Orson Welles' "The Other Side of the Wind" will be at Cannes

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No, it is not confirmed yet. April 12th will be the day that Cannes announces it lineup and we are 99.9% sure Orson Wells' long-lost, unfinished film "The Other Side of the Wind" will screen. Belgian conductor Jean-Pierre Haeck, whom along with the Mosan Orchestral Ensemble, were given the task record Michel Legrand's orchestral score for the film.

Asked by Wellesnet about a major festival appearance, Haeck more or less confirmed Cannes is a done deal:

Reporter: Are you hoping to see it presented at a major festival?

Haeck: I hope that I will be invited to the premiere, we’ll see! I don’t want to reveal a secret, but it’s already intended for a great position at a certain place where you climb steps on a red carpet.

Last May, an Indiegogo campaign was launched to help complete Orson Welles' final film, "The Other Side of the Wind." The six-year shoot was plagued by budget cuts, troubles in production, casting and other legal issues.  It remained unfinished at the time of Welles’ death in 1985. 

Netflix took on the task and nabbed the global rights to the film, the deal implied that they were to finance the completion and restoration of "The Other Side of the Wind," this would all lead to a full-throttled release this year.


The synopsis of the film is as follows:
"The film covers the 70th birthday party of movie director Jake Hannaford, who is struggling to make a commercial comeback. It opens with Hannaford's death just after the party, and mostly focuses on the night before his death. We also see extracts of Hannaford's daring new film-within-a-film, The Other Side of the Wind. As we learn more about Hannaford at his party, the audience realises that he is a far more complex character than he seems, and harbors several big secrets."
"The film presents a cynical portrait of Hollywood in the 1970s, parodying the passing of the studio system, and the experimental new film-makers of the new Hollywood, as well as mocking successful European directors such as Antonioni. It was shot in a variety of different styles—color, black-and-white, still photography, 8mm, 16mm and 35mm film, all rapidly intercut together, and was planned as a collage of these different styles."