Cannes: After what many are calling a decidedly lackluster issue of the Cannes International Film Festival, the reception of the Canadian films here has taken on a new significance. While the media remained divided on the merits of almost all of the films in the official competition selection to the bitter end, the Canadian offerings received resounding support over the course of the May 17-28 event.

The sun shone on both the Croisette and Canadian films in the sometimes lovely, always hectic Riviera resort town of Cannes during the 48th annual festival.

‘We’ve now joined the major leagues,’ says Telefilm Canada’s Jean Lefebvre in reference to the attention paid Canadian films being marketed in Cannes.

With four features and one short platforming, it was a very respectable showing.

Soul Survivor, directed by Canadian Film Centre grad Stephen Williams and produced by Paul Brown, opened the Critics’ Week to an enthusiastic reception – Spike Lee’s producer, Monty Ross, was suitably impressed, telling Williams he ‘dug the shit out of the film.’

The animated short Movements of the Body by Wayne Traudt was also featured in the Critics’ Week.

Le Confessional, the auspicious feature debut by theatrical great Robert Lepage, opened the Directors’ Fortnight, and the official screenings netted much applause and ensuing buzz.

Clement Virgo’s smart, brash and bold Rude, produced by Damon D’Oliveira and Karen A. King, showing in Un Certain Regard, also received tremendous response.

And Eldorado by Charles Biname received at least one standing ovation and critical attention.

To put this into an international context, the Critics’ Week also featured a new film by Chris Newby of Anchoress fame, the Directors’ Fortnight featured new films by Mike Newall and Todd Haynes, and Un Certain Regard offered up the new Wim Wenders and Diane Keaton pics.

With a competition selection which, as usual, had split opinion up and down the Croisette, the overwhelmingly enthusiastic response to the Canadian films united buyers and critics alike.

Strongly received films in the rest of the festival included Keaton’s Unstrung Heroes, John Boorman’s Beyond Rangoon, Christopher Hampton’s Carrington, Ken Loach’s Land and Freedom, and Theo Angelopoulos’ Ulysses’ Glance, to name only a few.

Most agree this was a long and very hard festival, with no real standout sensations as in past years when films like Strictly Ballroom were discovered and fought over.

Kids, by first-time director Larry Clark, at least caused a stir for its controversial docu-style and subject matter – a day in the life of a group of disconnected and somewhat debauched kids in New York.

On the business side, reports show that Canadian companies saw encouraging sales action on the Canadian fare, but little surfaced regarding acquisitions.

Norstar Entertainment rep Linda Grinbaum reports sales of Soul Survivor to the u.k., French, Benelux, Latin American and West Indies territories. Deals for France Italy, Scandinavia, Japan and Portugal are pending.

Alliance’s extremely strong showing here with Eldorado and Rude (Alliance also holds domestic rights for Le Confessional) translated into sales of the former in France, Belgium, Norway and Hungary, and for the latter, Benelux rights with brisk interest for u.k. and France rights.

Alliance sales exec Charlotte Mickie sees ‘more competition among the buyers this year – more than ever before.’

A major sale for u.k. territories of Le Confessional was also confirmed.

Malofilm reports Margaret’s Museum by Mort Ransen has sold to Switzerland, France, Taiwan, Singapore and the Czech Republic, with much interest from Germany, Latin America and the u.s. The Richard Goudreau-produced Kids of the Round Table by Robert Tinnell sold to Latin America, Germany, Italy, Holland and more, with negotiations underway with the u.s.

The awards ceremony was the standard awkward and not exactly well-attended affair with the requisite number of stars, flash, glamour and gaffes. The show, which preceded the final screening for the festival, The Quick and the Dead, was snappy and to the point, with only a few uncomfortable moments compared to previous years.

The prize for best presentation (for best actress) went to Hugh Grant, who regaled the audience (in French) with the story of his theatrical experiences playing female roles during his days at an all-boys school: ‘I can tell you – I know firsthand how difficult the life of an actress can be.’

While the buzz was promising, no Canadians figured in the final list, although Eldorado did receive a Special Mention Prix fipresci – Federation of ‘Art et Essai’ Cinemas. Loach’s masterful Land and Freedom was this year’s Prix fipresci winner.