Seven projects were selected during the 5th and final session of the CNC’s second advance on receipts 2019 committee.

Standing out amongst these is Le temps d’aimer which will be Katell Quillévéré’s fourth feature film following on from 2010’s Love Like Poison [+leggi anche:
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scheda film] (screened in Cannes’ Directors’ Fortnight 2010 and the winner of the Prix Jean Vigo), Suzanne [+leggi anche:
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intervista: Katell Quillévéré
scheda film] (which graced Cannes’ Critics’ Week 2013 and earned itself five César nominations in 2014, including Best Supporting Role) and Heal The Living [+leggi anche:
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intervista: Katell Quillévéré
scheda film] (unveiled in Venice’s Orizzonti line-up in 2016 before participating in Toronto’s Platform competition). Written by the filmmaker alongside Gilles Taurand, the story kicks off in 1947. Madeleine, a waitress in a hotel restaurant and the mother of a small boy, makes the acquaintance of François, a rich and cultured student, whilst on a beach. The forces of attraction which push them towards one another are as weighty as the secrets which each of them bears. We already know what Madeleine is looking to leave behind her as she follows this young man, and soon we will learn what François is desperately trying to escape as he intertwines his destiny with that of Madeleine. Production of this family saga spanning two generations will be headed up by Parisian groups Les Films du Bélier and Les Films Pelléas, with co-production in the hands of Belgian firm Frakas Productions.

The CNC will also be supporting La Ligne [+leggi anche:
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intervista: Ursula Meier
scheda film] by French-Swiss director Ursula Meier (who took part in Cannes’ Critics’ Week 2008 with Home [+leggi anche:
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intervista: Thierry Spicher
intervista: Ursula Meier
scheda film] before walking away with the Berlinale’s 2012 Silver Bear Special Award for Sister [+leggi anche:
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intervista: Ursula Meier
scheda film], and who was also selected for the 2018 Berlinale’s Panorama section thanks to Shock Waves – Diary of My Mind [+leggi anche:
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scheda film]). The work is set to be produced by Les Films de Pierre.

An advance on receipts was also granted to Mali Twist [+leggi anche:
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scheda film], which will be the 22^nd feature film by Robert Guédiguian (who competed in Cannes in 2002, in Berlin in 2005 and 2008, before travelling to Venice, first in 2017 with The House By The Sea [+leggi anche:
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intervista: Robert Guédiguian
scheda film], and then again in 2019 with Gloria Mundi [+leggi anche:
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intervista: Robert Guédiguian
scheda film]) and which will be produced by Agat Films.

Likewise selected for support was Les Harkis [+leggi anche:
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intervista: Philippe Faucon
scheda film], which will be the 11^th feature film by Philippe Faucon (a regular at the big festivals, chiefly by way of Samia, The Betrayal [+leggi anche:
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scheda film], The Disintegration [+leggi anche:
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scheda film] and Fatima [+leggi anche:
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intervista: Philippe Faucon
scheda film], not to mention Amin [+leggi anche:
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intervista: Philippe Faucon
scheda film]). The title will be produced by Istiqlal Films and co-produced by Arte France Cinéma alongside Belgian outfit Les Films du Fleuve.

The advance on receipts scheme will also lend its backing to Tom Medina [+leggi anche:
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scheda film] by Tony Gatlif (this 20^th feature film by a director who was awarded the Best Direction trophy at Cannes 2004 for Exiles will be headed up by Princes Films), the documentary project Little Girl Blue [+leggi anche:
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intervista: Mona Achache
scheda film] by Mona Achache (the production details of which are yet to be formalised) and the animated film Tales of the Hedgehog by Alain Gagnol and Jean-Loup Felicioli (Oscar nominated in their category for A Cat in Paris [+leggi anche:
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scheda film] in 2012 and who subsequently put their names to Phantom Boy [+leggi anche:
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scheda film]), a project steered by Parmi Les Lucioles Films.

For the record, six projects were selected during the CNC’s first advance on receipts committee: Anaïs in Love [+leggi anche:
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intervista: Charline Bourgeois-Tacquet
scheda film] by Charline Bourgeois-Tacquet (produced by Année Zéro and Les Films Pelléas), Saint Omer [+leggi anche:
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intervista: Alice Diop
intervista: Kayije Kagame
scheda film] by Alice Diop (SRAB Films), The Strange Case of Jacky Caillou [+leggi anche:
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scheda film] by Lucas Delangle (Les Films du Clan), Lumière noire by Karim Bensalah (Tact Production) and the documentaries Sheroes [+leggi anche:
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scheda film] by Aude Pépin (Bootstrap Label) and L’État sauvage by Audrey Baudouin (Quartet Production).