Marc Irmer • Produttore di Aïcha
"Dolce Vita produce e coproduce film da tutto il mondo"
- In occasione dei Cinemed Meetings incontriamo il produttore di Dolce Vita Films che ci parla del progetto di Mehdi M. Barsaoui
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German-born Marc Irmer, who is French by adoption, created Dolce Vita Films in 2007 after eight years with Mille et une productions. The Paris-based company has to its credit some 15 feature films in delegated production or co-production, including Legal Aid [+leggi anche:
scheda film], Témoin indésirable - Sin Tregua [+leggi anche:
scheda film], Belleville Tokyo [+leggi anche:
scheda film], Impunity, Sunrise [+leggi anche:
scheda film] and Slam [+leggi anche:
intervista: Partho Sen-Gupta
scheda film]. The producer is present at the 43rd Festival du Cinéma Méditerranéen de Montpellier where he is pitching for the Cinemed Meetings development grant (read the news) the project Aïcha, which will be the second feature film by Tunisian Mehdi M Barsaoui after the multi-awarded A Son [+leggi anche:
intervista: Mehdi M. Barsaoui e Sami B…
scheda film], already piloted by Dolce Vita Films.
Cineuropa: Was it natural to work with Mehdi M Barsaoui again after A Son?
Marc Irmer: It was a wonderful meeting around A Son, and on the basis of a script that was already very strong, Mehdi managed to make a film that was both sober and intense, which seduced both the public and the critics, with many prizes in festivals. So it was obvious we’d continue together. Everything was slowed down a little by the pandemic and by Mehdi's marriage, who also became a father, but since the beginning of 2021 we have begun development work on Aïcha, which will be centred on a Tunisian woman in her thirties, living in Tozeur, in the south of the country. One day, a misfortune befalls her. But she doesn't know it yet, it will be the most beautiful thing that has ever happened to her: she will never be the same person again... Beyond Mehdi, it is also a pleasant and fruitful collaboration with Habib Attia from Cinétéléfilms, the Tunisian producer. As with A Son, we start from the basis, a synopsis, an idea, to move towards a treatment, the first dialogue sequences, etc. The script is not yet finished and there is still work to be done. Medhi took part in the Meditalents workshop in the spring and is now joined by Magali Negroni who had already worked as a consultant on A Son. In the months following the Cinemed Meetings, Aïcha will also be screened in both markets of the Cairo Film Connection and the new Red Sea Festival.
What is the editorial line of Dolce Vita Films?
For 15 years, Dolce Vita has been producing and co-producing films from all over the world, but sometimes also in France. To give a few examples, we have made films by Partho Sen-Gupta in India and Australia, or by Sebastián Sepúlveda in Chile. So this "World Cinema" line is totally in our DNA, which does not prevent us from producing a French animated feature today: Linda wants chicken by Chiara Malta and Sébastien Laudenbach (The Girl Without Hands [+leggi anche:
scheda film]). This children's film, which we are producing with Miyu Productions, is entering production for delivery in March 2023.
What is your analysis of the situation for French film production after the peak of the pandemic?
The last 18 months have not really given any particularly negative indication, at least as far as I am concerned: the commissions and television channels have worked, distributors were still very active last year. However, we now feel that between the stock of films to be sold and the public's enthusiasm, which is not yet fully there, especially in the art house segment, there is great caution on the part of distributors. At the same time, there have been many projects developed during this period, so there is certainly a bottleneck. On the international side, what has been complicated is rather the absence of physical meetings because the online markets are very limited for discovering new people. But things are slowly coming back, so I remain optimistic. Undeniably, the public authorities have supported the industry in every possible way, so we are not yet seeing this real deficit, which is obviously growing in relation to the CNC's automatic support fund, and I do not know how it will be managed in 2022. I have no personal answer, I share the concern of my colleagues, but production has resumed since the summer of 2020 and there are many films arriving. At Dolce Vita, given the international nature of our films, we have always managed to find financing elsewhere than in France. When there were not enough tools or when they were limited and therefore extremely selective, we relied, for example, on private financing in India and the Middle East, which enabled us to make the films. For example, A Son was not supported by the Aide aux Cinémas du Monde, which did not prevent us from finally providing 50% of the budget from France.
(Tradotto dal francese)
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