Petra Epperlein and Michael Tucker’s ever more timely The Meaning Of Hitler, a Doc NYC highlight, features Saul Friedländer and Francine Prose on Leni Riefenstahl’s Triumph Of The Will, Martin Amis on political tactics and characterology, Klaus Theweleit on strangers, Deborah Lipstadt, Beate Klarsfeld, Serge Klarsfeld, Ute Frevert, and Yehuda Bauer. The filmmakers start in 2017 with a commuter train ride into New York City, and then on to a subway - Epperlein is seen reading books that mark the moment by the likes of Timothy Snyder, Hannah Arendt, George Orwell, Theweleit, and the one by Sebastian Haffner that gives the film its name.
A little avalanche of movie clips, from Mel Brooks’s [film id=10451]The...
A little avalanche of movie clips, from Mel Brooks’s [film id=10451]The...
- 11/22/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Academy invitee Eddie Redmayne in 'The Theory of Everything.' Academy invites 322 new members: 'More diverse and inclusive list of filmmakers and artists than ever before' The Academy of Motion Picture Arts and Sciences has offered membership to 322 individuals "who have distinguished themselves by their contributions to theatrical motion pictures." According to the Academy's press release, "those who accept the invitations will be the only additions to the Academy's membership in 2015." In case all 322 potential new members say an enthusiastic Yes, that means an injection of new blood representing about 5 percent of the Academy's current membership. In the words of Academy President Cheryl Boone Isaacs (as quoted in the press release), in 2015 "our branches have recognized a more diverse and inclusive list of filmmakers and artists than ever before, and we look forward to adding their creativity, ideas and experience to our organization." In recent years, the Academy membership has...
- 7/1/2015
- by Anna Robinson
- Alt Film Guide
©Renzo Piano Building Workshop/©Studio Pali Fekete architects/©A.M.P.A.S.
The Academy of Motion Picture Arts and Sciences announced this week that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall.
“I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Mayor Eric Garcetti. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.”
“We are grateful to our incredible community of supporters who have helped make this museum a reality,” said Dawn Hudson, the Academy’s CEO. “Building this museum has been an Academy...
The Academy of Motion Picture Arts and Sciences announced this week that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall.
“I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Mayor Eric Garcetti. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.”
“We are grateful to our incredible community of supporters who have helped make this museum a reality,” said Dawn Hudson, the Academy’s CEO. “Building this museum has been an Academy...
- 6/27/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Strangely dropping a press release on a historic day where the nation's attention is elsewhere, the Academy of Motion Picture Arts and Sciences revealed their annual list of new member invitees this morning. For those who criticize the makeup of the Academy there was some good news and the stark realization the organization still has a long way to go. The Academy has spent the last eight to 10 years attempting to diversify its membership and this year's class mostly reflects that. There are significantly more invitees of Asian and African-American descent, but the male to female disparity is still depressing. Out of the 25 potential new members of the Actor's Branch only seven are women. And, no, there isn't really an acceptable way for the Academy to spin that sad fact. Additionally, It's important to realize the 322 people noted in the release have only been invited to join Hollywood's most exclusive club.
- 6/26/2015
- by Gregory Ellwood
- Hitfix
The Rights Roundup is the most comprehensive listing of licensing of film rights at the current markets. It lists the current International Sales Agents (ISAs) alphabetically, A through Z, and their reported sales at the chief winter events – in this case the Sundance Film Festival and the Berlinale Fest and European Film Market (Efm) of the Winter 2015.
Buy the Rights Roundup Here!
The international sales agents (ISAs) are listed alphabetically and the sales are those reported to SydneysBuzz or to other trades. The author makes no claim to be comprehensive or even 100% correct. Titles show which distributors have licensed rights along with territories of the distributors as they are reported. When prices have been mentioned, they are included.
In order to assist professional research when more information is needed, international sales agents and distributors link to their own company websites and include links as well to Cinando and IMDbPro. Titles link to Cinando. If Cinando is not appropriate or does not have the title, then titles will link to IMDbPro. Occasionally they will link to the Festival because the former are not available. Subscriptions to these other databases are required.
Cineuropa.org (free) will also be referenced occasionally as will Film New Europe (free). Subscribers to Screen International will also have access to Screenbase. In theory, all of these online databases list comprehensive rights held by distributors though, in fact, each in its own unique way is missing information or contains errors.
The Efm, Sundance and Winter Rights Roundup
The European Film Market is one of the three major international film markets of the world. Without it, we in the film industry would be sitting on a two-legged stool. Along with the Cannes Marche and the American Film Market, this is where the business which supports all of us in the film business takes place. Of course there are important markets in Hong Kong (Filmart), Busan, Ventana Sur in Buenos Aires, Guadalajara, and de facto markets at many festivals, chief of which are Toronto (Tiff) and Sundance. Acquisitions there are often included in these reports as well.
It is imperative for filmmakers, buyers, sellers and financiers to know what the competition is doing, to see what films – similar in sensibility – are selling, to whom they are selling and who is selling them. All who must intelligently strategize their entry into the marketplace must come armed with this knowledge. SydneysBuzz.com’s Rights Roundups Reports give detailed and comprehensive listings with links to sellers’ and buyers’ sites and to Cinando and IMDbPro sites to facilitate deeper research.
Over 8,000 industry leaders from over 100 countries converge in Berlin February 5 to 13, 2015 for eight days of deal‐making, more than 1,000 screenings for 1,500 buyers by almost 500 international sales agents, seminars, and events for docs, young talents, tv series, books to films, coproductions and more.
Buy The Rights Roundup Report now and get ahead of the competition as you plan for the next big market, the Cannes Marché, May 13 to 24, 2015!
Sundance and Producer Reps
A question often asked by indie filmmakers is, Do they need to have a producer rep? The answer varies. During Toronto and Sundance there are more producer reps on films than at any other festival or market. However, at Sundance 2015, 47 out of 127 films had producer reps. The breakdown was as follows:Cinetic – 14, ICM – 10, Preferred Content – 8, CAA – 6, UTA -3, Wme – 2, Submarine – 2, Paradigm – 1, Cassian Elwes – 1.
And there are many publicists, some not wanting to be named who also “represent” films but do not always attempt to make deals like the producer reps, with the exception of Steven Raphael’s Required Viewing. Publicists with films at Sundance were: Brigade with 9 films, Strategy – 7, Ryan Werner – 6, Prodigy – 6, Acme – 4, Susan Norget – 4, tcdm – 4, Steven Rafael, Mj Pakos – 2, Jazo – 1, Dish – 1, Sophie Gluck – 1, Bigtime – 1.
And there are also attorneys who rep the films but are not named here, examples: Donaldson & Califf, Linda Lichter, Shelly Surpin, Harris Tulchin, Craig Emanuel of Loeb & Loeb, et al.
14 films had U.S. distribution going into Sundance:
“A Walk In The Woods”- Entertainment in Motion (airline)
“It Follows- Radius-twc
Shaun The Sheep- Universal Pictures
Eden-broad Green Pictures
The Tribe-Drafthouse Films
True Story -Fox Searchlight Pictures
Going Clear: Scientology and the Prison of Belief-hbo
Kurt Cobain: Montage of Heck-hbo
What Happened, Miss Simone?-Netflix
‘71-Roadside Attractions
Z for Zachariah-Roadside Attractions
Wild Tales-Sony Pictures Classics
Girlhood-Strand Releasing
A comprehensive report on all U.S. Distributors and their product for 2014 is available at http://www.SydneysBuzz.com/Reports.
Buy the Rights Roundup Here!
The international sales agents (ISAs) are listed alphabetically and the sales are those reported to SydneysBuzz or to other trades. The author makes no claim to be comprehensive or even 100% correct. Titles show which distributors have licensed rights along with territories of the distributors as they are reported. When prices have been mentioned, they are included.
In order to assist professional research when more information is needed, international sales agents and distributors link to their own company websites and include links as well to Cinando and IMDbPro. Titles link to Cinando. If Cinando is not appropriate or does not have the title, then titles will link to IMDbPro. Occasionally they will link to the Festival because the former are not available. Subscriptions to these other databases are required.
Cineuropa.org (free) will also be referenced occasionally as will Film New Europe (free). Subscribers to Screen International will also have access to Screenbase. In theory, all of these online databases list comprehensive rights held by distributors though, in fact, each in its own unique way is missing information or contains errors.
The Efm, Sundance and Winter Rights Roundup
The European Film Market is one of the three major international film markets of the world. Without it, we in the film industry would be sitting on a two-legged stool. Along with the Cannes Marche and the American Film Market, this is where the business which supports all of us in the film business takes place. Of course there are important markets in Hong Kong (Filmart), Busan, Ventana Sur in Buenos Aires, Guadalajara, and de facto markets at many festivals, chief of which are Toronto (Tiff) and Sundance. Acquisitions there are often included in these reports as well.
It is imperative for filmmakers, buyers, sellers and financiers to know what the competition is doing, to see what films – similar in sensibility – are selling, to whom they are selling and who is selling them. All who must intelligently strategize their entry into the marketplace must come armed with this knowledge. SydneysBuzz.com’s Rights Roundups Reports give detailed and comprehensive listings with links to sellers’ and buyers’ sites and to Cinando and IMDbPro sites to facilitate deeper research.
Over 8,000 industry leaders from over 100 countries converge in Berlin February 5 to 13, 2015 for eight days of deal‐making, more than 1,000 screenings for 1,500 buyers by almost 500 international sales agents, seminars, and events for docs, young talents, tv series, books to films, coproductions and more.
Buy The Rights Roundup Report now and get ahead of the competition as you plan for the next big market, the Cannes Marché, May 13 to 24, 2015!
Sundance and Producer Reps
A question often asked by indie filmmakers is, Do they need to have a producer rep? The answer varies. During Toronto and Sundance there are more producer reps on films than at any other festival or market. However, at Sundance 2015, 47 out of 127 films had producer reps. The breakdown was as follows:Cinetic – 14, ICM – 10, Preferred Content – 8, CAA – 6, UTA -3, Wme – 2, Submarine – 2, Paradigm – 1, Cassian Elwes – 1.
And there are many publicists, some not wanting to be named who also “represent” films but do not always attempt to make deals like the producer reps, with the exception of Steven Raphael’s Required Viewing. Publicists with films at Sundance were: Brigade with 9 films, Strategy – 7, Ryan Werner – 6, Prodigy – 6, Acme – 4, Susan Norget – 4, tcdm – 4, Steven Rafael, Mj Pakos – 2, Jazo – 1, Dish – 1, Sophie Gluck – 1, Bigtime – 1.
And there are also attorneys who rep the films but are not named here, examples: Donaldson & Califf, Linda Lichter, Shelly Surpin, Harris Tulchin, Craig Emanuel of Loeb & Loeb, et al.
14 films had U.S. distribution going into Sundance:
“A Walk In The Woods”- Entertainment in Motion (airline)
“It Follows- Radius-twc
Shaun The Sheep- Universal Pictures
Eden-broad Green Pictures
The Tribe-Drafthouse Films
True Story -Fox Searchlight Pictures
Going Clear: Scientology and the Prison of Belief-hbo
Kurt Cobain: Montage of Heck-hbo
What Happened, Miss Simone?-Netflix
‘71-Roadside Attractions
Z for Zachariah-Roadside Attractions
Wild Tales-Sony Pictures Classics
Girlhood-Strand Releasing
A comprehensive report on all U.S. Distributors and their product for 2014 is available at http://www.SydneysBuzz.com/Reports.
- 4/7/2015
- by Sydney Levine
- Sydney's Buzz
Sundance this year seems to have a theme of abuse and action against abuse of women, men, children, and minds.
There was a long list to choose from, including “I Smile Back” (self-abuse), “James White” (self-abuse),“The Stanford Prison Experiment” (mind abuse), “The Mask You Live In” (mind abuse of males in America), “Prophets of Prey” (mind abuse),
“Experimenter” (more mind abuse), “Going Clear: Scientology and the Prison of Belief” (mind abuse), “Stockholm, Pennsylvania” (abduction), “3 ½ Minutes” (victim of violence), “Cartel Land” (drug related violence), “Hot Girls Wanted” (young women in porn), “The Wolfpack” (youths locked up), “Chorus” (child murder), “Glassland” (broken family), “Take Me to the River” (sexual abuse?), “Reversal” (sexual abuse), “Partisan” (kid locked up), “Strangerland” (kids disappear), “Lila & Eve” (son’s murder), “True Story” (identity theft), “Zipper” (sexual addiction), “The Hunting Ground” (sexual abuse on college campuses). Even the opening night film, the eye-opening “What Happened, Miss Simone?” by Liz Garbus dealt with abuse. That is 24 titles!
“Dreamcatcher” (World Documentary, U.K.), which won the World Cinema Documentary Award for Directing, is the one that caught me. Brenda Myers-Powell, a former teenage prostitute with a drug habit has recovered after 25 years on the streets, and is an extraordinary woman.
“Dreamcatcher” takes us into a hidden world which we see through Brenda’s eyes. Brenda defied the odds to become a powerful advocate for change in her community.
With unprecedented access, multi award winning director, Kim Longinotto paints a vivid portrait of a community struggling to come to terms with some of its most painful truths and of the extraordinary woman who uses her past to inspire others to survive. With warmth and humor, Brenda gives hope to those who have none.
Brenda is a beautiful woman who went into recovery after her face was destroyed by a “john” who physically dragged her across rough terrain. We meet her in the film as she cruises the streets and goes to talk with prostitutes telling them that if they ever need a place to come, to hide, to recover, Dreamcatcher is there to help. She listens to their stories when they do come to her; she goes into prisons to talk to prostitutes, she goes into schools to talk to girls at risk.
At the high school, she opened the group with the discussion point of how to get away from a guy who is pressuring the girls in ways they do not want to go. One girl said she had been abused since she was a child. The rest of the class chimed in with similar stories of sexual abuse taking Brenda by surprise. “I didn’t know this would be the what we talked about today, but since we are talking, I too was abused as a young girl.” There was nothing she heard that shocked her because she had gone through it all herself.
Her calm ability to hear the worst of stories made me ask the film’s publicist, Susan Norget, for an interview with her. My main question was how did she manage to keep all judgment from entering the conversations, how had she learned to listen so well.
When I met her personally, she was even more beautiful than in the movie. We sat and talked and she explained first that the class in the film was in its second semester and she had spent the first semester just trying to get the girls to settle down and behave. She also said that she had spent 25 years on the streets, and “you have to learn to judge people – are they violent, serial killers? You get a sixth sense about people in order to survive.”
But when she was nearly destroyed, she went to someone who had spoken to her as she now speaks to others.
Who was this I wanted to know.
“She was a hippy outreach worker who spoke to me when I was in jail”, she said.
“In prison?” I asked.
“No, jail, not prison”. Jail is where they hold you until they indict you for a crime. When guilty, you go to prison. I was never in prison.”
This hippy outreach woman was a British woman named Edwina Gateley. She was a journalist who, with a therapist, opened her home for women prostitutes. I spent 18 months there, nineteen years ago and I am still with her. They healed my face with natural herbs; I learned to meditate and to love myself.
B: “I am a very spiritual person. My favorite poem is ‘Footprints.' My own god is very personal.
Me: You don’t offer Christianity, you never mention religion. How does recovery work?
B: The girls on the street are not ready for that. You can’t say ‘Jesus Loves You’ and then abandon them. They need to learn to love themselves. Edwina told me my body was special, not meant for what I was using it for. I did a lot of meditation, thinking and talking.
Me: In the movie your daughter talks about her life and how it was for her with you on the streets. Today she is a psychiatrist. How did she get through her childhood to grow up so well?
B: Aunt Suzy took care of my daughters. She is my mother’s sister.
Also Aunt Josey raised my daughters to become women, Christian women. One is a doctor and the other in criminal justice.
I forgot to ask her about her husband, if they were always married or newly married. She has adopted the child of her sister-in-law.
We see in the film that her family and extended family include her high achieving daughter and her drug addicted sister-in-law, tied to a man who seems to harbor a violent temper. We see that she holds a good job – “well good as I see it”, she says, “And having that I feel I must help others achieve it as well”.
She works as a volunteer for Dreamcatcher which is really her life. She has moments of anxiety and worry, all is not perfect, but she clearly sees her mission and is clear about how she speaks of it. This film made me feel like a better person, and if I lived in Chicago, I would be motivated to volunteer with Dreamcatcher.
Brenda would not like to be lionized, but to meet and speak with her is to be inspired.
The Isa handling "Dreamcatcher" is Dogwoof...
There was a long list to choose from, including “I Smile Back” (self-abuse), “James White” (self-abuse),“The Stanford Prison Experiment” (mind abuse), “The Mask You Live In” (mind abuse of males in America), “Prophets of Prey” (mind abuse),
“Experimenter” (more mind abuse), “Going Clear: Scientology and the Prison of Belief” (mind abuse), “Stockholm, Pennsylvania” (abduction), “3 ½ Minutes” (victim of violence), “Cartel Land” (drug related violence), “Hot Girls Wanted” (young women in porn), “The Wolfpack” (youths locked up), “Chorus” (child murder), “Glassland” (broken family), “Take Me to the River” (sexual abuse?), “Reversal” (sexual abuse), “Partisan” (kid locked up), “Strangerland” (kids disappear), “Lila & Eve” (son’s murder), “True Story” (identity theft), “Zipper” (sexual addiction), “The Hunting Ground” (sexual abuse on college campuses). Even the opening night film, the eye-opening “What Happened, Miss Simone?” by Liz Garbus dealt with abuse. That is 24 titles!
“Dreamcatcher” (World Documentary, U.K.), which won the World Cinema Documentary Award for Directing, is the one that caught me. Brenda Myers-Powell, a former teenage prostitute with a drug habit has recovered after 25 years on the streets, and is an extraordinary woman.
“Dreamcatcher” takes us into a hidden world which we see through Brenda’s eyes. Brenda defied the odds to become a powerful advocate for change in her community.
With unprecedented access, multi award winning director, Kim Longinotto paints a vivid portrait of a community struggling to come to terms with some of its most painful truths and of the extraordinary woman who uses her past to inspire others to survive. With warmth and humor, Brenda gives hope to those who have none.
Brenda is a beautiful woman who went into recovery after her face was destroyed by a “john” who physically dragged her across rough terrain. We meet her in the film as she cruises the streets and goes to talk with prostitutes telling them that if they ever need a place to come, to hide, to recover, Dreamcatcher is there to help. She listens to their stories when they do come to her; she goes into prisons to talk to prostitutes, she goes into schools to talk to girls at risk.
At the high school, she opened the group with the discussion point of how to get away from a guy who is pressuring the girls in ways they do not want to go. One girl said she had been abused since she was a child. The rest of the class chimed in with similar stories of sexual abuse taking Brenda by surprise. “I didn’t know this would be the what we talked about today, but since we are talking, I too was abused as a young girl.” There was nothing she heard that shocked her because she had gone through it all herself.
Her calm ability to hear the worst of stories made me ask the film’s publicist, Susan Norget, for an interview with her. My main question was how did she manage to keep all judgment from entering the conversations, how had she learned to listen so well.
When I met her personally, she was even more beautiful than in the movie. We sat and talked and she explained first that the class in the film was in its second semester and she had spent the first semester just trying to get the girls to settle down and behave. She also said that she had spent 25 years on the streets, and “you have to learn to judge people – are they violent, serial killers? You get a sixth sense about people in order to survive.”
But when she was nearly destroyed, she went to someone who had spoken to her as she now speaks to others.
Who was this I wanted to know.
“She was a hippy outreach worker who spoke to me when I was in jail”, she said.
“In prison?” I asked.
“No, jail, not prison”. Jail is where they hold you until they indict you for a crime. When guilty, you go to prison. I was never in prison.”
This hippy outreach woman was a British woman named Edwina Gateley. She was a journalist who, with a therapist, opened her home for women prostitutes. I spent 18 months there, nineteen years ago and I am still with her. They healed my face with natural herbs; I learned to meditate and to love myself.
B: “I am a very spiritual person. My favorite poem is ‘Footprints.' My own god is very personal.
Me: You don’t offer Christianity, you never mention religion. How does recovery work?
B: The girls on the street are not ready for that. You can’t say ‘Jesus Loves You’ and then abandon them. They need to learn to love themselves. Edwina told me my body was special, not meant for what I was using it for. I did a lot of meditation, thinking and talking.
Me: In the movie your daughter talks about her life and how it was for her with you on the streets. Today she is a psychiatrist. How did she get through her childhood to grow up so well?
B: Aunt Suzy took care of my daughters. She is my mother’s sister.
Also Aunt Josey raised my daughters to become women, Christian women. One is a doctor and the other in criminal justice.
I forgot to ask her about her husband, if they were always married or newly married. She has adopted the child of her sister-in-law.
We see in the film that her family and extended family include her high achieving daughter and her drug addicted sister-in-law, tied to a man who seems to harbor a violent temper. We see that she holds a good job – “well good as I see it”, she says, “And having that I feel I must help others achieve it as well”.
She works as a volunteer for Dreamcatcher which is really her life. She has moments of anxiety and worry, all is not perfect, but she clearly sees her mission and is clear about how she speaks of it. This film made me feel like a better person, and if I lived in Chicago, I would be motivated to volunteer with Dreamcatcher.
Brenda would not like to be lionized, but to meet and speak with her is to be inspired.
The Isa handling "Dreamcatcher" is Dogwoof...
- 2/3/2015
- by Sydney Levine
- Sydney's Buzz
This year there are 127 feature-length films, representing 29 countries and 45 first-time filmmakers, including 19 in competition. 103 are world premieres.
You can gather these figures and look up contact information as it pertains to your job in this industry, or you can buy the Sundance by Numbers Report from SydneysBuzz and import an excel sheet of all relevant data with contact names, into your own database. If you are about to go to Sundance and need to know the publicist or if in the future, you are going to need a good publicist, or a producer rep, or a festival oriented international sales agents or U.S. distributor who will surely be on the festival circuit, you need this report now.
All titles are linked to contacts you will need for your particular line of work if you are a professional in the business.
There are 26 women directors ( ♀ ).
‧ U.S. Dramatic Competition: 5 of 16 are directed by women (36%).
‧ U.S. Documentary Competition: 7 of 16 are directed by women.
‧ World Cinema Dramatic Competition: 5 of 12 are directed by women.
‧ World Cinema Documentary Competition: 6 of 12 are directed by women.
‧ Next: 1 of 10 is directed by a woman.
‧ New Frontiers has Jenni Olson's "The Royal Road"
48% (62) of the films have international sales agents.
Ryan Kempe's Visit Films and Andrew Hurewitz' Film Sales Company both have 5 films.
3 films are being sold by Im Global, HanWay and Protagonist.
2 by Dogwoof, Epic, Films Distribution, The Match Factory, Trust Nordisk and Xyz and Annapurna.
1 film each are represented by the other sales agents:
Alpha Violet, Altitude Film Sales, Autlook, Cargo ,Content, Dreamcatchers, Film Factory Entertainment,Fortitude, Funny Balloons, Hyde Park International, K5 International, Kaleidoscope, Lotus Entertainment, Memento, Studiocanal, The Exchange, The Match Factory, The Solution, Voltage, Wild Bunch
14% (18) have U.S. distribution. Titles and links are in the report.
3 are with HBO
2 are with Roadside Attractions: "’71" and "Z for Zachariah"
The rest are each with:
Entertainment in Motion (airline)
Radius-twc
Universal Pictures
A&E/ Lifetime
Broad Green Pictures
Drafthouse Films
Fox Searchlight Pictures
Magnolia
Netflix
Sony Pictures Classics – "Wild Tales"
Strand Releasing – "Girlhood"
53% (68) have producer reps
Cinetic - 14
Submarine - 13
ICM - 10
Preferred Content - 8
Wme - 9
UTA -8
CAA - 7
Cassian Elwes - 2
Paradigm - 1
Publicists
Brigade - 9
Stategy - 7
Ryan Werner - 6
Prodigy - 6
David Magdael - 4
Acme - 4
Susan Norget - 4
Steven Rafael, Mj Pakos - 2
Bigtime - 2
Group 2050 - 2
Katleen McGinnis - 2 + 2 shorts
Jazo - 1
Dda - 1
Dish - 1
Sophie Gluck - 1
mPRm - 1
Sundance selected 7 films from Latin American (Argentina, Brazil, Colombia and Mexico). Four are in official competitions - two for American cinema and two for international cinema - divided between fiction and documentary. Two coproductions with Mexico are in the U.S. Documentary Competition, "Cartel Land" by Matthew Heineman, and "Western" by Bill Ross and Turner Ross, two views on life and struggle in the border.
In the International Fiction Competition of 12 films, Brazil's "The Second Mother" ("Que hours ela volta?") by Anna Muylaert, a story about everyday relations between the employees and employers in a home upset by the visit of the nanny's daughter. Anna Muylawert participated in the Carte Blanche at Locarno dedicated to Brazilian cinema. In the Next secton, dedicated to innovative film is "H." a coproduction between the U.S. and Argentina directed by Rania Attieh and Daniel Garcia. The film is a reinterpretation of Greek mythology, following two women named Helen whose lives are altered in the small town of Troy, New York. New Frontier Films will premier Colombia-Mexico coproduction "Liveforever", the adaptation of Carlos Moreno("Dog Eat Dog") of the cult novel by Andres Caicedo.
And finally, in the new Sundance Kids section, "The Games Maker", a coproduction between Argentina, Canada and Italy, will premiere.
To purchase the report visit Here...
You can gather these figures and look up contact information as it pertains to your job in this industry, or you can buy the Sundance by Numbers Report from SydneysBuzz and import an excel sheet of all relevant data with contact names, into your own database. If you are about to go to Sundance and need to know the publicist or if in the future, you are going to need a good publicist, or a producer rep, or a festival oriented international sales agents or U.S. distributor who will surely be on the festival circuit, you need this report now.
All titles are linked to contacts you will need for your particular line of work if you are a professional in the business.
There are 26 women directors ( ♀ ).
‧ U.S. Dramatic Competition: 5 of 16 are directed by women (36%).
‧ U.S. Documentary Competition: 7 of 16 are directed by women.
‧ World Cinema Dramatic Competition: 5 of 12 are directed by women.
‧ World Cinema Documentary Competition: 6 of 12 are directed by women.
‧ Next: 1 of 10 is directed by a woman.
‧ New Frontiers has Jenni Olson's "The Royal Road"
48% (62) of the films have international sales agents.
Ryan Kempe's Visit Films and Andrew Hurewitz' Film Sales Company both have 5 films.
3 films are being sold by Im Global, HanWay and Protagonist.
2 by Dogwoof, Epic, Films Distribution, The Match Factory, Trust Nordisk and Xyz and Annapurna.
1 film each are represented by the other sales agents:
Alpha Violet, Altitude Film Sales, Autlook, Cargo ,Content, Dreamcatchers, Film Factory Entertainment,Fortitude, Funny Balloons, Hyde Park International, K5 International, Kaleidoscope, Lotus Entertainment, Memento, Studiocanal, The Exchange, The Match Factory, The Solution, Voltage, Wild Bunch
14% (18) have U.S. distribution. Titles and links are in the report.
3 are with HBO
2 are with Roadside Attractions: "’71" and "Z for Zachariah"
The rest are each with:
Entertainment in Motion (airline)
Radius-twc
Universal Pictures
A&E/ Lifetime
Broad Green Pictures
Drafthouse Films
Fox Searchlight Pictures
Magnolia
Netflix
Sony Pictures Classics – "Wild Tales"
Strand Releasing – "Girlhood"
53% (68) have producer reps
Cinetic - 14
Submarine - 13
ICM - 10
Preferred Content - 8
Wme - 9
UTA -8
CAA - 7
Cassian Elwes - 2
Paradigm - 1
Publicists
Brigade - 9
Stategy - 7
Ryan Werner - 6
Prodigy - 6
David Magdael - 4
Acme - 4
Susan Norget - 4
Steven Rafael, Mj Pakos - 2
Bigtime - 2
Group 2050 - 2
Katleen McGinnis - 2 + 2 shorts
Jazo - 1
Dda - 1
Dish - 1
Sophie Gluck - 1
mPRm - 1
Sundance selected 7 films from Latin American (Argentina, Brazil, Colombia and Mexico). Four are in official competitions - two for American cinema and two for international cinema - divided between fiction and documentary. Two coproductions with Mexico are in the U.S. Documentary Competition, "Cartel Land" by Matthew Heineman, and "Western" by Bill Ross and Turner Ross, two views on life and struggle in the border.
In the International Fiction Competition of 12 films, Brazil's "The Second Mother" ("Que hours ela volta?") by Anna Muylaert, a story about everyday relations between the employees and employers in a home upset by the visit of the nanny's daughter. Anna Muylawert participated in the Carte Blanche at Locarno dedicated to Brazilian cinema. In the Next secton, dedicated to innovative film is "H." a coproduction between the U.S. and Argentina directed by Rania Attieh and Daniel Garcia. The film is a reinterpretation of Greek mythology, following two women named Helen whose lives are altered in the small town of Troy, New York. New Frontier Films will premier Colombia-Mexico coproduction "Liveforever", the adaptation of Carlos Moreno("Dog Eat Dog") of the cult novel by Andres Caicedo.
And finally, in the new Sundance Kids section, "The Games Maker", a coproduction between Argentina, Canada and Italy, will premiere.
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- 1/20/2015
- by Sydney Levine
- Sydney's Buzz
Luis Moreno Ocampo told Anne-Katrin Titze that Watchers Of The Sky director Edet Belzberg and Us Ambassador to the United Nations Samantha Power are the "new Raphael Lemkins." Photo: Susan Norget
Luis Moreno Ocampo was appointed the first Chief Prosecutor of the International Criminal Court at the Hague in 2003. During his nine-year term he was responsible for "investigating and prosecuting massive atrocities" and gathering evidence to build a consensus with the member States in order to "enforce the rules".
In New York, a relaxed Luis Moreno Ocampo told me about the day Raphael Lemkin came into his life, the insight Nuremberg prosecutor Benjamin Ferencz gave him, the need for a protocol in the global system, why Star Wars is incredibly smart and how much he enjoys Woody Allen, Visconti and the Coen brothers.
Luis Moreno Ocampo prosecuting at the Argentine 1987 Junta trials: "I had 1600 suspects. I cannot do a case...
Luis Moreno Ocampo was appointed the first Chief Prosecutor of the International Criminal Court at the Hague in 2003. During his nine-year term he was responsible for "investigating and prosecuting massive atrocities" and gathering evidence to build a consensus with the member States in order to "enforce the rules".
In New York, a relaxed Luis Moreno Ocampo told me about the day Raphael Lemkin came into his life, the insight Nuremberg prosecutor Benjamin Ferencz gave him, the need for a protocol in the global system, why Star Wars is incredibly smart and how much he enjoys Woody Allen, Visconti and the Coen brothers.
Luis Moreno Ocampo prosecuting at the Argentine 1987 Junta trials: "I had 1600 suspects. I cannot do a case...
- 10/20/2014
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Most rookie independent filmmakers would kill to have a large publicity firm handling their baby as it takes its first steps into the often overwhelming world of film festivals. However, a smaller, more hands-on “boutique” publicist may be a better choice for the first-timer. Someone like Susan Norget, who runs a tight operation in New York and can be counted on to bring an eclectic, quality film slate to each festival. Some of her more prominent international clients are Lars von Trier and Olivier Assayas, who have been turning to her for their U.S. releases for years and whose films “Melancholia” and “Carlos” she represented at Cannes. She also handled Malik Bendjelloul’s critically acclaimed documentary “Searching for Sugar Man” this year and the Irish indie “Once,” which both won audience awards at Sundance and were picked up for North American distribution immediately after their world premieres. She's...
- 8/23/2012
- by Natasha Senjanovic
- Indiewire
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