Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Welcome !

Enjoy the best of both worlds: Film & Festival News, exploring the best of the film festivals community.  

Launched in 1995, relentlessly connecting films to festivals, documenting and promoting festivals worldwide.

A brand new website will soon be available. Covid-19 is not helping, stay safe meanwhile.

For collaboration, editorial contributions, or publicity, please send us an email here

User login


RSS Feeds 

Martin Scorsese Masterclass in Cannes



Presenting the website




Blogging from San Sebastian September 17-25, 2021

Coverage Recap of 61st edition. Photo gallery 2013 Recap of 63rd edition, video I Recap of 64th edition, video I Recap of 65th edition, video / Recap of 66th edition /Recap of 68th edition, video



Making Plans for Léna at San Sebastian 2009

“That movie was absolutely French.”

The man next to me couldn't have been more right: at the end of Making Plans for Léna, I could feel the collective “what the...” that tends to pass through people's heads at the end of a particularly “French” movie.

But what makes a movie seem French? It's not the language or even the location: there are hundreds of movies that were set in France, made in France, in French with French actors and French directors that don't create that sort of “huh?” throughout the audience as the final credits roll. I've gotten used to it and grown to love it, but I'm still not used to the ending creeping up on me, just when I least expected it.

Making Plans for Léna has several attributes that make it different from a lot of movies that I've seen so far this festival, and, for that matter, that I've seen ever. For one, the main character, Léna, is meant to be disliked by the audience—in this, the director (Christophe Honoré) and actress (Chiara Mastroianni) succeed. Making Plans for Léna follows a recent divorcée with two children as she tries to figure her life and herself out: her family tries to help her, but she only refuses, intent on remaining as she is, that is to say, still a child herself.

At the recent press conference after the screening of the film, the idea of custody battles and what is “right” came up: in our society, it is seen as great if a man gets custody of his children, but it is seen as awful if a woman gives them up, even if she is incapable of caring for them. This film appeals to this prejudice in its audience members: even though we have seen how irresponsible and childish this woman is—she forgets her children, throws temper tantrums, cries at the drop of a hat, quits her job, changes plans at the last minute—we still do not want her to give up her children to the perfectly respectable man who used to be her husband. The director plays with our emotions and our preconceptions, and I do adore when I'm being tricked by a director and I don't notice it.

This is not a film that was made to make you feel good: there is no redeeming ending, no main character overcoming her hardships. Truly, this film feels like a slice of a particularly difficult life: I did not feel sorry for Léna while watching the movie—I feel as though she's brought most of her troubles upon herself. But the redeeming qualities of her two siblings who seem to make their own lives work, her children, the people who love her surrounding her although she rejects it, makes it a beautiful film, if one that will stump certain audiences not used to this form of cinema.


- Emily Monaco

Fifth Row, Left Side


The Bulletin Board

> The Bulletin Board Blog
> Partner festivals calling now
> Call for Entry Channel
> Film Showcase
 The Best for Fests

Meet our Fest Partners 

Following News

Interview with AFM Director


Interview with Cannes Marche du Film Director 


Interview with the Parasite director


Let's not forget Film director Mira Nair on Satyajit Ray's Jalshaghar (The Music Room 1958) dailies live coverage from

> Live from India 
Rajasthan International Film Festival 
Dhaka International Film Festival
> IFFI Goa 
> Live from LA

Beyond Borders
> Lost World Film Festival
> Locarno
> Toronto
> Venice
> San Sebastian
> BFI London

> Film Festival Days
> Tallinn Black Nights 
> Red Sea International Film Festival

> Palm Springs Film Festival
> Kustendorf
> Rotterdam
> Sundance
Santa Barbara Film Festival SBIFF
> Berlin 
> Fantasporto
Houston WorldFest 
Cannes / Marche du film online



Useful links for the indies:

Big files transfer
> Celebrities / Headlines / News / Gossip
> Clients References
> Crowd Funding
> Deals

> Festivals Trailers Park
> Film Commissions 
> Film Schools
> Financing
> Independent Filmmaking
> Motion Picture Companies and Studios
> Movie Sites
> Movie Theatre Programs
> Music/Soundtracks 
> Posters and Collectibles
> Professional Resources
> Screenwriting
> Search Engines
> Self Distribution
> Search sites – Entertainment
> Short film
> Streaming Solutions
> Submit to festivals
> Videos, DVDs
> Web Magazines and TV

A question for Jennifer Aniston from Richard Hobert winner at SBIFF 2020 :

> Other resources

+ SUBSCRIBE to the weekly Newsletter
+ Connecting film to fest: Marketing & Promotion
Special offers and discounts
Festival Waiver service

User images

About SanSebastian

Barreda de Biurrun Inés

Blogging from the 69th San Sebastian Film Festival
Reporting by Inés Barreda de Biurrun and Bruno Chatelin.

Visit the photo gallery
Watch the Picass
a 61st Photo Gallery

60th Photo Gallery

59th Photo Gallery

58th Photo Gallery

57th Photo Gallery

56th Photo Gallery

55th Photo Gallery


Stay tuned for our video coverage.

san sebastian


View my profile
Send me a message