“The Head,” The Mediapro Studio’s biggest hit, is advancing towards a third season, Ran Tellem, Tms head of international content development, confirmed Tuesday at Iberseries & Industria Platino.
“‘The Head’ started out something like four years ago as a limited series only for six episodes and now it’s going into third season, so you might say we never lived up to our promises,” Tellem joked on stage at an early Iberseries panel, entitled Creative Content Strategies, where he shared the stage with former Netflix international head Erik Barmack, now at L.A.-based Wild Sheep Content.
Season 3 has yet to receive a production greenlight. The Mediapro Studio aims to produce ‘The Head,’ Season 3 out of Spain. Beyond that, Tellem gave few details. Currently in development, the series is being written by writers from four countries in three different continents.
“What we do each season in order to keep the...
“‘The Head’ started out something like four years ago as a limited series only for six episodes and now it’s going into third season, so you might say we never lived up to our promises,” Tellem joked on stage at an early Iberseries panel, entitled Creative Content Strategies, where he shared the stage with former Netflix international head Erik Barmack, now at L.A.-based Wild Sheep Content.
Season 3 has yet to receive a production greenlight. The Mediapro Studio aims to produce ‘The Head,’ Season 3 out of Spain. Beyond that, Tellem gave few details. Currently in development, the series is being written by writers from four countries in three different continents.
“What we do each season in order to keep the...
- 10/3/2023
- by John Hopewell
- Variety Film + TV
The Mediapro Studio is teaming with Spanish director Jorge Dorado and author Cuca Canals on detective thriller “The Young Poe” in a bid to build a second English-language international franchise on the heels and of the scale of “The Head,” sold to 90-plus territories and Tms’ biggest breakout hit to date.
Enrolling one of the biggest IPs in literary history, Edgar Allen Poe, the series adapts the hit novel saga of Spain’s Cuca Canals, co-screenwriter of Bigas Luna’s celebrated “Jamón Jamón” movie trilogy.
Canals’ novels imagine Poe as a precocious, irrepressible, neurotic and highly Gothic 11 or 12 year-old in 1820 Boston, grounding in true events of Poe’s childhood the extraordinarily analytical and morbid mind which Edgar Allen Poe brings to his fiction – whether 1841’s “The Murders in the Rue Morgue,” commonly regarded as the first modern detective story, or the horror short stories such as “The Fall of the House of Usher.
Enrolling one of the biggest IPs in literary history, Edgar Allen Poe, the series adapts the hit novel saga of Spain’s Cuca Canals, co-screenwriter of Bigas Luna’s celebrated “Jamón Jamón” movie trilogy.
Canals’ novels imagine Poe as a precocious, irrepressible, neurotic and highly Gothic 11 or 12 year-old in 1820 Boston, grounding in true events of Poe’s childhood the extraordinarily analytical and morbid mind which Edgar Allen Poe brings to his fiction – whether 1841’s “The Murders in the Rue Morgue,” commonly regarded as the first modern detective story, or the horror short stories such as “The Fall of the House of Usher.
- 3/16/2023
- by John Hopewell
- Variety Film + TV
One of the Spanish-speaking world’s biggest sales forces, Film Factory Entertainment has swooped on sales rights to thriller “Two” (“Duo”), directed by Mar Targarona and the latest production from top Spanish genre auteur producer Rodar y Rodar.
Producer of two milestone titles of Spain’s genre auteur scene – J.A Bayona’s “The Orphanage” and Guillem Morales’ “Julia’s Eyes,” Targarona has built her own directorial career on suspense thrillers that prove unexpected and unpredictable in tone and resolution, such as 2016’s “Boy Missing” and “The Photographer of Mauthausen” – part true-events inspired record, part edge-of-set entertainment – in particular drawing strong notices. “Two” looks no exception. Its singular premise sees two strangers, a man and a woman in their 30s, wake up in an unknown place, naked and glued to each other by their stomachs. They struggle to understand how and why they got there – becoming increasingly terrified as they discover clues and the truth emerges.
Producer of two milestone titles of Spain’s genre auteur scene – J.A Bayona’s “The Orphanage” and Guillem Morales’ “Julia’s Eyes,” Targarona has built her own directorial career on suspense thrillers that prove unexpected and unpredictable in tone and resolution, such as 2016’s “Boy Missing” and “The Photographer of Mauthausen” – part true-events inspired record, part edge-of-set entertainment – in particular drawing strong notices. “Two” looks no exception. Its singular premise sees two strangers, a man and a woman in their 30s, wake up in an unknown place, naked and glued to each other by their stomachs. They struggle to understand how and why they got there – becoming increasingly terrified as they discover clues and the truth emerges.
- 3/15/2021
- by Emilio Mayorga
- Variety Film + TV
Luna's 'Chambermaid' unlike Cameron epic
Arriving with fortuitous timing to capitalize on the craving for any and all things Titanic, Bigas Luna's "The Chambermaid and the Titanic" is less about the doomed ocean liner than it is a meditation on the need for storytelling and illusion in our lives. While at times a bit cloying and heavy-handed, the film is a frequently moving effort that should do respectable boxoffice internationally and certainly merits domestic theatrical release.
The French-Spanish-Italian co-production recently made its U.S. premiere as the opening-night attraction at the 15th Miami Film Festival.
Director Luna ("Jamon, Jamon"), whose last work was the far more ribald and outrageous "Bambola", works here in an uncharacteristically muted, lyrical style. The story, set in 1912, concerns Horty (Olivier Martinez), a worker at a French foundry. When he wins a company athletic contest, his prize is a trip to Southampton to watch the Titanic sail off on her maiden voyage. The trip is only for one, so Horty must leave his beautiful wife Zoe (Romance Bohringer) at home.
Staying at a posh hotel the night before the sailing, Horty hears a knock on his door late in the evening. It is a young woman, Marie (Aitana Sanchez Gijon), who is scheduled to depart on the ship the next day to work as a maid. She explains that there is not a hotel room to be had in the city; could she possibly stay with him? Horty, dazzled by her beauty, agrees; despite Marie's best attempts at seduction, nothing happens during the course of the evening.
After returning home, Horty hears of the ship's sinking but cannot find Marie's name on the list of survivors. He tells his fellow foundry workers of the strange encounter and soon begins to embellish the tale in highly romantic fashion. Eventually, his story, which now includes a passionate encounter on the ship itself, takes on a mythical quality; Horty tours the countryside, becoming a theatrical star. Then, one evening, he has a fateful reunion with Marie.
Much like the story Horty tells, "The Chambermaid and the Titanic" has the spirit of a romantic folk tale, though it is peppered with a gritty realism that prevents it from succumbing to bathos. The film has an undeniable romantic aura enhanced by the beauty of its three leads. As the mysterious Marie, Sanchez Gijon is at her most alluring. Martinez is highly charismatic, while Bohringer brings a touching vulnerability to her turn as the confused wife.
-- Frank Scheck in Miami
THE CHAMBERMAID AND THE TITANIC
A UGC YM presentation
Mate Production, La Sept Cinema, France 2 Cinema, Rodeo Drive, Tornasol Films, Westdeutscher Rundfunk
Credits: Director: Bigas Luna; Screenplay: Bigas Luna, Cuca Canals, Jean-Louis Benoit; Director of photography: Patrick Blossier; Editor: Kenout Peltier; Original score: Alberto Iglesias. Cast: Horty: Olivier Martinez; Zoe: Romance Bohringer; Marie: Aitana Sanchez Gijon; Simeon: Didier Bezace; Zeppe: Aldo Maccione. No MPAA rating. Running time -- 99 minutes. Color/stereo.
Arriving with fortuitous timing to capitalize on the craving for any and all things Titanic, Bigas Luna's "The Chambermaid and the Titanic" is less about the doomed ocean liner than it is a meditation on the need for storytelling and illusion in our lives. While at times a bit cloying and heavy-handed, the film is a frequently moving effort that should do respectable boxoffice internationally and certainly merits domestic theatrical release.
The French-Spanish-Italian co-production recently made its U.S. premiere as the opening-night attraction at the 15th Miami Film Festival.
Director Luna ("Jamon, Jamon"), whose last work was the far more ribald and outrageous "Bambola", works here in an uncharacteristically muted, lyrical style. The story, set in 1912, concerns Horty (Olivier Martinez), a worker at a French foundry. When he wins a company athletic contest, his prize is a trip to Southampton to watch the Titanic sail off on her maiden voyage. The trip is only for one, so Horty must leave his beautiful wife Zoe (Romance Bohringer) at home.
Staying at a posh hotel the night before the sailing, Horty hears a knock on his door late in the evening. It is a young woman, Marie (Aitana Sanchez Gijon), who is scheduled to depart on the ship the next day to work as a maid. She explains that there is not a hotel room to be had in the city; could she possibly stay with him? Horty, dazzled by her beauty, agrees; despite Marie's best attempts at seduction, nothing happens during the course of the evening.
After returning home, Horty hears of the ship's sinking but cannot find Marie's name on the list of survivors. He tells his fellow foundry workers of the strange encounter and soon begins to embellish the tale in highly romantic fashion. Eventually, his story, which now includes a passionate encounter on the ship itself, takes on a mythical quality; Horty tours the countryside, becoming a theatrical star. Then, one evening, he has a fateful reunion with Marie.
Much like the story Horty tells, "The Chambermaid and the Titanic" has the spirit of a romantic folk tale, though it is peppered with a gritty realism that prevents it from succumbing to bathos. The film has an undeniable romantic aura enhanced by the beauty of its three leads. As the mysterious Marie, Sanchez Gijon is at her most alluring. Martinez is highly charismatic, while Bohringer brings a touching vulnerability to her turn as the confused wife.
-- Frank Scheck in Miami
THE CHAMBERMAID AND THE TITANIC
A UGC YM presentation
Mate Production, La Sept Cinema, France 2 Cinema, Rodeo Drive, Tornasol Films, Westdeutscher Rundfunk
Credits: Director: Bigas Luna; Screenplay: Bigas Luna, Cuca Canals, Jean-Louis Benoit; Director of photography: Patrick Blossier; Editor: Kenout Peltier; Original score: Alberto Iglesias. Cast: Horty: Olivier Martinez; Zoe: Romance Bohringer; Marie: Aitana Sanchez Gijon; Simeon: Didier Bezace; Zeppe: Aldo Maccione. No MPAA rating. Running time -- 99 minutes. Color/stereo.
- 2/10/1998
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.