Seven projects were selected during the 5th and final session of the CNC’s second advance on receipts 2019 committee.

Standing out amongst these is Le temps d’aimer which will be Katell Quillévéré’s fourth feature film following on from 2010’s Love Like Poison [+lee también:
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ficha de la película] (screened in Cannes’ Directors’ Fortnight 2010 and the winner of the Prix Jean Vigo), Suzanne [+lee también:
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entrevista: Katell Quillévéré
ficha de la película] (which graced Cannes’ Critics’ Week 2013 and earned itself five César nominations in 2014, including Best Supporting Role) and Heal The Living [+lee también:
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entrevista: Katell Quillévéré
ficha de la película] (unveiled in Venice’s Orizzonti line-up in 2016 before participating in Toronto’s Platform competition). Written by the filmmaker alongside Gilles Taurand, the story kicks off in 1947. Madeleine, a waitress in a hotel restaurant and the mother of a small boy, makes the acquaintance of François, a rich and cultured student, whilst on a beach. The forces of attraction which push them towards one another are as weighty as the secrets which each of them bears. We already know what Madeleine is looking to leave behind her as she follows this young man, and soon we will learn what François is desperately trying to escape as he intertwines his destiny with that of Madeleine. Production of this family saga spanning two generations will be headed up by Parisian groups Les Films du Bélier and Les Films Pelléas, with co-production in the hands of Belgian firm Frakas Productions.

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The CNC will also be supporting La Ligne [+lee también:
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entrevista: Ursula Meier
ficha de la película] by French-Swiss director Ursula Meier (who took part in Cannes’ Critics’ Week 2008 with Home [+lee también:
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entrevista: Thierry Spicher
entrevista: Ursula Meier
ficha de la película] before walking away with the Berlinale’s 2012 Silver Bear Special Award for Sister [+lee también:
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entrevista: Ursula Meier
ficha de la película], and who was also selected for the 2018 Berlinale’s Panorama section thanks to Shock Waves – Diary of My Mind [+lee también:
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ficha de la película]). The work is set to be produced by Les Films de Pierre.

An advance on receipts was also granted to Mali Twist [+lee también:
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ficha de la película], which will be the 22^nd feature film by Robert Guédiguian (who competed in Cannes in 2002, in Berlin in 2005 and 2008, before travelling to Venice, first in 2017 with The House By The Sea [+lee también:
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entrevista: Robert Guédiguian
ficha de la película], and then again in 2019 with Gloria Mundi [+lee también:
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entrevista: Robert Guédiguian
ficha de la película]) and which will be produced by Agat Films.

Likewise selected for support was Les Harkis [+lee también:
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entrevista: Philippe Faucon
ficha de la película], which will be the 11^th feature film by Philippe Faucon (a regular at the big festivals, chiefly by way of Samia, The Betrayal [+lee también:
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ficha de la película], The Disintegration [+lee también:
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ficha de la película] and Fatima [+lee también:
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entrevista: Philippe Faucon
ficha de la película], not to mention Amin [+lee también:
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entrevista: Philippe Faucon
ficha de la película]). The title will be produced by Istiqlal Films and co-produced by Arte France Cinéma alongside Belgian outfit Les Films du Fleuve.

The advance on receipts scheme will also lend its backing to Tom Medina [+lee también:
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ficha de la película] by Tony Gatlif (this 20^th feature film by a director who was awarded the Best Direction trophy at Cannes 2004 for Exiles will be headed up by Princes Films), the documentary project Little Girl Blue [+lee también:
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entrevista: Mona Achache
ficha de la película] by Mona Achache (the production details of which are yet to be formalised) and the animated film Tales of the Hedgehog by Alain Gagnol and Jean-Loup Felicioli (Oscar nominated in their category for A Cat in Paris [+lee también:
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ficha de la película] in 2012 and who subsequently put their names to Phantom Boy [+lee también:
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ficha de la película]), a project steered by Parmi Les Lucioles Films.

For the record, six projects were selected during the CNC’s first advance on receipts committee: Anaïs in Love [+lee también:
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entrevista: Charline Bourgeois-Tacquet
ficha de la película] by Charline Bourgeois-Tacquet (produced by Année Zéro and Les Films Pelléas), Saint Omer [+lee también:
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entrevista: Alice Diop
entrevista: Kayije Kagame
ficha de la película] by Alice Diop (SRAB Films), The Strange Case of Jacky Caillou [+lee también:
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ficha de la película] by Lucas Delangle (Les Films du Clan), Lumière noire by Karim Bensalah (Tact Production) and the documentaries Sheroes [+lee también:
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ficha de la película] by Aude Pépin (Bootstrap Label) and L’État sauvage by Audrey Baudouin (Quartet Production).