Compétition internationale
44th edition
18>27 november 2022, Nantes
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Nantes 2019 | 19th Edition

2019 Nantes Produire au Sud
2019 Nantes Produire au Sud
Rencontre avec Midi Z © JG Aubert
Rencontre avec Midi Z © JG Aubert
Pitch presentation at Le Cinématographe
Pitch presentation at Le Cinématographe
Work session at the Institute for advanced study
Work session at the Institute for advanced study
Work session around Postproduction at Le Concorde movie theater
Work session around Postproduction at Le Concorde movie theater
2019 Group photo during closing ceremony
2019 Group photo during closing ceremony

  • CNC (Centre National du Cinéma)
  • Institut d'Etudes Avancées (IEA)
  • Institut Français Afrique du Sud (IFAS)
  • Institut Français Vietnam
  • Alliance Française Addis-Abeba
  • Ambassade de France en Ethiopie
  • DIFF/Durban FilmMart
  • Cinéma le Cinématographe
  • Cinéma le Concorde (Nantes)

Editorial

If cinema can be seen as a window open to the vibrations of our contemporary world, the same holds true for an international film market that is ever more attentive to the trends in cinema. Here and elsewhere, filmmaking methods, industrial or not, often reflect a political situation and the readiness to encourage and support national artistic creation and those involved. When a country opens up it frontiers more widely or eases its policy on the freedom of expression, the growing momentum of its film industry is felt almost immediately and automatically.

The professional platform provided by the Festival des 3 Continents and the Produire au Sud workshops each year attest to the changes in these international production dynamics linked to the political, structural and cultural developments in some countries, and sometimes in entire regions of the world. The expertise and attentiveness of the 3 Continents structure is thus positioned at the point where the circumvolutions of international politics and the fluctuations inherent to world cinema converge.

This optic is particularly sensitive to the selection of the 2019 Produire au Sud Workshop, which for the first time has a preponderance of African projects from the four corners of the continent: Zimbabwe, Libya, Ethiopia and Sénégal. Thanks to the favourable current situation and the growing number of initiatives and programmes supporting both fiction and documentary films, now structured as project platforms (RealNess, Steps, Ouaga Filmlab, Sentoo, etc.), more robust African film projects are entering the international markets with as much courage as tenacity. These international programmes are mostly based on an inter-regional collaboration or cooperation that transcends borders and opens up shared reflection.

Asia – notably Southeast Asia – is not left behind. The past two or three past years have seen a burgeoning of regional co-productions that are pushing producers and filmmakers to renew hybrid and multicultural artistic proposals and production models that explore cinema financing and the exchange of skills between those who make cinema.

This role of the Produire au Sud workshops as an observatory following the fluctuations of the international film has but one requirement: its own renewal and constant updating of its place and its role vis-à-vis films and those who are developing them. A requirement that the workshop has successfully sustained given its longevity since 2000 and its upcoming 20th anniversary in 2020.

This year, six new film projects have joined the ranks of the Nantes workshop, from countries that are seldom represented: Libya, Zimbabwe and Ethiopia for the very first time, and Sénégal, Nepal and Vietnam.

This Nantes edition of Produire au Sud 2019 will also take a look at the successful Sudanese film You Will Die at Twenty by Amjad Abu-Alala (Produire au Sud Nantes 2016), chosen for the Special Screenings section. It is also proposing to the festival-goers of this 41st festival an encounter with the workshop’s six filmmakers in a programme presenting their latest short films.

The traditional pitching session of the Produire au Sud workshop is open to festival-goers and will take place at the Cinématographe, Friday 22 November at 2:00 pm.

So we look forward to seeing you in 2020 for the 20th anniversary of the Produire au Sud workshops.

Guillaume Mainguet
Head of Produire au Sud

TIMELINE

– Workshop: November 18-24, 2019

selected projects

ETHIOPIE | The last Tears of the deceased

directed by Beza Hailu Lemma
produced by Tamara Mariam Dawit

LIBYEOnce upon a time in Tripoli

directed by Abdullah Al-Ghaly
produced by Miftah Saeid

NÉPALSeason of Dragonflies

directed by Abinash Bikram Shah
produced by Anup Poudel et Ram Krishna Pokharel

SÉNÉGALCoura + Ouleye

directed by Iman Djionne
produced by Souleymane Kébé

VIETNAM | Till the Cave Fills

directed by Nguyen Le Hoang Viet
produced by Nguyen Le Hang et Josh Levy

ZIMBABWE | Sunflowers in the Dark

directed by Tapiwa Chipfupa
produced by Ben Mahaka
partnership with Durban Film Mart

MENTORS

– Claire Lajoumard, Acrobates Films, producer – France
– Denis Vaslin, Volya Films, producer – France & The Netherlands
– Juliette Grandmont, Clandestine Films, producer – France
– Delphyne Besse, UDI, sale agent/distributor – France
– Agathe Valentin, Totem Films, sale agent – France
– Gualberto Ferrari, script consultant – Argentina
– Joëlle Touma, script consultant – France & Lebanon
– Stefano Tealdi, Stefilms, pitch expert – Italy
– Boris Chapelle, sound engineer – France
– Daniel Chabannes, Epicentre Films, distributor – France
– Midi Z, director – Taiwan

Institute for Advanced Study (IAS)

Since 2013, the Produire au Sud workshop takes place in the IAS. The Institute for Advanced Study provides an inspirational setting for intellectual innovation. The Institute’s mission to bring together internationally renowned scholars, writers and innovators from many different countries, working in many different disciplines. The scholars, temporarily freed from their normal professional obligations, have the opportunity to pursue their studies in a spectacular building overlooking the Loire River. They have the opportunity to work on their projects either individually or collectively.

The main objective of the Nantes Institute for Advanced Study is to create a new type of relationship between Western scholars and those from the rest of the world. By encouraging the latter to put forward their viewpoints we hope to achieve a true diversity of approaches to current problems posed by globalization.

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