★★★★1/2
‘A visually stunning & emotionally devastating take on a classic scary story.’
Screen Rant
★★★★
‘One of the best horror films of the year so far.’
Dread Central
‘A tasty blend of blood, wit and social commentary.’
Screen International
Lost in a hostile forest, the Marquis d’Urfé, a noble emissary of the King of France, finds refuge in the home of a strange family… An adaptation of Aleksey Konstantinovich Tolstoy’s 1884 vampiric novella of Gothic Romanticism “La Famille du Vourdalak”, published 40 years before Dracula, The Vourdalak is a haunting gothic tale directed by Adrien Beau and starring Ariane Labed, Kacey Mottet-Klein, and Grégoire Colin. The Vourdalak premiered at Venice Film Festival where it was nominated for Best Film at International Critics Week.
The Vourdalak arrives on Digital Platforms on 16th September 2024 from Blue Finch Film Releasing
The post Haunting Gothic Tale The Vourdalak – On Digital Platforms 16th September 2024 appeared first on Horror Asylum.
‘A visually stunning & emotionally devastating take on a classic scary story.’
Screen Rant
★★★★
‘One of the best horror films of the year so far.’
Dread Central
‘A tasty blend of blood, wit and social commentary.’
Screen International
Lost in a hostile forest, the Marquis d’Urfé, a noble emissary of the King of France, finds refuge in the home of a strange family… An adaptation of Aleksey Konstantinovich Tolstoy’s 1884 vampiric novella of Gothic Romanticism “La Famille du Vourdalak”, published 40 years before Dracula, The Vourdalak is a haunting gothic tale directed by Adrien Beau and starring Ariane Labed, Kacey Mottet-Klein, and Grégoire Colin. The Vourdalak premiered at Venice Film Festival where it was nominated for Best Film at International Critics Week.
The Vourdalak arrives on Digital Platforms on 16th September 2024 from Blue Finch Film Releasing
The post Haunting Gothic Tale The Vourdalak – On Digital Platforms 16th September 2024 appeared first on Horror Asylum.
- 8/23/2024
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Fidelio, our four-film program with Chapo Trap House’s Movie Mindset, begins this Saturday with Eyes Wide Shut on 35mm, which plays again on Sunday.
Museum of the Moving Image
70mm prints of 2001 and Lawrence of Arabia screen.
Film at Lincoln Center
A retrospective of Mexican popular cinema from the 1940s to the 1960s continues and a new restoration of Shinji Sōmai’s Moving opens.
Film Forum
A career-spanning Jean-Pierre Melville retrospective continues, as do restorations of Les Blank’s Burden of Dreams and Seven Samurai.
Anthology Film Archives
Films by James Benning, Robert Bresson, and Jean Eustache screen in “Verbatim“; films by James Broughton play in “Essential Cinema.”
Bam
Claire Denis’ monumental No Fear, No Die and Mapantsula continue screening in new restorations.
Museum of Modern Art
“Silent Movie Week 2024” begins
IFC Center
“Defamed to Acclaimed” brings films by the Wachowskis,...
Roxy Cinema
Fidelio, our four-film program with Chapo Trap House’s Movie Mindset, begins this Saturday with Eyes Wide Shut on 35mm, which plays again on Sunday.
Museum of the Moving Image
70mm prints of 2001 and Lawrence of Arabia screen.
Film at Lincoln Center
A retrospective of Mexican popular cinema from the 1940s to the 1960s continues and a new restoration of Shinji Sōmai’s Moving opens.
Film Forum
A career-spanning Jean-Pierre Melville retrospective continues, as do restorations of Les Blank’s Burden of Dreams and Seven Samurai.
Anthology Film Archives
Films by James Benning, Robert Bresson, and Jean Eustache screen in “Verbatim“; films by James Broughton play in “Essential Cinema.”
Bam
Claire Denis’ monumental No Fear, No Die and Mapantsula continue screening in new restorations.
Museum of Modern Art
“Silent Movie Week 2024” begins
IFC Center
“Defamed to Acclaimed” brings films by the Wachowskis,...
- 8/2/2024
- by Nick Newman
- The Film Stage
French director Claire Denis is set to return to West Africa for her next feature film, an adaptation of late French playwright Bernard-Marie Koltès’s 1980 work Black Battles With Dogs (Combat de nègre et de chiens).
“It’s a play written by a friend of mine a long time ago and directed by Patrice Chéreau on stage in the 80s. He was dying from AIDS and he wanted me to make a film out of it,” Denis told Deadline on the fringes of the Doha Film Institute’s Qumra meeting in Qatar.
She is planning to film in either Senegal or Cameroon.
Denis grew up in West Africa and set a number of her early films in the region, such as Chocolat (1988) and Beau Travail (1989). This will be her first major fiction feature shot on the African continent since the 2009 drama White Material, starring Isabelle Huppert as a coffee plantation...
“It’s a play written by a friend of mine a long time ago and directed by Patrice Chéreau on stage in the 80s. He was dying from AIDS and he wanted me to make a film out of it,” Denis told Deadline on the fringes of the Doha Film Institute’s Qumra meeting in Qatar.
She is planning to film in either Senegal or Cameroon.
Denis grew up in West Africa and set a number of her early films in the region, such as Chocolat (1988) and Beau Travail (1989). This will be her first major fiction feature shot on the African continent since the 2009 drama White Material, starring Isabelle Huppert as a coffee plantation...
- 3/5/2024
- by Melanie Goodfellow
- Deadline Film + TV
Mubi has bought “Dahomey,” a highlight of this year’s Berlinale competition and directed by Cannes prizewinner Mati Diop (“Atlantics”), for North America, Latin America, U.K., Ireland, Germany, Austria, Switzerland, Italy, Turkey and India.
The feature film is represented in international markets by Films du Losange, which negotiated the deal with Mubi. “Dahomey” marks the sophomore outing of Diop, a French-Senegalese talent who is considered one of the leading figures in international arthouse cinema and of a new wave in African and diasporic cinema. Her feature debut, “Atlantics,” won the Grand Prize at Cannes in 2019, and went to win the Nation Board of Review Award, as well as nominations for a Critics Choice Award and Director’s Guild Award.
In “Dahomey,” Diop explores the issue of colonization through the story of precious artworks restituted to their country of origin, the present-day Republic of Benin after being plundered, along with thousands of others,...
The feature film is represented in international markets by Films du Losange, which negotiated the deal with Mubi. “Dahomey” marks the sophomore outing of Diop, a French-Senegalese talent who is considered one of the leading figures in international arthouse cinema and of a new wave in African and diasporic cinema. Her feature debut, “Atlantics,” won the Grand Prize at Cannes in 2019, and went to win the Nation Board of Review Award, as well as nominations for a Critics Choice Award and Director’s Guild Award.
In “Dahomey,” Diop explores the issue of colonization through the story of precious artworks restituted to their country of origin, the present-day Republic of Benin after being plundered, along with thousands of others,...
- 2/23/2024
- by Elsa Keslassy and Alex Ritman
- Variety Film + TV
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
Glauber Rocha’s Black God, White Devil begins playing in a 4K restoration; “Hitchcock’s ’50s” runs through arguably the director’s greatest decade. the Farewell My Concubine restoration continues while Summer Stock plays on 35mm this Sunday.
Anthology Film Archives
Paul Vecchiali’s classic-in-waiting The Strangler is playing in a new restoration, while the films of Martin Scorsese’s World Cinema Project are screening.
Roxy Cinema
The Josh Safdie-presented The Gods of Times Square begins a run, while The Untouchables and The Mission show on 35mm.
IFC Center
Distant Voices, Still Lives begins a run while The Exorcist, Battle Royale, Desperado, and a print of A Nightmare on Elm Street 3 play on 35mm; Oldboy screens in a new restoration.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run,...
Film Forum
Glauber Rocha’s Black God, White Devil begins playing in a 4K restoration; “Hitchcock’s ’50s” runs through arguably the director’s greatest decade. the Farewell My Concubine restoration continues while Summer Stock plays on 35mm this Sunday.
Anthology Film Archives
Paul Vecchiali’s classic-in-waiting The Strangler is playing in a new restoration, while the films of Martin Scorsese’s World Cinema Project are screening.
Roxy Cinema
The Josh Safdie-presented The Gods of Times Square begins a run, while The Untouchables and The Mission show on 35mm.
IFC Center
Distant Voices, Still Lives begins a run while The Exorcist, Battle Royale, Desperado, and a print of A Nightmare on Elm Street 3 play on 35mm; Oldboy screens in a new restoration.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run,...
- 11/16/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run, continuing this weekend with The Tree of Life, Everyone Else, and 35 Shots on Rum on 35mm, while A Hidden Life also screens; James and the Giant Peach plays in a Roald Dahl series with Matilda; a print of Bringing Up Baby shows on 35mm this Friday and Sunday.
Film Forum
“50 from the ’50s” continues with films by Welles, Kazan, Kubrick, and many more, while “Hitchcock’s ’50s” runs through arguably the director’s greatest decade.
Bam
“Cinema, Surrealism, Marxism” offers films from Buñuel, Glauber Rocha, Chris Marker, and more.
Anthology Film Archives
Yugoslav Black Wave icon Želimir Žilnik is subject of a new retrospective.
IFC Center
An extensive William Friedkin series continues, while The Holy Mountain, Gamer, and Exorcist III play late; Oldboy screens in a new restoration.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run, continuing this weekend with The Tree of Life, Everyone Else, and 35 Shots on Rum on 35mm, while A Hidden Life also screens; James and the Giant Peach plays in a Roald Dahl series with Matilda; a print of Bringing Up Baby shows on 35mm this Friday and Sunday.
Film Forum
“50 from the ’50s” continues with films by Welles, Kazan, Kubrick, and many more, while “Hitchcock’s ’50s” runs through arguably the director’s greatest decade.
Bam
“Cinema, Surrealism, Marxism” offers films from Buñuel, Glauber Rocha, Chris Marker, and more.
Anthology Film Archives
Yugoslav Black Wave icon Želimir Žilnik is subject of a new retrospective.
IFC Center
An extensive William Friedkin series continues, while The Holy Mountain, Gamer, and Exorcist III play late; Oldboy screens in a new restoration.
- 11/9/2023
- by Nick Newman
- The Film Stage
It’s less the question if Claire Denis and Tindersticks are modern cinema’s greatest director-musician collaboration; it’s more a matter of how far above the competition they stand. But many of their soundtracks––as rich as any of the studio albums that make Tindersticks one of our greatest working bands––haven’t streamed, instead relegated to a (treasured) collection released in 2011. Completists sometimes have to rely on the films themselves: frontman Stuart A. Staples’ solo score for Let the Sunshine In and the band’s full assembly on Both Sides of the Blade have remained unreleased.
To promote forthcoming shows that juxtapose their soundtracks with Denis’ images––tickets are online if you’re in Paris or Lyon––Tindersticks have released a handful of soundtracks once only in the collection and the aforementioned scores for Sunshine and Blade. (The former veers between ethereal and jazzy; the latter sounds like a through-and-through horror film.
To promote forthcoming shows that juxtapose their soundtracks with Denis’ images––tickets are online if you’re in Paris or Lyon––Tindersticks have released a handful of soundtracks once only in the collection and the aforementioned scores for Sunshine and Blade. (The former veers between ethereal and jazzy; the latter sounds like a through-and-through horror film.
- 10/10/2023
- by Nick Newman
- The Film Stage
Claire Denis has spent over 10 years dreaming of adapting “The Stars at Noon,” but didn’t believe it could happen. In 2020, A24 announced the 1984-set thriller would star Robert Pattinson and Margaret Qualley, marking a reunion between Denis and Pattinson after her ambitious outer space drama “High Life.” Yet after Pattinson exited “Stars” due to production delays on “The Batman” amid the Covid-19 pandemic, Denis was seemingly back at square one.
Enter her latest film, “Fire.” “I thought maybe ‘The Stars at Noon’ would never exist, so maybe this is my last film,” Denis told her friend, filmmaker Jim Jarmusch, during a talk at New York’s Rendez-Vous with French Cinema, presented by Unifrance and Film at Lincoln Center. “I don’t know, it was a weird thing.”
“Fire,” also known as “Both Sides of the Blade” in its original title, was filmed during the lockdown with DIY tactics like...
Enter her latest film, “Fire.” “I thought maybe ‘The Stars at Noon’ would never exist, so maybe this is my last film,” Denis told her friend, filmmaker Jim Jarmusch, during a talk at New York’s Rendez-Vous with French Cinema, presented by Unifrance and Film at Lincoln Center. “I don’t know, it was a weird thing.”
“Fire,” also known as “Both Sides of the Blade” in its original title, was filmed during the lockdown with DIY tactics like...
- 3/7/2022
- by Samantha Bergeson
- Indiewire
Juliette Binoche puts in another tremendous performance in Claire Denis’ drama Both Sides Of The Blade. The Berlin Film Festival competition title is an intimate slow-burner that sets a credible scene, but doesn’t quite deliver on the mystery it promises.
Binoche plays Sara, a radio presenter who has been with Jean (Vincent Lindon) for 10 years. They appear to be very much in love. Gradually, it’s revealed that they met through Sara’s ex-boyfriend François (Grégoire Colin), whom she suddenly spots in the street one day.
Consumed by strong feelings, Sara is unnerved when François gets in touch with Jean, suggesting they work together on a new business venture. She becomes paranoid when the two men meet up — and increasingly confused when she finally gets to speak with François.
The melodramatic score uses traditional thriller tropes to suggest that something ominous may happen,...
Binoche plays Sara, a radio presenter who has been with Jean (Vincent Lindon) for 10 years. They appear to be very much in love. Gradually, it’s revealed that they met through Sara’s ex-boyfriend François (Grégoire Colin), whom she suddenly spots in the street one day.
Consumed by strong feelings, Sara is unnerved when François gets in touch with Jean, suggesting they work together on a new business venture. She becomes paranoid when the two men meet up — and increasingly confused when she finally gets to speak with François.
The melodramatic score uses traditional thriller tropes to suggest that something ominous may happen,...
- 2/12/2022
- by Anna Smith
- Deadline Film + TV
“Fire” begins in water: a wide, rippling expanse of Mediterranean blue under a cloudless sky, displaced and disrupted by two whirling human bodies. Sara (Juliette Binoche) and Jean (Vincent Lindon) tussle in the otherwise empty ocean as though they’ve just discovered weightlessness, while Eric Gautier’s camera lingers on skin touching skin under the shimmer. The lovers are, we guess, on vacation, though in this immediately seductive opening scene, they seem suspended in another ecstatic reality altogether.
It’s no spoiler to say we’ll never see them like this again in Claire Denis’ frank, hot-blooded relationship drama; most relationships only have select moments of such removed bliss, after all. But we frequently grieve for this sunlit simplicity in the messy, emotionally fraught and very Parisian pileup of desires, regrets and jealousies that follows. “Fire” is a love triangle of unusually elegant geometry, with multiple romantic histories and phantom...
It’s no spoiler to say we’ll never see them like this again in Claire Denis’ frank, hot-blooded relationship drama; most relationships only have select moments of such removed bliss, after all. But we frequently grieve for this sunlit simplicity in the messy, emotionally fraught and very Parisian pileup of desires, regrets and jealousies that follows. “Fire” is a love triangle of unusually elegant geometry, with multiple romantic histories and phantom...
- 2/12/2022
- by Guy Lodge
- Variety Film + TV
One of the most fruitful collaborations in cinema history has been between Claire Denis and Stuart Staples’ band Tindersticks. After working together on a number of films––Nénette et Boni, Trouble Every Day, The Intruder, 35 Shots of Rum, White Material, Bastards, and High Life––their latest team-up comes with Fire.
Led by Juliette Binoche, Vincent Lindon, Mati Diop, Grégoire Colin, Bulle Ogier, Issa Perica, and Binoche’s daughter Hana Magimel, the love-triangle romance is one of 2022’s most-anticipated. As our first real preview, Tindersticks have unveiled the closing song as well as revealing it’ll premiere at the Berlin International Film Festival on February 12.
Titled Both Sides of the Blade, it’s part of their new greatest-hits collection Past imperfect : the best of tindersticks ’92 – ‘21, which is set for release on March 25. The music video for this rather beautifully somber track, depicting a woman shaving in front of a mirror,...
Led by Juliette Binoche, Vincent Lindon, Mati Diop, Grégoire Colin, Bulle Ogier, Issa Perica, and Binoche’s daughter Hana Magimel, the love-triangle romance is one of 2022’s most-anticipated. As our first real preview, Tindersticks have unveiled the closing song as well as revealing it’ll premiere at the Berlin International Film Festival on February 12.
Titled Both Sides of the Blade, it’s part of their new greatest-hits collection Past imperfect : the best of tindersticks ’92 – ‘21, which is set for release on March 25. The music video for this rather beautifully somber track, depicting a woman shaving in front of a mirror,...
- 1/18/2022
- by Leonard Pearce
- The Film Stage
The 2021 Cannes Film Festival has announced the jurors who will join Spike Lee in determining the winners of this year’s event. The “BlacKkKlansman” Oscar winner is serving as the 2021 jury president and will be accompanied by director Mati Diop, singer-songwriter Mylène Farmer, actress-director Maggie Gyllenhaal, writer-director Jessica Hausner, actress-director Mélanie Laurent, writer-director Kleber Mendonça Filho, actor Tahar Rahim, and actor Song Kang-ho. The Jury will unveil its list of winners Saturday, July 17 during the Cannes Closing Ceremony.
The majority of the jury has deep connections with the Cannes Film Festival. Mati Diop won the Grand Prix at the 2019 Cannes Film Festival with “Atlantics,” while Jessica Hausner also competed at Cannes 2019 with “Little Joe,” which won star Emily Beecham the Best Actress prize. Tahar Rahim got his breakout in Jacques Audiard’s Grand Prix-winning “A Prophet.” Melanie Laurent starred in Quentin Tarantino’s Palme d’Or contender “Inglourious Basterds,” while...
The majority of the jury has deep connections with the Cannes Film Festival. Mati Diop won the Grand Prix at the 2019 Cannes Film Festival with “Atlantics,” while Jessica Hausner also competed at Cannes 2019 with “Little Joe,” which won star Emily Beecham the Best Actress prize. Tahar Rahim got his breakout in Jacques Audiard’s Grand Prix-winning “A Prophet.” Melanie Laurent starred in Quentin Tarantino’s Palme d’Or contender “Inglourious Basterds,” while...
- 6/24/2021
- by Zack Sharf
- Indiewire
The Cannes Film Festival has unveiled the jury for the competition, which will be powered by a majority of women, including American actor-filmmaker Maggie Gyllenhaal, French actor-helmer Mélanie Laurent, French-Senegalese actor-director Mati Diop, Austrian director Jessica Hausner and cult French singer Mylene Farmer.
Spike Lee will presider over the jury which will also include French actor Tahar Rahim, Brazilian helmer Kleber Mendonça Filho and South Korean actor Song Kang-ho. It’s a history-making jury, with a first-time Black president and a ratio of five women to three men.
Gyllenhaal, who just made her directorial feature debut with “The Lost Daughter,” is best known for her roles in “Donnie Darko,” “Secretary,” and Christopher Nolan’s “The Dark Knight.” She earned her first Oscar nomination with “Crazy Heart” and won a Golden Globe for her performance in the miniseries “The Honourable Woman.” She went on to produce and star in the HBO...
Spike Lee will presider over the jury which will also include French actor Tahar Rahim, Brazilian helmer Kleber Mendonça Filho and South Korean actor Song Kang-ho. It’s a history-making jury, with a first-time Black president and a ratio of five women to three men.
Gyllenhaal, who just made her directorial feature debut with “The Lost Daughter,” is best known for her roles in “Donnie Darko,” “Secretary,” and Christopher Nolan’s “The Dark Knight.” She earned her first Oscar nomination with “Crazy Heart” and won a Golden Globe for her performance in the miniseries “The Honourable Woman.” She went on to produce and star in the HBO...
- 6/24/2021
- by Elsa Keslassy
- Variety Film + TV
French director discussed her childhood in 1950s West Africa.
Filmmaker Claire Denis has revealed that she would love to make a French version of UK director Steve McQueen’s Small Axe TV film series, capturing the lives of the Caribbean community in Paris.
“I would love to do a sort of French Small Axe,” she told the inaugural masterclass of the Doha Film Institute’s 2021 Qumra talent and project incubator event on Friday March 12.
While McQueen’s anthology spans five separate films capturing the lives of West Indian immigrants in London from the 1960s to the 1980s, Denis said her...
Filmmaker Claire Denis has revealed that she would love to make a French version of UK director Steve McQueen’s Small Axe TV film series, capturing the lives of the Caribbean community in Paris.
“I would love to do a sort of French Small Axe,” she told the inaugural masterclass of the Doha Film Institute’s 2021 Qumra talent and project incubator event on Friday March 12.
While McQueen’s anthology spans five separate films capturing the lives of West Indian immigrants in London from the 1960s to the 1980s, Denis said her...
- 3/13/2021
- by Melanie Goodfellow
- ScreenDaily
High among our list of most-anticipated films of 2021 is Claire Denis’ Fire, which quickly went into production while her adaptation of The Stars at Noon got delayed. Reuniting with Juliette Binoche and Vincent Lindon, not much was known about the film outside of it being set in the world of French radio. Now, as filming concludes, many more details have arrived.
Also reuniting with Denis are Mati Diop and Grégoire Colin (pictured above in the incredible 35 Shots of Rum), who have been revealed as part of the cast alongside Bulle Ogier, Issa Perica, and Hana Magimelm. Cineuropa also reports novelist Christine Angot reteamed with Denis for the script, following their collaboration on Let the Sunshine In, while cinematography is from Eric Gautier. Check out a new synopsis below, which actually makes no mention of it being set in the radio world:
Fire tells the tale of a passionate love triangle.
Also reuniting with Denis are Mati Diop and Grégoire Colin (pictured above in the incredible 35 Shots of Rum), who have been revealed as part of the cast alongside Bulle Ogier, Issa Perica, and Hana Magimelm. Cineuropa also reports novelist Christine Angot reteamed with Denis for the script, following their collaboration on Let the Sunshine In, while cinematography is from Eric Gautier. Check out a new synopsis below, which actually makes no mention of it being set in the radio world:
Fire tells the tale of a passionate love triangle.
- 1/28/2021
- by Leonard Pearce
- The Film Stage
The November 2020 lineup for The Criterion Channel has been unveiled, toplined by a Claire Denis retrospective, including the brand-new restoration of Beau travail, along with Chocolat, No Fear, No Die, Nenette and Boni, Towards Mathilde, 35 Shots of Rum, and White Material.
There will also be a series celebrating 30 years of The Film Foundation, featuring a new interview with Martin Scorsese by Ari Aster, as well as a number of their most essential restorations, including films by Jia Zhangke, Ritwik Ghatak, Luchino Visconti, Shirley Clarke, Med Hondo, and more.
There’s also David Lynch’s new restoration of The Elephant Man, retrospectives dedicated to Ngozi Onwurah, Nadav Lapid, and Terence Nance, a new edition of the series Queersighted titled Queer Fear, featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman, and much more.
See the lineup below and learn more on the official site.
There will also be a series celebrating 30 years of The Film Foundation, featuring a new interview with Martin Scorsese by Ari Aster, as well as a number of their most essential restorations, including films by Jia Zhangke, Ritwik Ghatak, Luchino Visconti, Shirley Clarke, Med Hondo, and more.
There’s also David Lynch’s new restoration of The Elephant Man, retrospectives dedicated to Ngozi Onwurah, Nadav Lapid, and Terence Nance, a new edition of the series Queersighted titled Queer Fear, featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman, and much more.
See the lineup below and learn more on the official site.
- 10/27/2020
- by Leonard Pearce
- The Film Stage
A24 has bought North American rights to the thriller “The Stars at Noon,” starring Robert Pattinson and Margaret Qualley.
Claire Denis is attached to direct, and wrote the screenplay with Lea Mysius and Andrew Litvack, based on Denis Johnson’s 1986 novel.
The deal was announced Tuesday on the eve of the Berlin Film Festival, where Wild Bunch is launching international sales on the project. CAA Media Finance brokered the domestic deal. Paris-based Curiosa Films is producing “The Stars at Noon.”
The film, set during the Nicaraguan Revolution in 1984, follows a mysterious English businessman and a headstrong American journalist who strike up a passionate romance. Their situation soon deteriorates and they attempt to escape the country, with only each other to trust and rely on.
Pattinson is currently shooting “The Batman” for Warner Bros. Denis’ credits include “35 Shots of Rum” and “High Life,” which also starred Pattinson and was bought by A24.
Qualley,...
Claire Denis is attached to direct, and wrote the screenplay with Lea Mysius and Andrew Litvack, based on Denis Johnson’s 1986 novel.
The deal was announced Tuesday on the eve of the Berlin Film Festival, where Wild Bunch is launching international sales on the project. CAA Media Finance brokered the domestic deal. Paris-based Curiosa Films is producing “The Stars at Noon.”
The film, set during the Nicaraguan Revolution in 1984, follows a mysterious English businessman and a headstrong American journalist who strike up a passionate romance. Their situation soon deteriorates and they attempt to escape the country, with only each other to trust and rely on.
Pattinson is currently shooting “The Batman” for Warner Bros. Denis’ credits include “35 Shots of Rum” and “High Life,” which also starred Pattinson and was bought by A24.
Qualley,...
- 2/18/2020
- by Dave McNary
- Variety Film + TV
Exclusive: In a competitive situation on the eve of the European Film Market, A24 has swooped on North American rights to one of the hot indie pics that has just dropped at the market.
In a low-seven-figure deal, the blue-chip buyer has swooped on Claire Denis’ next movie, love story/thriller The Stars at Noon, which has her High-Life collaborator Robert Pattinson and Once Upon a Time in Hollywood breakout Margaret Qualley attached.
Set in 1984 during the Nicaraguan Revolution, the film follows a mysterious English businessman and headstrong American journalist who strike up a passionate romance. They soon become embroiled in a dangerous labyrinth of lies and conspiracies and are forced to try and escape the country, with only each other to trust and rely on.
The project is based on the 1986 novel by acclaimed U.S. writer Denis Johnson. Filmmaker Denis is adapting the novel with Lea Mysius and Andrew Litvack.
In a low-seven-figure deal, the blue-chip buyer has swooped on Claire Denis’ next movie, love story/thriller The Stars at Noon, which has her High-Life collaborator Robert Pattinson and Once Upon a Time in Hollywood breakout Margaret Qualley attached.
Set in 1984 during the Nicaraguan Revolution, the film follows a mysterious English businessman and headstrong American journalist who strike up a passionate romance. They soon become embroiled in a dangerous labyrinth of lies and conspiracies and are forced to try and escape the country, with only each other to trust and rely on.
The project is based on the 1986 novel by acclaimed U.S. writer Denis Johnson. Filmmaker Denis is adapting the novel with Lea Mysius and Andrew Litvack.
- 2/18/2020
- by Andreas Wiseman
- Deadline Film + TV
There have been several films chronicling on African migration — specifically, undertaking the treacherous journey over the Atlantic in search of better lives — and they’re almost always male-centric and grounded in stark realism. Mati Diop’s “Atlantics” upends that tradition. The Cannes-winning feature debut harnesses fantasy to tell a haunting story about the women who are often left behind. And although Diop hasn’t directly lost loved ones at sea, the story is also a symbolic representation of her own journey as she comes to terms with her identity.
The film, which was selected as Senegal’s entry for Best International Film Oscar consideration, made history when “Atlantics” premiered at Cannes this year and won the Grand Prix. Diop became the first black woman to direct a film featured in the festival’s Competition section; Netflix acquired the title before the end of the festival, solidifying Diop’s breakthrough status.
The film, which was selected as Senegal’s entry for Best International Film Oscar consideration, made history when “Atlantics” premiered at Cannes this year and won the Grand Prix. Diop became the first black woman to direct a film featured in the festival’s Competition section; Netflix acquired the title before the end of the festival, solidifying Diop’s breakthrough status.
- 11/8/2019
- by Tambay Obenson
- Indiewire
French director and actress Mati Diop will receive The Toronto Film Festival’s inaugural Mary Pickford Award “which recognizes an emerging female talent who is making groundbreaking strides in the industry.”
Pickford was the pioneering actor, producer, and co-founder of United Artists, and the award is being launched in conjunction with the label’s centennial this year. The prize, supported by MGM, will be bestowed at the festival’s first Tribute Gala, which is being held to support the festival’s year-round movie programs.
Diop’s movie Atlantics made history at Cannes when she became the first black female director to screen a film in competition at the festival. The movie went on to win the Grand Prix. The multi-hyphenate has previously starred in movies including 35 Shots Of Rum and Simon Killer. ICM signed Diop after Cannes. She remains co-repped by Paris-based Film Talents.
“Mati Diop’s film Atlantics...
Pickford was the pioneering actor, producer, and co-founder of United Artists, and the award is being launched in conjunction with the label’s centennial this year. The prize, supported by MGM, will be bestowed at the festival’s first Tribute Gala, which is being held to support the festival’s year-round movie programs.
Diop’s movie Atlantics made history at Cannes when she became the first black female director to screen a film in competition at the festival. The movie went on to win the Grand Prix. The multi-hyphenate has previously starred in movies including 35 Shots Of Rum and Simon Killer. ICM signed Diop after Cannes. She remains co-repped by Paris-based Film Talents.
“Mati Diop’s film Atlantics...
- 8/20/2019
- by Andreas Wiseman
- Deadline Film + TV
Somewhere along the stretch of Senegalese coastline where Mati Diop’s feature-length directorial debut Atlantics takes place, a futuristic tower stands tall and spectral above the ocean–a sinister crossbreed between a stalagmite and a lighthouse, its lights thrusting red and warm blobs into the night. It’s a fictional place in a story of magical, mysterious elements–a love story that crisscrosses between social commentaries and ghastly apparitions, addressing the global migrant crisis through a language of disquieting and stunning reveries.
A few hundred meters below the skyscraper’s summit, hordes of the Senegalese laborers who’ve helped to build it fight for three months of overdue salary. One of them is Suleiman (Ibrahima Traoré), a twenty-something struggling to make ends meet under the blistering sun. But Atlantics is not about him, and just when Mati Diop’s Cannes Grand Prix winner seems to embark on a tale of...
A few hundred meters below the skyscraper’s summit, hordes of the Senegalese laborers who’ve helped to build it fight for three months of overdue salary. One of them is Suleiman (Ibrahima Traoré), a twenty-something struggling to make ends meet under the blistering sun. But Atlantics is not about him, and just when Mati Diop’s Cannes Grand Prix winner seems to embark on a tale of...
- 6/11/2019
- by Leonardo Goi
- The Film Stage
Netflix acquired the worldwide rights to two films that played at this year’s Cannes Film Festival, Mati Diop’s “Atlantics,” which played in competition, and Jérémy Clapin’s animated film “I Lost My Body,” which won the top prize from the Cannes Critics’ Week sidebar of the festival, the streamer announced Saturday.
For “Atlantics,” Netflix acquired worldwide rights excluding China, Benelux, Switzerland, Russia and France, but it has subscription video on demand (SVoD) rights for 36 months following its theatrical release in France, Benelux and Switzerland. For “I Lost My Body, Netflix acquired worldwide excluding China, Benelux, Turkey and France, but also has SVoD rights for 36 months following its theatrical in France, an individual with knowledge told TheWrap.
Diop’s “Atlantics” played in competition and, on Saturday, was awarded the Grand Prix prize from the jury led by Alejandro Gonzalez Inarritu. Diop made her feature directorial debut on the film...
For “Atlantics,” Netflix acquired worldwide rights excluding China, Benelux, Switzerland, Russia and France, but it has subscription video on demand (SVoD) rights for 36 months following its theatrical release in France, Benelux and Switzerland. For “I Lost My Body, Netflix acquired worldwide excluding China, Benelux, Turkey and France, but also has SVoD rights for 36 months following its theatrical in France, an individual with knowledge told TheWrap.
Diop’s “Atlantics” played in competition and, on Saturday, was awarded the Grand Prix prize from the jury led by Alejandro Gonzalez Inarritu. Diop made her feature directorial debut on the film...
- 5/25/2019
- by Brian Welk
- The Wrap
Several recent movies have explored the refugee crisis as a deadly proposition, from the documentary “Fire at Sea” to “Mediterranean,” both of which focus on dramatic attempts to cross the ocean on rickety boats. The striking distinction of Mati Diop’s “Atlantics” is the way it magnifies the experiences of those left behind. Diop’s gorgeous, mesmerizing feature directorial debut focuses on the experiences of a young woman named Ada (Mama Sané) stuck in repressive circumstances on the coast of Dakar after her boyfriend vanishes en route to Spain. But it’s less fixated on his departure with other locals than its impact on Ada, and the community around her, as it contends with the eerie specter of the boys who went away.
An actress and filmmaker whose experimental shorts touch on similar themes, Diop’s first feature doesn’t always fit together from a narrative perspective, but it musters...
An actress and filmmaker whose experimental shorts touch on similar themes, Diop’s first feature doesn’t always fit together from a narrative perspective, but it musters...
- 5/16/2019
- by Eric Kohn
- Indiewire
Mati Diop, niece of the late, great Senegalese cinema pioneer Djibril Diop Mambéty — director of African cinema classics “Touki Bouki” and “Hyènes” — makes her feature film directorial debut with “Atlantiques,” which will world premiere at the 2019 Cannes Film Festival. She is the first black woman with a film in the 72-year-old festival’s Competition section, and stands to be one of the biggest breakouts at Cannes this year.
Previously titled “Fire Next Time” (although not based on James Baldwin’s famous essay collection of the same name), the film is in rare company. Currently, Diop and Malian filmmaker Ladj Ly are the only filmmakers of African descent represented in competition at Cannes this year.
Diop is the daughter of Senegalese jazz musician Wasis Diop, but cinephiles will likely be more familiar with her filmmaker uncle. She first received attention from international critics and cinema enthusiasts for her work as an...
Previously titled “Fire Next Time” (although not based on James Baldwin’s famous essay collection of the same name), the film is in rare company. Currently, Diop and Malian filmmaker Ladj Ly are the only filmmakers of African descent represented in competition at Cannes this year.
Diop is the daughter of Senegalese jazz musician Wasis Diop, but cinephiles will likely be more familiar with her filmmaker uncle. She first received attention from international critics and cinema enthusiasts for her work as an...
- 4/18/2019
- by Tambay Obenson
- Indiewire
Fire Next Time (La Prochaine fois le feu)
The highest ranking directorial debut on our countup, actress Mati Diop moves behind the camera in her long-gestating project, The Fire Next Time (which is not an adaptation of the famous James Baldwin novel), a title she has been working on since 2012. The film is produced by Judith Lou Lévy and Eve Robin of Les Films du Bal and co-produced by Arte France Cinema, Senegal’s Cinekap, and Belgium’s Frakas Productions. Known for her debut in Claire Denis’ exceptional 2008 film 35 Shots of Rum, as well as co-starring alongside Brady Corbet in the morbid Antonio Campos film Simon Killer (we interviewed her in Park City), she’s also racked up credits with Matias Pineiro and Benjamin Crotty.…...
The highest ranking directorial debut on our countup, actress Mati Diop moves behind the camera in her long-gestating project, The Fire Next Time (which is not an adaptation of the famous James Baldwin novel), a title she has been working on since 2012. The film is produced by Judith Lou Lévy and Eve Robin of Les Films du Bal and co-produced by Arte France Cinema, Senegal’s Cinekap, and Belgium’s Frakas Productions. Known for her debut in Claire Denis’ exceptional 2008 film 35 Shots of Rum, as well as co-starring alongside Brady Corbet in the morbid Antonio Campos film Simon Killer (we interviewed her in Park City), she’s also racked up credits with Matias Pineiro and Benjamin Crotty.…...
- 1/3/2019
- by Nicholas Bell
- IONCINEMA.com
In the ranks of international arthouse auteurs, the status of Claire Denis is curiously ambiguous: depending on which lens you look through, she’s either among the most venerated or the most undervalued filmmakers working today. Ask the critical community, and you’ll leave very much with the former impression. Many writers, this one included, will heap her with lofty superlatives, “greatest working filmmaker” among them; in the last edition of Sight & Sound magazine’s famous decennial critics’ poll of the greatest films of all time, her hypnotic 1998 masterwork “Beau Travail” was one of just four films from the last 20 years to place in the top 100.
And yet, 30 years and 13 features into a career at once dauntingly consistent and thrillingly unpredictable, the diminutive 72-year-old Frenchwoman is held in curiously circumspect regard by her own industry. She has never won an award at Cannes, Venice or Berlin, with a Locarno Golden...
And yet, 30 years and 13 features into a career at once dauntingly consistent and thrillingly unpredictable, the diminutive 72-year-old Frenchwoman is held in curiously circumspect regard by her own industry. She has never won an award at Cannes, Venice or Berlin, with a Locarno Golden...
- 10/17/2018
- by Guy Lodge
- Variety Film + TV
While High Life has understandably drawn all kinds of comparisons to the 60s and 70s cerebral sci-fi canon (notably Solaris and 2001: A Space Odyssey), for both its abstract use of space imagery and its minimalist ship design which more often than not resembles an artificially-lit hospital filled with dated technology, its soul is firmly in the sensibilities of its filmmaker, French master Claire Denis, who mines the genre for a deeply sensorial and moving portrait of the misery and horror parents are willing and perhaps responsible to endure so their children might not have to.
Denis herself has spoken frequently about her relationship with her father, who raised her in a French colonized West Africa and whose role in a machine of violence and oppression beyond her comprehension at that age has severely informed both her politics and artistry. She’s frequently wrestled with horrors of colonialism in narrative and form,...
Denis herself has spoken frequently about her relationship with her father, who raised her in a French colonized West Africa and whose role in a machine of violence and oppression beyond her comprehension at that age has severely informed both her politics and artistry. She’s frequently wrestled with horrors of colonialism in narrative and form,...
- 9/13/2018
- by The Film Stage
- The Film Stage
“I think women drill down and they’re not afraid of emotion,” says cinematographer Joan Churchill about females working behind the camera in film. Joined by other lauded DPs Ashley Connor (The Miseducation of Cameron Post), Agnès Godard (35 Shots of Rum) and Natasha Braier (Neon Demon) on a panel as part of the Film Society of Lincoln Center’s The Female Gaze series, the women discussed the breadth of their work. Running currently through August 9th at the Walter Reade Theater in New York City, the series shines light on incredible cinematographers throughout the decades, all of whom are women. Some […]...
- 8/3/2018
- by Meredith Alloway
- Filmmaker Magazine-Director Interviews
“I think women drill down and they’re not afraid of emotion,” says cinematographer Joan Churchill about females working behind the camera in film. Joined by other lauded DPs Ashley Connor (The Miseducation of Cameron Post), Agnès Godard (35 Shots of Rum) and Natasha Braier (Neon Demon) on a panel as part of the Film Society of Lincoln Center’s The Female Gaze series, the women discussed the breadth of their work. Running currently through August 9th at the Walter Reade Theater in New York City, the series shines light on incredible cinematographers throughout the decades, all of whom are women. Some […]...
- 8/3/2018
- by Meredith Alloway
- Filmmaker Magazine - Blog
The cinematography of an individual movie is oftentimes a difficult thing to judge, not only because it can be tough to separate the work of the cinematographer from the overall visual storytelling, but also because most viewers react to the look and style of a film through the lens of how we felt about the movie itself. Looking at a cinematographer’s body of work, however, can be a very different exercise, as it reveals what aesthetic aspects are specific to the cinematographer and how they impact the storytelling of the films they’ve shot.
When doing these lists, there is always a nagging feeling that we might be under-representing the great international filmmakers from around the world simply based on our own U.S.-centric viewing habits. The interesting thing about modern cinematography, though, is so many of great talents from around the world eventually feel the pull of...
When doing these lists, there is always a nagging feeling that we might be under-representing the great international filmmakers from around the world simply based on our own U.S.-centric viewing habits. The interesting thing about modern cinematography, though, is so many of great talents from around the world eventually feel the pull of...
- 5/25/2018
- by Chris O'Falt, Jude Dry, Bill Desowitz, Eric Kohn, David Ehrlich, Steve Greene, Jamie Righetti, William Earl, Zack Sharf, Jenna Marotta and Michael Nordine
- Indiewire
Rights RoundUP Toronto, Pusan and other Fall Festivals
Toronto International Film Festival acquisitions this year were sparse which was no surprise given the recent closings of the well funded specialty arms of the studios. The noticeable slowdown in the business at these large festival cum market events (e.g., Toronto) has continued since Cannes although Locarno was happily surprised at the increased number of acquisitions which took place there albeit by international sales agents rather than by distributors. At least it attests to some enthusiasm in what seems to be a lackluster low energy year for the film business. Venice[/link] also created some sales in spite of its never quite becoming the market it might be. Pusan was disappointing leaving buyers and sellers looking toward the upcoming Tokyo International Film Festival and AFM as the place where deals will close. The European sales agents did better selling to the Asian distributors than the Asian sales agents. Bavaria sold 'Into the Great Silence' to Jin Jin of South Korea. Celsius sold 'Vivaldi' to Mirovision for South Korea, and new international sales agent M-Appeal's Maren Kroymann sold 'Trick' to Coral for South Korea.
This is a sample of the Rights Roundup Reports available from [email protected]. For more information on acquisitions in the future you can purchase the Fall Festival and Market RightsRoundup and Rights Roundup Reports for AFM/ American Film Market, Berlin Film Festival and EFM/ European Film Market and Cannes Film Festival and Marche du Film after those events.
In Toronto, Fox Searchlight remained the strong buyer, picking up 'The Wrestler' for the highest sales figure of the market, but still less than $4,000,000 and ‘Slumdog Millionaire’, the other hit of the festival. Summit, an A list international sales agent who entered the domestic distribution business this year also acquired ‘Hurt Locker' for U.S.. Both 'The Wrestler' and 'Hurt Locker' were packaged, financed and represented by CAA and both were significant in that only U.S. rights were acquired (without Canada) at a good high price. IFC Films continued its acquisitions activities for IFC in Theaters, its day and date distribution platform making independent films available to a national audience in theaters and on demand simultaneously, buying ‘Flame & Citron’, ‘Fear Me Not’, ‘Everlasting Moments’ and ‘Che’. Sony Pictures Classics was also active acquiring distribution rights to ‘Every Little Step: The Journey of a Chorus Line’, ‘Faubourg 36’ (aka ‘Paris 36’). The micro distributors such as Strand, Kino, Zeitgeist, Panorama, etc. continued business as usual, which generally means hanging back until there are no obvious offers for a film and then coming in with a modest proposal.
Here are the international sales agents whose sales (licensing of distribution rights on behalf of the producers) have been reported thus far:
Bavaria Film International licensed ‘Krabat’ to SPI for Poland and Romania and to Film Depot for Russia ahead of the first public screening. Strong interest is also reported from Spain, France, Italy, Czech Republic, Hungary, Latin America, Japan and USA. ‘The Window’ (aka ‘La Ventana’) sold to Cinemien for Benelux, Imovison for Brazil. A deal with France is expected to close. ‘Cherry Blossoms’ went to Against Gravity for Poland. ‘Empty Nest’ has interest from U.S. as does ‘Restless’.
Celluloid Dreams has acquired all international sales rights to ‘Soul Power’ from Submarine Entertainment who was repping the film. There are offers in major territories soon to close. It also acquired ‘Youssou NDour: I Bring What I Love’ for world sales. Oscilloscope acquired it for U.S. ‘Birdwatchers’ sold to Artificial Eye for the U.K., Filmladen for Austria, Trigon for Switzerland, Pandora for Germany, Cinemien for Benelux, Hopscotch for Australia and New Zealand. ‘Mark Of An Angel’ has sold to Metrodome for the UK, Odeon for Greece, Seville for Canada, Xenix for Switzerland. Diaphana is about to gross $5m with its French theatrical release and Lumiere released in Belgium. ‘Achilles and the Tortoise’ sold to Odeon for France and Maywin for Russia.
Cinema Management Group has closed several territories on ‘The People Speak’ which screened 20 minutes in Toronto FF Special Screening. ‘Zambezia’, ‘Killer Bean Forever’ and ‘The People Speak’ went to Vision Film for Poland and to Film Pop for Turkey.
Elle Driver licensed ’35 Rhums’ to New Wave Films for the U.K.
Fandango Portobello licensed ‘Mid August Lunch' (aka'Pranzo di ferragosto’) to Le Pacte for France, Pandora for Germany, Cinemien for Benelux, Xenix for Switzerland, Filmladen for Austria.
Films Distribution licensed ‘Sea Wall’ to Axiom for the U.K.
Finecut licensed 'Daytime Drinking' to Japan's Eleven Arts who will release it in 30 North American cities. Fortissimo Films signed a six picture deal with Canadian distributor Maximum Films for ‘$9.99’, ‘Laila's Birthday’, ‘Country Wedding’, ‘Serbis’, ‘Native Dancer’, and ‘Tokyo Sonata’. ‘Disgrace’ also went to Maximum. ‘Every Little Step: The Journey of A Chorus Line’ went to Sony Pictures Classics for North America and Australia and New Zealand. ‘Serbis’ and 'Tokyo Sonata' went to Regent for North America.
Hanway Films licensed ‘Of Time and City’ to Strand Releasing for all U.S. rights. ‘Genova’ went to ThinkFilm for North America just before Toronto. Wanda acquired all rights for Spain.
Maximum licensed ‘Sugar‘ to Axiom for the U.K.
Momento licensed ‘Goodbye Solo’ to Imagine for Benelux, Axiom for the U.K. and Xenix for Switzerland. It also has offers from France, Portugal, Greece and Italy among others.
MK2 licensed ‘24 City’ to The Cinema Guild for U.S.
Pathe licensed ‘Slumdog Millionaire’ to Warner Bros. and Fox Searchlight for North America. ‘Faubourg 36’ (aka ‘Paris 36’) went to Sony Pictures Classics for U.S., Australasia, and Scandinavia just before Toronto.
Rai Trade licensed ‘Il Papa di Giovanna’ to Paradis for France, ABC for Benelux, Palace of Australia and New Zealand, MFD for Switzerland.
Roissy has licensed 'Seraphine' to Metrodome for U.K. and Ireland and to Rialto for Australia and New Zealand.
Sahamonkol licensed 'Chocolate' to Magnet for North America.
The Match Factory licensed ‘Flame & Citron’ to IFC Films for U.S. ‘Teza’ went to Trigon for Switzerland and Ripley’s Film for Italy.
TrustNordisk licensed ‘Fear Me Not’ and ‘Everlasting Moments’ and 'Heaven's Heart' to IFC Films for North America. Visit Films licensed five titles including ‘Hannah Takes The Stairs’, ‘LOL’, and ‘Kissing on The Mouth’, ‘Dance Party USA’ and ‘Quiet City’ to Beyond Entertainment for Australia/ New Zealand.
Voltage licensed ‘The Hurt Locker’ to Summit for U.S.
Wild Bunch licensed ‘Che’ to IFC Films. ‘Ponyo’ went to Lucky Red for Italy.
This is a sample of the Rights Roundup Reports available from [email protected]. For more information on acquisitions in the future you can purchase the Fall Festival and Market RightsRoundup and Rights Roundup Reports for AFM/ American Film Market, Berlin Film Festival and EFM/ European Film Market and Cannes Film Festival and Marche du Film after those events.
In Toronto, Fox Searchlight remained the strong buyer, picking up 'The Wrestler' for the highest sales figure of the market, but still less than $4,000,000 and ‘Slumdog Millionaire’, the other hit of the festival. Summit, an A list international sales agent who entered the domestic distribution business this year also acquired ‘Hurt Locker' for U.S.. Both 'The Wrestler' and 'Hurt Locker' were packaged, financed and represented by CAA and both were significant in that only U.S. rights were acquired (without Canada) at a good high price. IFC Films continued its acquisitions activities for IFC in Theaters, its day and date distribution platform making independent films available to a national audience in theaters and on demand simultaneously, buying ‘Flame & Citron’, ‘Fear Me Not’, ‘Everlasting Moments’ and ‘Che’. Sony Pictures Classics was also active acquiring distribution rights to ‘Every Little Step: The Journey of a Chorus Line’, ‘Faubourg 36’ (aka ‘Paris 36’). The micro distributors such as Strand, Kino, Zeitgeist, Panorama, etc. continued business as usual, which generally means hanging back until there are no obvious offers for a film and then coming in with a modest proposal.
Here are the international sales agents whose sales (licensing of distribution rights on behalf of the producers) have been reported thus far:
Bavaria Film International licensed ‘Krabat’ to SPI for Poland and Romania and to Film Depot for Russia ahead of the first public screening. Strong interest is also reported from Spain, France, Italy, Czech Republic, Hungary, Latin America, Japan and USA. ‘The Window’ (aka ‘La Ventana’) sold to Cinemien for Benelux, Imovison for Brazil. A deal with France is expected to close. ‘Cherry Blossoms’ went to Against Gravity for Poland. ‘Empty Nest’ has interest from U.S. as does ‘Restless’.
Celluloid Dreams has acquired all international sales rights to ‘Soul Power’ from Submarine Entertainment who was repping the film. There are offers in major territories soon to close. It also acquired ‘Youssou NDour: I Bring What I Love’ for world sales. Oscilloscope acquired it for U.S. ‘Birdwatchers’ sold to Artificial Eye for the U.K., Filmladen for Austria, Trigon for Switzerland, Pandora for Germany, Cinemien for Benelux, Hopscotch for Australia and New Zealand. ‘Mark Of An Angel’ has sold to Metrodome for the UK, Odeon for Greece, Seville for Canada, Xenix for Switzerland. Diaphana is about to gross $5m with its French theatrical release and Lumiere released in Belgium. ‘Achilles and the Tortoise’ sold to Odeon for France and Maywin for Russia.
Cinema Management Group has closed several territories on ‘The People Speak’ which screened 20 minutes in Toronto FF Special Screening. ‘Zambezia’, ‘Killer Bean Forever’ and ‘The People Speak’ went to Vision Film for Poland and to Film Pop for Turkey.
Elle Driver licensed ’35 Rhums’ to New Wave Films for the U.K.
Fandango Portobello licensed ‘Mid August Lunch' (aka'Pranzo di ferragosto’) to Le Pacte for France, Pandora for Germany, Cinemien for Benelux, Xenix for Switzerland, Filmladen for Austria.
Films Distribution licensed ‘Sea Wall’ to Axiom for the U.K.
Finecut licensed 'Daytime Drinking' to Japan's Eleven Arts who will release it in 30 North American cities. Fortissimo Films signed a six picture deal with Canadian distributor Maximum Films for ‘$9.99’, ‘Laila's Birthday’, ‘Country Wedding’, ‘Serbis’, ‘Native Dancer’, and ‘Tokyo Sonata’. ‘Disgrace’ also went to Maximum. ‘Every Little Step: The Journey of A Chorus Line’ went to Sony Pictures Classics for North America and Australia and New Zealand. ‘Serbis’ and 'Tokyo Sonata' went to Regent for North America.
Hanway Films licensed ‘Of Time and City’ to Strand Releasing for all U.S. rights. ‘Genova’ went to ThinkFilm for North America just before Toronto. Wanda acquired all rights for Spain.
Maximum licensed ‘Sugar‘ to Axiom for the U.K.
Momento licensed ‘Goodbye Solo’ to Imagine for Benelux, Axiom for the U.K. and Xenix for Switzerland. It also has offers from France, Portugal, Greece and Italy among others.
MK2 licensed ‘24 City’ to The Cinema Guild for U.S.
Pathe licensed ‘Slumdog Millionaire’ to Warner Bros. and Fox Searchlight for North America. ‘Faubourg 36’ (aka ‘Paris 36’) went to Sony Pictures Classics for U.S., Australasia, and Scandinavia just before Toronto.
Rai Trade licensed ‘Il Papa di Giovanna’ to Paradis for France, ABC for Benelux, Palace of Australia and New Zealand, MFD for Switzerland.
Roissy has licensed 'Seraphine' to Metrodome for U.K. and Ireland and to Rialto for Australia and New Zealand.
Sahamonkol licensed 'Chocolate' to Magnet for North America.
The Match Factory licensed ‘Flame & Citron’ to IFC Films for U.S. ‘Teza’ went to Trigon for Switzerland and Ripley’s Film for Italy.
TrustNordisk licensed ‘Fear Me Not’ and ‘Everlasting Moments’ and 'Heaven's Heart' to IFC Films for North America. Visit Films licensed five titles including ‘Hannah Takes The Stairs’, ‘LOL’, and ‘Kissing on The Mouth’, ‘Dance Party USA’ and ‘Quiet City’ to Beyond Entertainment for Australia/ New Zealand.
Voltage licensed ‘The Hurt Locker’ to Summit for U.S.
Wild Bunch licensed ‘Che’ to IFC Films. ‘Ponyo’ went to Lucky Red for Italy.
- 9/16/2008
- Sydney's Buzz
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