In the world of Hollywood, sometimes making a direct appeal can yield extraordinary results. Legendary filmmaker and former Directors Guild of America president Taylor Hackford embodies this philosophy as he navigates the corridors of power in the film industry.
“I reached out to Ted Sarandos,” Hackford reflects, recounting the pivotal moment when he donned his hat as a board member of the Franco-American Cultural Fund (FACF), organizers of the American French Film Festival (TAFFF). “I proposed that we debut Emilia Pérez at the American French Film Festival, suggesting it be our opening-night feature.”
That was no small request, since TAFFF stands as the only American festival exclusively dedicated to French cinema and takes place at the iconic DGA Theatre on Sunset Boulevard. Meanwhile, Netflix has its own celebrated venue for premieres, the historic and newly restored Egyptian Theatre. However, Hackford knew he had more to present to Sarandos than just a friendly bienvenue for the highly anticipated purchase from the Festival de Cannes directed by Jacques Audiard.
Hackford skillfully framed his proposition: “‘It’s great, because [FACF and TAFFF stakeholders are] members of the Directors Guild, the Writers Guild, and the MPA — all Oscar voters. To me, this is a superior way to showcase this exceptional film in its Hollywood launch. Afterward, you can take it to the Egyptian,’” he explained. “‘The decision is yours, but I believe this will provide a significant cross-cultural boost.’”
To Hackford’s delight, Sarandos agreed, and the collaboration came to fruition. “I owe him a great debt,” Hackford admits, a sentiment that soared even higher when France subsequently selected Emilia Pérez as its candidate for the best international feature Oscar. On a dazzling Tuesday night, the TAFFF hosted a red-carpet opening-night screening, proudly associated with Netflix, making history by featuring an Audiard film for the very first time.
On that glamorous evening, as the curtains prepared to rise, Audiard was celebrated with the festival’s inaugural FACF Achievement Award. The honor was delivered by Cécile Rap-Veber, CEO of the Society of Authors, Composers, and Publishers of Music (SACEM) and president of FACF, alongside FACF board member Michael Mann, who eloquently praised Emilia Pérez as a “contemporary masterpiece.”
In an emotionally charged acceptance speech, Audiard quoted the esteemed British child psychologist Donald Winnicott: “‘It is a joy to be hidden but a disaster not to be found.’” He continued, “If I quote Winnicott tonight, it’s because I believe that you, my dear Michael, and I share one common attribute: the desire and joy of hiding in our films, coupled with the anxiety of remaining undiscovered, forever imprisoned in obscurity. This award signifies that you have found me, and I extend my heartfelt gratitude for that.”
Following the captivating screening, Hackford moderated a vibrant Q&A session featuring Audiard, alongside noted cast members Karla Sofía Gascón, Zoe Saldaña, and Selena Gomez. They were joined by costume designer and artistic director Virginie Montel, as well as composers and songwriters Clément Ducol and Camille, who wrapped up the evening with an unexpected rendition of “Mi Camino,” the song performed in the film by Gomez.
Emilia Pérez defies simple categorization. This musical crime drama, scripted and directed by the visionary French auteur Audiard, was filmed largely in Paris yet set almost entirely against the vibrant backdrop of narco-culture in Mexico. With dialogue and musical numbers delivered in Mexican Spanish, it stands as an impeccable fit for TAFFF, whose raison d’être is promoting cross-cultural dialogue.
“I’m incredibly touched and honored that my film is kickstarting the festival,” Audiard expresses. “I have long held the belief — and I genuinely mean this — that films are conduits of communication bridging distinct cinematographies. Cinema has the ability to reveal and identify aspects of our culture. Historically, American cinema in the 1950s influenced European and French cinema, while in the 1970s, European, French, and even Asian films reciprocated that influence on American cinema. This ongoing exchange is a vital source of creative energy.”
Kicking off with Emilia Pérez also represents a strategic move to re-establish TAFFF as a crucial industry event and a cultural rendezvous for Los Angeles movie enthusiasts. Running until November 3, this marks the festival’s 28th edition, representing something of a fresh start for the event. Its parent organization, the FACF, is a collaboration involving the DGA, the WGA West, SACEM, and the Motion Picture Association (MPA), with a mission to enhance the visibility of French cinema in the United States while fostering connections between the French and American entertainment sectors.
Back in 2019, the festival, previously known as City of Lights, City of Angels (COLCOA), transitioned from spring to fall. This timely repositioning on the industry calendar aligns with the commencement of award season, significantly increasing its relevance to cinema professionals.
Prior to the shift, the festival premiered intriguing French talents like Marion Cotillard, who graced the LA audience in 2006’s La Vie en Rose eight months before her Oscar-winning performance, along with Omar Sy in 2015’s Samba. However, the festival struggled to gain essential visibility with industry decision-makers. Mann noted that now TAFFF stands as “the launchpad for award season for French cinema in Hollywood.” The festival’s new fall schedule has enabled it to showcase award contenders for the first time following their presentations at prestigious festivals like Berlinale, Cannes, or Venice, as demonstrated by Ladj Ly’s Lés Miserables, which had its US premiere at TAFFF in 2019, subsequently receiving an Oscar nomination for best international feature as well as winning a César for best film.
However, the pandemic in 2020 forced a hiatus for the festival’s momentum. In 2022, it rebranded to TAFFF, only to be faced with another pause in 2023 due to writers’ and actors’ strikes.
“As a producer, I completely comprehend why those actions were necessary, yet as a programmer, it was immensely frustrating since the lineup was ready,” admits François Truffart, the festival’s executive producer and programmer. The 2023 program was poised to showcase Justine Triet’s Anatomy of a Fall, which ultimately garnered five Oscar nominations and won for best original screenplay.
“Surprisingly, people did not forget about us,” Truffart notes. “Their eagerness for the festival to return had been palpable, which is quite encouraging.”
The exuberance surrounding TAFFF is evident in this year’s programming. Forty-five out of the 60 films and series slated for presentation will be international, North American, or US premieres. Sixteen films will enjoy their Hollywood premiere at the festival, making their debut fresh from their presentations in Berlin, Cannes, or Venice. Additionally, eighteen films and series will screen at TAFFF ahead of their anticipated releases in France.
Awards significantly enhance the festival’s allure. Among the 60 films and TV series featured — comprising 32 feature films and documentaries, 14 series and TV movies, and 14 short films — a remarkable 59 are in contention for the TAFFF Awards, which will be granted in Paris a week after the festival.
“They are growing in importance in France,” Truffart explains. “The interest shown by industry professionals in our awards stems from the fact that we feature American juries alongside an audience predominantly composed of industry stakeholders. Consequently, these awards hold substantial significance, as they represent Hollywood’s perspective on French cinema, and this is truly the only opportunity for that.”
Moreover, this year marks the inaugural TAFFF Impact Award presentation. This award recognizes an American industry figure who has fervently championed French cinema and series in the United States. It will be presented to Richard Lorber, the chairman and CEO of Kino Lorber Media Group.
“I find it genuinely fascinating how Lorber’s company has evolved, and how he has adeptly adapted the company to the market while creating innovative avenues for films to enter the digital landscape,” Truffart remarks. “His selections are perpetually thrilling. He demonstrates a broad-minded approach, understanding that audiences are much more eclectic than often perceived.”
However, TAFFF is not limited to the realm of awards. It includes professional programs throughout the week, featuring workshops led by prominent members of the DGA and WGAW.
Hackford has taken an active role in the organization of this year’s DGA workshop, which will host a French delegation conversing with directors Lesli Linka Glatter and Steven Zaillian about “their experience in shaping and developing a directorial vision for an entire series, which is a relatively recent phenomenon,” he explains. It’s worth noting that Zaillian accomplished this with Ripley, while Glatter did so with her arising work, Zero Day, both Netflix series. “The delegates — encompassing several directors from French streaming series — will engage in discussions about methodologies, exchanging insights on how they approach storytelling. This dialogue exemplifies the essence of this film festival, facilitating exchanges directly among filmmakers. The sessions are tailored for industry members rather than general audiences,” Hackford adds.
Simultaneously, WGAW and FACF board member Howard Rodman will team up with producer Ted Hope to conduct a three-part workshop focused on adapting literary works for the screen. This trend continues to thrive.
Adaptations hold a significant presence at this year’s TAFFF. Audiard’s Emilia Pérez is based on a character from Boris Razon’s novel, Écoute. Additionally, Jessica Palud’s Being Maria adapts Vanessa Schneider’s memoir, My Cousin Maria Schneider, while writer-director Anne Fontaine draws inspiration from Marcel Marnat’s biography of Maurice Ravel for her work, Boléro. Moreover, the series Zorro, co-created by Benjamin Charbit and Noé Debré, is based on a character conceived by American writer Johnston McCulley over a century ago. The festival will conclude with the widely acclaimed French box-office success The Count of Monte Cristo, helmed by writers-directors Matthieu Delaporte and Alexandre de la Patellière based on Alexandre Dumas’ classic novel.
TAFFF paves the way for additional opportunities for filmmakers. “We perceive the festival not merely as a showcase within the DGA’s cinemas, but as a platform fostering genuine connections and exchanges between the visiting French delegation and various segments of the creative and business communities,” explains Stan McCoy, FACF board member and president of the Motion Picture Association for Europe, the Middle East, and Africa (EMEA). “The delegation often engages in sit-down meetings with key figures from the Los Angeles creative sector. This may include visits to one of the MPA member studios.”
The FACF is also focused on the long-term vision, nurturing future generations of filmmakers and audiences through a comprehensive educational program that has been in place for 17 years. In a collaborative effort with the nonprofit European Languages and Movies in America (ELMA), TAFFF facilitates five free film screenings complemented by Q&A sessions at the DGA, reaching a total of 3,000 schoolchildren from the Los Angeles area.
Surveys conducted by ELMA indicate that many children in Los Angeles, despite residing in the film capital of the world, have never participated in a screening accompanied by a Q&A session, according to TAFFF deputy director Anouchka van Riel. “This program, key to our mission of cultural exchange, opens young minds to diverse ideas. They remain captivated by concepts they had never considered before, which underscores the importance of exposure to different cultures and the arts. The dual effect of experiencing art in a foreign language enriches their understanding.”
For those unable to attend TAFFF in person, the festival has established the TAFFF library as an additional resource. Launched during the pandemic, this library features a free search engine enabling users to look up French titles, check their availability in the US, and discover streaming options. “You can effectively curate your own festival at home,” Truffart shares.
Currently, the library showcases approximately 600 titles, with that number anticipated to rise as French programming continues to establish its presence in the global market.
“The production of French content is on the rise. This surge can be attributed to the numerous streaming platforms such as Netflix, Disney, Amazon Prime, HBO, and Hulu forming partnerships in France to produce new French content for their platforms,” states Cécile Rap-Veber from SACEM and FACF. “It’s no longer solely about French cinema in domestic theaters or French productions on national broadcasters. We now have French series and films available on global platforms accessible worldwide.”
Rap-Veber highlights Emilia Pérez as an exemplary case. “It is a French film set for theatrical distribution; nevertheless, its theatrical reach remains uncertain. However, its availability on Netflix ensures it is accessible to all American households. Thanks to TAFFF and our promotional efforts surrounding Emilia Pérez, it presents a remarkable opportunity for both local services in the United States and French cinema. This synergy creates a mutually beneficial scenario for all parties involved.”
The TAFFF (Translation: The American Film Festival of France) is an increasingly relevant platform for cinema professionals, particularly in terms of showcasing French talent and facilitating cross-cultural exchanges between filmmakers. The festival’s evolution, especially after its rebranding and rescheduling, illustrates its growing importance in the Hollywood landscape as a launchpad for award contenders and a site for networking within the industry.
Historically, TAFFF has presented notable French films and talents, such as Marion Cotillard and Omar Sy, but struggled with visibility among industry decision-makers. Its transformation into a fall festival aligns it more closely with award season, highlighted by films like Ladj Ly’s *Lés Miserables*, which received critical acclaim and Oscar nominations following its debut at TAFFF. The festival is now recognized as a significant event for screening potential nominees and generating buzz for French cinema in Hollywood.
Despite disruptions caused by the pandemic and industry strikes, the festival has maintained a strong interest among cinema professionals, as evidenced by the enthusiastic return of audiences. The current program, featuring numerous premieres and award contenders, reinforces the event’s potency in shaping discussions around French cinema’s impact in the U.S.
The introduction of the TAFFF Impact Award, honoring Richard Lorber’s contributions to promoting French cinema, underscores the festival’s commitment to recognizing those who champion cinematic art across borders. In addition, the professional workshops and sessions featuring industry leaders demonstrate TAFFF’s role as an educational and connective space for filmmakers.
Adaptations are a focal point in this year’s programming, further illustrating the interconnectivity of literary and cinematic storytelling. The emphasis on adaptations also speaks to broader trends within the industry, capturing the interest of audiences and professionals alike.
TAFFF not only showcases films but enhances industry relations, provides workshops, supports cultural exchange, and nurtures future filmmakers, making it an invaluable platform for cinema professionals looking to engage with French cinema and network within the American film landscape.
