles.

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Sydney Sweeney Meets Up With Emma Corrin, Ever Anderson & More For MiuMiu's Womens Tales in Venice

Sydney Sweeney embraced the Italian fashion scene at MiuMiu Women’s Tales.

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Taiwan’s Golden Horse Film Festival To Open With Double Bill Of ‘Snow In Midsummer’ & ‘Be With Me’

This year’s Taipei Golden Horse Film Festival will open with a double bill of Snow In Midsummer, directed by Malaysia’s Chong Keat-aun, and Be With Me, from Taiwanese filmmaker Hwarng Wern-ying.

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Venice’s Giornate degli Autori Marks 20th Edition With Céline Sciamma, Luca Guadagnino, Isabelle Huppert & Hiam Abbass; Heads Talk Line-Up & History

Venice parallel section Giornate degli Autori (GdA), running alongside the main festival from August 30 to September 9, celebrates its 20th edition this year.

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Fandango Launches Sales on Cuba-Set Venice Days Opener ‘Oceans Are the Real Continents,’ Debuts Trailer (EXCLUSIVE)

Nick Vivarelli International Correspondent Italy’s Fandango Sales will launch international distribution at the Venice Film Festival on Tommaso Santambrogio’s “Oceans Are the Real Continents,” set and shot in a run-down contemporary Cuba. The film opens the festival’s independently run Venice Days section.

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