Marc Bordure • Producer, Agat Films & Ex Nihilo
“We are interested in social and humanistic issues in France and beyond”
- Cineuropa met up with French producer Marc Bordure of Agat Films & Ex Nihilo, who told us about the project Pearl Tears by Levon Minasian, on the occasion of the Cinemed Meetings
One of the eight associate producers working for Parisian company Agat Films & Ex Nihilo (together with Robert Guédiguian, Patrick Solbelman, Nicolas Blanc, Marie Balducchi, Blanche Guichou, Muriel Meynard and David Coujard), Marc Bordure is attending the 41st Cinemed Montpellier Mediterranean Film Festival where he is pitching in the Development Aid Scholarship session of the Cinemed Meetings (read the news) the project Pearl Tears by Levon Minasian.
Cineuropa : What attracted you to the project Pearl Tears ?
Marc Bordure : Robert Guédiguian and I already produced Bravo virtuose, the first feature by Levon Minasian, who had previously directed two great short films, such as Le Piano which won many awards. We are convinced that he is a director with a lot of talent in terms of directing and with a rich personal universe. Pearl Tears is a social drama about economic migration in Armenia and the emancipation of a young girl who has to live on her own at 16: her father has gone to Russia, her mother is dying of cancer, her brother is fighting on the front in Azerbaijan, she finds herself alone in her house and a lot of things are going to happen to her. We are in co-production with Ani Vorskanyan from Armenian company anEva production. We will present the Eurimages project and filming will take place in Gyumri, the second biggest town in Armenia.
How would you describe the editorial line of Agat Films & Ex Nihilo ?
It is eclectic and we do not have an editorial line rigidly defined, but all the producers of the company share a taste for independent auteur films with topics worth defending. And as shown by Pearl Tears, Agat Films & Ex Nihilo has also always strived to make films that come from abroad: that is why we have also produced, among other titles, the Sudanese documentary Talking About Trees [+see also:
film profile] which has been winning awards everywhere since Berlin; I produce the films of Kurdish director Hiner Saleem; we have co-produced a film by Diego Lerman in Argentina, etc. We are interested in social and humanistic issues in France and beyond.
What do you think of the current situation of financing in France for auteur cinema?
The cinema economy is becoming smaller, that is for sure, and we can see it in the sums spent on pre-buying films and the reluctance, even the difficulties, of distributors. Strategically, in order to continue to produce fiction works, we also have to work in the world of TV series (which is also interesting in itself) and we have just hired Agathe de Lorme who will handle the development of TV shows. Our strength is that we have always been trying to work both in cinema and television with many documentaries, TV movies, etc. This diversity gives us economic stability.
What are some of the recent finished films and other projects of the company?
We have just released in France Blind Spot [+see also:
film profile] by Patrick Mario Bernard and Pierre Trividic, and the documentary Nous le peuple [+see also:
film profile] by Claudine Bories and Patrick Chagnard. Soon in cinemas will be Gloria Mundi [+see also:
interview: Robert Guédiguian
film profile] by Robert Guédiguian on 27 November, Talking About Trees by Suhaib Gasmelbari on 18 December, and the documentary Adolescentes [+see also:
film profile] by Sébastien Lifshitz on 29 April 2020. In post-production, we have the documentary Pingouin et Goéland et leurs 300 petits de Michel Leclerc (read the news). Filming is beginning today on Un triomphe by Emmanuel Courcol (read the news); Hiner Saleem is filming until mid-November Le baiser de Mésopotamie, which is a kind of Romeo and Juliet story set in the Kurdish mountains; we are preparing Twist à Bamako by Robert Guédiguian, which will begin filming on 20 February 2020 (which will be set in the capital of Mali going through profound changes in the 1960s); and Sentinelle Sud by Mathieu Gerault.
(Translated from French)
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