Here it is the official Press release of the Cannes International Film Festival:

“At this time of global health crisis, our thoughts go to the victims of the COVID-19 and we express our solidarity with all of those who are fighting the disease.

Today, we have made the following decision: The Festival de Cannes cannot be held on the scheduled dates, from May 12 to 23. Several options are considered in order to preserve its running, the main one being a simple postponement, in Cannes, until the end of June-beginning of July, 2020.

As soon as the development of the French and international health situation will allow us to assess the real possibility, we will make our decision known, in accordance with our ongoing consultation with the French Government and Cannes City Hall as well as with the Festival's Board Members, Film industry professionals and all the partners of the event.

In the meantime, the Festival de Cannes lends its vocal support to all of those who firmly call on everyone to respect the general lockdown, and ask to show solidarity in these difficult times for the entire world.

See you very soon,
The Festival de Cannes Team.”

What sparked the idea for 10 Days Without Mum?
It's actually a remake of an Argentinian film. Romain Brémond and Daniel Preljocaj, my producers, loved it and thought I might be interested. I immediately fell in love with the story, which was very funny but had an emotional core, even a bit of gravity, which I found interesting. Those are the ingredients I like to see in a comedy. Even though I'm fond of jokes and comical situations, I like for there to be something else between the lines. Here, it's about a man's redemption, a father's redemption. Will he be capable of change, and to really take care of his loved ones?

Is there anything personal that appealed to you?
The story impacted me because I'm the father of two daughters, one of whom is similar to Chloé, one of the characters in the film. I'm well aware of how much I've worked and travelled the last few years. Yes, I've been absent, and thankfully my wife was there to find solutions for every little thing that comes up day after day. And I sometimes had to make up for lost time. That's also the reason I wanted to invest myself fully in this project.

How did you modify the original script?
With my co-screenwriter Mathieu Ouillon, we worked to adapt it to French culture, to the habits and mannerisms of French children and teenagers, which are not always the same as in Argentina. Other than that, in the roles of the mother and father, there were a lot of universal things we chose to keep. It's a universal subject.

Is it fair to say that it’s a family comedy about family issues?
It's absolutely a family comedy. The story takes place in the south of France, in a typical large family in which there's no cheating, no fighting, and a lot of love. But the father is too preoccupied by his work and because of this, he overlooks all kinds of small things that are important to his children. He overlooks his children because of his job. He hasn't really seen them grow up. He doesn't know them, really. What the movie highlights is the absence of this father, despite his physical presence, as well as a lack of paternal structure and authority. Children need love as well as guidance.

So, the title, 10 Days Without Mum, is meant to make us wonder how the father is going to manage in her absence?
Exactly. Isabelle, his wife, decided years before to quit her i b as a lawyer in order to take care of four children and her husband, which is basically like running a small company. When she decides to take a vacation on her own, because she's tired of being invisible, he must manage all the things he's never taken care of. I know how much work that entails.

The film deals with the dynamics of a family, as well as the dynamics of a couple...
The character of Antoine and his wife Isabelle have a bit of an outdated relationship—the man works, the woman stays at home... This has totally evolved, thankfully. I would say this is an old formula, that of the previous generation, our parents' generation, but it's nonetheless what Antoine represents at the beginning of the film. So, he has a long way to go.

Isabelle seems to be the pillar of this family. She handles all day-to-day responsibilities, as well as her husband's contracts... Wouldn't you say she is a bit exploited?
She's more the problem solver. She's the mother who knows all, iust like in a lot of families, and who manages to handle everything without getting overwhelmed. Whereas a father, if he's preoccupied with something, will often postpone things, and answer with "not now, come back in 10 minutes, let's see tomorrow". The more you defer the answers to children's question, and fail to sort anything out, the more your risk losing them. You shouldn't minimize their questions. What might appear insignificant to us in the moment is often crucial in their eyes. Plus, concerning the dynamics at the heart of this family, I started thinking about Freud's claim that parents are like a bone that children chew on, which I always found very funny.

How did you select Aure Atiko for Isabelle's character, this mother who,  at  the beginning of the film, seems to swim in a sea of domestic bliss, and has a saintliness about her?
I wanted this woman to be loved and beyond reproach, so that you couldn't |udge her for leaving her home or think that she was abandoning her family. On the contrary, I wanted the audience to think "break free and let them figure it out for once." I liked Aure immediately. Other than the fact that she's beautiful and talented, she has this smile and this benevolence in her that legitimizes the character's choices.

Children play an important role in the film. How did you pick them?
It was a long casting process during which we saw many children from different age groups. We gravitated towards those who were comfortable in front of the camera and around adult actors, and who also understood the emotional content we were asking of them. Evan Paturel who plays Jojo, 2 years old, was a natural fit. I was committed to working with someone that age despite the problems it poses, because he doesn't speak very well yet and Antoine is the only one who doesn't understand him, which is a sign that he doesn't pay attention to him. Secondly, Violette Guillon who plays Chloe, age 12, was incredible during auditions. The choice of Swann Joulin for the role of Arthur, age 14, and llan Debrabant for Maxime, age 8, eventually fell into place. It became clear, when we took family photos with the four of them, that they created a beautiful family with Aure and Franck. The family ties seemed completely credible.

And how did things shake out with them?
Let's just say it was a matter of patience. You must learn to wait and wait, and not to give up on anything even on days that are jam-packed. Especially with the little one, whose desires didn't always line up with ours. Evan is a brilliant child but, on some days, he didn't feel like dressing up or participating in the film. Small children don't deliver the script on cue. If they say the line at all, they'll speak a little bit before or after the ideal tempo. Basically, they do what they want and there are a lot of unknowns to balance. That back and forth with adult actors can be complicated. I couldn't have done it alone. There were days where I wanted to pull out my hair, but Franck was an incredible partner to have, always patient and amused—a wonderful set dad who was incredibly patient with the children, even when he felt discombobulated. And honestly, I sometimes took advantage of his desperation and left the camera rolling. This obviously worked with his character as an overwhelmed father.

Antoine gets swept up in a series of hilarious domestic catastrophes that he doesn't seem to be able to contain. How did you envision these scenes?
Like pure action scenes, with the rhythm of the Home Alone anthology. As soon as the mother leaves, it's a complete disaster, a jungle with no rules. I wanted things to move in a crescendo, with the camera following each movement, and for it to go in every direction and leave you gasping for breath.

Why did you go with Franck Dubosc for Antoine's character?
When I saw the South American version of the film, I immediately thought of Franck for the role of the father. It had to be him and no one else. I was really moved by the film he directed, Rolling to You. I found it beautiful, subtle, and intelligent despite being built around a risky subject. And it seemed to me he wanted something more than a slapstick role, even though I am totally on board with that. But I felt it was good for him to show another facet of his personality, a softer, more reserved, emotional side that is about expressing your feelings, which he hasn't done much before. This is what we looked for together, while making sure not to eradicate his incredible range as a comedian. Franck blew me away with the range of his acting. He manages to make this lost, indefensible character both likeable and charismatic. All I want is to make another movie with him.

Antoine works in human resources but knows nothing about his four children. He thinks more about climbing the social ladder than raising his children. But isn't he a bit of a child himself?
He is, within the family dynamic. His wife mothers him. When he's at home, Antoine lets himself get taken care of. Outside of the home, he is obsessed with the promotion that he has been waiting on for several years. You can't fault him for that; it's understandable. However, it is true that the relationship he has with his rival, played by Alexis Michalik, could also seem childish. They often act like kids on a playground, showing off their muscles, trying to see who comes out on top. Which is something that, it seems to me, happens in some companies.

Their rivalry brings about on unbelievable scene around the loyoff of a warehouse worker, played by Alice David.
Yes, it's a pissing match, a display of power in order to be recognized, which makes them look completely ridiculous and brings them to fire this young woman for stealing three screws. Even if we are exaggerating a bit for comic effect, I still feel like reality isn't too far off. I recently heard that a cashier lost her job for a mistake in her tally totalling 24 cents. It's iust as ridiculous and absolutely tragic.

The character played by Alice David, Julia, is important. She comes to Antoine’s rescue without knowing he led to her demise. Is she the voice of reason?
When he tells her that in his world, people shouldn't steal, she responds that in hers, people should take care of their kids. She triggers something; she makes Antoine face his responsibilities. Alice immediately understood the subtleties in her script. She has several scenes face to face with Franck, with a lot of dialogue, different emotions to communicate, and she placed the bar high. Thanks to these two actors at the top of their game, this resulted in scenes I'm very proud of.

The women in the film, in fact, are all the "good guys". Is this intentional?
Completely intentional. I wanted to show that mothers, hence women, generally have a better perspective on how to approach life.

What does this movie hove in common with your first three films? Aren't they all about men who ore changed because of love?
Antoine does change. As he becomes able, again, to show his children love, he transforms them as well. I've always told stories in which notions of transformation hold an important place because they allow protagonists who start off on the wrong foot to find their way towards a new life. But I had never thought about it in this way and you are indeed correct: women help elevate men. That I firmly believe.

How did you get to do what you do now? Working in this area of animation?
I always wanted to make cartoons. When I was a kid, on Saturdays, at the end of school, I was running home to see final minutes from the Gala Desenului Animat  (Cartoon Gala – a famous Romanian show in th '90s). Then they took me to the Doina cinema. (in the past a famous Romanian cinema where they running only family films and animations). It was like I arrived in the cartoon country.

They had wallpapers of animals from the jungle on the walls, it was a small room and somehow intimate, weekly program where you could find full-length movies that you would see on TV only in the parts of a few minutes a week. What can I say? It was fantastic!

I've been drawing since I was little, and even tried to be a serious artist and to focus on things with more weight, respectable but I failed. When I entered the high school of arts and saw that they had the animation section I had no doubt. I didn't have to choose between sections. Things were no longer the same at the academy where there was no animation section.

Animation was not an art there, so I choose graphics and painting which was very useful to me later. But not to dramatize. I had a nice chance to work at Animafilm since I was in high school. That was practically the time when I was really inoculated with the animation virus and I say this because during my student years I tried to do other jobs but I always went back to animation.

A friend of mine, Olimp Bandalac told me: "Once you have got the animation virus you will not escape". And so it is for most of us.

Then I worked through almost all the studios in Bucharest in the '90s. But as I was young, inexperienced, those years were pretty gray. In the late 90's, after finishing college, I went to Hungary and that was it. After a year my girlfriend from then came with me. She became my wife after a few years.

What does the job of animation director and supervisor mean?
This position is a very responsible one and quite difficult from several points of view. Job descriptions can be found on the net but I tell you what it means to me and how I relate to this position. First of all you have to be an animator yourself. Only this way you can help where it is needed.

Every time I start a new movie I try to document myself as much as possible. What is the original story behind the script. Who are my directors, possibly the producers. After that I try to understand as best I can the script and the characters in the film. The deeper I get into the story, the better I realize the subtleties and layers of the film.

From here I start to have discussions with the director (the directors in this case of Latte) and to deepen the story and the characters. What kind of acting we need, as well as in what sense to exaggerate etc. Once it is clear to me what the directors want, I start working on the animation style, find a rhythm of the film, look for references by actors to help the animator understand the character.

Many times I even make a database representing what kind of expressions should be used and the limits of deformations. I can usually select the team after tests or portfolios. Once the team or teams are chosen, I usually do an acting workshop on the characters in the movie. I'm trying to make the animators understand why character X is moving like this and why it has to be different from other characters.

How a character evolves during the film and how important it is to animate as much as needed and where needed. Only then do I begin to talk about each sequence and each scene. If the animation is not correct I send additional drawings to the frame where something needs to be changed. As a simple supervisor the work is a little simpler, having to follow the instructions of the animation director.

How long have you been working as animation director and supervisor?
I think I started in 2009 or 2010 with a famous series in Germany. A production for preschoolers called Kikaninchen, a position assumed by Anca starting with season 2, becoming "kikaninchen's mother" over a few years.That's how they called it in Mitteldeutsche Zeitung in an article about the series. In the meantime, I started working on the first feature film as animation director in Belgium.

There I had the “baptism of fire”. We were working on a big film, produced in Paris and we had to send weekly a fixed number of seconds to a quality that we had not worked before. I learned a lot and realized that I still have a lot of work to do. It was a good school.

I know that before you settled in Germany you had a period when you also worked in Hungary? How was that experience?
In Hungary were the years of my growing up professionally or at least the beginning of them. We went through some experiences and we had the chance to qualify professionally, being forced to keep the deadlines, doing a large volume of animation and doing many tests. It was a good school.

You have worked on many successful animated films. What project do you keep closely to your heart and why?
I can't say I liked one movie... it's like asking a parent which of the children is dearer to him. I mean a good parent :-) Each production is different, and has its problems and solutions. Teams often differ completely. For example, now we are working on a new film by Enzo Dálo. For me 90-95% of the team is new. We will have first and foremost many young animators who will need a lot of advice. It will be fun and very interesting of course but it will be also a new adventure from which I will learn a lot.

Who has influenced you the most in your career?
Work in the studio. I learned a lot by watching a lot of movies and here I mention that not only animation and not only American. I read a lot and try to document myself a lot. BUT! I happen to work with people who are really big names in the field and and I can learn a lot from them.

I learned from Tahsin Özgür who animated for Disney in a few big movies. Another name that inspired me through the vitality of work and professionalism is Jesper Moller and in the last year and something I have worked and still work with Daniel St. Pierre from which I learned many details that you can not find in books. Of course, I learned something from each film I worked on and there are several names that influenced my evolution whether or not I was aware of it.

How much does working on a European animation differ from one for a larger studio? The difference is only about money, or also involves more special technology?
This is a good question :-) First and foremost, in Europe, there are increasingly competitive productions, by American standards. The only problem is the budget of the film. The bigger the budget, the more time you have to work on story, design, style, animation, effects, light... etc. The last film I worked on and we hope to release this year is an India-China co-production and is at a high standard. Here I worked hard on the quality of the animation and it will feel.

In 2019 you worked on the animation Latte & the Magic Waterstone as animation director. Can you tell me how you got to work on this project?
I first saw the trailer on the net. It was kind of love at first sight. I knew I could do a lot with a character like Latte. About 7-8 months, when I was approaching the final production of that time (Marnie’s World or Spy Cat) I announced online that I will be free of contract.

Then I received an email from a Belgian colleague from the production company if it is ok to recommend me to the German producer of Latte Igel. Do you realize that I was flying on a cloud and seeing the city from above :-) I said yes, I was contacted and that was it.

How did you work with directors Regina Welker and Nina Wels?
The collaboration with these two beautiful ladies was extraordinary. And I'm not exaggerating. I anchored Latte's acting based on the personality or the way Regina moves. The funny thing is that she says she moves the same way I do but you should see her. He is an animated character full of energy and humor.

After we had our first Skype talk, I was a little scared that we didn't quite understand about the message of the movie. That was my impression and I don't think it was that way, but I'm an emotional guy, so I belived that.

It was only when we met face-to-face in the studio I realized how they are and what they want… we started to know each other and actually worked on the construction of the film. We made many ideas exchanges and sometimes we argued about things, but in a constructive way, and all of that practically served to raise the quality of the film.

Nina helped me a lot with the team from Ludwigsburg and Halle / Saale, I also had to work in India. We had a total of 4 teams and fortunately all were talented and motivated.

Prorom will release on February 7 in Romanian cinemas Latte & the Magic Waterstone. Do you have a special message for the spectators who are going to see it?
Latte is a feel good movie, about friendship in the first place. You may be surprised that the story will catch you and you won't know when the time has passed. I just hope you like it as much as we liked to create it and bring it to the cinema. I look forward to the reaction of the Romanian audience.

Interview by Emanuel Lăzărescu.

Wasp Network centers on the true story of Cuban spies in American territory during the 1990s, when anti-Castro groups based in Florida carried out military attacks on Cuba and the Cuban government struck back with the Wasp Network to infiltrate those organizations.

Assayas wrote the screenplay, which is based on Fernando Morais’ book, The Last Soldiers of the Cold War: The Story of the Cuban Five, published by Companhia das Letras.

Assayas, whose credits include the Golden Globe-winning miniseries Carlos and Personal Shopper, which won him the best director prize at Cannes, told Variety that Cuban authorities had initially refused to let the film shoot there.

“They first refused to give us the authorization but discussions continued. So we searched for a location that could substitute for Havana and were about to start shooting elsewhere… But then the Cubans changed their minds and opened all the doors for us,” said Assayas, who lived in Havana for half a year to make the movie.

On the other hand, Olivier Assayas will head back into the cutting room with his Wasp Network, the filmmaker told Deadline on the day of its North American premiere.

Assayas wants to show a tweaked version of the movie at the New York Film Festival in October.

“There are a few things that need clarification. There are a series of fixes I’ll make. I might shorten some parts and lengthen others. The running time won’t change considerably, but it’s about gaining fluidity. I want the film to be understood by those who aren’t aware of the complexities of the local politics. The fixes will be done for the New York Film Festival [screening].”

The director only finished shooting the movie on May 4. “It has been a crazy schedule,” he noted. “To get the film ready for Venice was an intense process. It’s one of the most complex and ambitious films I’ve made.”

Sources: Variety, Deadline.

The 2019 Ischia Global Film & Music Fest took place from 14th to 21nd July in Ischia, Italy.

Ischia is a volcanic island in the Tyrrhenian, at the northern end of the Gulf of Naples, about 30 kilometres (19 miles) from the city of Naples.

It is almost entirely mountainous, with the highest peak being Mount Epomeo at 788 meters (2,585 feet).The island has a population of over 60,000 people.

Hero Beauregard Faulkner Fiennes-Tiffin is an English actor and model best known for his role as Hardin Scott in the film After.

Previously, he appeared as the 11-year-old Tom Riddle, the young version of antagonist Lord Voldemort (played in the films by his uncle, Ralph Fiennes), in Harry Potter and the Half Blood Prince, the sixth installment of the Harry Potter films.

He is currently preparing for filming on the second part of the After series, After We Collided.

On Halloween, a group of friends encounter an “extreme” haunted house that promises to feed on their darkest fears. The night turns deadly as they come to the horrifying realization that some nightmares are real.

Haunt is directed by Scott Beck and Bryan Woods, the writing duo behind John Krasinski’s blockbuster A Quiet Place.

Katie Stevens, Will Brittain and Lauryn Alisa McClain will co-star in Haunt, along with Andrew Caldwell and Shazi Rajay.

Sierra / Affinity is financing and producing the project for worldwide distribution.

Producing with Roth are Todd Garner of Broken Road banner, as well as Mark Fasano, Ankur Rungta and Vishal Rungta of the Nickel City banner.

Sierra/Affinity’s Nick Meyer, Marc Schaberg and Josie Liang, Broken Road’s Jeremy Stein and Sean Robins and Nickel City’s Tobias Weymar will serve as executive producers.

Prorom has acquired the rights for Haunt in the following territories: Romania, Bulgaria, Hungary, Czech Republic, Slovakia, Albania, Bosnia-Herzegovina, Croatia, Kosovo, Macedonia, Montenegro, Serbia, Slovenia.