Exclusive: Musician and filmmaker Flying Lotus has set the sci-fi horror film Ash as his second feature, on the heels of his body horror anthology Kuso, which made its world premiere at the 2017 Sundance Film Festival.
The new film, for which the multi-hyphenate will also compose an original score, watches as a woman wakes up on a distant planet and finds the crew of her space station viciously killed, her investigation into what happened setting in motion a terrifying chain of events.
Jonni Remmler penned the original screenplay. XYZ Films and Gfc Films will produce, with Echo Lake on board as exec producer. XYZ is also financing and handling worldwide sales. Casting will get underway later this month, with production slated for this summer.
Ash follows XYZ’s collaboration with Gfc on Toa Fraser’s New Zealand Oscar entry The Dead Lands, which was presented to the U.S. market by James Cameron,...
The new film, for which the multi-hyphenate will also compose an original score, watches as a woman wakes up on a distant planet and finds the crew of her space station viciously killed, her investigation into what happened setting in motion a terrifying chain of events.
Jonni Remmler penned the original screenplay. XYZ Films and Gfc Films will produce, with Echo Lake on board as exec producer. XYZ is also financing and handling worldwide sales. Casting will get underway later this month, with production slated for this summer.
Ash follows XYZ’s collaboration with Gfc on Toa Fraser’s New Zealand Oscar entry The Dead Lands, which was presented to the U.S. market by James Cameron,...
- 1/26/2022
- by Matt Grobar
- Deadline Film + TV
Corporate behemoths like Netflix and Disney Plus define the streaming world, but the pandemic inspired specialized distributors to invent a VOD niche with virtual cinema. Led by companies like Kino Lorber, Magnolia Films, and Film Movement, they offer films in partnership with art house theaters and split the revenues. What initially sounded like a long shot became common practice in the space of a year, and virtual cinema could be a permanent feature that runs in parallel to theatrical releases.
Using its website and membership lists to access target audiences, Kino Lorber began selling films through its Kino Lorber Marquee platform last March, starting with “Bacurau.” It also helped acclimate older viewers into seeing movies online.
A year later, Kino Lorber has released 30 films via virtual cinema. According to its self reporting, shared with IndieWire, the platform grossed $1.2 million, with $600,000 going to some 50 arthouse theaters. That’s down from the...
Using its website and membership lists to access target audiences, Kino Lorber began selling films through its Kino Lorber Marquee platform last March, starting with “Bacurau.” It also helped acclimate older viewers into seeing movies online.
A year later, Kino Lorber has released 30 films via virtual cinema. According to its self reporting, shared with IndieWire, the platform grossed $1.2 million, with $600,000 going to some 50 arthouse theaters. That’s down from the...
- 3/10/2021
- by Tom Brueggemann
- Indiewire
Another important moment in the awards season has come our way today. Yes, the Academy has released their lists of what’s eligible in a few of the Oscar categories. In short, we now know what’s up for Academy Award nominations in the Best Animated Feature, Best Documentary Feature, and Best International Feature categories. Until we get to a shortlist, everything is up for grabs, but now we know what’s at least in the running, and that’s good… Here now are the lists: Animated Feature Film “Accidental Luxuriance of the Translucent Watery Rebus” “Bombay Rose” “Calamity” “The Croods: A New Age” “Demon Slayer -Kimetsu No Yaiba- The Movie: Mugen Train” “Dreambuilders” “Lane” “On-Gaku: Our Sound” “Onward” “Over the Moon” “Red Shoes and the Seven Dwarfs” “Ride Your Wave” “Scoob!” “A Shaun the Sheep Movie: Farmageddon” “Soul” “The SpongeBob Movie: Sponge on the Run” “Terra Willy” “Trolls World Tour...
- 1/28/2021
- by Joey Magidson
- Hollywoodnews.com
The Academy of Motion Picture Arts and Sciences on Thursday released its official entries for 2021 Oscars in the categories of Documentary Feature, Animated Feature and International Films. The takeaway: As expected, the eligible Documentary Feature lineup shatters the record for the most ever.
A total of 238 features are eligible for consideration in the Doc Feature category, breaking the previous record of 170 set in 2017. Last year, by contrast, 159 feature documentaries qualified. The Academy relaxed eligibility rules in light of Covid-19, so that any film that could make a claim of an intended theatrical release was deemed eligible. Earning awards from film festivals was an alternative way to qualify.
For the International Feature race, Lesotho, Sudan and Suriname are first-time entrants among the 93 eligible titles, the same total as last year. Earlier this year, the Academy’s Board of Governors boosted the number of films eligible for the shortlist from 10 to 15. Under the new rules,...
A total of 238 features are eligible for consideration in the Doc Feature category, breaking the previous record of 170 set in 2017. Last year, by contrast, 159 feature documentaries qualified. The Academy relaxed eligibility rules in light of Covid-19, so that any film that could make a claim of an intended theatrical release was deemed eligible. Earning awards from film festivals was an alternative way to qualify.
For the International Feature race, Lesotho, Sudan and Suriname are first-time entrants among the 93 eligible titles, the same total as last year. Earlier this year, the Academy’s Board of Governors boosted the number of films eligible for the shortlist from 10 to 15. Under the new rules,...
- 1/28/2021
- by Patrick Hipes and Matthew Carey
- Deadline Film + TV
The Oscars Best Documentary Feature race, which set a new record for entries in December when it passed the previous record of 170, has now left all previous years in the dust with 240 eligible films.
An additional 25 documentary features were placed in the members-only online screening room devoted to the category on Saturday, in what the Academy told voters would be “the final batch” of this year’s entries. It was the last of seven groups of documentaries that qualified and were placed into the screening room: 25 in July, 12 in August, 16 in September, 33 in October, 36 in November, a huge group of 93 in December and now 25 in January.
Academy rules put in place because of the Covid-19 pandemic made it easier than usual for documentaries to qualify for the Oscars this year, which opened the door for a field that obliterated the previous record, which was set in 2017. Films could qualify simply...
An additional 25 documentary features were placed in the members-only online screening room devoted to the category on Saturday, in what the Academy told voters would be “the final batch” of this year’s entries. It was the last of seven groups of documentaries that qualified and were placed into the screening room: 25 in July, 12 in August, 16 in September, 33 in October, 36 in November, a huge group of 93 in December and now 25 in January.
Academy rules put in place because of the Covid-19 pandemic made it easier than usual for documentaries to qualify for the Oscars this year, which opened the door for a field that obliterated the previous record, which was set in 2017. Films could qualify simply...
- 1/17/2021
- by Steve Pond
- The Wrap
The Academy has added 93 more films to the members-only screening room devoted to entries in the Best Documentary Feature category, bringing the total number of eligible contenders to a record-shattering 215.
The previous record for entries was 170 in 2017. And this year’s crop of nonfiction films is expected to pass that number by an even bigger margin — at least 50 — once a final, smaller group of films is added to the screening room in January.
New eligibility rules that were passed in the wake of the Covid-19 theater closings made it easier for documentaries to qualify this year by allowing them to do so by playing at film festivals, even virtual ones, and by easing requirements for theatrical runs. In an email to members detailing the new additions, the Academy said, “The Documentary Branch Executive Committee felt it was important to be inclusive and supportive of documentary filmmakers in this unprecedented and challenging year.
The previous record for entries was 170 in 2017. And this year’s crop of nonfiction films is expected to pass that number by an even bigger margin — at least 50 — once a final, smaller group of films is added to the screening room in January.
New eligibility rules that were passed in the wake of the Covid-19 theater closings made it easier for documentaries to qualify this year by allowing them to do so by playing at film festivals, even virtual ones, and by easing requirements for theatrical runs. In an email to members detailing the new additions, the Academy said, “The Documentary Branch Executive Committee felt it was important to be inclusive and supportive of documentary filmmakers in this unprecedented and challenging year.
- 12/22/2020
- by Steve Pond
- The Wrap
If you were to look at the members-only screening room where films in contention for the Academy Award for Best Picture stream for voters, you might think that documentaries are going to do very well in the Oscars top category this year.
As of Dec. 7, there were 104 films in the Academy Screening Room for the Best Picture category, 26 of which were documentaries. That’s a full 25% of the field, which seems to suggest that nonfiction filmmakers and the companies that release them are optimistic that Oscar voters will recognize docs when they vote this year. After all, it costs $12,500 to put a film in that screening room — and all 26 docs that paid the cost to be there are also in the separate screening room available to the Academy’s Documentary Branch. Spots in that screening room are free for any film that qualifies in the Best Documentary Feature category.
Common sense,...
As of Dec. 7, there were 104 films in the Academy Screening Room for the Best Picture category, 26 of which were documentaries. That’s a full 25% of the field, which seems to suggest that nonfiction filmmakers and the companies that release them are optimistic that Oscar voters will recognize docs when they vote this year. After all, it costs $12,500 to put a film in that screening room — and all 26 docs that paid the cost to be there are also in the separate screening room available to the Academy’s Documentary Branch. Spots in that screening room are free for any film that qualifies in the Best Documentary Feature category.
Common sense,...
- 12/8/2020
- by Steve Pond
- The Wrap
The Academy dropped another 33 feature films into the online screening room for members of its Documentary Branch on Oct. 30, giving the Oscars doc race its biggest influx of new films to date. The branch now has 86 films to consider, with two or three more batches of films (and potentially more than 50 additional contenders) likely to be added to the field by early January.
Coming the same week that the Critics Choice Documentary Awards announced its nominees and the International Documentary Association’s Ida Documentary Awards revealed the 30-film shortlist from which it will make its final choices, the Academy move kicked the Oscar doc race into another gear in a year that promises to be highly competitive.
Among the docs that were made available to voters this week were Bryce Dallas Howard’s film about fatherhood, “Dads,” which means she’ll be competing against her father, Ron Howard, who is...
Coming the same week that the Critics Choice Documentary Awards announced its nominees and the International Documentary Association’s Ida Documentary Awards revealed the 30-film shortlist from which it will make its final choices, the Academy move kicked the Oscar doc race into another gear in a year that promises to be highly competitive.
Among the docs that were made available to voters this week were Bryce Dallas Howard’s film about fatherhood, “Dads,” which means she’ll be competing against her father, Ron Howard, who is...
- 11/2/2020
- by Steve Pond
- The Wrap
Christopher Nolan’s “Tenet” has remained in pole position at the U.K. and Ireland box-office, collecting £796,309 from 616 locations in its fourth weekend, according to final numbers from Comscore.
The Warner Bros. release now has a running total of £13,879,635 in the territory.
Shear Entertainment’s young adult romance “After We Collided” continues to gain with £598,294 from 454 sites and now has a total of £1,719,760. Directed by Roger Kumble, the film is a follow up to last year’s “After.” Both are based on novels by Ann Todd. The film has collected some $30 million worldwide, making it this year’s late summer sleeper hit.
Warner’s “Bill & Ted Face the Music,” that reunites Keanu Reeves and Alex Winter, collected £462,051 on debut from 569 sites.
Classical concert documentary “André Rieu: Magical Maastricht,” released by Piece of Magic, debuted in fourth position with £124,101 from 403 sites.
Disney’s “X-Men” universe film “The New Mutants” continued to slide with £106,199 from 429 sites.
The Warner Bros. release now has a running total of £13,879,635 in the territory.
Shear Entertainment’s young adult romance “After We Collided” continues to gain with £598,294 from 454 sites and now has a total of £1,719,760. Directed by Roger Kumble, the film is a follow up to last year’s “After.” Both are based on novels by Ann Todd. The film has collected some $30 million worldwide, making it this year’s late summer sleeper hit.
Warner’s “Bill & Ted Face the Music,” that reunites Keanu Reeves and Alex Winter, collected £462,051 on debut from 569 sites.
Classical concert documentary “André Rieu: Magical Maastricht,” released by Piece of Magic, debuted in fourth position with £124,101 from 403 sites.
Disney’s “X-Men” universe film “The New Mutants” continued to slide with £106,199 from 429 sites.
- 9/23/2020
- by Naman Ramachandran
- Variety Film + TV
Netflix added six new titles this Tuesday, September 8th. Four movies were added to the streaming giant’s library, along with a couple of new TV shows. There are a duo of Netflix originals in the mix, while it’s also a good day for overseas content.
You can check out the full list below and then scroll down for a breakdown of the titles:
Movies
#Alive (2020) Netflix Original Capital in the Twenty-First Century (2019) Cargo (2019) From Paris with Love (2010)
TV Series
Record of Youth (Chungchungirok) (Season 1) Netflix Original StarBeam (Season 2) Netflix Original
As far as movies go, we’ve got Capital in the Twenty-First Century, an acclaimed documentary exploring corrupt businesses and contemporary capitalism, and Cargo, a 2019 Indian sci-fi flick about a future where the dead are recycled. You may also want to check out #Alive, a Korean zombie horror about a gamer’s struggle to survive the apocalypse as...
You can check out the full list below and then scroll down for a breakdown of the titles:
Movies
#Alive (2020) Netflix Original Capital in the Twenty-First Century (2019) Cargo (2019) From Paris with Love (2010)
TV Series
Record of Youth (Chungchungirok) (Season 1) Netflix Original StarBeam (Season 2) Netflix Original
As far as movies go, we’ve got Capital in the Twenty-First Century, an acclaimed documentary exploring corrupt businesses and contemporary capitalism, and Cargo, a 2019 Indian sci-fi flick about a future where the dead are recycled. You may also want to check out #Alive, a Korean zombie horror about a gamer’s struggle to survive the apocalypse as...
- 9/8/2020
- by Christian Bone
- We Got This Covered
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
How confident do you feel on the subject of economics? Whilst the average person can generally repeat what they've heard on the news, go much beyond that and you're like to be met not with an inability to understand the concepts but something more like a learned unwillingness to do so. Money is a depressing subject for many people, something they struggle to manage day to day, and that's the only context in which they perceive economics to exist. Explain that it's really about power, however, and it's easier to get past that. Most of us understand power, at least when it's wielded against us - and we understand how contingent upon it is that other crucial thing, freedom.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
Justin Pemberton's cinematic take on Capital In The Twenty-First Century has none of the depth or rigour of the Thomas Piketty book from which it is adapted, but it doesn't really need.
- 7/3/2020
- by Jennie Kermode
- eyeforfilm.co.uk
The big international box office news this week isn’t actually from the weekend — which was again led by Korea and saw continued ups and downs versus last session as moviegoers await new product. Instead, after 100 days of closure, French cinemas re-opened beginning Monday this week, and with at least 40 films programmed for the post-coronavirus walk-up of the nation’s theaters.
Some eager moviegoers didn’t even wait for Monday morning, with about 120 people heading to the 5 Caumartin cinema in the 9th arrondissement of Paris from 12:01Am on June 22 to see a sneak preview of local comedy Les Parfums. The situation was similar in Rennes, where folks also turned up at midnight to see a re-release of the Coen brothers’ The Big Lebowski.
Then from just after 9Am Monday morning, Ugc’s flagship cinema in Paris, Ciné Cité Les Halles, welcomed guests for its first screenings with ticket sales reaching almost normal levels,...
Some eager moviegoers didn’t even wait for Monday morning, with about 120 people heading to the 5 Caumartin cinema in the 9th arrondissement of Paris from 12:01Am on June 22 to see a sneak preview of local comedy Les Parfums. The situation was similar in Rennes, where folks also turned up at midnight to see a re-release of the Coen brothers’ The Big Lebowski.
Then from just after 9Am Monday morning, Ugc’s flagship cinema in Paris, Ciné Cité Les Halles, welcomed guests for its first screenings with ticket sales reaching almost normal levels,...
- 6/24/2020
- by Nancy Tartaglione
- Deadline Film + TV
Brazilian mystery Bacurau earned $100,152 from first six weeks at virtual box office.
Kino Lorber’s virtual cinema initiative Kino Marquee is set to cross $400,000 this week following the digital platform’s March 19 launch with Arthouse Convergence.
The haul means $200,000 is returning to participating art house cinemas in line with Kino Marquee’s stated 50-50 split.
Figures sent by Kino Lorber to participating art house theatres show that from March 19 through April 30, the platform generated $317,304 at the virtual box office and 26,364 virtual tickets sold from a total of 368 participating cinemas (not necessarily all over six weeks).
The data averaged $39,663 per film over eight titles,...
Kino Lorber’s virtual cinema initiative Kino Marquee is set to cross $400,000 this week following the digital platform’s March 19 launch with Arthouse Convergence.
The haul means $200,000 is returning to participating art house cinemas in line with Kino Marquee’s stated 50-50 split.
Figures sent by Kino Lorber to participating art house theatres show that from March 19 through April 30, the platform generated $317,304 at the virtual box office and 26,364 virtual tickets sold from a total of 368 participating cinemas (not necessarily all over six weeks).
The data averaged $39,663 per film over eight titles,...
- 5/9/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Do you know what the average life expectancy was in the 18th century? It was 17. (You read that right.) No, this wasn’t just about the fact that human beings back then tended to live less long. It was about the staggering inequality that society was built on. In Europe, the majority of people were hand-to-mouth laborers who drifted from place to place, lacking the benefits of being landed servants. (Not that being a landed servant was any picnic.) They existed in poverty, without health care or schooling or much of anything else. Their lives, in effect, were a death sentence.
That stark reality is the taking-off point for “Capital in the Twenty-First Century,” a nimble and eye-opening documentary that puts you in the revelatory position of looking back over the last 300 years — where we’ve been and where we’re going — from a God’s-eye economic view. That may sound dry as dust,...
That stark reality is the taking-off point for “Capital in the Twenty-First Century,” a nimble and eye-opening documentary that puts you in the revelatory position of looking back over the last 300 years — where we’ve been and where we’re going — from a God’s-eye economic view. That may sound dry as dust,...
- 5/2/2020
- by Owen Gleiberman
- Variety Film + TV
As the Occupy Wall Street movement began to crest and millennials the world over started to realize they’d be the first generation since World War II to make less money than their parents, French economist Thomas Piketty had the good fortune to release a hyper-readable book that explained why (or at least offered a lucid argument for liberals to debate and conservatives to deny). “Capital in the Twenty-First Century” moved 1.5 million copies in its first two years of release, making it the highest-selling title that Harvard University Press has ever published, and turning its author into the closest thing his field has to a rock star.
Now, in the midst of an election year pandemic that is ruthlessly exposing the rift between capital and labor — and shining a garish spotlight on the gross inequality that results from such a disconnect — Kiwi filmmaker Justin Pemberton has translated Piketty’s text into a spry,...
Now, in the midst of an election year pandemic that is ruthlessly exposing the rift between capital and labor — and shining a garish spotlight on the gross inequality that results from such a disconnect — Kiwi filmmaker Justin Pemberton has translated Piketty’s text into a spry,...
- 4/28/2020
- by David Ehrlich
- Indiewire
Chicago – Both the Music Box Theatre and the Gene Siskel Film Center have continued their at-home screenings, due to the physical theaters having to close during the pandemic quarantine. Below are the updates to their current offerings.
Music Box Theatre Presents Porno, Roar, Someone Somewhere, What She Said
Roar
Photo credit: MusicBoxTheatre.com
The Music Box Theatre will get a percentage of the proceeds from any screening. Click site link below for details.
Scheduled: Now until the theater re-opens.
Description: Porno involves group of seemingly wholesome young movie theatre employees are tempted and terrorized by a sex demon. And, when the five teen employees discover a mysterious old film hidden in its basement, they unleash an alluring succubus who gives them a sex education … written in blood.
Roar has emerged as a popular cult film. Released in 1981, it features Hank (Noel Marshall), who lives in a multi-wild-animal preserve (including lions and tigers) in Africa.
Music Box Theatre Presents Porno, Roar, Someone Somewhere, What She Said
Roar
Photo credit: MusicBoxTheatre.com
The Music Box Theatre will get a percentage of the proceeds from any screening. Click site link below for details.
Scheduled: Now until the theater re-opens.
Description: Porno involves group of seemingly wholesome young movie theatre employees are tempted and terrorized by a sex demon. And, when the five teen employees discover a mysterious old film hidden in its basement, they unleash an alluring succubus who gives them a sex education … written in blood.
Roar has emerged as a popular cult film. Released in 1981, it features Hank (Noel Marshall), who lives in a multi-wild-animal preserve (including lions and tigers) in Africa.
- 4/27/2020
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Kino Lorber’s Richard Lorber, Modern Films’ Eve Gabereau and Film Movement’s Michael Rosenberg were the panellists.
The virtual cinema model born out of necessity during the Covid-19 pandemic is a viable new window that could offer distributors, exhibitors and audiences new opportunities once cinemas reopen, panellists said in Screen’s second Talk live Q&a.
Speaking on Thursday’s (April 23) webinar panel, three leading arthouse distributors assessed the early performance of their revenue-sharing partnerships with theatres that have been forced to close their doors until the global health crisis dissipates.
Eve Gabereau, managing director of London-based Modern Films,...
The virtual cinema model born out of necessity during the Covid-19 pandemic is a viable new window that could offer distributors, exhibitors and audiences new opportunities once cinemas reopen, panellists said in Screen’s second Talk live Q&a.
Speaking on Thursday’s (April 23) webinar panel, three leading arthouse distributors assessed the early performance of their revenue-sharing partnerships with theatres that have been forced to close their doors until the global health crisis dissipates.
Eve Gabereau, managing director of London-based Modern Films,...
- 4/24/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Thomas Piketty is surely one of the most unlikely academic celebrities around today. His 2013 deep-dive into global economic inequality Capital in the Twenty-First Century may not have the most invigorating title, but its surprisingly accessible 700-page takedown of the world’s financial woes has caused it to sell well over a million copies to date. Even with the […]
The post ‘Capital In The Twenty-First Century’ Movie Review: Rallying Call For Change Inspires & Bores appeared first on uInterview.
The post ‘Capital In The Twenty-First Century’ Movie Review: Rallying Call For Change Inspires & Bores appeared first on uInterview.
- 3/26/2020
- by Harrison Whitaker
- Uinterview
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week […]
The post This Week In Trailers: Insert Coin, Capital in the Twenty-First Century, Bacurau, Scream, Queen! My Nightmare On Elm Street, Charm City Kings appeared first on /Film.
The post This Week In Trailers: Insert Coin, Capital in the Twenty-First Century, Bacurau, Scream, Queen! My Nightmare On Elm Street, Charm City Kings appeared first on /Film.
- 2/25/2020
- by Christopher Stipp
- Slash Film
Exclusive: Kino Lorber has picked up North American rights to Capital In The Twenty-First Century, Justin Pemberton’s feature doc that explores wealth and power and shines a light on today’s growing inequality.
Pic is based on the best-seller by French economist Thomas Piketty. It will have its North American premiere on Sunday (November 10) at Doc NYC following its debut at the Sydney film festival in July.
Kino Lorber is planning a theatrical release in April 2020. It is partnering with Kanopy, the free-to-the-user video streaming platform, for digital educational and library rights, and the home ent release in July 2020 will also see it available on Kino Lorber’s new digital platform KinoNow.
The theatrical rollout will coincide with the release of Piketty’s follow-up book Capital And Ideology.
Alongside Piketty, the film features interviews with leading economists Joseph Stiglitz, Ian Bremmer, Rana Foroohar, and Francis Fukuyama.
Deal was negotiated...
Pic is based on the best-seller by French economist Thomas Piketty. It will have its North American premiere on Sunday (November 10) at Doc NYC following its debut at the Sydney film festival in July.
Kino Lorber is planning a theatrical release in April 2020. It is partnering with Kanopy, the free-to-the-user video streaming platform, for digital educational and library rights, and the home ent release in July 2020 will also see it available on Kino Lorber’s new digital platform KinoNow.
The theatrical rollout will coincide with the release of Piketty’s follow-up book Capital And Ideology.
Alongside Piketty, the film features interviews with leading economists Joseph Stiglitz, Ian Bremmer, Rana Foroohar, and Francis Fukuyama.
Deal was negotiated...
- 11/6/2019
- by Tom Grater and Andreas Wiseman
- Deadline Film + TV
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