While 
immensely appreciating being able to catch the 2016 official competition films from the likes of Pedro Almodovar and Jim Jarmusch, Australian/Italian director Ruth Borgobello points out that Cannes is also about the amazing contacts made across town- from supermarkets to toilet cues! She updates us on her debut feature ‘The Space Between’, the first Italian-Australian official co-production to be released in the coming months.
1.How many times have you been to Cannes and for what reasons?
This is my fourth time in Cannes. I’ve usually come for the market to network, meet with distributors and get projects across the line. A couple of years ago, I came for just a couple of days for a screening of our Italian co-producers’ film in critics week. It was so great just to come and celebrate the film and have time to connect with people.
2. What do you think of and how do you feel when you think of this festival?
I love the sense of being part of an international film community – of hearing people speaking in so many different languages, but all about the same thing – storytelling. Being in a place where everyone shares the same passion creates such a buzz. It’s inspiration on tap in Cannes. I particularly love the rare openness of people during the festival. Here you can make the most amazing contacts in the toilet queue or the supermarket – something that just doesn’t happen in the ‘real world’. It’s such a concentrated, intense networking experience that can forge relationships that last a lifetime. And drinking French champagne every day isn’t bad either!
3. Tell me about your film The Space Between and where you’re at with it.
‘The Space Between’ is just hot of the press. It’s my first feature and also the very first co-production between Italy and Australian since the treaty was signed 20 years ago. We’re in Europe to gear up for the Italian release which will be sometime over the next few months. It will then be released by Palace Films in Australia, launching at the Lavazza Italian Film Festival in September.
The story focuses around Marco (played by Flavio Parenti), a thirty something Italian ex chef who has become comfortable being uncomfortable in his small town life. In a moment of sudden tragedy, he encounters Olivia, a young Australian (played by Maeve Dermody) who instead is uncomfortable being comfortable in her life and has come to Italy to rediscover her roots. The two spend a couple of weeks together in this strange moment of loss for Marco and forge a deep connection that will ultimately change each other’s paths.
The film was a true collaboration between Italy and Australia – something I’ve been incredibly passionate about creating for many years being half Italian, half Australian myself. We had a mixed cast and crew and shot for almost 6 weeks in Italy last summer. All the post production was completed at Soundfirm in Melbourne. Our team included super talented Australians such as DOP, Katie Milwright, Editor Paul Maxwell, Sound Designer Craig Carter and equally amazing Italians like Teho Teardo who did the music and Scilla Mantovani who was the Art Director and found me the most incredible locations.
4.What would be the best thing that could happen this year at Cannes?
The best thing that could happen in Cannes would be to appoint a very strong world sales agent to ‘The Space Between’ and generate some momentum prior to its release. We’re also on the look out for potential co-production partners for a new project too so would love to find producers equally passionate about the subject of this film to join forces with.
5.Which director in main competition this year are you the most excited about and why?
So hard to choose. I would have to say Jim Jarmusch as his films are always such a visual feast with wonderfully drawn out and original characters. I think Adam Driver is a brilliant actor and the character of a bus driver who is secretly a poet in ‘Paterson’ is right up my alley. I did manage to sneak in a screening of Almodovar’s film ‘Julieta’ which was really enjoyable with divine art direction and costumes. Just wish I had more time to fully immerse in the competition films – it’s always such a great way to sense the pulse of contemporary cinema and draw inspiration.
