Woolf+Lapin Off To Cannes 2017

Woolf+Lapin is at Cannes again this year.

First and foremost on our radar this year is the presentation of Unlimited VR’s Trinity, directed by Woolf+Lapin’s Patrick Boivin, at the Next Pavillon.

We’re also looking forward to our friends from the Byron Bay Film Festival to present the work of some of Australia’s premier VR studios, namely Proxi VR.

VR remains a strong focus for the agency as it has entered a partnership with Canada’s Mont VR to scout and license top narrative experiences. Plus we’re excited to bring our slate of film projects to market, many of them never-before-seen from newly signed, fresh voices.

Also, for the first time, “the Marché du Film – Festival de Cannes and the Fantasia International Film Festival (Woolf+Lapin Partners) co-present the Frontières Platform in Cannes, a dedicated section of industry programming & networking events for the genre film industry at the Marché du Film.”

Lastly, we’re certainly looking forward to meeting up with friends, old and new!

An Answer to Netflix’s 13 Reasons Why: David Lee Miller’s My Suicide, A Film Actually Created to Save Lives

We are taking the liberty of excerpting Sarah Slobin’s article in Quartz. See full article here.

Slobin sees a stark contrast between the show and the movie. My Suicide was written and directed by Woolf+Lapin collaborator David Lee Miller who won the Crystal Bear Best Picture Generation 14 plus at the 2009 Berlinale. Much like the TV show, My Suicide is also available for streaming on Netflix.

“Like 13 Reasons, My Suicide captures the turmoil surrounding unimaginable loss at an American high school. Unlike 13 Reasons, My Suicide was actually created as a public service, specifically to prevent the worst from happening.”

“The movie is intimate, raw and at times graphic and unsettling (it is not suitable for young children). It’s aesthetic stands in blunt contrast to 13 Reasons, which parents and mental health advocates complain portrays a romanticized, dangerously incomplete portrayal of taking your own life that places blame on the survivors.

“It is the authentic voice of My Suicide that makes this film important viewing for anyone seeking insight into what drives modern teenagers to the brink.

“A dark comedy about the journey from narcissism to connection, My Suicide teleports you directly into the psyche of its main character, Archie Williams. The editing is quick-cut and animation-riddled, the effect is almost hallucinogenic. The view from his teenage-boy mind is hormonal, caustic, sometimes gory, often vulnerable and achingly awkward.

“Those rough edges may not be for everyone. While the show won 26 awards around the world, a cranky review by The Hollywood Reporter described it as being both derived from the internet and an “extended pastiche of YouTube postings,” which is precisely why My Suicide went viral among teens.

“The film’s production house, Regenerate Films, is a nonprofit formed with a mission to make movies that “provide a message of change and hope.” The director, David Lee Miller, told Quartz that the filmmakers “set out to make a movie to save one life” and over time Miller said, they heard from thousands of teenagers who credited it for pulling them back from the edge.

“I Am an Archie” (the homage scrawled to the main character on the fangirl’s arm) became a tag of solidarity adopted by the community.

“Miller said they wanted capture how hard it is to be a kid today; overloaded and overconnected and at the same time disconnected. This particular state of modern culture is among the reasons why Netflix’s choice to release a multi-part series on teen suicide is horrendously timed.

“Netflix does not release viewership information, but a 2016 poll found that 39% of Netflix viewers are between the ages of 13 and 17. At the same time, that state of psychological isolation Miller references is pervasive in cultures across the world, driven by the rise of connectivity over the last decade. Compounding that, studies show that cyber addiction has a role in suicidal behavior.

“In the US, one out of every 33 children suffers from depression. For teens the rate is higher, and can be as high as one out of eight. Of course, not every child who is depressed will commit suicide, but every child who commits suicide fights depression. Suicide was the third leading cause of death among children between 10 and 14, and the second among those 15 to 34.

“In response to the criticism that 13 Reasons may be a trigger for those at risk, Netflix has added additional warning labels in front of graphic scenes. There is also an accompanying website for teens in need of help and a nine-minute public service video where the cast, producers and mental health professionals weigh in.

“But adding signposts is not the same as crafting an experience that consciously avoids triggering teens at risk. However well-intentioned the creators, signing on to make a Netflix series is 180 degrees apart from the work of a nonprofit that makes films specifically to amplify the voices of youth.

“In response to the backlash to 13 Reasons, the actress Selena Gomez—the show’s executive producer—says that the series has started an important conversation. Critics say that the show’s flaws actually make that more difficult.

“When you die you do not get to make a movie or talk to people any more. Leaving a message from beyond the grave is a dramatization produced in Hollywood and not possible in real life.
Also in real life, finding ways to talk to teenagers who are wired to want little to do with adults is no simple task. Delaney Ruston, a filmmaker, primary-care doctor and parent behind the documentary Screenagers, about growing up in the digital age, told Quartz the she is concerned that teens may already be too desensitized to the topic. She hopes “adults won’t lose this moment in time to have a conversation with the teenagers around us in emotional pain.”

“This moment may not be the only chance to have that discussion. My Suicide will be available to stream for the next two years. Netflix has just announced it is bringing back 13 Reasons for a second season.”

Blast From the Not So Distant Past: Moby’s “Be The One” Directed by Oden Roberts

Roberts became a Cannes golden lion winner in 2013 for his music video for Moby, “Be The One”.

After the prize, Roberts penned A FIGHTING SEASON (in select theatres May 25th), winning the largest US writing grant to date from the San Francisco Film Society.

Roberts’ diverse career has awarded him a plethora of achievements in other aspects of filmmaking and producing as well. He’s a 3-time winner of both the Panavision Filmmakers Grant and the Fuji Film Grant for his distinct cinematography.

A noted producer in Adweek for his high-end achievements in live action and visual effects duties on AICP awarded commercial work.

And recently he’s been recognized for his bold efforts in the arena of VR production creating visual arenas for Nat Geo and Coors Light.

Roberts is currently inspired to shoot his next film ONE COWBOY’S STAND, a neo-western on the Malheur National Wildlife Refuge standoff in Oregon.

Télévision – LE SIÈGE : une nouvelle série dramatique tournée en Acadie pour ICI RADIO-CANADA TÉLÉ et réalisée par Jim Donovan

“LE SIÈGE, une série dramatique d’une grande actualité est tournée ce printemps en Acadie pour ICI RADIO-CANADA TÉLÉ. Coproduite par Phare-Est Média, qui est à l’origine de Belle-Baie et de Le Clan et par Attraction Images (Fatale-Station, Les Parent, Belle-Baie), LE SIÈGE comprend six épisodes qui s’articulent autour des conséquences du démantèlement d’une usine qui était un pilier de l’économie régionale. Elle sera diffusée en 2017-2018 sur ICI RADIO-CANADA TÉLÉ.

LE SIÈGE met en vedette d’excellents comédiens de l’Acadie et du Québec, dont Denise Bouchard, Alexandre Goyette, Gilles Renaud, Lou Poirier, Marc Lamontagne, Marie-Ginette Guay, Guy Frenette, Diane Losier, Raphaël Butler, Matthew Wilson et Christian Essiambre.

L’histoire se présente comme suit : la petite ville mono-industrielle de Cole Creek est en état de choc. L’usine de thermoformage ferme ses portes, entraînant la perte de 1 000 emplois et la possible disparition de la ville. La Canadian Smiths-Thompson, qui possède l’usine, demande même aux employés un mois de travail supplémentaire pour démonter et déménager leur équipement vers leur nouvelle usine de Saskatoon.

Menés par le passif Mario Cormier (Gilles Renaud), président du syndicat, les employés entreprennent alors une journée de protestation symbolique malgré la résignation ambiante. Personne ne s’attend vraiment à de réelles avancées. Du moins, jusqu’à ce que la bande de l’intempestif Alexis Godin (Alexandre Goyette) profite de la manifestation pour pénétrer dans les bureaux des dirigeants avec un sac rempli d’armes. Ce qui devait n’être qu’une manifestation sans histoire se transforme ainsi en une intense prise d’otages. Au lieu de laisser la police s’occuper de Godin, Mario décide de rester, lui aussi, à l’usine pour tenter de dénouer le siège. Dès lors, une lutte de pouvoir s’opère entre Godin et Mario. Cette confrontation fera éclater au grand jour la véritable nature des deux hommes… Pendant ce temps, au-delà des murs de l’usine, Chantal Trempe (Denise Bouchard), négociatrice en chef pour la police nationale, a la difficile mission d’obtenir un dénouement pacifique.

LE SIÈGE est l’œuvre du jeune auteur Pierre Marc Drouin avec le concours de Renée Blanchar (Belle-Baie) et Johanne Larue comme conseillères à la scénarisation. Elle est réalisée par Jim Donovan (Le Clan) et produite par Cécile Chevrier, Joceline Genest et Antonello Cozzolino. Les productrices exécutives sont Marleen Beaulieu et Louise Lantagne.”