Film Les Fantômes

[Mckenzie Witting]

Sincehe came to Le Groupe Ouest in 2021 (Annual Selection), Jonathan Millet continues to accumulate successes, having already won several prestigious awards during the development phase of this film, including the Grand Prix at the Screenplay Prize (Prix du Scnario), the Gan Foundation Prize for Cinema, as well as the Audience Prize and the Visio Foundation Prize at the Premiers Plans Festival.

The Cannes parallel section dedicated to first and second films chose to open its Week, which will be standing from May 15 to 23, 2024, with this psychological thriller which is inspired by a true story to reinvent the codes of the spy film.

The film will be presented as part of the Young Audiences Sessions on Saturday, May 18. This world premiere in Cannes will be followed by a screening in Competition at the Annecy Festival!

Claude Barras participated in the Annual Selection in 2018 alongside co-authors Nancy Huston & Morgan Navarro for the development of this animated feature, after the success of his first film, Ma Vie de Courgette.

One of two offerings this year from Mexican filmmaker Gerardo Naranjo, Viena and the Fantomes looks to be the less likely to please fans of his much-admired 2011 Miss Bala (remade as a much-less-admired Gina Rodriguez vehicle last year): While his Mexico-set Kokoloko (a virtual Tribeca fest entry awaiting distribution) reportedly returns to tales of gang violence, Viena throws its heroine out on tour with a rock band as something between a roadie and a groupie.

A dispiriting film that has languished on the shelf since 2014, it stars Dakota Fanning but is likely being released now with the hope that small appearances by Evan Rachel Wood and Zo Kravitz will add commercial appeal. Fans of the latter two thesps will likely feel cheated.

Viena has been flirting with British crew member Keyes (Frank Dillane, who seems to be having a better time than anyone else here), but now that has to end. Freddy has a possessive side, and hooking up with him estranges her from the rest of the entourage.

Viena and the Fantomes is an American musical romantic drama film, written and directed by Gerardo Naranjo. It stars Dakota Fanning, Jeremy Allen White, Frank Dillane, Olivia Luccardi, Sarah Steele, Philip Ettinger, Ryan LeBeouf, Caleb Landry Jones, Zo Kravitz and Evan Rachel Wood.

Production on the film began in 2014 in Las Vegas, Nevada, with Gerardo Naranjo making his English-language debut from a screenplay he wrote.[1][2] The film ultimately was delayed until 2020, due to the filmmakers wanting the "perfect" edit.[3]

Syrian Hamid is part of a secret group pursuing the regime's fugitive leaders. His mission takes him to France, on the trail of his former torturer with whom he must confront. But can he be sure, now that his judgement is clouded by pressure, doubt and revenge?

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An art house cinema and exhibition space of 1000 m2 in the heart of Brussels, the Cinema Galeries offers a sustained and demanding programme of films ranging from the latest art house releases to retrospectives of the greatest independent directors.

Portraits fantmes is a multi-dimensional journey through time, film, sound, architecture and urban planning in Recife, the Brazilian capital of Pernambuco. Combining archives, fiction, film extracts and personal memories, this impressionistic journey is both a cartography of the city and a tribute to cinema, which throughout the 20th century was a place of conviviality, a receptacle for dreams, hopes and emotions. In this playful walk, people merge with characters, places with settings, words with dialogues.

Following the French release of the two parts of The Souvenir in February 2022, the retrospective of Joanna Hogg's films at the Centre Pompidou, in the presence of the director and her actresses, is an opportunity to present her much-awaited sixth feature film, The Eternal Daughter (2022, again with Tilda Swinton), in competition at the Venice Mostra, and her first four original films, Caprice, Unrelated, Archipelago and Exhibition, on public release throughout the country for the occasion.

Born in London in 1960, Joanna Hogg practiced photography before attending the National Film and Television School in 1981. She made several experimental Super 8 films at the time. Caprice (1986), her short graduation film with the then-unknown Tilda Swinton made an impression. She went on to shoot several clips for artists and worked in television. It took some years for Joanna Hogg to muster the courage to make a feature film. Her first attempt was masterly.

Way back in 2013, Dakota Fanning signed on to star in the English-language debut by Miss Bala director Gerardo Naranjo. Titled Viena and the Fantomes, the musical drama centered on a roadie as she embarks on a journey of self-discovery while traveling across American with a punk rock band in the 1980s. Shot in 2014, the film just sorta vanished. No premieres, no festival dates, nada. And now, in the time of streaming dominance, it has been unearthed and set for a straight-to-digital release.

Universal Home Entertainment will release Viena and the Fantomes digitally on June 30th. The film stars Fanning alongside Caleb Landry Jones, Zo Kravitz, Evan Rachel Wood, Frank Dillane, Jeremy Allen White, and Jon Bernthal.

SYNOPSIS: Viena, a beautiful, young roadie, travels with the Fantomes, an edgy post-punk band, as they tour through America in the 1980s. What starts out as a wild ride of concerts and parties quickly descends into an alcohol and drug induced haze. Viena finds herself trapped in a dangerous love triangle between a good natured roadie and an unbalanced band member, as she is forced to find her own means of survival-no matter the cost.

The quest for justice fuels a tense manhunt in the first fiction feature from writer/director Jonathan Millet, which balances cloak and dagger intrigue with an acute psychological exploration of grief, loss and exile. A charismatic central performance from Adam Bessa lends gravitas to an assured, involving tale inspired by true events. Opening Critics Week at Cannes should help attract the attention of festival programmers and distributors.

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Jonathan Millet' s debut feature is a powerful, tense film. The opening film of Critics' Week at the last Cannes Film Festival, Les Fantmes is due to hit French cinemas on July 3, 2024. The story is the very real one of a courageous band of exiled Syrians who track downformer torturers of Bashar al-Assad's regime, hiding in France and elsewhere in the world under false identities.

Hamid(Adam Bessa, implacable and impeccable) is one of the members of this secret organization. He himself is on the hunt for the war criminal who put him through hell in Saidnaya prison. Although he was blindfolded during the abuse, he's certain he'll be able to recognize him by voice and smell. Although he's a shadow of his former self, his hunt takes him all the way to Strasbourg, where he's certain he recognizes his tormentor, Harfaz(Tawfeek Barhom), in the guise of a model university student.

Filmed like a true spy movie, The Phantoms avoids graphic horror, preferring instead harrowing voice-over narratives recorded on a tape recorder by young male victims of these deranged men, detailing the brutality, humiliation and corporal punishment they endured. Likewise, the members of the organization remain, for the most part, invisible in the image, their exchanges being reduced to vocal conversations set against a backdrop of Call of Duty games.

Although the pace is calm and the narration measured, leaving room for Hamid's growing emptiness, the suspense builds dangerously until a breathless face-off between the victim and his possible executioner in a Strasbourg snack bar. This secret brigade may have no real authority, but its cause is highly legitimate. Not to avenge the victims, even if the idea crosses some people's minds, but to get these war criminals duly convicted, while avoiding using the same weapons as them.

Pardon me, Doctor, but what friggin' relationship? There's your human-sized Phantoms, the creepy caterpillary Phantoms, the flying Phantoms, and let's not forget my personal favorite, the big fat giant Phantoms!

The Phantoms are ghosts of an aggressive, extraterrestrial race in Final Fantasy: The Spirits Within. They are initially thought to be a race of alien invaders arriving on Earth via a meteorite known as the Leonid Meteor.

Invisible to the naked eye, Phantoms can only be seen through the use of specialized bio-etheric equipment. The body of a Phantom can be charged by an external source, such as the flare-gun used by Aki, momentarily rendering it visible.

The Phantoms are hostile, actively pursuing any living organism. Some intentionally emerge from the ground, walls or suddenly make themselves appear from thin air, like a typical ghost. Not all Phantoms remain invisible all the time.

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