Category Archives: La 40e ÉDITION

Capsule #3 : Meeting with Rouge International

Friday, March 30, ParisDOC offered the 3rd and last Capsule of this 5th edition. This was the occasion of a meeting between the professionals and the two leaders of Rouge International, Julie Gayet and Nadia Turincev.

After a quick introduction from Anaïs Desrieux, head of ParisDOC, moderator Pamela Pianezza, journalist and photographer, briefly summarized the background and personality of each of the two women and the line-up of Red International which includes movies such as Raw, Mimosas, Faces Places, The Insult, The Ride or Of Rolls and Men. Pamela Pianezza also recalled the motto of the company which is “The universal begins when one pushes their kitchen’s walls”.

To the question « what is a film Rouge International ? », Julie Gayet and Nadia Turincev have demonstrated this claimed universality, their eclecticism while explaining that there were no specific types of film they want to do, that what they want above all is to be surprised: “We want to make films that we do not have the sensation of having already seen and our choice mainly depends on the uniqueness of the filmmaker’s gaze. We do not put films in boxes, no matter whether they are documentary or fiction, they just have to touch us with their themes and their approaches », they explained. If the choice of projects is based on the unanimity of the tandem, a bonus to the firm favorite is also one of their main way of picking a project.

Julie Gayet and Nadia Turincev have known each other since 1993. The first one is an actress, particularly interested in production. The second works in the production field but also as an artistic director especially for the Moscow Festival or in the selection committee at the Directors’ Fortnight. The desire to create Rouge International in 2007 was born from this wish to produce, to see the birth of authors and to accompany them: “One year after our launch, it was the financial crisis of 2008. So we had to review all our financing plans which were divided by three “explained Julie Gayet. By following a principle of honesty about the real price of films, the two women also quickly turned to the international market, particularly using the notion of equity to finance their film with foreign private funds.

If the idea of ​​making some big movies to help financing the little ones crossed their mind, it’s not what they eventually opted for. Recently, they had the proof that their choice was the right one when they co-produced Serge Hazanavicius’s Tout là haut, a big budget film. They then realized that this type of economic model did not really suit them: “We tried to apply producing methods for arthouse movies on a film with a 10 millions budget but it turned out not to be a very good idea.” The important thing for the duo is above all to be “coherent” in their approach to financing: “We are still looking for balance but we know that it is through the coherence that we will manage to win on all fronts. That’s also why we launched our distribution branch, “says Nadia Turincev.

Indeed, since last year, with the addition of Emilie Djiane to their team, Rouge International has created Rouge Distribution. After Off Rolls and Men last October, the company is currently distributing The Ride by Stephanie Gillard and is preparing the releases of Liu Jian’s Have a Nice Day, Olmo Omerzu’s Family Film and Philipp Jedicke’s Shut Up and Play the Piano. If the goal is not to only distribute films produced by Rouge, it is certain that this distribution organ is also an asset for them and their in-house productions: “We followed the film since its beginnings, which allows a long-term work and the development of a stronger strategy, and it also gives us the opportunity to have new funding, and ultimately save time.” This strategy is also established with the festivals that are central in the course and the notoriety of a film: “It is important to know which festival is made for which film. But also at which period of the festival it must be shown. It happened to us with Fix Me at Sundance, our first festival with one of our feature films. The movie was shown after the first weekend, when there was no one left! We learned the lesson well, we will not have it any more! If the festivals are important, for the release, it is also necessary to think broader and to be interested in the context of the release (exhibitions, theater’s plays…) which could suit us or with which we could associate. We must think globally.

Production, distribution, a willingness to go to international sales too? ” Maybe said Nadia Turincev with a mysterious attitude.

Finally, in terms of staff members, the number of them is very changing but the company can not go beyond eight employees, for the moment, for budgetary reasons. In the same way, the premises have changed, from Julie Gayet’s living room to their own offices including editing tables. Which is handy, especially for smaller films. In addition, the tandem is particularly interested in post-production: “In most foreign films that we produce, we participate a lot in the development of the scenario but we do not attend the shooting, which is often followed by the local production team. We often take over the film at the time of editing.

With award-winning films in multiple festivals and nominations in many awards ceremonies, what can we wish for Julie Gayet and Nadia Turincev: “A selection in Competition at the Cannes Film Festival, it would be really good”. Let’s find out on April 12th.



L.COHEN by James Benning (2017, USA, 45’)



TERRA FRANCA (ASHORE) by Leonor Teles (2018, Portugal, 82’)



THE GAME (LES PROIES) by Marine de Contes (2018, France, 53’)

Mention to THE IMAGE YOU MISSED by Donal Foreman (2018, Irlande-USA-France, 73’)

and ROMAN NATIONAL (NATIONAL NARRATIVE) by Grégoire Beil (2018, France, 63’)



I REMEMBER THE CROWS (LEMBRO MAIS DOS CORVOS) by Gustavo Vinagre (2018, Brasil, 80’)



THE WHITE ELEPHANT by Shuruq Harb (2018, Palestine, 12’)

Mention to PEOPLE OF THE LAKE (GENS DU LAC) by Jean-Marie Straub (2018, Switzerland, 18’)



SAULE MARCEAU de Juliette Achard (2017, France-Belgium, 34’)



I REMEMBER THE CROWS (LEMBRO MAIS DOS CORVOS) by Gustavo Vinagre (2018, Brasil, 80’)




Mention to AL DI LÀ DELL’UNO (BEYOND THE ONE / AU-DELÀ DE L’UN) by Anna Marziano (2017, France-Italy-Germany, 53’)



HARVEST MOON by Zaheed Mawani (2018, Kirghizistan-Canada, 70’)



THE IMAGE YOU MISSED by Donal Foreman (2018, Irish-USA-France, 73’)

Mention to SALARIUM by Sasha Litvintseva and Daniel Mann (2018, UK, 42’)

ParisDOC Capsules #1 // Meet the guests

Meet the Guests!

This Monday, March 26, was a day of novelty within ParisDOC. Created in 2014, this event brings together events and activities for professionals upon the Cinéma du Réel.

For its fifth year, ParisDOC has set up Capsules for the first time. At the top of the Pompidou Center, in the heart of the restaurant Le Georges, the documentary professionals went to meet festival guests in an informal get together for a breakfast to get to know each other, to discuss and to talk about fundamental issues of their work.

Presented by Anaïs Desrieux, head of ParisDOC, and Andréa Picard, artistic director of the Cinéma du Réel, the guests then introduced themselves, one after another. The attendance was thereby able to meet Mark Peranson, head of programming at the Locarno Film Festival, editor-in-chief of Cinema Scope magazine and juror of the feature film competition, Léo Goldsmith, academic and co-director of the Brooklyn Rail magazine’s cinema section, as well as Bettina Steinbrügge, director of the Hamburg Kunstverein and former programmer for the Expanded Forum of the Berlinale, both members of the First Films and Short Films jury.

Alongside them were Gerwin Tamsma, programmer at IFFR (Netherlands), Gabor Greiner, acquisitions director at Films Boutique, Roland Loebner, coordinator of the DOK Film Market at the international documentary festival LOK Leipzig (Germany), Ina Rossow , head of festival at Deckert Distribution, Manuela Buono, founder and director of sales and acquisitions at Slingshot films, Sandro Fiorin co-founder of Figa Films, Davide Oberto head of the doc selection at Torino Film Festival (Italy) and co-director of Doclisboa (Portugal), Charlotte Selb, programmer for RIDM, Hot Docs, Cinéma Moderne and critic for 24 images (Canada) and Susana Santos Rodrigues, international consultant for Karlovy Vary (Czech Republic), Bildrausch Film Festival (Switzerland) and distributor for VAIVEM (Argentina).

Two other Capsules are planned during this week around, this time, specific themes. Like this, Wednesday, March 28, at 11am, Charles Hembert will come to talk about the distribution of documentaries on new media while Friday, March 30, same time, Nadia Turincev and Julie Gayet will discuss their journey with Rouge International, a production and distribution company they founded together in 2007.

March 22 // Openning night

Cinéma 1
Serge Lasvigne, president of centre Pompidou
Christine Carrier, president of Bpi
Julie Paratian, president of the association “Les amis du Réel”
Andréa Picard, artistic director of the festival
Andréa Picard, Dominique Barnaud, Julie Paratian

ParisDOC Capsules


Cinéma du réel inaugurates this year “ParisDOC Capsules”: thematic and privileged breakfasts for film professionals.
The Capsules will take place at Georges, on the top of the Center Pompidou, at 11am, Monday 26th, Wednesday 28th and Friday 30th March.

Participation is free, upon mandatory registration.
To register, please fill in the online form.

* ParisDOC CAPSULES are conducted in FRENCH


MONDAY MARCH 26th, 11am, Le Georges (6th floor Centre Pompidou)
ParisDOC CAPSULE 1 : Meet the guests!


Meeting with the international guests of the festival and ParisDOC
Impassioned and inspiring discussions ahead, meeting together made easy, for experienced professionals and beginners alike!

On Monday, March 26th at 11am, we invite you to share a moment with Mark Peranson, Program Manager at the Locarno Film Festival, Editor-in-Chief of Cinema Scope magazine and juror of the feature film competition, Léo Goldsmith, Academic and Co-Director Brooklyn Rail magazine’s film section and Bettina Steinbrügge, director of the Hamburg Kunstverein and programmer for the Berlinale Expanded Forum, both members of the First Films and Short Films jury.

At their side, you will find Gerwin Tamsma, programmer at IFFR (Netherlands), Gabor Greiner, director of acquisitions at Films Boutique, Petr Kubica programmer for the Jihlava International Film festival (Czech Republic), Ina Rossow, responsible Festival at Deckert Distribution, Charlotte Selb,  programmer for RIDM, Hot Docs, Cinéma Moderne and critic for 24 images (Canada), Manuela Buono, founder and director of sales and acquisitions at Slingshot films, Sandro Fiorin co-founder of Figa Films, Davide Oberto programmer for Torino Film Festival (Italy) and co-director of Doclisboa (Portugal) and Susana Santos Rodrigues, international consultant on Latin American territories and Portugal for Karlovy Vary (Czech Republic) and the Bildrausch Film Festival (Switzerland).



WEDNESDAY MARCH 28, 11am, Le Georges
ParisDOC Capsule 2: The distribution of documentaries on new media

Wednesday, March 28 at 11am, ParisDOC offers a meeting around documentary and new viewing practices. 

How, how many and by whom are documentaries viewed on the VOD/SVOD platforms? European development of UniversCiné: is the network organization representative of the needs of a new generation? Sketches of the new landscape of viewing practices 2.0

Discussion led by Charles Hembert, director of the UniversCiné editions and member of Eurovod. Conducted in French.


Charles Hembert

3 questions to Charles Hembert 

Who are the viewers of documentaries on VoD / SVoD?
They are ultimately more on a national scale than for fiction. The documentary is released on few copies in theaters in France, about 50-60, so 30-40 cities, it is however well supported by the press. Thus when it arrives in VoD, it becomes accessible to 60% of France for the first time. This allows a higher rate of dispersion, the audience of the documentary is less Parisian finally that of the fiction, at least on our platform. And the strength of the documentary is also to be able to interest other types of public that the film-lovers one. So the movies that work are those with themes that are not only circumscribed to the cinema cues. This is valid for documentaries on artists like Janis by Amy Berg or Vivian Maier by Charlie Siskel and John Maloof or on societal topics such as Raoul Peck’s I am not your negro or Mariana Otero’s Like an Open Sky.

What can the documentary hope for from new viewing practices?Physical video continues to have a significant weight in the documentary market compared to digital, the transformation rate is still 10%, where normally it is around 2% for the rest of the market. On the digital, especially on TVoD, the documentary suffers from the appearance of the catch-up TV. In fiction, except for Arte, nobody does catch-up with movies. This practice made the audience feel that paying for a documentary was not “normal”. On the other hand, the emergence of the SVoD has shown that within a subscription offer, where the consumer does not have the feeling of paying again, the documentary, but also short films or more experimental works, are more watched. The success of a platform like Tënk or even documentaries on Netflix or in our UnCut offer shows it well: there is an audience for this type of works.

Is collaboration the future of European VoD / SVoD?
Historically, UniversCiné and Eurovod, an association that we preside, have always been strongly supported by the European Union and the MEDIA program. Moreover, today, in this idea of ​​the European single market, there is a strong desire to Europeanise certain VoD / SVoD platforms. We can see it with Netflix, when buying a film, it’s still easier to pay it off on 190 territories than on one. With Eurovod, we are trying to regroup and grow to become a real European VoD union. The challenge is to improve the distribution of arthouse and documentary movies, which are often limited to a few territories. The idea is to, thanks to the low cost of putting online and advertising, make this type of cinema more accessible in Europe, including by associating with festivals.



FRIDAY MARCH 30, 11am, Le Georges
ParisDOC Capsule 3: Rouge International

Friday, March 30, at 11am, ParisDOC offers a meeting with producers Nadia Turincev and Julie Gayet.

From Fix Me to Raw, between documentaries and fiction, Beirut and Paris… A focus on the singular career of Rouge International! Challenges, intuitions, strategies… What were the key choices made by these two partners?

Discussion moderated by Pamela Pianezza. Conducted in French.


Julie Gayet and Nadia Turincev, producers and founders of ROUGE INTERNATIONAL

It is in the name of the company, which multiplies co-productions abroad, and Nadia Turincev lives between Paris and Beirut: the International is therefore the DNA of Rouge?
Of course ! The universal begins when you push the walls of your kitchen – that’s our motto from the beginning. Inter, yes, and not only national, inter in the sense of relationship, reciprocity. And also interlocutors, interstices, interpret, interrogate, startle (interloquer in French), call-out (interpeller in French), interact …

The company has been around since 2007, but the success of Raw really put it in the spotlight. What did the film of Julia Ducournau actually change for you?
It depends on what scene! We do not see a radical change, no break, rather a continuity. A Spell To Ward Off The Darkness, with more than 125 festival selections and numerous awards, had put Rouge International on the forefront of avant-garde arthouse cinema, and we have continued to win our stripes, step by step, as with The Treasure, Mimosas … and Raw.

You work as much on fiction as you do on documentaries, without distinction. But what are the main differences between these two materials in terms of production and distribution?
In terms of production, documentaries, let’s say author or research, accept a creative disorder, a less rigid temporality, and the distribution is more fragile, too. Anyway, whether fiction or documentary, every film we produce prevents any possibility of applying a recipe, forces us to reinvent, to recreate a world – and that’s what we cherish.



by Perrine Quennesson