Brazilian production powerhouse Gullane, which is behind Netflix’s “Senna” and Karim Aïnouz’s Cannes competition title “Motel Destino,” has closed international co-production pacts on new projects from Cao Hamburger (”The Year My Parents Went on Vacation”) and Sandra Kogut (“Three Summers”).
France’s Playtime Group and Portugal’s Ukbar Filmes will co-produce Hamburger’s “School Without Walls.” A Playtime Group company will also handle international sales on the true and inspiring story of Braz Nogueira, principal of a public school in Heliopolis, one of Brazil’s biggest slums.
Kogut will direct “New Cancun,” co-created by and starring Sundance actress winner Regina Casé. The film teams Gullane with Kogut’s regular producer in France, Gloria Films. It’s slated to shoot by the first quarter of 2025.
In the film, Casé plays Madá, who has never dwelled on her family’s tragedy in an environmental disaster. When chosen for a Christmas campaign,...
France’s Playtime Group and Portugal’s Ukbar Filmes will co-produce Hamburger’s “School Without Walls.” A Playtime Group company will also handle international sales on the true and inspiring story of Braz Nogueira, principal of a public school in Heliopolis, one of Brazil’s biggest slums.
Kogut will direct “New Cancun,” co-created by and starring Sundance actress winner Regina Casé. The film teams Gullane with Kogut’s regular producer in France, Gloria Films. It’s slated to shoot by the first quarter of 2025.
In the film, Casé plays Madá, who has never dwelled on her family’s tragedy in an environmental disaster. When chosen for a Christmas campaign,...
- 5/19/2024
- by Anna Marie de la Fuente and John Hopewell
- Variety Film + TV
Few companies in the world have had such as impact on their local film industry than Globo Filmes, the feature co-production arm of Brazilian giant Globo, which is Latin America’s biggest communications conglomerate. Over the last 25 years, Globo Filmes has backed more than 500 movies, almost all through co-production.
Those films have collectively sold 260 million cinema theater admissions, an average of over 10 million admissions a year, accounting for more than 70% of Brazilian market share from 1998-2024.
Globo Filmes greenlights more than 20 movies a year, powering up by far the biggest production slate of any company in Brazil, thanks to article 3A of the country’s audiovisual law, which allows it to tap tax incentives for investing in feature films.
Launching in 1998, Globo Filmes helped accelerate the Brazilian film industry’s recovery after President Fernando Collor de Mello shuttered state film agency Embrafilme in 1990, paralyzing production. Twenty-five years later, after a...
Those films have collectively sold 260 million cinema theater admissions, an average of over 10 million admissions a year, accounting for more than 70% of Brazilian market share from 1998-2024.
Globo Filmes greenlights more than 20 movies a year, powering up by far the biggest production slate of any company in Brazil, thanks to article 3A of the country’s audiovisual law, which allows it to tap tax incentives for investing in feature films.
Launching in 1998, Globo Filmes helped accelerate the Brazilian film industry’s recovery after President Fernando Collor de Mello shuttered state film agency Embrafilme in 1990, paralyzing production. Twenty-five years later, after a...
- 5/16/2024
- by John Hopewell
- Variety Film + TV
Karim Aïnouz is harnessing the sweaty desire of corruption for his latest erotic thriller “Motel Destino.”
The Brazilian filmmaker returns to his native country for the feature, which was shot entirely in Aïnouz’s homeland of Ceará. “Motel Destino” stars Iago Xavier and Nataly Rocha, who were selected from an extensive casting process, and renowned Brazilian actor Fabio Assunção.
Per the official synopsis, neon-hued Motel Destino is a roadside sex hotel under the burning blue skies of the Northeastern coast of Brazil, run by the boorish Elias and his frustrated, beautiful wife Dayana. When 21-year-old Heraldo finds himself at the motel, after messing up a hit and going on the run from both the police and the gang he let down, Dayana finds herself intrigued and lets him stay. As the two navigate a dance of power, desire and liberation, a dangerous plan for freedom emerges. In this tropical noir,...
The Brazilian filmmaker returns to his native country for the feature, which was shot entirely in Aïnouz’s homeland of Ceará. “Motel Destino” stars Iago Xavier and Nataly Rocha, who were selected from an extensive casting process, and renowned Brazilian actor Fabio Assunção.
Per the official synopsis, neon-hued Motel Destino is a roadside sex hotel under the burning blue skies of the Northeastern coast of Brazil, run by the boorish Elias and his frustrated, beautiful wife Dayana. When 21-year-old Heraldo finds himself at the motel, after messing up a hit and going on the run from both the police and the gang he let down, Dayana finds herself intrigued and lets him stay. As the two navigate a dance of power, desire and liberation, a dangerous plan for freedom emerges. In this tropical noir,...
- 5/15/2024
- by Samantha Bergeson
- Indiewire
Netflix’s Senna biopic has moved up the gears with a first teaser.
Premiering later this year, the show stars Gabriel Leone as the eponymous driver. The trailer recreates his historic victory at the 1991 Brazilian Grand Prix in Interlagos, following a challenging race where he was mostly stuck in sixth gear and also marking the first time he won in his hometown of Sao Paulo.
The teaser also displays possible thoughts and experiences, interspersed with images of the race, that led Senna to where he had got to in his career before he tragically died in 1994. The six-parter starts with the genesis of the three-time F1 champion’s motor racing career, when he moves to England to compete in Formula Ford, and runs until his tragic accident in Imola, Italy, during the San Marino Grand Prix.
Senna also stars The Gentlemen’s Kaya Scodelario, whose mother is Brazillian, fresh off...
Premiering later this year, the show stars Gabriel Leone as the eponymous driver. The trailer recreates his historic victory at the 1991 Brazilian Grand Prix in Interlagos, following a challenging race where he was mostly stuck in sixth gear and also marking the first time he won in his hometown of Sao Paulo.
The teaser also displays possible thoughts and experiences, interspersed with images of the race, that led Senna to where he had got to in his career before he tragically died in 1994. The six-parter starts with the genesis of the three-time F1 champion’s motor racing career, when he moves to England to compete in Formula Ford, and runs until his tragic accident in Imola, Italy, during the San Marino Grand Prix.
Senna also stars The Gentlemen’s Kaya Scodelario, whose mother is Brazillian, fresh off...
- 4/30/2024
- by Max Goldbart
- Deadline Film + TV
Karim Aïnouz is following up his 2023 English-language debut “Firebrand” with a return to his Brazilian roots.
For his second consecutive Cannes premiere, Aïnouz helmed erotic thriller “Motel Destino” which will screen in competition at the festival. “Motel Destino” is Aïnouz’s sixth Cannes premiere, with his 2019 feature “Invisible Life” winning the Un Certain Regard award.
“Motel Destino” stars Iago Xavier and Nataly Rocha, who were selected from an extensive casting process, and renowned Brazilian actor Fabio Assunção. The official synopsis reads: “The neon-hued Motel Destino is a roadside sex hotel under the burning blue skies of the Northeastern coast of Brazil, run by the boorish Elias and his frustrated, beautiful wife Dayana. When 21-year-old Heraldo finds himself at the motel, after messing up a hit and going on the run from both the police and the gang he let down, Dayana finds herself intrigued and lets him stay. As the...
For his second consecutive Cannes premiere, Aïnouz helmed erotic thriller “Motel Destino” which will screen in competition at the festival. “Motel Destino” is Aïnouz’s sixth Cannes premiere, with his 2019 feature “Invisible Life” winning the Un Certain Regard award.
“Motel Destino” stars Iago Xavier and Nataly Rocha, who were selected from an extensive casting process, and renowned Brazilian actor Fabio Assunção. The official synopsis reads: “The neon-hued Motel Destino is a roadside sex hotel under the burning blue skies of the Northeastern coast of Brazil, run by the boorish Elias and his frustrated, beautiful wife Dayana. When 21-year-old Heraldo finds himself at the motel, after messing up a hit and going on the run from both the police and the gang he let down, Dayana finds herself intrigued and lets him stay. As the...
- 4/11/2024
- by Samantha Bergeson
- Indiewire
Kaya Scodelario, fresh from wrapping Netflix’s Guy Ritchie series The Gentlemen, is sticking with the streamer for her next role.
Scodelario, who is best known for her roles in The Maze Runner and Pirates of the Caribbean: Dead Men Tell No Tales as well as breaking out via British teen series Skins, will star in limited series Senna.
The series will tell the story of Brazilian Formula 1 legend Ayrton Senna.
Scodelario, whose mother is from Sao Paulo, will play a fictional character in the series, which is filming in Brazil and Argentina.
The six-part series will show the three-time Formula 1 champion’s trajectory of overcoming joys and sorrows, exploring his personality and personal relationships. The starting point of the series will be the beginning of Ayrton’s racing career, when he moves to England to compete in Formula Ford, until the tragic accident in Imola, Italy, during the...
Scodelario, who is best known for her roles in The Maze Runner and Pirates of the Caribbean: Dead Men Tell No Tales as well as breaking out via British teen series Skins, will star in limited series Senna.
The series will tell the story of Brazilian Formula 1 legend Ayrton Senna.
Scodelario, whose mother is from Sao Paulo, will play a fictional character in the series, which is filming in Brazil and Argentina.
The six-part series will show the three-time Formula 1 champion’s trajectory of overcoming joys and sorrows, exploring his personality and personal relationships. The starting point of the series will be the beginning of Ayrton’s racing career, when he moves to England to compete in Formula Ford, until the tragic accident in Imola, Italy, during the...
- 7/6/2023
- by Peter White
- Deadline Film + TV
Italian indie producer Vivo Film has boarded André Ristum’s action drama “Tecnicamente Dolce” (“Technically Sweet”), based on a screenplay by Italian legend Michelangelo Antonioni, teaming with Gullane Filmes, Brazil’s biggest independent film production house.
The news comes as “Carnival Is Over,” the awaited thriller drama by “Narcos” director Fernando Coimbra, whose “A Wolf at the Door” was one of the standout Brazilian feature debuts of the last decade, has now entered post-production, shaping up as one of the big arthouse titles to hit festivals from Brazil next year.
Featuring Leandra Leal (“A Wolf at the Door”), Pêpê Rapazote (“Narcos”) and Irandhir Santos (“Tropa de Elite 2”), “Carnival” is a Brazilian-Portuguese co-production that teams Gullane with Fado Filmes, Videodrome, Globo Filmes and Telecine, in association with Tc Filmes. France’s Playtime has started to pre-sell the film.
“This movie is our main title for next year. This is the...
The news comes as “Carnival Is Over,” the awaited thriller drama by “Narcos” director Fernando Coimbra, whose “A Wolf at the Door” was one of the standout Brazilian feature debuts of the last decade, has now entered post-production, shaping up as one of the big arthouse titles to hit festivals from Brazil next year.
Featuring Leandra Leal (“A Wolf at the Door”), Pêpê Rapazote (“Narcos”) and Irandhir Santos (“Tropa de Elite 2”), “Carnival” is a Brazilian-Portuguese co-production that teams Gullane with Fado Filmes, Videodrome, Globo Filmes and Telecine, in association with Tc Filmes. France’s Playtime has started to pre-sell the film.
“This movie is our main title for next year. This is the...
- 5/24/2023
- by Emiliano De Pablos and John Hopewell
- Variety Film + TV
Gullane, one of Brazil’s biggest production powerhouses, has attached Fernanda Montenegro, Oscar-nominated for “Central Station,” to star in “The Hanged,” the new anticipated film from “Narcos” director Fernando Coimbra.
The news comes as Gullane unveiled in Cannes its first post-pandemic movie slate, led by two movies from director Cao Hamburger.
“We want to continue providing production services for the platforms, producing with them. But we also want to own the IP of some of our projects, and movies give us that,” Gullane co-founder Fabiano Gullane said..
Produced with Globo Filmes and Telecine, “The Hanged” is co-produced by Portugal’s Fado Filmes. Paris Filmes distributes in Brazil. It will go into production second semester 2022,
“’The Hanged’ has been long delayed due to the pandemic but we are very honored to have two of the biggest acting stars, part of recent Brazilian cinema history,” said producer Caio Gullane.
Other pics on...
The news comes as Gullane unveiled in Cannes its first post-pandemic movie slate, led by two movies from director Cao Hamburger.
“We want to continue providing production services for the platforms, producing with them. But we also want to own the IP of some of our projects, and movies give us that,” Gullane co-founder Fabiano Gullane said..
Produced with Globo Filmes and Telecine, “The Hanged” is co-produced by Portugal’s Fado Filmes. Paris Filmes distributes in Brazil. It will go into production second semester 2022,
“’The Hanged’ has been long delayed due to the pandemic but we are very honored to have two of the biggest acting stars, part of recent Brazilian cinema history,” said producer Caio Gullane.
Other pics on...
- 5/20/2022
- by John Hopewell
- Variety Film + TV
“Island City,” the latest film from “Lower City” director Sérgio Machado, has been acquired for international sales by Edward Noeltner’s Beverly Hills-based Cinema Management Group. Given a current absence of Brazilian movies selected for the Cannes Festival, the acquisition gives Cmg one of the most awaited of titles coming out of Brazil this year.
It also marks latest title from Brazilian production powerhouse Gullane, whose credits include Cannes Competition players – Hector Babenco’s “Carandiru,” Marco Bellocchio’s “The Traitor” – as well as Sundance winners, such as Anna Muylaert’s “The Second Mother,” and Berlin Panorama laureates, such as Luis Bolognesi’s “The Last Forest.”
Exploring the foibles and failure of manhood, also the focus of “Lower City,” “Inner City” tells what Cmg describes as the “captivating” tale of three brothers who end up living under the same roof as middle brother Dalberto’s sensual new wife, Anaira (Sophie Charlotte...
It also marks latest title from Brazilian production powerhouse Gullane, whose credits include Cannes Competition players – Hector Babenco’s “Carandiru,” Marco Bellocchio’s “The Traitor” – as well as Sundance winners, such as Anna Muylaert’s “The Second Mother,” and Berlin Panorama laureates, such as Luis Bolognesi’s “The Last Forest.”
Exploring the foibles and failure of manhood, also the focus of “Lower City,” “Inner City” tells what Cmg describes as the “captivating” tale of three brothers who end up living under the same roof as middle brother Dalberto’s sensual new wife, Anaira (Sophie Charlotte...
- 4/27/2022
- by John Hopewell
- Variety Film + TV
More than half of invitees hail from 49 countries outside the US.
The UK’s Oscar-winning Promising Young Woman filmmaker Emerald Fennell and One Night In Miami star Kingsley Ben-Adir and Bulgarian Borat 2 breakout Maria Bakalova are among a new class of 395 talent and executives invited to join the Academy.
The new intake announced on Thursday (July 1) comprises 46% women, 39% from underrepresented ethnic/racial communities, and more than half (53%) of invitees hailing from 49 countries outside the US.
Besides Promising Young Woman writer-director Fennell and Ben-Adir, UK talent includes the upcoming star of The Batman, Robert Pattinson, as well as Borat 2...
The UK’s Oscar-winning Promising Young Woman filmmaker Emerald Fennell and One Night In Miami star Kingsley Ben-Adir and Bulgarian Borat 2 breakout Maria Bakalova are among a new class of 395 talent and executives invited to join the Academy.
The new intake announced on Thursday (July 1) comprises 46% women, 39% from underrepresented ethnic/racial communities, and more than half (53%) of invitees hailing from 49 countries outside the US.
Besides Promising Young Woman writer-director Fennell and Ben-Adir, UK talent includes the upcoming star of The Batman, Robert Pattinson, as well as Borat 2...
- 7/1/2021
- by Jeremy Kay
- ScreenDaily
Written when the Italian legend was at the height of his powers, the screenplay for Michelangelo Antonioni’s “Technically Sweet,” which he planned to shoot between “Zabriskie Point” and “The Passenger,” looks set to be finally brought to the big screen.
Set in Sardinia and the Amazon jungle, “Technically Sweet” is set up at Brazil’s Gullane, the shingle behind Netflix’s upcoming “Senna” series, and Italy’s Similar, headed by Match Factory founder Michael Weber and Simone Gattoni and Laura Buffoni.
Antonioni finally gave up on shooting “Technically Sweet” in the 1980s, entrusting it to his A.D., Jirges Ristum, who died at an early age before shooting the film. It will be now be directed by Ristum’s son André Ristum. Enrica Antonioni, the director’s widow, will serve as associate producer.
Antonioni spent two years between 1970’s “Zabriskie Point” and 1975’s “The Passenger” trying to make “Technically Sweet.
Set in Sardinia and the Amazon jungle, “Technically Sweet” is set up at Brazil’s Gullane, the shingle behind Netflix’s upcoming “Senna” series, and Italy’s Similar, headed by Match Factory founder Michael Weber and Simone Gattoni and Laura Buffoni.
Antonioni finally gave up on shooting “Technically Sweet” in the 1980s, entrusting it to his A.D., Jirges Ristum, who died at an early age before shooting the film. It will be now be directed by Ristum’s son André Ristum. Enrica Antonioni, the director’s widow, will serve as associate producer.
Antonioni spent two years between 1970’s “Zabriskie Point” and 1975’s “The Passenger” trying to make “Technically Sweet.
- 3/3/2021
- by John Hopewell
- Variety Film + TV
As the only Brazilian film selected in Berlinale’s Panorama sidebar, documentary “The Last Forest” by Luis Bolognesi hopes to shine a blazing light on the grave issues affecting the Amazon and its indigenous inhabitants.
Since taking office in 2019, populist president Jair Bolsonaro has allowed gold prospectors to exploit these lands despite a law meant to protect them. Deforestation of the Amazon has more than doubled during his tenure. The gold miners have also polluted the waters and brought diseases, including Covid-19, to these remote villages.
“The Last Forest” focuses on the Yanomami tribe who live in the Brazilian-Venezuelan border region, where Bolognesi, an anthropologist-documentarian, combines observational footage with staged sequences developed with shaman Davi Kopenawa Yanomami, one of the most renowned spokespersons for the Yanomami who has spoken at Harvard and before the Swedish and U.K. Parliaments as part of his awareness campaign.
Asked how he was able...
Since taking office in 2019, populist president Jair Bolsonaro has allowed gold prospectors to exploit these lands despite a law meant to protect them. Deforestation of the Amazon has more than doubled during his tenure. The gold miners have also polluted the waters and brought diseases, including Covid-19, to these remote villages.
“The Last Forest” focuses on the Yanomami tribe who live in the Brazilian-Venezuelan border region, where Bolognesi, an anthropologist-documentarian, combines observational footage with staged sequences developed with shaman Davi Kopenawa Yanomami, one of the most renowned spokespersons for the Yanomami who has spoken at Harvard and before the Swedish and U.K. Parliaments as part of his awareness campaign.
Asked how he was able...
- 3/2/2021
- by Anna Marie de la Fuente
- Variety Film + TV
As Brazil emerges from its shoot shutdown, the magnitude of its biggest production, Netflix fiction miniseries “Senna,” about Formula One racing genius Ayrton Senna, is rapidly becoming clearer.
The series, now in development, ticks multiple boxes for both Netflix and its producer, São Paulo-based Gullane.
“Language is no longer a barrier, only ambition and quality are barriers,” Francisco Ramos, Netflix VP of Spanish-language Originals in Latin America, said as a keynote at September’s San Sebastian Festival.
“Senna” certainly has ambition. It will be “the first Netflix title from Brazil conceived from its very inception as a global series,” “Senna” producer Fabiano Gullane told Variety during Ventana Sur.
In order for a Netflix title to “be successful abroad, it first has to have an impact in its own country,” Ramos also observed.
Senna can expect to have a huge impact n Brazil. For Gullane, “Other Formula One World Champions were heroes of their sport,...
The series, now in development, ticks multiple boxes for both Netflix and its producer, São Paulo-based Gullane.
“Language is no longer a barrier, only ambition and quality are barriers,” Francisco Ramos, Netflix VP of Spanish-language Originals in Latin America, said as a keynote at September’s San Sebastian Festival.
“Senna” certainly has ambition. It will be “the first Netflix title from Brazil conceived from its very inception as a global series,” “Senna” producer Fabiano Gullane told Variety during Ventana Sur.
In order for a Netflix title to “be successful abroad, it first has to have an impact in its own country,” Ramos also observed.
Senna can expect to have a huge impact n Brazil. For Gullane, “Other Formula One World Champions were heroes of their sport,...
- 12/4/2020
- by John Hopewell
- Variety Film + TV
Event to run online from November 30-December 4.
Ventana Sur 2020 Online has unveiled the selections for the annual post-production showcases Primer Corte and Copia Final sections.
The Latin American market runs from November 30-December 4 and typically takes place in Buenos Aires. This year’s event takes place online.
Argentina remains under lockdown and recently crossed one million reported cases of Covid-19.
The Primer Corte section progress includes:
A felicidade das coisas (Brazil)
Dir: Thais Fujinaga
Pdr: Thiago Macêdo Correia
Álbum para la juventud (Argentina)
Dir: Malena Solarz
Prd: Cecilia Pisano
Fogaréu (Brazil / France)
Dir: Flávia Neves
Pdr: Vania Catani
Trigal (Mexico...
Ventana Sur 2020 Online has unveiled the selections for the annual post-production showcases Primer Corte and Copia Final sections.
The Latin American market runs from November 30-December 4 and typically takes place in Buenos Aires. This year’s event takes place online.
Argentina remains under lockdown and recently crossed one million reported cases of Covid-19.
The Primer Corte section progress includes:
A felicidade das coisas (Brazil)
Dir: Thais Fujinaga
Pdr: Thiago Macêdo Correia
Álbum para la juventud (Argentina)
Dir: Malena Solarz
Prd: Cecilia Pisano
Fogaréu (Brazil / France)
Dir: Flávia Neves
Pdr: Vania Catani
Trigal (Mexico...
- 11/2/2020
- ScreenDaily
Roster of participants includes 44 female producers out of 73 in total.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
- 9/1/2020
- by Jeremy Kay
- ScreenDaily
Roster of participants includes 44 female producers out of 73 in total.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
- 9/1/2020
- by Jeremy Kay
- ScreenDaily
Roster of participants includes 44 female producers out of 73 in total.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
The latest projects from producers of French Exit and The Babadook are among the roster at the virtual 15th Ontario Creates International Financing Forum (iff) set to run from September 13-14.
The co-financing and co-production market takes place in association with Toronto International Film Festival (TIFF) and serves international and Canadian producers developing mostly English-language projects.
The two-day schedule includes networking opportunities for producers with international sales agents, financiers, distributors, agents, and executive producers, as well as an exclusive state-of-the-industry panel discussion, producer drop-in sessions, and access to a TIFF case study on co-productions.
- 9/1/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Even before coronavirus, Brazil’s film sector was in extraordinary trouble, victim of a near 18-month freeze on government film funding under far-right Brazilian president Jair Bolsonaro.
Now, many executives fear a radical shake out. “We have the incentive freeze, coronavirus, economic crisis, need for a new audiovisual law,” says Fabiano Gullane, one of Brazil’s biggest film-tv producers. The shingle has drama “Paloma,” from Marcelo Gomes, on tap.
“I fear for the future of medium-sized and small companies in Brazil,” he says. “They are near 100% dependent on [federal film agency] Ancine, [and] may well not have the cash-flow to survive the crisis.”
Adds producer Rodrigo Teixeira: “If we don’t have access to subsidies, production will stop, not only because of the pandemic but also the way Brazilian film financing is structured.”
The double crisis will push Brazilian companies into producing for TV as well as Brazil’s digital platforms.
Last October,...
Now, many executives fear a radical shake out. “We have the incentive freeze, coronavirus, economic crisis, need for a new audiovisual law,” says Fabiano Gullane, one of Brazil’s biggest film-tv producers. The shingle has drama “Paloma,” from Marcelo Gomes, on tap.
“I fear for the future of medium-sized and small companies in Brazil,” he says. “They are near 100% dependent on [federal film agency] Ancine, [and] may well not have the cash-flow to survive the crisis.”
Adds producer Rodrigo Teixeira: “If we don’t have access to subsidies, production will stop, not only because of the pandemic but also the way Brazilian film financing is structured.”
The double crisis will push Brazilian companies into producing for TV as well as Brazil’s digital platforms.
Last October,...
- 5/11/2020
- by John Hopewell
- Variety Film + TV
“Noah’s Ark – A Musical Adventure,” Brazil’s most ambitious animated feature ever, just got a bit bigger with the announcement that producers Fabiano Gullane’s Gullane, Walter Salles’ Videofilmes and Felipe Sabino and Daniel Greco’s Nip will be joined by leading Indian animation studio Symbiosys Technologies as co-producers and co-animators.
The partnership marks the first occasion that Brazil and India have paired on a 3D animated feature.
The deal was brokered by Edward Noeltner’s Cinema Management Group, the film’s international sales agent.
Launched on the international market last year after first being announced at Ventana Sur 2017, “Noah’s Ark” had already secured robust pre-sales by June’s Annecy Festival, and now has deals in place with more than 20 international distributors.
Domestic distribution in Brazil will be handled by Imagem Films, one of the country’s – and indeed Latin America’s – top independent movie distributors, another sign...
The partnership marks the first occasion that Brazil and India have paired on a 3D animated feature.
The deal was brokered by Edward Noeltner’s Cinema Management Group, the film’s international sales agent.
Launched on the international market last year after first being announced at Ventana Sur 2017, “Noah’s Ark” had already secured robust pre-sales by June’s Annecy Festival, and now has deals in place with more than 20 international distributors.
Domestic distribution in Brazil will be handled by Imagem Films, one of the country’s – and indeed Latin America’s – top independent movie distributors, another sign...
- 9/19/2019
- by Jamie Lang
- Variety Film + TV
London-based sales and production company Taskovski Films has acquired world sales rights to Barbara Paz’s debut documentary, “Babenco — Tell Me When I Die,” which bows in Venice Classics on Sept. 2.
Brazilian helmer Héctor Babenco was a commanding presence on the international film scene, directing pics of the caliber of “Kiss of the Spider Woman,” which was Oscar nominated for best picture, director, adapted screenplay and actor, with William Hurt winning in his category. Other notable films by Babenco include “Ironweed” and “Pixote.”
Paz’s film represents a passing of the baton between a mentor and his student, who were also lovers. It is in a way Babenco’s last work. A film that functions as a loving portrait of the man and the filmmaker, but also as a love letter to the filmmaking process itself.
It is a deeply stylized, black-and-white documentary with intricate editing that shuttles between Babenco...
Brazilian helmer Héctor Babenco was a commanding presence on the international film scene, directing pics of the caliber of “Kiss of the Spider Woman,” which was Oscar nominated for best picture, director, adapted screenplay and actor, with William Hurt winning in his category. Other notable films by Babenco include “Ironweed” and “Pixote.”
Paz’s film represents a passing of the baton between a mentor and his student, who were also lovers. It is in a way Babenco’s last work. A film that functions as a loving portrait of the man and the filmmaker, but also as a love letter to the filmmaking process itself.
It is a deeply stylized, black-and-white documentary with intricate editing that shuttles between Babenco...
- 9/1/2019
- by Emiliano Granada
- Variety Film + TV
Madrid — In a sign of one direction Latin America’s film industry is going, building ever more significant production partnerships on banner art films around the region, premier Brazilian production house Gullane has boarded Benjamín Avila’s “The Cardinal.”
Already produced by Chile’s Storyboard Media and Argentina’s Magma Cine, “The Cardinal” has just been selected for San Sebastian’s Europe-Latin America Co-production Forum.
News of Gullane’s equity participation comes as it is finalizing Argentine financing on “Bachelor Party,” its latest big commercial play, distributed in Brazil and Latin America by Warner Bros.
Now packing three partners as multi-lateral production partnerships increasingly mark out the biggest movies from Latin America, “The Cardinal” will weigh in to San Sebastian as one of the highest-profile at the Forum.
Part of Argentine Avila’s lifelong concern for opposition to dictatorship and tyranny – both his parents were montoneros, who died fighting Argentina’s Junta,...
Already produced by Chile’s Storyboard Media and Argentina’s Magma Cine, “The Cardinal” has just been selected for San Sebastian’s Europe-Latin America Co-production Forum.
News of Gullane’s equity participation comes as it is finalizing Argentine financing on “Bachelor Party,” its latest big commercial play, distributed in Brazil and Latin America by Warner Bros.
Now packing three partners as multi-lateral production partnerships increasingly mark out the biggest movies from Latin America, “The Cardinal” will weigh in to San Sebastian as one of the highest-profile at the Forum.
Part of Argentine Avila’s lifelong concern for opposition to dictatorship and tyranny – both his parents were montoneros, who died fighting Argentina’s Junta,...
- 8/16/2019
- by John Hopewell
- Variety Film + TV
Sony Pictures Classics has picked up the North American, Latin American, Scandinavian, Australian and New Zealand rights to Marco Bellocchio’s mob drama “The Traitor,” or “Il traditore,” following its premiere at the Cannes Film Festival on Thursday.
Bellocchio also wrote the script with Ludovica Rampoldi, Valia Santela, and Francesco Piccolo. “The Traitor” is produced by Beppe Caschetto, Michael Weber, Viola Fugen, Simone Gattoni, Caio Gullane, Fabiano Gullane and Alexandra Henochsberg, while Paula Cosenza and Thiago Mascarenhas are serving as executive producers.
The drama follows the real life of Tommaso Buscetta, a Sicilian Mafia boss who became an informant for authorities in Sicily during the 1980s. Pierfrancesco Favino, Maria Fernanda Candido and Luigi Lo Cascio star.
Also Read: 'The Traitor' Film Review: Sturdy Mafia Biopic Loses Something in Translation
“The Traitor” is a co-production between Ibc Movie, Rai Cinema, Kavac Film, Gullane Productions, Ad Vitam Production, and Match Factory Productions.
Bellocchio also wrote the script with Ludovica Rampoldi, Valia Santela, and Francesco Piccolo. “The Traitor” is produced by Beppe Caschetto, Michael Weber, Viola Fugen, Simone Gattoni, Caio Gullane, Fabiano Gullane and Alexandra Henochsberg, while Paula Cosenza and Thiago Mascarenhas are serving as executive producers.
The drama follows the real life of Tommaso Buscetta, a Sicilian Mafia boss who became an informant for authorities in Sicily during the 1980s. Pierfrancesco Favino, Maria Fernanda Candido and Luigi Lo Cascio star.
Also Read: 'The Traitor' Film Review: Sturdy Mafia Biopic Loses Something in Translation
“The Traitor” is a co-production between Ibc Movie, Rai Cinema, Kavac Film, Gullane Productions, Ad Vitam Production, and Match Factory Productions.
- 5/24/2019
- by Beatrice Verhoeven
- The Wrap
The Match Factory announces territory sales on The Traitor.
Sony Pictures Classics has picked up worldwide rights excluding France and German-speaking Europe to Michael Angelo Covino’s comedy and Un Certain Regard selection The Climb.
The distributor additionally confirmed on Friday (24) that it had acquired Marco Bellocchio’s Competition entry The Traitor from Match Factory, which announced a string of territory sales.
Covino and Kyle Marvin wrote The Climb based on their own experiences. The story tells of best friends and cycling enthusiasts whose close bond is strained when one sleeps with the other’s girlfriend. Covino and Marvin star alongside Gayle Rankin,...
Sony Pictures Classics has picked up worldwide rights excluding France and German-speaking Europe to Michael Angelo Covino’s comedy and Un Certain Regard selection The Climb.
The distributor additionally confirmed on Friday (24) that it had acquired Marco Bellocchio’s Competition entry The Traitor from Match Factory, which announced a string of territory sales.
Covino and Kyle Marvin wrote The Climb based on their own experiences. The story tells of best friends and cycling enthusiasts whose close bond is strained when one sleeps with the other’s girlfriend. Covino and Marvin star alongside Gayle Rankin,...
- 5/24/2019
- by Jeremy Kay
- ScreenDaily
After Triumphant Cannes Premiere, ‘The Traitor (Il Traditore)’ Is Acquired By Sony Pictures Classics
Exclusive: Following its Cannes premiere Thursday evening, The Traitor’ (Il traditore) is being acquired for North American distribution by Sony Pictures Classics, sources said. The Marco Bellocchio-directed drama chronicled the takedown of organized crime seen through the eyes of Tommaso Buscetta (Pierfrancesco Favino), a key mob figure who turned state’s evidence in a move that led others to do the same, crumbling the omerta code that allowed the gangsters to operate unfettered. A slew of killers and drug traffickers ended up in prison as a result.
The drama unfolds in 1980, when the game grew from old-style crime with decorum to a more bloodthirsty business. Buscetta’s decision to turn “rat” leads to the arrest of all the mafia chieftains, who face off against Buscetta in a “maxi trial” that was shocking because no one at his level of criminal prominence had done such a thing. To the star witness,...
The drama unfolds in 1980, when the game grew from old-style crime with decorum to a more bloodthirsty business. Buscetta’s decision to turn “rat” leads to the arrest of all the mafia chieftains, who face off against Buscetta in a “maxi trial” that was shocking because no one at his level of criminal prominence had done such a thing. To the star witness,...
- 5/23/2019
- by Mike Fleming Jr
- Deadline Film + TV
Gullane, the Brazilian producer of Marco Bellocchio’s Cannes competition player “The Traitor,” has linked with production partners for anticipated projects by two of Brazil’s highest-profile auteurs: Karim Ainouz and Fernando Coimbra.
In further news, Luiz Bolognesi, writer-director of Annecy winner “Rio 2096,” is leading “Senna,” Gullane’s biggest movie project to date, a live-action biopic of the Formula One legend.
On “Neon River,” the English-language debut and biggest-scale movie ever of Ainouz, whose Rodrigo Teixeira-produced “Invisible Life” world premieres in Cannes Un Certain Regard this week, Gullane will co-produce with Germany’s Match Factory Prods. and Japan’s Bitters End.
A romantic action-thriller set in Tokyo’s near-future underworld, “Neon River” has been adapted by Ainouz and the U.K.’s Toby Finlay. Sergio Machado, director of Brazil’s biggest animated movie “Noah’s Ark,” which Gullane is producing with Walter Salles, is writing the latest screenplay version.
In further news, Luiz Bolognesi, writer-director of Annecy winner “Rio 2096,” is leading “Senna,” Gullane’s biggest movie project to date, a live-action biopic of the Formula One legend.
On “Neon River,” the English-language debut and biggest-scale movie ever of Ainouz, whose Rodrigo Teixeira-produced “Invisible Life” world premieres in Cannes Un Certain Regard this week, Gullane will co-produce with Germany’s Match Factory Prods. and Japan’s Bitters End.
A romantic action-thriller set in Tokyo’s near-future underworld, “Neon River” has been adapted by Ainouz and the U.K.’s Toby Finlay. Sergio Machado, director of Brazil’s biggest animated movie “Noah’s Ark,” which Gullane is producing with Walter Salles, is writing the latest screenplay version.
- 5/19/2019
- by John Hopewell
- Variety Film + TV
Led by “Bacurau,” directed by Kleber Mendonça Filho and Juliano Dornelles, and Marco Bellocchio’s “The Traitor,” both playing Cannes competition, Brazil has five movies selected for this year’s Cannes, seven if including Acid, the best result in living memory. It also makes Brazil Cannes’ fourth-biggest national cinema presence, after France (46 productions), the U.S. (11) and Belgium (nine).
One more title can be partly chalked up to Brazil: Robert Eggers’ “The Lighthouse,” produced by Rodrigo Teixeira at Sao Paulo-based Rt Features, which, extraordinarily enough, also has “The Invisible Life” and “Port Authority” in Un Certain Regard.
Yet most of these selections came on April 18, the same day that Christian de Castro, head of Brazil’s all-powerful film-tv agency head Ancine, recommended staff to halt new and recently approved incentive awards, in a memorandum leaked to the press.
Ancine contributes some $300 million a year into Brazil’s film-tv industries.
The...
One more title can be partly chalked up to Brazil: Robert Eggers’ “The Lighthouse,” produced by Rodrigo Teixeira at Sao Paulo-based Rt Features, which, extraordinarily enough, also has “The Invisible Life” and “Port Authority” in Un Certain Regard.
Yet most of these selections came on April 18, the same day that Christian de Castro, head of Brazil’s all-powerful film-tv agency head Ancine, recommended staff to halt new and recently approved incentive awards, in a memorandum leaked to the press.
Ancine contributes some $300 million a year into Brazil’s film-tv industries.
The...
- 5/16/2019
- by John Hopewell and Marcelo Cajueiro
- Variety Film + TV
On March 26, Apex, the state-run Brazilian Trade and Investment Promotion Agency, announced that it was pulling key financing for Cinema do Brasil, Brasil’s private-sector equivalent of France’s trade body UniFrance.
With a new top management set to settle in at Apex from mid-May, film export org Cinema do Brasil may be pulled back from the brink, the government informing the org in late April that it would be interested in renewing Apex funding.
Cannes may not be CdB’s last market. Brazil’s left-leaning industry is light years away from President Jair Bolsonaro’s far-right government. Even so, according to Andre Sturm, CdB topper, the government recognizes that film gives a good image of Brazil abroad.
The Apex scare underscores the current volatility of Brazilian politics. Its resolution would reflect one of the biggest revolutions shaping cinema in this century: the dramatic development in world cinema production, of...
With a new top management set to settle in at Apex from mid-May, film export org Cinema do Brasil may be pulled back from the brink, the government informing the org in late April that it would be interested in renewing Apex funding.
Cannes may not be CdB’s last market. Brazil’s left-leaning industry is light years away from President Jair Bolsonaro’s far-right government. Even so, according to Andre Sturm, CdB topper, the government recognizes that film gives a good image of Brazil abroad.
The Apex scare underscores the current volatility of Brazilian politics. Its resolution would reflect one of the biggest revolutions shaping cinema in this century: the dramatic development in world cinema production, of...
- 5/16/2019
- by John Hopewell
- Variety Film + TV
On March 26, Apex, the state-run Brazilian Trade and Investment Promotion Agency, announced that it was pulling key financing for Cinema do Brasil, Brazil’s private-sector equivalent of France’s trade body UniFrance.
With a new top management set to settle in at Apex from mid-May, film export org Cinema do Brasil may be pulled back from the brink, the government informing the org in late April that it would be interested in renewing Apex funding.
Cannes may not be CdB’s last market. Brazil’s left-leaning industry is light years away from President Jair Bolsonaro’s far-right government. Even so, according to Andre Sturm, CdB topper, the government recognizes that film gives a good image of Brazil abroad.
The Apex scare underscores the current volatility of Brazilian politics. Its resolution would reflect one of the biggest revolutions shaping cinema in this century: the dramatic development in world cinema production, of...
With a new top management set to settle in at Apex from mid-May, film export org Cinema do Brasil may be pulled back from the brink, the government informing the org in late April that it would be interested in renewing Apex funding.
Cannes may not be CdB’s last market. Brazil’s left-leaning industry is light years away from President Jair Bolsonaro’s far-right government. Even so, according to Andre Sturm, CdB topper, the government recognizes that film gives a good image of Brazil abroad.
The Apex scare underscores the current volatility of Brazilian politics. Its resolution would reflect one of the biggest revolutions shaping cinema in this century: the dramatic development in world cinema production, of...
- 5/15/2019
- by John Hopewell and Marcelo Cajueiro
- Variety Film + TV
One of the first measures enacted by Brazilian president Jair Bolsonaro, who took office on Jan. 1, was to merge Brazil’s Ministry of Culture with a newly created Ministry of Citizenship, embracing sports, communications, social policy and culture.
While performing artists came under fire from Bolsinaro supporters in the runup to the elections, subject to threats, pickets, and a smoke bomb, it remains to be seen what impact the new government will have on the film industry.
By mid-January, trade bodies were reaching out to key governmental figures to guarantee the continuation of policies for promotion, investment and control of the industry, the creative industries being the second-most popular career choice in Brazil, says producer Fabiano Gullane.
“It’s illusory to think that Brazil’s film industry can do without subsidies,” says Leonardo Barros, at Conspiraçao, one of Brazil’s biggest film-tv producers. “You’d need a 30%-35% market share to start reducing them.
While performing artists came under fire from Bolsinaro supporters in the runup to the elections, subject to threats, pickets, and a smoke bomb, it remains to be seen what impact the new government will have on the film industry.
By mid-January, trade bodies were reaching out to key governmental figures to guarantee the continuation of policies for promotion, investment and control of the industry, the creative industries being the second-most popular career choice in Brazil, says producer Fabiano Gullane.
“It’s illusory to think that Brazil’s film industry can do without subsidies,” says Leonardo Barros, at Conspiraçao, one of Brazil’s biggest film-tv producers. “You’d need a 30%-35% market share to start reducing them.
- 2/7/2019
- by John Hopewell
- Variety Film + TV
The Traitor
Italian auteur Marco Bellocchio, whose radical early works were a seminal part of 1960s and 1970s Italian cinema, embarks on his latest feature The Traitor, a biopic of Cosa Nostra member Tommaso Buscetta, the first high ranking official of the mafia organization to break their code of silence. Pierfrancesco Favino stars as Buscetta, joined by Brazilian actress Maria Fernando Candido, Luigi Lo Cascio, Fabrizio Ferracane and Fausto Russo Alesi. Oscar winning composer Nicola Piovani of 1998’s Life is Beautiful is writing the score and Vladan Radovic will serve as Dp. The feature is a four-country co-pro financed through Italy’s Ibc Movie, Kavac Film and Rai Cinema, while France’s Ad Vitam, Arte France Cinema and Canal Plus are also joined by Brazil’s Gullane and Germany’s Match Factory.…...
Italian auteur Marco Bellocchio, whose radical early works were a seminal part of 1960s and 1970s Italian cinema, embarks on his latest feature The Traitor, a biopic of Cosa Nostra member Tommaso Buscetta, the first high ranking official of the mafia organization to break their code of silence. Pierfrancesco Favino stars as Buscetta, joined by Brazilian actress Maria Fernando Candido, Luigi Lo Cascio, Fabrizio Ferracane and Fausto Russo Alesi. Oscar winning composer Nicola Piovani of 1998’s Life is Beautiful is writing the score and Vladan Radovic will serve as Dp. The feature is a four-country co-pro financed through Italy’s Ibc Movie, Kavac Film and Rai Cinema, while France’s Ad Vitam, Arte France Cinema and Canal Plus are also joined by Brazil’s Gullane and Germany’s Match Factory.…...
- 1/7/2019
- by Nicholas Bell
- IONCINEMA.com
Buenos Aires — Marking what looks very much like a new record for animation in Latin America, Edward Noeltner’s Cinema Management Group, the sales company behind Oscar-nominated “Loving Vincent,” has pre-sold “Ainbo – Spirit of the Amazon” to over half the planet.
“Ainbo” was picked up by Cmg in January 2017 off the first edition of Ventana Sur Animation!, where Tunche Films presented a teaser promo. Produced by Gullane Films and Walter Salles’ Videofilmes, Sergio Machado’s “Noah’s Ark – A Musical Adventure,” a Cmg acquisition off last year’s Animation!, has now pre-sold to 16 international distributors. Sales on “Noah’s Ark,” a flagship for the high artistic and commercial ambitions of Brazilian animation, suggest once more the resilient appeal of striking, high-end foreign animation in the international market as a theatrical proposition.
Deals on “Ainbo,” directed by Peru’s José Zelada, take in half the world’s major markets: China (Turbo Films...
“Ainbo” was picked up by Cmg in January 2017 off the first edition of Ventana Sur Animation!, where Tunche Films presented a teaser promo. Produced by Gullane Films and Walter Salles’ Videofilmes, Sergio Machado’s “Noah’s Ark – A Musical Adventure,” a Cmg acquisition off last year’s Animation!, has now pre-sold to 16 international distributors. Sales on “Noah’s Ark,” a flagship for the high artistic and commercial ambitions of Brazilian animation, suggest once more the resilient appeal of striking, high-end foreign animation in the international market as a theatrical proposition.
Deals on “Ainbo,” directed by Peru’s José Zelada, take in half the world’s major markets: China (Turbo Films...
- 12/12/2018
- by John Hopewell
- Variety Film + TV
Partners revisit beloved Oscar Wilde novella.
Cinema Management Group (Cmg) launches worldwide sales at Afm next week on an animated adaptation of Oscar Wilde’s The Canterville Ghost in association with Robert Chandler’s Space Age Films and Gina Carter and Stephen Fry’s Sprout Pictures.
Veteran British performer, writer and raconteur Fry will voice Sir Simon de Canterville, a spirit that has scared off anybody who has dared to inhabit his stately home for several centuries.
All that changes when an American family move in and turns the tables on the spectral resident. The exhausted ghost rediscovers hope when...
Cinema Management Group (Cmg) launches worldwide sales at Afm next week on an animated adaptation of Oscar Wilde’s The Canterville Ghost in association with Robert Chandler’s Space Age Films and Gina Carter and Stephen Fry’s Sprout Pictures.
Veteran British performer, writer and raconteur Fry will voice Sir Simon de Canterville, a spirit that has scared off anybody who has dared to inhabit his stately home for several centuries.
All that changes when an American family move in and turns the tables on the spectral resident. The exhausted ghost rediscovers hope when...
- 10/26/2018
- by Jeremy Kay
- ScreenDaily
Annecy, France—The Quirino Awards will draft a white paper for Ibero-American animation, the event’s promoter José Luis Farias announced in Annecy.
According to Farias, the idea is to update, consolidate and catalog vital statistics from the region’s animation industries, including information on ongoing animation projects. “There’s no exhaustive radiography of the Ibero-American animation industry so far. And this white paper could be a foundation stone to build many things around,” Farias told Variety.
Quirino is looking for backers for the project and is in talks with a number of government bodies, lobbies and institutes. The 2nd Quirino Awards will run April 5-6 on the Canary island of Tenerife.
Farias was accompanied by Tenerife Film Commission strategy consultant Zulay Rodríguez, who outlined the Canary Islands’ attractive 40% tax rebate for potential partners and investors, and José Iñesta, the director of Mexican animation confab Pixelatl, who announced that the event’s next edition,...
According to Farias, the idea is to update, consolidate and catalog vital statistics from the region’s animation industries, including information on ongoing animation projects. “There’s no exhaustive radiography of the Ibero-American animation industry so far. And this white paper could be a foundation stone to build many things around,” Farias told Variety.
Quirino is looking for backers for the project and is in talks with a number of government bodies, lobbies and institutes. The 2nd Quirino Awards will run April 5-6 on the Canary island of Tenerife.
Farias was accompanied by Tenerife Film Commission strategy consultant Zulay Rodríguez, who outlined the Canary Islands’ attractive 40% tax rebate for potential partners and investors, and José Iñesta, the director of Mexican animation confab Pixelatl, who announced that the event’s next edition,...
- 6/14/2018
- by Emilio Mayorga
- Variety Film + TV
Annecy, France — Produced by Gullane, Walter Salles’ Videofilmes, Felipe Sabino and Daniel Greco’s Nip and Globo Filmes and sold by Edward Noeltner’s Cinema Management Group, Sergio Machado’s “Noah’s Ark,” a flagship for the high artistic and commercial ambitions of Brazilian animation, has struck eye-catching pre-sales across the whole of Latin America and Asia.
News of the pre-sales come as Financial Film Services, a thirty year-old investment banking firm, is in negotiations to take an substantial minority equity stake in “Noah’s Ark,” also bringing on board a Canadian animation studio to join as a partner.
Domestic distribution in Brazil will be handled by Imagem Films, one of the country’s – and indeed Latin America’s – top independent movie distributors, another sign of the perceived market potential of the movie.
Noeltner made full use of Bordeaux’s Cartoon Movie and Hong Kong’s FilmArt to not only...
News of the pre-sales come as Financial Film Services, a thirty year-old investment banking firm, is in negotiations to take an substantial minority equity stake in “Noah’s Ark,” also bringing on board a Canadian animation studio to join as a partner.
Domestic distribution in Brazil will be handled by Imagem Films, one of the country’s – and indeed Latin America’s – top independent movie distributors, another sign of the perceived market potential of the movie.
Noeltner made full use of Bordeaux’s Cartoon Movie and Hong Kong’s FilmArt to not only...
- 6/13/2018
- by John Hopewell
- Variety Film + TV
Annecy, France — The opening two minutes, 10 seconds of Gustavo Steinberg’s “Tito and the Birds,” which world premieres in competition Thursday at Annecy, is a powerful snapshot of the forces powering up exponential growth in Brazilian animation.
It is high art, caught in a series of impressionist as a dove flies away from a wall engraving in a primeval cavern, past an Mesopotamia building, a Roman statue and irrigation channel, Spanish galleons, a luxury liner, a city under bombardment. There’s a sweep to its urgent statement on contemporary issues. “This is a story of how fear contaminated the world,” but sense of an outreach to broader audiences in the energy of camera movement, the hint of a horror story to come. Meanwhile, logos of 11 Brazilian state-sector entities feature in the initial credit crawl.
“I see in Brazilian animation varied techniques, styles, approaches, completely different paths,” says Ale Abreu, director...
It is high art, caught in a series of impressionist as a dove flies away from a wall engraving in a primeval cavern, past an Mesopotamia building, a Roman statue and irrigation channel, Spanish galleons, a luxury liner, a city under bombardment. There’s a sweep to its urgent statement on contemporary issues. “This is a story of how fear contaminated the world,” but sense of an outreach to broader audiences in the energy of camera movement, the hint of a horror story to come. Meanwhile, logos of 11 Brazilian state-sector entities feature in the initial credit crawl.
“I see in Brazilian animation varied techniques, styles, approaches, completely different paths,” says Ale Abreu, director...
- 6/13/2018
- by John Hopewell and Jamie Lang
- Variety Film + TV
Fernanda Torres (Cannes best actress prize winner for “Love Me Forever or Never”) is attached to star in “The Hanged,” the second Brazilian feature of Fernando Coimbra, which is set up at Brazilian shingle Gullane.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
Co-produced by Globo Filmes and Brazilian pay TV channel Telecine, “The Hanged” is a “tragic action thriller,” producer Fabiano Gullane said in Cannes. It centers on a married couple: Regina, from one of Rio de Janeiro’s most important (but bankrupt) families and Valerio, a mobster. Impelled by ambition, they kill Valerio’s uncle to grab a slice of Rio’s illegal gambling racket.
While a by-the-book police chief investigates corrupt cops with links to the city’s underworld, the murder sparks a turf war contaminating Valerio and Regina’s trust, driving their growing sense of paranoia, and leading to what the film’s synopsis calls a tragic outcome and “an operatic and insane bloodbath.
- 5/13/2018
- by John Hopewell
- Variety Film + TV
Two decades ago, there was hardly a Brazilian animation industry to speak of. Ten years back, a small handful of stalwart directors were struggling to gain international notoriety and impact TV, festivals and box offices domestically and abroad with low budgets and a lot of hard work. Today, Brazilian animation is thriving on all fronts, and in some cases, is even outpacing live-action in budget and ambition.
In 1951, Brazil’s first-ever animated feature, “Amazon Symphony,” was released; since that time 43 other toon features have joined its ranks. One feature every year-and-a-half is hardly anything to write home about, but according to Marta Machado of Brazilian animation house Otto Desenhos, 19 of those pictures have come in the last five years, and another 25 features are currently in production.
The clearest indicator of Brazil’s ascendance as an international animation force came in 2013 when Annecy, one of the world’s most important animation festivals and markets,...
In 1951, Brazil’s first-ever animated feature, “Amazon Symphony,” was released; since that time 43 other toon features have joined its ranks. One feature every year-and-a-half is hardly anything to write home about, but according to Marta Machado of Brazilian animation house Otto Desenhos, 19 of those pictures have come in the last five years, and another 25 features are currently in production.
The clearest indicator of Brazil’s ascendance as an international animation force came in 2013 when Annecy, one of the world’s most important animation festivals and markets,...
- 5/11/2018
- by Jamie Lang and John Hopewell
- Variety Film + TV
Rio De Janeiro — HBO announced during Rio2C it has commissioned three new series in Brazil. As happened with the other HBO productions in the country, the series will run on HBO Brazilian channels and eventually on HBO channels worldwide subtitled or dubbed.
“Hard” will be the first HBO Brazilian series adapted from a foreign production. Leading local production house Gullane Filmes will adapt Cathy Verney’s French series that airs on Canal Plus since 2008. In it, a recent widow learns her deceased husband was in the porn production business and faces the challenge of saving the company she’s inherited. Daniel Rezende (an Oscar-nominee for best editing in 2003 on “City of God”) is the artistic supervisor of the series, which will have six episodes and will be lensed in the second half of 2018.
“One of the challenges is to adapt to Brazilian reality the French approach to sex, as...
“Hard” will be the first HBO Brazilian series adapted from a foreign production. Leading local production house Gullane Filmes will adapt Cathy Verney’s French series that airs on Canal Plus since 2008. In it, a recent widow learns her deceased husband was in the porn production business and faces the challenge of saving the company she’s inherited. Daniel Rezende (an Oscar-nominee for best editing in 2003 on “City of God”) is the artistic supervisor of the series, which will have six episodes and will be lensed in the second half of 2018.
“One of the challenges is to adapt to Brazilian reality the French approach to sex, as...
- 4/6/2018
- by Marcelo Cajueiro
- Variety Film + TV
Produced by Fabiano Gullane, Walter Salles and Globo Filmes, and unfolding to the strains of Bossa Nova, “Noah’s Ark” has closed brisk pre-sales for Edward Noeltner’s Cinema Management Group (Cmg) off a Berlin Festival launch.
Those deals reflect the status of “Noah’s Ark” – directed by Sérgio Machado (“Lower City”) and with songs and lyrics by Bossa Nova legend Vinicius de Moraes – as both one of the biggest-budgeted of current Brazilian movies and a flagship of its vibrant animation sector, which will receive a tribute at June’s Annecy Festival.
Made in what is now the long run-up to Cannes, deals also underscore Cmg’s making full use of Bordeaux’s Cartoon Movie and Hong Kong’s FilmArt to not only pre-sell “Noah’s Ark” in small-to-midsize territories – a traditional strategy – but position “Noah’s Ark” for the Cannes Festival. That tactic is likely to be copied by...
Those deals reflect the status of “Noah’s Ark” – directed by Sérgio Machado (“Lower City”) and with songs and lyrics by Bossa Nova legend Vinicius de Moraes – as both one of the biggest-budgeted of current Brazilian movies and a flagship of its vibrant animation sector, which will receive a tribute at June’s Annecy Festival.
Made in what is now the long run-up to Cannes, deals also underscore Cmg’s making full use of Bordeaux’s Cartoon Movie and Hong Kong’s FilmArt to not only pre-sell “Noah’s Ark” in small-to-midsize territories – a traditional strategy – but position “Noah’s Ark” for the Cannes Festival. That tactic is likely to be copied by...
- 3/29/2018
- by John Hopewell
- Variety Film + TV
Edward Noeltner boards animation after Ventana Sur pitch.
Edward Noeltner’s Cinema Management Group (Cmg), riding high on an Oscar nomination for animated feature Loving Vincent, will launch world sales at the Efm on Brazilian project Noah’s Ark with Walter Salles on board as a producer.
Sérgio Machado, who cut his teeth as assistant director on Salles’ Central Station, directs for Gullane Entretenimento, which produces with Salles’ Video Filmes and is run by brothers Caio Gullane and Fabiano Gullane.
The brothers are producing the musical adventure with Salles and will also be in Berlin to present Luiz Bolognesi’s Panorama documentary selection Ex-Shaman (Ex Pajé).
For Noeltner, Noah’s Ark marks the second animation Cmg has boarded after initial contact with producers at the Ventana Sur market in Buenos Aires, following Peruvian title Ainbo from Lima-based Tunche Films at the 2016 edition.
Noah’s Ark is based on the songs and lyrics by celebrated Brazilian singer and composer...
Edward Noeltner’s Cinema Management Group (Cmg), riding high on an Oscar nomination for animated feature Loving Vincent, will launch world sales at the Efm on Brazilian project Noah’s Ark with Walter Salles on board as a producer.
Sérgio Machado, who cut his teeth as assistant director on Salles’ Central Station, directs for Gullane Entretenimento, which produces with Salles’ Video Filmes and is run by brothers Caio Gullane and Fabiano Gullane.
The brothers are producing the musical adventure with Salles and will also be in Berlin to present Luiz Bolognesi’s Panorama documentary selection Ex-Shaman (Ex Pajé).
For Noeltner, Noah’s Ark marks the second animation Cmg has boarded after initial contact with producers at the Ventana Sur market in Buenos Aires, following Peruvian title Ainbo from Lima-based Tunche Films at the 2016 edition.
Noah’s Ark is based on the songs and lyrics by celebrated Brazilian singer and composer...
- 2/9/2018
- by Jeremy Kay
- ScreenDaily
Nicolas Winding Refn, Karim Ainouz and Lu Chuan are among the directors of projects selected for the inaugural Crouching Tigers Project Lab at the 1st International Film Festival & Awards Macao (Iffam).
The new lab, which takes place December 9-11, will present 12 projects, separated into genre, auteur and projects from partner organisations (see full list below).
Selected filmmakers will be able to interact with potential funders and distributors, as well as participate in script consultations, a pitch forum and workshops. The 12 projects will also vie for three cash awards of $20,000, to be presented by Fox International Productions, and one award of $10,000 each from Ivanhoe Pictures and China’s Huace Media.
The lab has been structured around three concepts:
*Innovative perspectives on the integration of Asian and non-Asian elements in film script and production.
*A special focus on genre cinema, including both its classic forms and contemporary trends originated by new technologies and formats.
*Effective networking...
The new lab, which takes place December 9-11, will present 12 projects, separated into genre, auteur and projects from partner organisations (see full list below).
Selected filmmakers will be able to interact with potential funders and distributors, as well as participate in script consultations, a pitch forum and workshops. The 12 projects will also vie for three cash awards of $20,000, to be presented by Fox International Productions, and one award of $10,000 each from Ivanhoe Pictures and China’s Huace Media.
The lab has been structured around three concepts:
*Innovative perspectives on the integration of Asian and non-Asian elements in film script and production.
*A special focus on genre cinema, including both its classic forms and contemporary trends originated by new technologies and formats.
*Effective networking...
- 11/10/2016
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
One of the most accomplished, sure-handed films of the Sundance Film Festival, "The Second Mother" is straightforward, socially aware and deeply rooted, not only in Brazilian but in world society class structures. That it It is also deeply rooted within the psyches of the actors and the director is what makes it so powerfully effective upon the audience.
Writer-director Anna Muylaert wrote the first version of this movie twenty years ago when she had her first child. It was called "The Kitchen Door" and was a magical realism story of a domestic servant who was a magician in her own village who could read the future of people
Twenty years ago when she had her first child, "normal" meant you brought in a nanny to care for your child and do all the housework. Anna was working and her boss assured her she would barely be able to manage three months at home when Anna informed her that she planned to take a year off to care for her child.
Her circle of friends was also aghast at the idea of her doing everything for her child And cooking dinner for them as guests. They persuaded her to bring in help at least twice a week. When the help came and told her to go relax, and closed the door on her, she began to write this script. For a year she had stayed at home to care for her child and during that time she had written books for television which earned her enough money to buy the house next door which became her office.
For herself, the idea of having a full time caretaker was confusing. When she was seven, her family hired a nanny. Anna recalled that at her school she was told to draw a picture of her family and she didn't know whether or not to include the nanny in the picture. Her younger sister was three and was so attached to the nanny that she is now the nanny of her children.
When Anna was 20 and moved out of her home, she realized she didn't know how to keep house, to clean, to cook, to do anything on her own. How stupid the middle and upper classes were, knowing nothing about life. She realized the power of the poor who knew how to cope with their own as well as their employers' lives.
Nineteen years after having her first child she returned to this script. Brazil had changed by this time. Brazil elected a president from the Workers Party. Labor laws were enacted that practically eradicated live-in labor. Maids no longer lived at their bosses' home because labor laws required paying them overtime.
Anna sat down and rewrote the script just as it was going into production. She made the nanny's daughter Jennifer, noble and strong enough to stand up to separatist social rules, throwbacks to the colonial past. She is full of curiosity and force of will, and she demands her due, her citizen rights. She offers a character model, a role model to be discussed after watching the movie. Anna considers her a super hero.
Val is a live-in housekeeper who takes her work seriously. She wears a crisp maid's uniform while serving perfect canapés; she serves her wealthy Sao Paolo employers day in and day out while lovingly nannying their teenage son whom she raised since toddlerhood. In order to do this to earn a living, she had to leave her own child in others' hands.
Everyone and everything in the elegant house has its place until one day, Val's ambitious, clever daughter Jessica arrives from Val's hometown to take the college entrance exams. Jessica's confident, youthful presence upsets the unspoken yet strict balance of power in the household; Val must decide where her allegiances lie and what she's willing to sacrifice.
Val herself has an inner strength which reveals itself in the course of the movie. In real life, this actress, Regina Case, is very strong, very influential, famous and wealthy. With a career of more than forty years, she is known for her work on stage, film and television. She is one of the most important artistic talents in Brazil today. She will soon be seen in the upcoming Emmanuel Benbihy franchise, "Rio, I Love You."
She produces For television and has a huge television following on TV Globo's "Esquenta!" which brings popular cultural personalities to the public. As an actress, she is like an anthropological museum, says Anna. She can display the characteristics of every sort of human being, recreating their gestures and personae exactly from a lifetime of research and re-creation.
When Anna directs, she likes the actors to suggest variations to the scripted words. Shooting digitally makes this even easier, and in this regard, the actors help write the script. Regina, with her broad range of experience and her own great reservoir of talent was a great resource.
I asked Anna what were her favorite films that she had directed. After some thought she said her first film, "Durval Discos" (2002) and this one. "The Second Mother" is more mature and a result of years of struggle. It has great actors and the cinematography by Uruguayan Dp, Barbara Alvarez_ ("Whisky") has created a particular look. The songs are also special. The crew worked very well together and the producers, brothers Caio and Fabiano Gullane, Débora Ivanov and Gabriel Lacerda were great. Caio worked with her on her last film, "Chomado a cobrar," as well. Gullane produced "A Wolf at the Door" and "Amazonia 3D".
It was not at all easy making this film. The star was so big; she is very critical and very forceful. But everyone was giving their best. She herself was totally devoted to the film for nine months, from July 2013 when she rewrote it to its completion in March 2014.
Anna's next film has been shot in November and December of 2014. She will go to the Berlinale where The Match Factory will offer it in the market and then home to rest for ten days before editing it. Its title, coincidentally is "There's Only One Mother". It's about two teenagers who don't know each other...the same actress plays both their mothers.
Perhaps we will see the new film in Cannes 2015.
Writer-director Anna Muylaert wrote the first version of this movie twenty years ago when she had her first child. It was called "The Kitchen Door" and was a magical realism story of a domestic servant who was a magician in her own village who could read the future of people
Twenty years ago when she had her first child, "normal" meant you brought in a nanny to care for your child and do all the housework. Anna was working and her boss assured her she would barely be able to manage three months at home when Anna informed her that she planned to take a year off to care for her child.
Her circle of friends was also aghast at the idea of her doing everything for her child And cooking dinner for them as guests. They persuaded her to bring in help at least twice a week. When the help came and told her to go relax, and closed the door on her, she began to write this script. For a year she had stayed at home to care for her child and during that time she had written books for television which earned her enough money to buy the house next door which became her office.
For herself, the idea of having a full time caretaker was confusing. When she was seven, her family hired a nanny. Anna recalled that at her school she was told to draw a picture of her family and she didn't know whether or not to include the nanny in the picture. Her younger sister was three and was so attached to the nanny that she is now the nanny of her children.
When Anna was 20 and moved out of her home, she realized she didn't know how to keep house, to clean, to cook, to do anything on her own. How stupid the middle and upper classes were, knowing nothing about life. She realized the power of the poor who knew how to cope with their own as well as their employers' lives.
Nineteen years after having her first child she returned to this script. Brazil had changed by this time. Brazil elected a president from the Workers Party. Labor laws were enacted that practically eradicated live-in labor. Maids no longer lived at their bosses' home because labor laws required paying them overtime.
Anna sat down and rewrote the script just as it was going into production. She made the nanny's daughter Jennifer, noble and strong enough to stand up to separatist social rules, throwbacks to the colonial past. She is full of curiosity and force of will, and she demands her due, her citizen rights. She offers a character model, a role model to be discussed after watching the movie. Anna considers her a super hero.
Val is a live-in housekeeper who takes her work seriously. She wears a crisp maid's uniform while serving perfect canapés; she serves her wealthy Sao Paolo employers day in and day out while lovingly nannying their teenage son whom she raised since toddlerhood. In order to do this to earn a living, she had to leave her own child in others' hands.
Everyone and everything in the elegant house has its place until one day, Val's ambitious, clever daughter Jessica arrives from Val's hometown to take the college entrance exams. Jessica's confident, youthful presence upsets the unspoken yet strict balance of power in the household; Val must decide where her allegiances lie and what she's willing to sacrifice.
Val herself has an inner strength which reveals itself in the course of the movie. In real life, this actress, Regina Case, is very strong, very influential, famous and wealthy. With a career of more than forty years, she is known for her work on stage, film and television. She is one of the most important artistic talents in Brazil today. She will soon be seen in the upcoming Emmanuel Benbihy franchise, "Rio, I Love You."
She produces For television and has a huge television following on TV Globo's "Esquenta!" which brings popular cultural personalities to the public. As an actress, she is like an anthropological museum, says Anna. She can display the characteristics of every sort of human being, recreating their gestures and personae exactly from a lifetime of research and re-creation.
When Anna directs, she likes the actors to suggest variations to the scripted words. Shooting digitally makes this even easier, and in this regard, the actors help write the script. Regina, with her broad range of experience and her own great reservoir of talent was a great resource.
I asked Anna what were her favorite films that she had directed. After some thought she said her first film, "Durval Discos" (2002) and this one. "The Second Mother" is more mature and a result of years of struggle. It has great actors and the cinematography by Uruguayan Dp, Barbara Alvarez_ ("Whisky") has created a particular look. The songs are also special. The crew worked very well together and the producers, brothers Caio and Fabiano Gullane, Débora Ivanov and Gabriel Lacerda were great. Caio worked with her on her last film, "Chomado a cobrar," as well. Gullane produced "A Wolf at the Door" and "Amazonia 3D".
It was not at all easy making this film. The star was so big; she is very critical and very forceful. But everyone was giving their best. She herself was totally devoted to the film for nine months, from July 2013 when she rewrote it to its completion in March 2014.
Anna's next film has been shot in November and December of 2014. She will go to the Berlinale where The Match Factory will offer it in the market and then home to rest for ten days before editing it. Its title, coincidentally is "There's Only One Mother". It's about two teenagers who don't know each other...the same actress plays both their mothers.
Perhaps we will see the new film in Cannes 2015.
- 8/27/2015
- by Sydney Levine
- Sydney's Buzz
Neil Armfield.s Holding the Man, Simon Stone.s The Daughter, Jeremy Sims. Last Cab to Darwin and Jen Peedom.s feature doc Sherpa will have their world premieres at the Sydney Film Festival.
The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.
Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.
Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.
As previously announced, Brendan Cowell...
The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.
Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.
Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.
As previously announced, Brendan Cowell...
- 5/6/2015
- by Don Groves
- IF.com.au
Film-maker Kleber Mendoça, who won the Fipresci Prize at Rotterdam and Wroclaw’s New Horizons for his fiction feature debut Neighbouring Sounds in 2012, will be in Locarno next month as part of an almost 60-strong Brazilian delegation.
Mendoça, who is also the director of Recife’s Janela International Film Festival, will be joined by, among others, festival director colleagues Renata de Almeida and Ivan Melo of the Sao Paulo Iff as well as Manoel Rangel and Eduardo Valente of film funder Ancine, André Sturm of Cinema do Brasil, producers Sara Silveira (Dezenove Som et Imagem), Eliane Ferreira (Muiraquita Filmes) and Elias Ribeiro (Urucu Media), distributors Jean-Thomas Bernardini (Imovision) and Marcos De Oliveira (Europa Filmes), and sales agent Sandro Fiorin (Figa Films).
Carte Blanche focus on Brazil
The fourth edition of Locarno’s Carte Blanche showcase will be the focus of the Brazilian presence at the Swiss festival with the presentation of new Brazilian features and documentaries by their...
Mendoça, who is also the director of Recife’s Janela International Film Festival, will be joined by, among others, festival director colleagues Renata de Almeida and Ivan Melo of the Sao Paulo Iff as well as Manoel Rangel and Eduardo Valente of film funder Ancine, André Sturm of Cinema do Brasil, producers Sara Silveira (Dezenove Som et Imagem), Eliane Ferreira (Muiraquita Filmes) and Elias Ribeiro (Urucu Media), distributors Jean-Thomas Bernardini (Imovision) and Marcos De Oliveira (Europa Filmes), and sales agent Sandro Fiorin (Figa Films).
Carte Blanche focus on Brazil
The fourth edition of Locarno’s Carte Blanche showcase will be the focus of the Brazilian presence at the Swiss festival with the presentation of new Brazilian features and documentaries by their...
- 7/29/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The joint sales venture between Im Global and Mexico’s Canana has acquired international rights from Gullane and Tc Filmes to the Brazilian thriller ahead of its Toronto world premiere.
Fernando Coimbra wrote and directed A Wolf At The Door, about a couple whose six-year-old child gets kidnapped from school, prompting the father to believe the perpetrator may be his lover.
Leandra Leal, Milhem Cortaz and Fabíula Nascimento star.
Mundial vice-president Cristina Garza and Im Global CEO Stuart Ford negotiated the deal with Gullane’s Fabiano Gullane.
“Young Brazilian filmmakers are really breaking new ground and we couldn’t be more honoured to represent this debut feature,” said Garza.
“When it comes to foreign cinema, international buyers and audiences are looking for daring visions and provocative filmmaking. This film is so powerful and completely different from anything we’ve seen. With new government stimulus and more opportunities for filmmakers, we are sure to see more new voices...
Fernando Coimbra wrote and directed A Wolf At The Door, about a couple whose six-year-old child gets kidnapped from school, prompting the father to believe the perpetrator may be his lover.
Leandra Leal, Milhem Cortaz and Fabíula Nascimento star.
Mundial vice-president Cristina Garza and Im Global CEO Stuart Ford negotiated the deal with Gullane’s Fabiano Gullane.
“Young Brazilian filmmakers are really breaking new ground and we couldn’t be more honoured to represent this debut feature,” said Garza.
“When it comes to foreign cinema, international buyers and audiences are looking for daring visions and provocative filmmaking. This film is so powerful and completely different from anything we’ve seen. With new government stimulus and more opportunities for filmmakers, we are sure to see more new voices...
- 8/21/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
[Our thanks to Fernando Verissimo for the following review.]
I was lucky enough to catch an avant-premiere of the new Coffin Joe film, Encarnação do Demônio (Embodiment of Evil), that took place in Rio last week. José Mojica Marins, Mr. Coffin Joe himself, was there to present the screening, as were his cast and crew, and producers Paulo Sacramento and Fabiano Gullane.
Although the general feeling was one of celebration, since the audience consisted mostly of guests, the expectations towards the film were incredibly high – and there was plenty of reason for that. First of all, this is Mojica’s first film in more than two decades, his first horror feature in thirty years and the first film in the Coffin Joe series in forty years. Second, the screening took place in the same day the film was announced as an official selection of the next Venice Film Festival – an achievement that helps to raise Mojica’s reputation as...
I was lucky enough to catch an avant-premiere of the new Coffin Joe film, Encarnação do Demônio (Embodiment of Evil), that took place in Rio last week. José Mojica Marins, Mr. Coffin Joe himself, was there to present the screening, as were his cast and crew, and producers Paulo Sacramento and Fabiano Gullane.
Although the general feeling was one of celebration, since the audience consisted mostly of guests, the expectations towards the film were incredibly high – and there was plenty of reason for that. First of all, this is Mojica’s first film in more than two decades, his first horror feature in thirty years and the first film in the Coffin Joe series in forty years. Second, the screening took place in the same day the film was announced as an official selection of the next Venice Film Festival – an achievement that helps to raise Mojica’s reputation as...
- 8/4/2008
- by Todd Brown
- Screen Anarchy
BERLIN -- The surfaces of Cao Hamburger's fine film, "The Year My Parents Went on Vacation" (O Ano em Que Meus Pais Sairam de Ferias) are clean and concise and filled with keen observations about day-to-day life in a multiethnic quarter of Sao Paulo in 1970. This allows the director all sorts of opportunities to explore the rich subtext of his film -- themes about alienation, community and a life in exile.
This Brazilian film has the power to reach out to audiences all over the world. So after its Competition debut in Berlin, "Year" is a solid bet to win further festival dates and wide distribution in international territories.
The story, written by the director and Claudio Galperin, Braulio Mantovani and Anna Muylaert, tells of an adolescent boy who finds himself cut loose by fate in a strange community where he has to make friends and fend for himself. Twelve-year-old Mauro (Michel Joelsas) has grown up in a small town, consumed by a love for soccer. The entire country is electrified as its team is marching toward a potential third World Cup in Mexico. Citizens can almost forget they are in the sixth year of a brutal military dictatorship.
Abruptly, Mauro's mother, who is Catholic, and father, who is Jewish, must "go on vacation." It's clear to the viewer but not to Mauro that dangerous politics is forcing them underground. They drive the boy to Sao Paulo and leave him at his grandfather's apartment building. Unfortunately, the grandfather has dropped dead only minutes before Mauro's arrival.
Shlomo (Germano Haiut), an elderly next-door neighbor who works at the nearby synagogue, takes him in. But the boy resists Shlomo's reluctant overtures and wants to get into his grandfather's apartment. A precocious neighbor his age, Hanna (Daniela Piepszyk), tells him to get the superintendent to let him in. He then sits by the telephone, waiting for his parents to call and take him home.
Weeks go by and Shlomo doesn't know what to do with this boy who, despite a Jewish grandfather, he considers a "goy." Gradually, Mauro builds a sense of community in the Bom Retiro district, which in those days was home mostly to immigrants of Jewish, Greek, Italian and black origin. But Mauro sees himself as a goalie, a solitary figure that, while a team member, stands apart. He already understands himself as somehow different, as a person in exile just like his parents.
With Hanna he experiences a rite of passage that exposes him to affection, friendship and a peep hole in her mother's dress store where she charges neighborhood boys to watch women undress. Shlomo brings him in touch with his Jewish heritage, not that it has much impact. The beauty of Irene (Liliana Castro) sparks the fantasy lives of many adolescent boys. And through the student Italo (Caio Blat), Mauro sees the cracked skull one can receive for holding the wrong political beliefs.
Serious movies about children often are burdened with symbolism and coyness. But Hamburger has superbly crafted a film of considerable subtlety and shrewdness. As Mauro makes his way through the world of his parents and late grandfather, he comes into contact with people and ideas that expand his horizons and challenge his thinking.
Hamburger's depiction of a time and community under the stress of political upheaval is full and engaging but steers clear of nostalgia. Cassio Amarante's beautifully detailed production design benefits from somber, natural lighting by cinematographer Adriano Goldman. Beto Villares' music is just so. It never intrudes but brings in its Brazilian melodies at just the right spots.
THE YEAR MY PARENTS WENT ON VACATION
Gullane Filmes/Caos Producoes, Miravista, Globo Filmes/Petrobras
Credits:
Director: Cao Hamburger
Screenwriters: Claudio Galperin, Braulio Mantovani, Anna Muylaert, Cao Hamburger
Based on a story by: Claudio Galperin, Cao Hamburger
Producers: Fabiano Gullane, Caio Gullane, Cao Hamburger
Director of photography: Adriano Goldman
Production designer: Cassio Amarante
Music: Beto Villares
Costume designer: Cristina Camargo
Editor: Daniel Rezende
Cast:
Mauro: Michel Joelsas
Hanna: Daniela Piepszyk
Shlomo: Germano Haiut
Bia: Simone Spoladore
Italo: Caio Blat
Daniel: Eduardo Moreira
Irene: Liliana Castro
Edgar: Rodrigo dos Santos
Opa Motel: Paulo Autran
Running time -- 104 minutes
No MPAA rating...
This Brazilian film has the power to reach out to audiences all over the world. So after its Competition debut in Berlin, "Year" is a solid bet to win further festival dates and wide distribution in international territories.
The story, written by the director and Claudio Galperin, Braulio Mantovani and Anna Muylaert, tells of an adolescent boy who finds himself cut loose by fate in a strange community where he has to make friends and fend for himself. Twelve-year-old Mauro (Michel Joelsas) has grown up in a small town, consumed by a love for soccer. The entire country is electrified as its team is marching toward a potential third World Cup in Mexico. Citizens can almost forget they are in the sixth year of a brutal military dictatorship.
Abruptly, Mauro's mother, who is Catholic, and father, who is Jewish, must "go on vacation." It's clear to the viewer but not to Mauro that dangerous politics is forcing them underground. They drive the boy to Sao Paulo and leave him at his grandfather's apartment building. Unfortunately, the grandfather has dropped dead only minutes before Mauro's arrival.
Shlomo (Germano Haiut), an elderly next-door neighbor who works at the nearby synagogue, takes him in. But the boy resists Shlomo's reluctant overtures and wants to get into his grandfather's apartment. A precocious neighbor his age, Hanna (Daniela Piepszyk), tells him to get the superintendent to let him in. He then sits by the telephone, waiting for his parents to call and take him home.
Weeks go by and Shlomo doesn't know what to do with this boy who, despite a Jewish grandfather, he considers a "goy." Gradually, Mauro builds a sense of community in the Bom Retiro district, which in those days was home mostly to immigrants of Jewish, Greek, Italian and black origin. But Mauro sees himself as a goalie, a solitary figure that, while a team member, stands apart. He already understands himself as somehow different, as a person in exile just like his parents.
With Hanna he experiences a rite of passage that exposes him to affection, friendship and a peep hole in her mother's dress store where she charges neighborhood boys to watch women undress. Shlomo brings him in touch with his Jewish heritage, not that it has much impact. The beauty of Irene (Liliana Castro) sparks the fantasy lives of many adolescent boys. And through the student Italo (Caio Blat), Mauro sees the cracked skull one can receive for holding the wrong political beliefs.
Serious movies about children often are burdened with symbolism and coyness. But Hamburger has superbly crafted a film of considerable subtlety and shrewdness. As Mauro makes his way through the world of his parents and late grandfather, he comes into contact with people and ideas that expand his horizons and challenge his thinking.
Hamburger's depiction of a time and community under the stress of political upheaval is full and engaging but steers clear of nostalgia. Cassio Amarante's beautifully detailed production design benefits from somber, natural lighting by cinematographer Adriano Goldman. Beto Villares' music is just so. It never intrudes but brings in its Brazilian melodies at just the right spots.
THE YEAR MY PARENTS WENT ON VACATION
Gullane Filmes/Caos Producoes, Miravista, Globo Filmes/Petrobras
Credits:
Director: Cao Hamburger
Screenwriters: Claudio Galperin, Braulio Mantovani, Anna Muylaert, Cao Hamburger
Based on a story by: Claudio Galperin, Cao Hamburger
Producers: Fabiano Gullane, Caio Gullane, Cao Hamburger
Director of photography: Adriano Goldman
Production designer: Cassio Amarante
Music: Beto Villares
Costume designer: Cristina Camargo
Editor: Daniel Rezende
Cast:
Mauro: Michel Joelsas
Hanna: Daniela Piepszyk
Shlomo: Germano Haiut
Bia: Simone Spoladore
Italo: Caio Blat
Daniel: Eduardo Moreira
Irene: Liliana Castro
Edgar: Rodrigo dos Santos
Opa Motel: Paulo Autran
Running time -- 104 minutes
No MPAA rating...
- 2/16/2007
- The Hollywood Reporter - Movie News
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