29/03/2024 - The unmissable rendezvous for film and cinematic music professionals will take place in Marseille from 1-6 April

Welcoming each year nearly a thousand professionals and attracting a large audience (over 27,000 viewers last year), the Marseille Music & Cinema Festival (MCM) will celebrate its 25th edition from 1-6 April 2024 and will open with the Canadian-French production Temporaries [+see also:
film review
film profile] by Pier-Philippe Chevigny (with an original score by Félicia Atkinson).

Standing out among the ten feature films (all of them first, second, or third features) competing for the 2024 Grand Prix dedicated to the best original score (which will be handed out by a jury composed of directors Mounia Meddour and Blandine Lenoir and composers Selma Mutal and Audrey Ismaël), are Elbow [+see also:
film review
interview: Aslı Özarslan
film profile] by German director Asli Özarslan (discovered in the Generation programme of the latest Berlinale, with original score by Delphine Mantoulet), Without Air [+see also:
film review
trailer
interview: Katalin Moldovai
film profile] by Hungary’s Katalin Moldovai (which played in Toronto, original score by Cári Tibor), Slow [+see also:
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trailer
interview: Marija Kavtaradze
film profile] by Lithuanian filmmaker Marija Kavtaradze (Best Director at Sundance, score by Irya Gmeyner, Martin Hederos and Vincent Barrière), My Wonderful Stranger by Finnish-Swedish director Johanna Pyykkö (score by Jakob Lindhagen and Delphine Malaussena) and Solitude [+see also:
film review
trailer
interview: Ninna Pálmadóttir
film profile] by Iceland’s Ninna Pálmadóttir (unveiled in Toronto, score by Petur Thor Benediktsson).

Also in competition are The Land Within [+see also:
film review
trailer
interview: Fisnik Maxville
film profile] by Kosovo’s Fisnik Maxville (Best Debut Feature in Tallinn, score by Nicolas Rabaeus), Belgian production Katika Bluu [+see also:
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film profile] by Stéphane Vuillet and Stéphane Xhroüet (score by Thomas Faure), Jour de Merde by Canada’s Kévin T Landry (score by Éloi Ragot) and the documentaries Dancing on the Edge of a Volcano [+see also:
film review
trailer
interview: Cyril Aris
film profile] by Lebanese filmmaker Cyril Aris (special mention in Karlovy Vary, score by Anthony Sahyoun) and On the Edge [+see also:
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trailer
film profile] by France’s Nicolas Peduzzi (which played in Cannes’ ACID competition, score by Gaël Rakotondrabe).

There will also be a competition of 65 short films (12 animated, 6 documentaries and 47 fiction films) from 31 countries and, among the guests of honour (given carte blanche) are Belgian director Felix Van Groeningen (who will be delivering a masterclass), French conductor Zahia Ziouani (whose journey is retraced in a fictional mode in Marie-Castille Mention-Schaar’s Divertimento [+see also:
trailer
film profile]), French filmmakers Olivier Nakache and Éric Toledano, and American composer Lolita Ritmanis. 

In the Duets programme, which highlights pairs of composers and directors, we find Audrey Ismaël and Vanessa Filho with Consent [+see also:
film review
film profile], and Bachar Mar-Khalifé and Zeno Graton with The Lost Boys [+see also:
film review
trailer
interview: Zeno Graton
film profile].

The They Are Back section will offer The Dreamer [+see also:
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trailer
interview: Anaïs Tellenne
film profile] by Anaïs Tellenne (score by Amaury Chabauty) and premieres of Nouveau monde by Vincent Cappello (score by Matthieu Di Stefano), The Fantastic Three by Michaël Dichter (score by Hugo Gonzalez-Pioli) and Six Feet Over [+see also:
film review
film profile] by Karim Bensalah (score by Adrien Casalis). 

The MCM’s Favorites section of this edition will be dedicated to Jérémy Clapin (with Meanwhile on Earth [+see also:
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trailer
film profile] – score by Dan Levy), to composer Julie Roué (with The (Ex)perience of Love [+see also:
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trailer
interview: Ann Sirot & Raphael Balboni
film profile] and No Love Lost [+see also:
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trailer
interview: Erwan Le Duc
film profile]) and to Blandine Lenoir (with Angry Annie [+see also:
film review
trailer
film profile], score by Bertrand Belin).

Beyond multiple cartes blanches (dedicated to the Thessaloniki, Tallinn Black Nights, and Geneva festivals), conferences, roundtables, a family programme and film-concerts, the programme will also include a Workshop in Musical Composition for Cinema directed this year by Pablo Pico.

Finally, the International Market for Musical Composition for Cinema will take place on 4 and 5 April. 

(Translated from French)