The Germans are beginning to wrack their brains about what it takes to get into Gilles Jacob's celluloid heart. Despite a huge upturn in business on home soil, and more and more pics catching the international eye, there's only the merest trace of Teutonic film talent to be seen at this year's fest.

One pure German pic, Angela Schanelek's Places in Cities (Un Certain Regard) and two short films were selected, leaving the new generation of filmmakers making waves on home soil flabbergasted by their dismissal.

"I think they are still waiting for the next Fassbinder. Somebody should tell them that he's been dead for years," said producer Stefan Arndt from X-Filme. "Don't they realise there is a new generation of filmmakers?"

Likewise, others in the industry are baffled about the slow take-up of local pics at the fest. "I find it a shame that it isn't reflected within the festival that there are again good German films," said Wolfram Skowronnek, head of German sales veteran Cinepool. "We have the feeling that the Germans just aren't liked," he added. 

Others are more relaxed about the turn of affairs. "It is just normal in Cannes that there isn't a German film in competition," said Dieter Kosslick, head of Germany's largest subsidy body Filmstiftung NRW. With Filmstiftung NRW having co-financed Ken Loach's competition entry My Name is Joe, which was co-produced by the German Uli Felsberg, and Laila Pakalnina's Un Certain Regard entry, the German/Latvian The Shoe, Kosslick is upbeat about co-productions. "The Germans have to do co-productions to get to Cannes," he said. 

The Export Union feels that time is the answer. "Of course we are sad there is no German film in competition, but it is wrong to expect that commercial success immediately transfers into festival success," commented PR chief Susanne Reinker. "But this is a long-term development and people shouldn't be so impatient."
And Reinker is critical about underplaying the German talent on show this year. "First, it is wrong to say that there are no German films at the festival," she said. "I see it as a sign of hope that this film, Places In Cities, an atypical fest film, is in the festival. The producers Felsberg and Schlemmer are there, and that production know-how isn't to be underplayed," she added.

Whatever the opinion, getting it out into the open seems to be the order of the day. "I think this needs speaking about, not keeping a cool face and pretending the films just weren't finished," said Arndt. "We should be talking about these problems in Europe not hiding it." Liza Foreman

*****

A night to remember

Freedom was the main theme of Wednesday night's opening ceremonies. From artistic freedom and freedom of the press to the freedom which allows a southern-fried, slightly crooked but perhaps ultimately lovable man to become president.

The screening of Mike Nichols' Primary Colors was greeted warmly with applause for all the cast. Most impressive was the reception for newcomer Adrian Lester.
A star-studded crowd, rife with both French and American notables, filled the Espace l'Oreal for dinner after the projection. Lingering in the entrance hall, Emma Thompson spoke easily in French and her native English (minus the questionable American accent she used in the film). 

Aside from the Primary Colors cast and the Cannes jury, American celebs who made an appearance included Mira Sorvino and Willem Dafoe, while the French were out in force. From Johnny Hallyday and his tres jeune femme, Laetitia and diminutive actor Richard Berri to Canal Plus prexy Pierre Lescure and CNC head Marc Tessier, all areas of French entertainment were covered. Even Patrick Poivre d'Avor, France's controversial, yet most-watched, news presenter made an appearance – though sans black tie.

Revellers noshed on lobster and loup – a nice bit of fish no one seems able to translate. Dessert and wine were exquisite and though the mood was upbeat, many more French than Americans were seen cruising with libation in one hand, cigar in the other – which may explain the early departure of the Anglo glitterati. Still, it was early days for the festival and everyone was indeed on best behaviour.

*****

Craig's Interview

Writer/director Craig Monahan arrives in Cannes tomorrow for the premiere screening of his debut feature, psycho-drama The Interview, starring Hugo Weaving, who has just completed Warner Bros' The Matrix in Sydney, with co-stars Keanu Reeves, Laurence Fishburne and Carrie-Anne Moss, for writer/directors Larry and Andy Wachowski.
"I was wearing high heels and a feather boa the last time I was in Cannes," quips Weaving, a reference to his show-stopping performance in The Adventures of Priscilla: Queen of the Desert.

The 51st festival sees Weaving on film in an entirely different role – starring as Eddie Fleming in Monahan's first feature, represented by Southern Star Film Sales.
"Eddie's a million miles from false eyelashes," says Weaving. "He's being quizzed by the authorities, who have stormed his home in a bully-boy fashion."

The Interview is one of Southern Star's highest hopes at Cannes in a commercial sense: a psychological drama that explores guilt, innocence and the uncertain nature of the truth. Premiere screening is by invitation only; further Marche screenings are on 19 May (15:30 Ambassades 6) and 20 May (11:30 Ambassades 4). ALU

*****

Fortissimo's quality streak

Leading independent sales outfit, Fortissimo, arrives in Cannes with two films in Un Certain Regard, one in Critics' Week, an armful of quality titles screening in the market and what promises to be a sure-fire pre-sales winner from Sergei Bodrov.

In Un Certain Regard are Little Tony, a black comedy from Amsterdam-based Alex van Warmerdam, director of the international success The Dress, and, from Korea, Hong Sang Soo's The Power of Kangwon Province, a tale of infidelity between a married lecturer and his student. Also from Korea is the company's Critics' Week entry, Christmas in August by Hur Jin-ho. Produced by Uno Films, the film has so far attracted over 400,000 film-goers in Seoul.

Sergei Bodrov's Bear Kiss, currently in pre-production, is a co-production between Pandora (Germany), Paris-based Flach-Pyramide and Italy's Istituto Luce. The film tells the story of Lola, a young trapeze artist in a travelling circus, and the magical event that transforms her life. Hopesfor the film are very high given Fortissimo's success withdirector's previous effort, Prisoner of the Mountains, which sold to over 60 territories, gathering a foreign-language Oscar nomination on the way. 
Nicholas Cunningham