ACID, a Cannes Film Festival parallel section, has announced its 2025 selection consisting of nine feature films.
That includes “L’aventura” by Sophie Letourneur, Aurélien Vernhes-Lermusiaux’s “The Black Snake,” “Drifting Laurent” directed by Anton Balekdjian, Léo Couture and Mattéo Eustachon, Lucio Castro’s “Drunken Noodles,” Pedro Cabeleira’s “Entroncamento” and “A Light That Never Goes Out” by debuting director Lauri-Matti Parppei.
Three documentaries were chosen as well, starting with Sylvain George’s “Obscure Night – Ain’t I a Child?” and followed by Sepideh Farsi’s “Put Your Soul on Your Hand and Walk” and Namir Abdel Messeeh’s “La Vie Après Siham.”
“I’m pretty much sure that after watching these films you won’t say: ‘I have already seen it.’ Instead, you will say: ‘What just happened?’ Before meeting you, I talked to someone and they kept asking me: ‘What’s the main theme?’ Telling stories in a different way – that’s our only theme,” underlined Pauline Ginot, ACID’s general delegate.
“I think it’s quite precious for filmmakers to have a place like that in Cannes. That’s important for us, to be the springboard for independent film. These films are watched by other filmmakers. It’s just different.”
ACID is an association of film directors. This year’s programming committee consisted of 14 filmmakers: Romain André, Camila Beltran, Sonia Ben Slama, Bernard Cerf, Lana Cheramy, Mona Convert, Jan Gassman, Pascale Hannoyer, Julien Meunier, Nicolas Peduzzi, Benoit Sabatier, Idir Serghine, Clara Teper and Pamela Varela.
“They are really involved in watching films from their peers. This program is totally influenced by the filmmakers’ desire to tell stories in a different way, to avoid being confined to what we already know and have already seen,” added Ginot.
“These [selected] directors never try to ‘make a point.’ Instead, there’s a strong belief in tools offered by cinema, but also a lot of humor and playfulness. They are happy making films and sharing them with others.”
ACID is eager to discover new voices, such as first-timer Lauri-Matti Parppei from Finland.
“It’s a feel-good movie about depression. It’s so joyful to allow people to discover new filmmakers. We’re very, very lucky to be able to do that. There’s nothing more fun than telling the world: ‘Hey, here’s a newcomer who’s made a great film.’”
There’s space for more known filmmakers too, such as “The Siren’s” Sepideh Farsi, now delivering a co-production with Palestine with “Put Your Soul on Your Hand and Walk.”
“There’s always this question: How do we screen a film about war at Cannes, with all these parties going on and people drinking champagne? Two years ago, we faced the same dilemma with ‘In the Rearview’ about Ukraine. How do you bring war to Cannes?” wondered Ginot.
“Also, this film is not just about Palestine. It’s about a meeting between two women from the Arab world: one is Iranian, the other is Palestinian. It’s about our own incapacity and about what you can – or can’t – say to someone in the midst of war. The main protagonist is still in Gaza.”
Sophie Letourneur is set to return with her fifth film, starring Paris Olympics’ breakout Philippe Katerine, whose performance as a “blue man” at the opening ceremony caused massive controversy.
“It’s a film about chaos. It’s not a coincidence that Philippe is in it. He’s already created a different kind of chaos,” smiled Ginot.
“Instead of just telling a story, and that’s true for all these films, she’s trying to invent a new form for recounting everyday moments. That’s what we’re looking for. We’re looking for films that are not just scripts in motion.”
“Drifting Laurent” also promises surprising twists and turns, despite dealing with “very contemporary themes” as its protagonist looks for the meaning of life in a deserted ski resort.
“It’s impossible to know where it’s taking us,” said Ginot, also describing “Drunken Noodles,” by Lucio Castro as a “fairy tale for adults” and a “choreographic stroll between Pierre Creton’s ‘A Prince’ and ‘The Wizard of Oz’. With a touch of the fantastic.”
That being said, documentaries also deserve their dues, argued Ginot. “In France, it’s quite difficult to show them in theaters. I really want to screen documentaries and animated features, not just fiction. It’s all about trying to do something that has never been done before. Also, we just love films. This is the greatest job in the world. We’re lucky we get to do it.”
“L’aventura”
Fiction (France)
Sophie Letourneur’s fifth feature film, with Philippe Katerine, Bérénice Vernet, Esteban Melero and Letourneur herself, is produced by Tourne Films & Atelier de Production. It’s summer holidays in Sardinia, Italy, and a family (road) trip begins. Claudine, soon to be 11 years old, tells the story of their adventures as they go along. That is, when Raoul, her younger brother, doesn’t bother her.
“The Black Snake”
Fiction (France, Colombia, Brazil)
After years of absence, Ciro is back in the Colombian Tatacoa desert, at the bedside of his dying mother. As he confronts those he has abandoned and an age-old legacy, the last guardians of the desert prowl a land as sublime as it is fragile. Aurélien Vernhes-Lermusiaux’s film features Alexis Tafur, Miguel Angel Viera, Angela Rodríguez, Laura Valentina Quintero and Virgelina Gil. Dublin Films produces – with Burning & Vulcana Cinema co-producing.
“Drifting Laurent”
Fiction (France)
Directed by Anton Balekdjian, Léo Couture and Mattéo Eustachon, it features Baptiste Pérusate, Béatrice Dalle and Djanis Bouzyani. Produced by Mabel Film, it follows Laurent, who – at 29 years old – is looking for meaning in his life. He ends up in a deserted ski resort in the off-season and quickly blends into the surprising lives of its few locals. When the winter comes and tourists start to arrive, Laurent can’t leave anymore.
“Drunken Noodles”
Fiction (U.S., Argentina)
In Lucio Castro’s film, Adnan, a young art student, arrives in New York City to flat-sit for the summer. He’s interning at a gallery where an unconventional older artist he once encountered is being exhibited. As moments from his past and present begin to intertwine, a series of encounters – both artistic and erotic – open cracks in his everyday reality. Sold by m-Appeal.
“Entroncamento”
Fiction (Portugal, France)
Pedro Cabeleira’s film – with Ana Vilaça, Cleo Diára, Rafael Morais – takes a closer look at Laura. Escaping a turbulent past, she tries to rebuild her life, but disillusioned youth is not so different from herself. Can an honest job compete with the lure of crime? Violence, misfortune, greed and loyalty rule the streets. Everyone wants a better life. Produced by Optec Filmes – Sociedade Óptica Técnic and co-produced by Kometa Films.
“A Light That Never Goes Out”
Fiction (Finland, Norway)
Debuting director Lauri-Matti Parppei joins forces with Made and Goodtime Pictures on this story about classical flutist Pauli, who returns to his hometown after a breakdown. Reconnecting with old schoolmate Iiris, he’s drawn into experimental music. Pauli, who has always sought perfection, finds comfort in their sonic experiments. With Samuel Kujala, Anna Rosaliina Kauno, Camille Auer and Kaisa-Leena Koskenkorva.
“Life After Siham” Documentary (France, Egypt)
Namir Abdel Messeeh talks about Namir who, when Siham passed away, didn’t realize that she was gone forever. In a child’s mind, mothers are immortal. To keep her memory alive, Namir delves into his family history across Egypt and France. With the cinema of Youssef Chahine as his companion, a story of exile – and above all, of love – begins to unfold. Oweda Films produces, with Les Films d’ici, Ambient Light & Redstar co-producing.
“Obscure Night – Ain’t I a Child?”
Documentary (France, Switzerland, Portugal)
Sylvain George’s eight feature film – following ‘Obscure Night: Goodbye Here, Anywhere’ and ‘Obscure Night: Wild Leaves (the Burning Ones, the Obstinate)’ – produced by noir production, traces the path of young exiles through the nights of Paris. Between furtive gestures and vibrant presences, it sketches youth as a power of being, and brings forth, through silence and duration, other ways of inhabiting the world.
“Put Your Soul on Your Hand and Walk”
Documentary (France, Palestine, Iran)
A Rêves d’eau productions title, directed by Sepideh Farsi behind animated “The Siren,” is a window, opened through a miraculous encounter with Fatem and offering glimpses of the ongoing massacre of the Palestinians. “She has become my eyes in Gaza, and I, her connection to the outside world,” stated the director. “We have kept this line of life going for almost a year. The bits of pixel and sound that we exchanged have become the film that you see.”
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