Exclusive: How To Disappear Completely and Now Showing included in deal.
UK-based streaming platform FilmDoo has acquired global VoD rights to the back catalogue of Filipino filmmaker Raya Martin.
The non-exclusive deal was negotiated with producer Arleen Cuevas of Manila-based Cinematografica Films. FilmDoo is also in talks with Cuevas about acquiring the back catalogue of Adolfo Alix Jr., another leading indie filmmaker from the Philippines.
Martin titles acquired by FilmDoo include How To Disappear Completely (2013), Next Attraction (2008), Now Showing [pictured] (2008), Autohystoria (2007), A Short Film About The Indio Nacional (2005) and documentary The Island At The End Of The World (2005).
Now Showing premiered in Cannes Director’s Fortnight in 2008 and How To Disappear Completely premiered at Locarno.
FilmDoo has also acquired VoD rights to Martin’s Buenas Noches Espana (2011) for Southeast Asia and for the Philippines only to Independencia (2009), which premiered in Cannes Un Certain Regard in 2013.
Martin said: “I’m excited to partner with FilmDoo to showcase Filipino...
UK-based streaming platform FilmDoo has acquired global VoD rights to the back catalogue of Filipino filmmaker Raya Martin.
The non-exclusive deal was negotiated with producer Arleen Cuevas of Manila-based Cinematografica Films. FilmDoo is also in talks with Cuevas about acquiring the back catalogue of Adolfo Alix Jr., another leading indie filmmaker from the Philippines.
Martin titles acquired by FilmDoo include How To Disappear Completely (2013), Next Attraction (2008), Now Showing [pictured] (2008), Autohystoria (2007), A Short Film About The Indio Nacional (2005) and documentary The Island At The End Of The World (2005).
Now Showing premiered in Cannes Director’s Fortnight in 2008 and How To Disappear Completely premiered at Locarno.
FilmDoo has also acquired VoD rights to Martin’s Buenas Noches Espana (2011) for Southeast Asia and for the Philippines only to Independencia (2009), which premiered in Cannes Un Certain Regard in 2013.
Martin said: “I’m excited to partner with FilmDoo to showcase Filipino...
- 5/24/2017
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
The Museum of the Moving Image in Queens is hosting a retrospective on Raya Martin, running October 19 - 27, 2012.
Above: Raya Martin. Photo by Buccino de Ocampo.
Raya Martin’s multiplicity as a key filmmaker in experimental cinema in the Philippines remains a complex subject to undertake. His radical and polarizing films earned him not only a reputation as a visionary of the film form, but also a mask of an aesthete, an art-for-art’s sake director detached from the social paradigm of Philippine cinema. These assertions led me to reassess Raya Martin’s career path to look into his films in terms of his varied style, his appropriations as a result of his post-colonial inquiries; and to position him within the ideological paradigm of Philippine cinema.
Raya Martin’s filmography can be divided into three modes based on style: documentary (Island at the End of the World [2004], Autohystoria [2007], Next Attraction...
Above: Raya Martin. Photo by Buccino de Ocampo.
Raya Martin’s multiplicity as a key filmmaker in experimental cinema in the Philippines remains a complex subject to undertake. His radical and polarizing films earned him not only a reputation as a visionary of the film form, but also a mask of an aesthete, an art-for-art’s sake director detached from the social paradigm of Philippine cinema. These assertions led me to reassess Raya Martin’s career path to look into his films in terms of his varied style, his appropriations as a result of his post-colonial inquiries; and to position him within the ideological paradigm of Philippine cinema.
Raya Martin’s filmography can be divided into three modes based on style: documentary (Island at the End of the World [2004], Autohystoria [2007], Next Attraction...
- 10/26/2012
- by Adrian Mendizabal
- MUBI
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