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“Cannes is a challenging market for docs,” said Ana Vicente, head of international sales for the UK doc company Dogwoof. “Theatrical buyers are busy trying to secure films in the official sections of Cannes, so it is a tough market to get them to consider a doc in spite of the growing interest for them among theatrical buyers.”
Indeed, in Cannes, at the world’s most prestigious, venerable and hierarchical film festival, with its above ground and underground spaces and its color-coded ranking system for moviegoers, it’s more an outdated second-class status that is keeping nonfiction in the back corners of the festival.
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