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Editorial
International film festivals and markets consistently indicate that French films travel the world as much as ever, even if this is clearly not always the case for our artists… While directors show an unfaltering commitment to accompanying their films across the globe, actors are at times a little harder to convince. Whether this is due to a lack of long-term vision, highly variable workloads, or unavoidable changes in shooting schedules, there are obviously many objective explanations. However, public awareness surveys confirm a conclusion that we reached at UniFrance many years ago: that the support of artists always benefits the performance of films beyond our borders. The personal gains involved are also undeniable: the actors who travel are those who go on to achieve greater success with international audiences and who are offered more projects from outside France. This is a reality that we have communicated to many actors and actresses recently, encouraging them (with considerable success!) to accompany the commercial release of their films in neighboring European countries. Priority has been given to Germany, where French films (comedies in particular) maintain a high market share. The UniFrance films Artistic Committee intends to continue these efforts to raise awareness and will be proposing new initiatives in the near future.
We will be back with more news very soon!
Jean-Paul Salomé
President of UniFrance films
Contents
Sections
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> It's a wrap for the 20th Rendez-Vous with French Cinema in New York
Co-chaired by Martin Scorsese and Nathalie Baye, the 20th edition of Rendez-Vous with French Cinema in New York finished on March 15 after another successful, well-attended event. |
The 2015 edition in numbers:
• 22 feature and 4 short films presented.
• A delegation of 53 French artists who came to present, champion, and sometimes sell their films.
• 12,000 spectators in the 5 partner sites.
• 15 masterclasses (among whom Nathalie Baye, Mélanie Laurent, Guillaume Canet, Thomas Cailley, producers Kristina Larsen and Anne-Dominique Toussaint, to mention just a few)
• 4 films sold (Breathe, bought by Film Movement; Fidelio, Alice's Journey bought by First Run Features, May Allah bless France bought by Strand Releasing, and Party Girl bought by DistriB Films USA).
A particular focus on film music
Thanks to support from the Sacem, UniFrance accompanied two bands who came to give Q&A sessions after the screenings of three of the films in the selection. UniFrance also organized a lunch with American professionals (composers and musical supervisors), a showcase to close the festival with LoW Entertainment and Quentin Dupieux, and a concert at SXSW in Austin, Texas.
Meetings with American students
For the first time, UniFrance and the Ambassade de France organized meetings with New York students. French guests accepted to share their knowledge and expertise, their acting, producing, and directing experience, and appealed to young people, who were encouraged to embrace French cinema in both artistic and economic terms. The visiting French artists appreciated this initiative, for it allowed them to get the feel of new foreign spectators, and the students also enjoyed the experience and the possibility it gave them of meeting leading French film professionals.
Two French artists who attended the Rendez-Vous share their experience
Thomas Cailley, director of Love at First Fight:
"I was only at the Rendez-Vous with French Cinema for a short, but intense 72 hours. However, it was enough time to present two very fine screenings of the film at the Lincoln Center and the IFC, to a big and involved crowd. I also had time to do a few interviews with the American press and to at last meet the film's American distributor, Marcus Ho (Strand Releasing) and to begin talking about the release strategy (English title, poster, trailer, theaters). All this left me with the feeling that our film was really well received by the public and the press - an encouraging foretaste prior to the American release."
Lucie Borleteau, director of Fidelio, Alice's Journey:
"I arrived with Ariane Labed in a blue plane, a plane like a ship. Thanks to Unifrance I met Élodie Bouchez, who was going to the festival to present Reality, when I boarded the plane. What joy!
New York is a port, so it's a great place for a stopover. The spectators at the Lincoln Center screening came up and spoke to me about really intimate things. I discovered that in English, a cargo ship is also a 'freighter.' Audiences are warm, of all ages, movie buffs, and fond of French cinema.
Our journey allowed us to meet our American distributor First Run Features. They were delighted that the screening was sold out, and it was terrific to be able to spend a moment with them speaking in practical terms about the American release, whose date is yet to be announced.
Having a stopover is also about taking the time to snap a few self-portraits, absorbing the city's energy, visiting museums, and ambling in the streets, where every corner and every detail reminds you of a film set.
So long, N.Y., it was too short. Just enough time to fall in love with the city and to hope to return for the film's release!"
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> 12th edition of the French Film Panorama in China
The 12th French Film Panorama in China, held from April 16 through 23, 2015, will be an occasion to present 8 French films to Chinese audiences. |
A parallel section of the Beijing International Film Festival (whose president this year is Luc Besson), entirely dedicated to French cinema, the 12th French Film Panorama will be the occasion to see 8 recent French films.
Clouds of Sils Maria by Olivier Assayas
La Famille Bélier by Eric Lartigau
Jack and the Cuckoo-Clock Heart by Mathias Malzieu and Stéphane Berla
Hippocrates by Thomas Lilti
Sex, Love & Therapy by Tonie Marshall
Nobody from Nowhere by Matthieu Delaporte
Belle and Sébastien by Nicolas Vanier
Life of Riley by Alain Resnais
Among the French artistic delegation attending the festival: Luc Besson, Hippolyte Girardot, Tonie Marshall, and Stéphane Berla.
The Panorama will open with Life of Riley by Alain Resnais, in the presence, in particular, of Jean-Jacques Annaud (currently in pre-production of a new film which, like Wolf Totem, will be shot in China), and of Chinese director and box office superstar Seng Xiaogang.
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> Love at First Fight and La Famille Bélier honored in Athens
The 16th Francophone Festival in Greece closed its doors on March 25 in Athens (but continued in Thessaloniki) with the presentation of two awards. |
For its 16th consecutive year, the French Institute in Greece hosted a week of French film screenings in Athens from March 19 through 25 and Thessaloniki from March 26 through April 1. Karin Viard was invited to the opening ceremony to present La Famille Bélier, along with the director Stéphane Foenkinos, who was a member of the event's jury. The jury was led by the filmmaker Panos Koutras, whose film Xenia was presented in the Official Competition at Cannes in 2014.
At the end of this week of film screenings (which featured 10 films in the Official Selection and 19 films in the Panorama section), two prizes were awarded:
The TV5 Jury Prize for Love at First Fight (distributed in Greece by Feelgood Entertainment A.E.), which comes with a cash prize of €3,000 to be allocated to promoting the film, donated by TV5 Monde. The Athens City Hall provides advertising space for posters and radio promotion for the film.
The Audience Prize for La Famille Bélier (distributed by Odeon), which comes with a cash prize of €6,000 to assist the film's promotion, donated by Fischer.
For more information, see the event's website.
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> French cinema has a sterling presence at the 34th Istanbul Film Festival
31 French films (including coproductions), selected across all the sections, will be honored at Istanbul's leading cinema event. |
The Istanbul Film Festival will take place April 4 through 19, 2015 and will present fifteen French films. Several French artists will be present: Angélique Litzenburger and Samuel Theis for Party Girl, Brice Cauvin for The Easy Way Out, Raoul Peck for Murder in Pacot, Boris Lojkine for Hope, and Jean-Paul Salomé, President of UniFrance films, whose latest film, Playing Dead, will inaugurate the theater of the Institut Français in Istanbul, which has been converted to digital screening facilities thanks to support from the CNC.
In 2014, French cinema enjoyed its best year ever in Turkey since UniFrance regularly started monitoring French film results in this territory. Its 1.36 million admissions showed a 230% increase on 2013, thanks in large part to Lucy (860,000 admissions).
More information about the selection and the French delegation can be found here.
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> 6th edition of French Cinema Today in Kazakhstan
For the sixth consecutive year, from 23 through 27 April, 2015, UniFrance will be organizing its French Film Festival in Almaty, capital of Kazakhstan. |
Kazakhstan is a rather strange haven for French films. Thirty French films (and coproductions) are released here each year, French cinema is the third most seen after American and Russian cinema, and it represented a 8.7% market share in 2013.
Again in partnership with Baourjane Choukenov, film distributor and theater operator (he owns the Arman theater where the festival takes place), the 2015 edition of French Cinema Today in Kazakhstan will include 6 feature and 20 short films.
Pio Marmaï will travel to Almaty to present In the Courtyard, and Cécile Telerman will be there to share The Yellow Eyes of the Crocodiles.
The selection:
3 Hearts by Benoit Jacquot
In the Courtyard by Pierre Salvadori
The Yellow Eyes of the Crocodiles by Cécile Telerman
Jacky au royaume des filles by Riad Sattouf
Clouds of Sils Maria by Olivier Assayas
Elle l'adore by Jeanne Herry
Twenty short films will also be presented in four programs during the Short Film Night, a regular event at the festival.
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> 5th Rendez-Vous with New French Cinema in Rome
Fanny Ardant chairs the fifth edition, which will take place in Rome from April 8 through 12, 2015, and then travel to five other Italian cities. |
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> The Rome Festival continues online
During the first five days of the Rendez-vous with New French Cinema in Rome, a virtual screening of a film from a previous year's festival will be available for viewing online in Italy via a partnership with the website mymovies.it. |
The following films will be screened via this "virtual theater":
Miss and the Doctors by Axelle Ropert (Rome Festival): April 8 at 9:30 p.m.
A Place on Earth by Fabienne Godet (Rome Festival): April 9 at 9:30 p.m.
Day of the Crows by Jean-Christophe Dessaint (Rome Festival): time to be advised
Point Blank by Fred Cavayé (Rome Festival): April 11 at 9:30 p.m.
Love at First Fight by Thomas Cailley (Focus on New French Cinema): April 12 at 9:30 p.m.
In addition to these screenings, 3 films will be available in the mymovies.it SVOD catalogue:
Cycling with Moliere by Philippe Le Guay
Holy Motors by Leos Carax
The Last Mitterrand by Robert Guédiguian
See complete details on the website
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> Four French films win awards at the Tokyo Anime Award Festival
Two short French animation films and one feature animation, as well as a coproduction, garnered a cluster of prizes at the Tokyo Anime Award Festival. |
With three French features (and a coproduction) among the five titles in Competition at the Tokyo Anime Award Festival, which took place 19 through 23 March, and with four awards, French animation is currently enjoying fine times in Japan.
The award-winning French titles:
Feature Film Competition
Grand Prize: Song of the Sea by Tomm Moore (France, Ireland, Luxembourg, Belgiun, Denmark).
Best Films: Mune by Alexandre Heboyan and Benoit Philippon (photo)
Short Film Competition
Best Films (ex aequo): Bang Bang ! by Julien Bisaro, and Beach Flags by Sarah Saidan (France).
The complete awards list can be found at the festival website.
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> The AEFE presents its award for Best Film Critic
On April 10, and in the presence of Isabelle Giordano, the AEFE will present its Best Film Critic award in the context of MyFrenchFilmFestival.com 2015, and will celebrate is 25th birthday. |
On April 10, 2015, the AEFE (Agence Pour l'Enseignement Français à l'Etranger) will present its Best Film Critic Award within the context of the UniFrance films event, MyFrenchFilmFestival.com.
The AEFE has organized this Best Film Critic Competition, which is aimed at students enrolled in a French school abroad belonging to the agency's network, which represents 330,000 students in nearly 500 schools in a total of 135 countries.
Finally, 70 film critics from 8 countries were selected for the competition, and the winning author will receive professional accreditation to one of the film festivals organized by UniFrance.
Isabelle Giordano, CEO of UniFrance films, will attend the award presentation, which will take place during a gala that will also celebrate the agency's 25th anniversary.
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> Selections, awards, and delegations at feature film festivals
Just like every month, you can check out our website for all the latest details about feature film festivals supported by UniFrance films. |
With comprehensive details on awards, selections, delegations, and news, we have created a specific section on our website allowing you to search for any information linked to French feature films presented at international events.
[Click here to access the "International feature film festivals and markets" page]
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> uniFrance Films unveils a study on digital markets
VOD, SVOD... A study on new digital distribution platforms examines how they can be a driver of growth for French and European cinema. |
UniFrance films has commissioned EY to carry out a study, published today, into the new markets for French and European cinema, at a time when video-on-demand (VOD) and subscription video-on-demand (SVOD) are taking off. The aim of this study is to analyze the economic potential of French and European films on these new digital distribution platforms across 10 territories (USA, United Kingdom, Germany, Italy, Spain, Poland, Japan, China, Brazil et Africa), and to put forward recommendations to fully profit from the opportunities this new market presents.
In 2020, the potential of the VOD and SVOD market over the 10 territories studied, taking into account films from all origins, is estimated at €13bn (2/3 of the overall market), which leads to an estimate for the worldwide market of €20bn.
What are the opportunities for French and European cinema?
In a globally favorable context, the EY study estimates that the international market for VOD and SVOD will reach €75m in 2020. Today, revenues from VOD and SVOD are not very significant for French sales companies, accounting for less than 5% of their revenue from export . For them, like their fellow European sales companies, seizing the opportunities offered by the new digital distribution platforms is a key challenge.
For Jean-Paul Salomé, President of UniFrance films, "It is important for French producers and sales companies to anticipate the future revenues from VOD and SVOD to position themselves in this sector, the development of which will be essential to the growth of cinema."
VOD and SVOD: a worldwide market worth €8 billion
The total market for new digital platforms in the territories covered by the EY study amounted to €8bn in 2013.
The United States accounted for more than half (59%) of this market, worth €4.7bn. In this territory, the share of the digital market now outstrips the share of physical video, signaling that the shift towards digital distribution is well underway. Perhaps more significantly, since 2012, it has been SVOD services, and therefore streaming, which has been driving the growth in on-demand video, reaching a market share of 53% in the first half of 2014.
Given the preponderant position of the United States, the development of French and European films on the main US platforms remains an important issue. In fact, the market for French films on Netflix, Hulu Plus and iTunes currently varies between 2% and 5%.
In this context, the European market, which represents 24% (€1.9bn) of the overall market, offers essential capacity for development.
In Europe, while the share of digital video services is increasing significantly (up 43% between 2012 and 2013), the market for physical video still accounts for 80% of the market. However, similar to in the United States, one can note that among digital platforms, SVOD services are growing much faster, with annual growth of 126% between 2009 and 2013.
Danielle Attias, Senior Manager at EY, made a series of recommendations based on the study findings. “There are several levers which could contribute to developing access to the legal offer for a growing number of users on a global scale, such as supporting promotional efforts for VOD/SVOD services, adapting public aid for export, and studying new distribution models according to the specifics of each market,” she said.
[ENG_Sumary_Cinema_March2015.pdf]
[FR_Synthèse_Cinéma_Mars2015.pdf]
[Etude VOD Version française.pdf]
[VOD Study English version.pdf]
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> UniFrance to support the promotion of a short film awarded at Ici & Demain
The 2015 edition of the Parisian student arts festival Ici & Demain, of which UniFrance films is a partner in the Short Film section, finished on March 26. |
When by Adrien Roux won the Short Film Competition. Shot in New York by this Esra student, the film depicts, with tact and emotion, the story of an elderly couple and what happens when the husband tries to make his wife's last dream come to life.
UniFrance films will lend its support to the director to help him promote the film abroad.
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> 3rd "Du Court au Long" Breakfast event at UniFrance
On March 4, a convivial breakfast event gathered together established movie industry professionals from the feature film sales and production sectors along with short filmmaker members of UniFrance films. |
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> New partnership between UniFrance and the Humboldt-Universität in Berlin
In the wake of the 65th Berlin International Film Festival, UniFrance films's Short Film Department and the Humboldt University in Berlin have signed an agreement. |
Well-known for its respected courses in film subtitling (and already an active partner of a number of movie industry events), Berlin's Humboldt University will benefit from priority access to our Short Film Gallery and—subject to authorization from film rights holders—will be able to work on the most recent French short films and offer translations in a range of languages.
In addition to this, further synergies will be developed between the Humboldt University, UniFrance films, and partner festivals in Berlin, such as the Berlin International Film Festival, Interfilm, and Kuki.
Each year, around a dozen films produced by our members will thus benefit from this new initiative, which will be implemented immediately.
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> Selections, awards, and delegations at short film festivals
Just like every month, you can check out our website for all the latest details about short film festivals supported by UniFrance films. |
With comprehensive details on awards, selections, delegations, and news, we have created a specific section on our website allowing you to search for any information linked to French short films presented at international events.
[Click here to access the "International short film festivals and markets" page]
Rank | Title | Admissions | Box Office Revenues (€) | No. of Prints | No. of Countries | Total Admissions |
1 | Taken 3 | 9,713,697 | 45,592,360 | 7,298 | 40 | 30,606,734 |
2 | Serial (Bad) Weddings | 944,004 | 5,950,455 | 830 | 12 | 8,637,508 |
3 | Asterix - The Mansion of the Gods | 662,263 | 4,135,187 | 1,334 | 15 | 1,695,524 |
4 | Beauty and the Beast | 661,182 | 1,765,294 | 351 | 3 | 5,404,292 |
5 | La Famille Bélier | 387,146 | 1,861,725 | 243 | 7 | 1,030,953 |
6 | Samba | 380,455 | 2,671,804 | 764 | 10 | 937,895 |
7 | Timbuktu | 244,341 | 1,640,171 | 293 | 14 | 342,802 |
8 | Mune | 239,385 | 1,524,479 | 288 | 2 | 239,385 |
9 | Paradise Lost | 141,308 | 415,135 | 213 | 6 | 897,040 |
10 | Daddy or Mommy | 104,636 | 844,431 | 45 | 2 | 104,636 |
11 | Minuscule: Valley of the Lost Ants | 69,842 | 333,055 | 261 | 4 | 2,227,814 |
12 | The Salt of the Earth | 68,133 | 446,714 | 158 | 9 | 704,489 |
13 | Paris Follies | 60,182 | 438,945 | 106 | 4 | 196,181 |
14 | Bis | 58,658 | 461,460 | 47 | 2 | 58,658 |
15 | Gus, petit oiseau, grand voyage | 55,978 | 255,735 | 167 | 2 | 391,182 |
16 | On the Way to School | 44,441 | 265,075 | 59 | 3 | 490,652 |
17 | Gemma Bovery | 39,711 | 229,567 | 47 | 2 | 110,955 |
18 | Clouds of Sils Maria | 38,145 | 262,800 | 106 | 9 | 363,632 |
19 | Memories | 29,446 | 241,960 | 39 | 2 | 44,730 |
20 | Gett, The Trial of Viviane Amsalem | 26,202 | 191,465 | 65 | 6 | 63,969 |
In February, ten French films, the majority of which were comedies, crossed the 100,000 spectators mark in international theaters. The latest episode of the Asterix franchise was released on Quebec screens, while Bis conquered Belgian audiences. Ranking high among last year's successes, Serial (Bad) Weddings released in Italy to spectators' great pleasure, while Beauty and the Beast marked a new record in Latin America. Meanwhile, Taken 3 strolled crossed the 30 million admissions threshold abroad...
Review of a selection of standout French titles in February 2015
Asterix - The Mansion of the Gods pursued its international career and launched its run in one of the franchise's traditionally favored territories, Quebec. Released by Métropole in 79 theaters, being the 4th largest release recorded in this territory by UniFrance films, the film generated CAD286,000 in revenues in its opening week (around 32,000 admissions), reaching 3rd place at the local box office. This score is in line with the opening week results of other animation films, such as Paddington, or the second episode of SpongeBob. A jump in admissions is expected in the second week thanks to the school vacation period, and one can hope that the film will outdistance the results recorded in 2006 by Asterix and the Vikings (Alliance Vivafilm – 104,000 admissions), the other animated production of the franchise. We note that the French film seen by the highest number of spectators in Quebec since 1994 is Asterix and Obelix, Mission Cleopatra (Christal Films – 637,000 admissions), which also holds the record for the region's highest number of prints (94 screens). At the end of February 2015, Asterix - The Mansion of the Gods had accumulated 1.7 million admissions in 20 international markets.
After crossing the 5 million spectators threshold abroad thanks to its remarkable performance in Mexico (Zima – 763,000 admissions after 5 weeks), Beauty and the Beast created a surprise in Peru. Released by Delta Films in 43 theaters (alongside American blockbusters released in sixty theaters), the film attracted 107,000 spectators in two weeks and became the most-seen French-language film in Peruvian theaters in nearly five years, ahead of The Intouchables and its 98,000 admissions (also released by Delta Films). This is great news, because this territory is widely under the sway of North American productions. Further good news: with more than 650,000 admissions registered in four weeks, Taken 3 has become the French production seen by the highest number of spectators in Peru since UniFrance films started recording French cinema results in this territory.
Serial (Bad) Weddings successfully launched its Italian career by attracting 214,000 spectators from 321 prints, rising to 2nd place at the local box office – terrific news for 01 Distribution, a firm that has traditionally shied away from French comedies in this territory. In its second week, Philippe de Chauveron's film continued to hold 2nd place in the local rankings, holding up well against Fifty Shades of Grey (released on a record 988 screens), and also against Taken 3 (Fox), showing in 275 theaters. The film had accumulated almost 520,000 admissions at the end of February, close on the heels of Welcome to the Land of Ch'tis (Medusa film – 526,000 admissions in 2008). This fine start in Italy enabled Serial (Bad) Weddings to cross the 8 million international admissions threshold, thereby moving into second place as the French comedy (besides the Asterix franchise) seen by the most people abroad in the past twenty years, after The Intouchables (31.9 million admissions outside France).
Timbuktu got off to a fine start in the USA. Released on a Wednesday by Cohen Media Group, the majority French production tallied USD76,000 after ten days in theaters, being 9,500 spectators or thereabouts in a mere 4 theaters. At the end of February, the film was shown in 53 theaters and had racked up USD545,000 dollars in revenues (67,000 admissions). This is an encouraging result for a film nominated for the Best Foreign Language Oscar. Timbuktu had accrued 340,000 admissions in 14 foreign territories at the end of February. Alongside this, we note the fine North American career of the minority French production Two Days, One Night (IFC Films), which launched in two theaters at the end of December, and went on to play in 120 theaters in this territory by the end of February. The film had clocked up $1.3 million, being 158,000 admissions, at the end of the month.
Samba rose to 7th place at the Quebec box office after its opening week. Released in 30 theaters by Les Films Séville, the film raked in nearly CAD300,000 in box office revenues in three weeks, corresponding to around 33,000 spectators. With nearly 1 million admissions recorded in 16 territories at the end of February, Samba is eagerly awaited in several major European markets, including Italy (01 Distribution) in April, and the United Kingdom (Koch Media) in May.
Bis appealed to Belgium (Belga Films) filmgoers. With 34,000 spectators from 30 prints in its opening week, the film scored 6th place in the weekly rankings and 3rd best admissions average per print. Unsurprisingly, in Belgium, French cinema results have been buoyed by comedies since the beginning of the year. With only a 16% reduction of admissions in its third week, Daddy or Mommy (Alternative) continued to hold its own and had registered 77,000 admissions at the end of February. But La Famille Bélier (Belga Films) is truly the film to watch, with 250,000 admissions after ten weeks in Belgian theaters. With Taken 3 (Belga Films – 270,000 admissions in four weeks) leading 2015 French releases at the end of February, followed by 3 successful comedies, the year has got off to a fine start in Belgium.
Other outstanding releases this month include Mune in Italy (Notorious Pictures), Paris Follies in Germany (Wild Bunch Germany), Gett, The Trial of Viviane Amsalem in the USA (Music Box Films), Gus, petit oiseau, grand voyage in South Korea, and La Famille Bélier in Mexico (Corazon International).
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For all information, please contact Sébastien Cauchon |
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