The Short Film Corner in Cannes and Ellen Perry's "Will"

While Cannes is host to established filmmakers, young talent flocks to the festival from all over the world, armed with scripts and short films that serve as a calling card.

The Short Film Corner is where new directors screen their work to a hand picked audience. The selection comprises films from all over the world, most previously unseen, as well as the films included in the Official Competition, the Cinéfondation, the Director's Fortnight and Critic's Week. 86 countries are represented and 1728 short films are registered with 26500 viewings taking place during the course of the festival.

I’m invited to view a short film by a young Indian filmmaker called Sushma Khadepaun-Parmar. Her film “Sarathi" revolves around the mind of Arjun Patel, a young and successful consultant, whose chance encounter with an unusual chauffer makes him examine his life choices. The story explores the universal question, “Who am I?” It’s an intense and ambitious film, which explores matters relating to life and existentiality. It’s well crafted, but heavy going subject matter for a 22 minute short. I am always motivated by a need to encourage and support young talent and I offer some constructive criticism, knowing that it’s not plaudits that the director truly needs or wants, but an unbiased, honest perspective and honesty’s my thing. But it’s an accolade in itself to have a short selected for a screening at Cannes.

Ronak Singh is a British director who is at the festival promoting his short "Bride and Gloom." We meet randomly at the British pavillion, where he is armed with copies of his film and flyers. The image is instantly recognisable and he has made an impact. His film has been described by one scouting director as a “super hit,” and its prompted Punjabi singer Jassi to extend an invitation to Singh to come to India and discuss working on a music video.  A chance encounter with the editor of the online publication The Business of Film results in a possible piece about Singh’s career in the magazine. And, on just another ordinary night in Cannes, he takes to the red carpet for a premiere at the Grande Lumiere. Its all part of the excitement of Cannes where you get to experience things outside of mundane reality. But for a new filmmaker it's also the chance to have your work recognised and its a stepping stone to even greater things. Singh is perhaps luckier than most, but he came to the festival well prepared and he has made the experience work for him.

While the new film makers arrive in Cannes with dreams of what might be, there are those here who have realised their vision and it’s in the Marche Du Film that those with completed projects are looking for buyers for their film.  Ellen Perry is one such filmmaker who is promoting her film “Will,” a deeply emotional story of one child’s journey to Istanbul to watch the 2005 Champions Leagues Final, also known as “The Miracle of Istanbul.”

Liverpool FC is one of the most successful clubs in English footballing history. They have won 18 League Titles, 5 European Cups, 7 FA Cups, 7 League Cups and 3 UEFA Cups. The club has a reputation for having the most dedicated supporters, travelling far and wide to see the team play in Europe and never giving up on the team even when defeat seems inevitable.  The Champions League final in May 2005 is regarded as one of the greatest comebacks in sporting history, with the team delivering a most spectacular second half performance to win the game.

A life long fan of the Red Machine as I am, I am already sold.   

The film stars Bob Hoskins and features Steven Gerrard and Kenny Dalglish who make their acting debuts.  As Perry explains, it was the ardent passion of the British football fans that inspired the film.

“My co-writer and fellow producer Zack Anderson was watching TV one night in San Francisco and saw highlights of some barren, soggy mostly empty stadium in England somewhere.  There were a few hundred shirtless fans singing the Chumbawumba song, “I get knocked down, but I get up again, you’re never gonna keep me down!” He was fascinated by their primal energy and, as a huge American sports fan, the spark was lit.”

Perry approached several football clubs, but the story of Liverpool instantly struck a chord.

“As we looked into the story of Liverpool Football club we realised there is something here. Being in the stands as the crowds sing, “You’ll Never Walk Alone,” it’s a bucket list moment. Of all the clubs we spoke to, Liverpool we’re straight on it. They were interested and wanted to work with us at the outset. And I was clear that there would be no stand in’s or look-a-likes. If we were portraying Steven Gerrard we wanted Steven Gerrard.”

For Gerrard the experience of acting was altogether new territory. “It was difficult for me because I’m out of my comfort zone, " he explained. "It’s not natural to me but the more I do, I gain a bit more confidence. Directors help too with tips and encouragement, but I’d need an awful lot of lessons to make my acting good!  I’m giving it my best so we’ll see how it turns out.”

From the glossy poster, to the narrative, to the emotional themes the film addresses, with its star cast and a You Tube following of 160,000 people, achieved through word of mouth alone, “Will”  has all the hallmarks of a heart warming underdog story that would captivate a British audience. Biased though I am, I can’t imagine that the filmmakers would have any trouble finding a buyer, but I’m told it’s not that easy, even for an award winning filmmaker like Ellen Perry.   

It makes you wonder if there's any hope for the rest of us, and we’re all eager to hear of the one success story of the festival.  I encounter a writer from the USA who recounts how a casual amble of the film stalls resulted in a two hour conversation and the drawing up of contracts the very next day as his script is optioned. I discover that he has quite the pedigree behind him as a writer on Entourage and having completed an internship with the mighty Tarantino himself, but its heartening to know that dreams can come true in Cannes.   

There are endless conversations regarding possible collaborations, and contact details are exchanged with the promise of future meetings. Hopes are raised as life changing possibilities present themselves, but as anyone who comes to Cannes quickly learns, out here there’s a whole lot of talk that goes on. Its two weeks after the festival has finished that you can determine whether there was ever any serious intent behind the polite exchanges of business cards and plans to “discuss further, ” and whether producers who were so insistent that you should call “the minute you get back to London” even remember you or respond to your messages.

I guess I'm just lucky.