Pierpoline takes over from Kathryn Busby.
US producer Joyce Pierpoline is taking over as the second chair of Bafta North America’s board of directors, succeeding inaugural lead, Kathryn Busby.
Pierpoline is founder of New York and Paris-based Pierpoline Films, serves as chair of Bafta North America’s Film Committee and is co-founder of the Producers Guild of America’s Women’s Impact Network, which promotes gender equality in the industry.
Her production credits include Mediha, winner of the Grand Jury Prize at Doc NYC 2023 and Sundance 2007 premiere, Teeth.
The Bafta North America Board will also have a new member – David Linde — CEO of Participant,...
US producer Joyce Pierpoline is taking over as the second chair of Bafta North America’s board of directors, succeeding inaugural lead, Kathryn Busby.
Pierpoline is founder of New York and Paris-based Pierpoline Films, serves as chair of Bafta North America’s Film Committee and is co-founder of the Producers Guild of America’s Women’s Impact Network, which promotes gender equality in the industry.
Her production credits include Mediha, winner of the Grand Jury Prize at Doc NYC 2023 and Sundance 2007 premiere, Teeth.
The Bafta North America Board will also have a new member – David Linde — CEO of Participant,...
- 1/9/2024
- by Mona Tabbara
- ScreenDaily
The British Academy has appointed award-winning producer Joyce Pierpoline as the chair of BAFTA North America’s board of directors.
Pierpoline — whose credits include Doc NYC winner “Mediha,” “Angelica” and Sundance-winning cult classic “Teeth” — succeeds Kathryn Busby, who was given the newly-created role in January 2022 after BAFTA united its New York and Los Angeles entities.
“I am delighted to take over the role of chair of BAFTA North America from Kathryn Busby, who carried out such brilliant work during her tenure,” said Pierpoline, who is also the founder of Pierpoline Films, serves as chair of BAFTA North America’s Film Committee and is co-founder of the Producers Guild of America’s Women’s Impact Network, promoting gender equality in the industry. “I’m looking forward to the future of BAFTA North America and will continue working with my colleagues on the board to ensure that BAFTA’s charitable work reflects...
Pierpoline — whose credits include Doc NYC winner “Mediha,” “Angelica” and Sundance-winning cult classic “Teeth” — succeeds Kathryn Busby, who was given the newly-created role in January 2022 after BAFTA united its New York and Los Angeles entities.
“I am delighted to take over the role of chair of BAFTA North America from Kathryn Busby, who carried out such brilliant work during her tenure,” said Pierpoline, who is also the founder of Pierpoline Films, serves as chair of BAFTA North America’s Film Committee and is co-founder of the Producers Guild of America’s Women’s Impact Network, promoting gender equality in the industry. “I’m looking forward to the future of BAFTA North America and will continue working with my colleagues on the board to ensure that BAFTA’s charitable work reflects...
- 1/8/2024
- by Alex Ritman
- Variety Film + TV
Producer Joyce Pierpoline has been appointed chair of BAFTA North America’s Board of Directors. She succeeds Kathryn Busby.
Pierpoline’s credits include Mediha, winner of the Grand Jury Prize at Doc NYC 2023, Angelica (2016), and Sundance-winning Teeth (2007). She founded Pierpoline Films based in New York and Paris, serves as chair of BAFTA North America’s Film Committee, and is co-founder of the Producers Guild of America’s Women’s Impact Network.
Also joining the BAFTA North America board today is David Linde, CEO of Participant. Linde has previously served as the CEO and owner of Lava Bear Films, chairman of Universal Pictures, and co-founded Focus Features. Continuing their BAFTA North America executive board terms are actor Elliot Knight as Deputy Chair, Betsy Rodgers as Secretary, and Josephine Coyle as Treasurer.
The extended BAFTA North America board includes Alexis Alexanian...
Pierpoline’s credits include Mediha, winner of the Grand Jury Prize at Doc NYC 2023, Angelica (2016), and Sundance-winning Teeth (2007). She founded Pierpoline Films based in New York and Paris, serves as chair of BAFTA North America’s Film Committee, and is co-founder of the Producers Guild of America’s Women’s Impact Network.
Also joining the BAFTA North America board today is David Linde, CEO of Participant. Linde has previously served as the CEO and owner of Lava Bear Films, chairman of Universal Pictures, and co-founded Focus Features. Continuing their BAFTA North America executive board terms are actor Elliot Knight as Deputy Chair, Betsy Rodgers as Secretary, and Josephine Coyle as Treasurer.
The extended BAFTA North America board includes Alexis Alexanian...
- 1/8/2024
- by Zac Ntim
- Deadline Film + TV
The indie box office busted out this year, hitting is stride post-Covid with an eclectic string of releases that made a splash artistically and financially.
Independents and mini-majors saw $1.47 billion in box office receipts as of Dec. 27, up from $811.7 million in 2022, according to Comscore.
Focus Features had the biggest limited opening of the year with Wes Anderson’s Asteroid City (gross $28 million). Alexander Payne’s The Holdovers with Paul Giamatti ($17.9 million) drew older demos, picky, yes, but finally comfortable back in theaters. Ditto for MGM’s Air, a film Amazon originally slated to go directly to Prime Video, that hit a core 45+ audience and a $52 million cume.
A24’s Past Lives, the much-nominated first film by Celine Song, made $10.9 million and its low-budget horror Talk to Me cleared $48 million. Emma Seligman’s raunchy teen comedy Bottoms from MGM topped $12 million.
That led into a fall bonanza heading into awards season with Anatomy Of A Fall,...
Independents and mini-majors saw $1.47 billion in box office receipts as of Dec. 27, up from $811.7 million in 2022, according to Comscore.
Focus Features had the biggest limited opening of the year with Wes Anderson’s Asteroid City (gross $28 million). Alexander Payne’s The Holdovers with Paul Giamatti ($17.9 million) drew older demos, picky, yes, but finally comfortable back in theaters. Ditto for MGM’s Air, a film Amazon originally slated to go directly to Prime Video, that hit a core 45+ audience and a $52 million cume.
A24’s Past Lives, the much-nominated first film by Celine Song, made $10.9 million and its low-budget horror Talk to Me cleared $48 million. Emma Seligman’s raunchy teen comedy Bottoms from MGM topped $12 million.
That led into a fall bonanza heading into awards season with Anatomy Of A Fall,...
- 1/1/2024
- by Jill Goldsmith
- Deadline Film + TV
Searchlight Pictures’ Poor Things from Yorgos Lanthimos earned a stellar $72K per-screen average opening weekend at nine theaters in four markets, for an estimated three-day total of $644K. In a competitive season, this marks the fall’s best limited opening on ten or fewer screens and is in the year’s top three.
The big two for 2023 were heavy hitters Asteroid City by Wes Anderson, from Focus Features, which had a $100k+ PSA in six theaters in June; and A24’s Beau Is Afraid by Ari Aster that took in $80K per screen last spring at four locations. Both had notable activations like Focus’ takeover of the Landmark Sunset, and Beau starting out on Imax. For Poor Things, Lanthimos and the film’s stars Emma Stone, Mark Ruffalo, Willem Dafoe and Ramy Youssef have been doing sold out Q&As around NYC over the weekend.
In an abundance of riches this weekend,...
The big two for 2023 were heavy hitters Asteroid City by Wes Anderson, from Focus Features, which had a $100k+ PSA in six theaters in June; and A24’s Beau Is Afraid by Ari Aster that took in $80K per screen last spring at four locations. Both had notable activations like Focus’ takeover of the Landmark Sunset, and Beau starting out on Imax. For Poor Things, Lanthimos and the film’s stars Emma Stone, Mark Ruffalo, Willem Dafoe and Ramy Youssef have been doing sold out Q&As around NYC over the weekend.
In an abundance of riches this weekend,...
- 12/10/2023
- by Jill Goldsmith
- Deadline Film + TV
Yorgos Lanthimos’ Venice Golden Lion Winner Poor Things is here with Searchlight Pictures sewing up nine theaters in four major markets for leg one of the Emma Stone-starring surreal-period-comedy-horror.
The film debuts in NYC and LA as well as San Francisco and Austin (Alamo Drafthouse South Lamar). Lanthimos, Stone and stars Mark Ruffalo and Willem Dafoe join Q&As in New York and tickets have been selling out. Stone hosted SNL last Saturday, joining the exclusive “five-timers club”, and made stops in recent days at Good Morning America, Sunday Today and ABC News Live Prime to talk up the fantastical tale.
Stone plays Bella Baxter, a young Victorian woman mysteriously brought back to life by the brilliant and unorthodox scientist Godwin Baxter (Dafoe) who lives as the doctor’s ward.
The film debuts in NYC and LA as well as San Francisco and Austin (Alamo Drafthouse South Lamar). Lanthimos, Stone and stars Mark Ruffalo and Willem Dafoe join Q&As in New York and tickets have been selling out. Stone hosted SNL last Saturday, joining the exclusive “five-timers club”, and made stops in recent days at Good Morning America, Sunday Today and ABC News Live Prime to talk up the fantastical tale.
Stone plays Bella Baxter, a young Victorian woman mysteriously brought back to life by the brilliant and unorthodox scientist Godwin Baxter (Dafoe) who lives as the doctor’s ward.
- 12/8/2023
- by Jill Goldsmith
- Deadline Film + TV
When the Gotham Awards paid tribute to then-IFC Films president Jonathan Sehring, his speech contained a passage that could have been written by Cassandra, the Trojan priestess fated to speak true prophecies that would not be believed.
“Traditional theatrical distribution isn’t dead, but film distributors large and small are competing with more and more entertainment options on a daily basis,” he said. “The digital revolution is now.”
It was easy to overlook the warning in 2008. That year saw the release of Fox Searchlight’s “Slumdog Millionaire,” which won eight Oscars, including Best Picture, and grossed $378 million worldwide. Barry Jenkins made his debut on the festival circuit with “Medicine for Melancholy,” which later would be distributed by IFC.
Sehring left the company in 2018. Five years later, IFC faces a turning point in the specialty film ecosystem it helped create. With the abrupt departure of president Arianna Bocco at the end of last month,...
“Traditional theatrical distribution isn’t dead, but film distributors large and small are competing with more and more entertainment options on a daily basis,” he said. “The digital revolution is now.”
It was easy to overlook the warning in 2008. That year saw the release of Fox Searchlight’s “Slumdog Millionaire,” which won eight Oscars, including Best Picture, and grossed $378 million worldwide. Barry Jenkins made his debut on the festival circuit with “Medicine for Melancholy,” which later would be distributed by IFC.
Sehring left the company in 2018. Five years later, IFC faces a turning point in the specialty film ecosystem it helped create. With the abrupt departure of president Arianna Bocco at the end of last month,...
- 5/3/2023
- by Eric Kohn
- Indiewire
Exclusive: Deadline has learned that IFC Films’ longtime Head of PR Laura Sok will be departing the indie distribution company.
Sok has been Head of PR for the last five years in an overall seven-year career at IFC (she worked there from 2008-2010), and was first hired by Jonathan Sehring to run the department. She led public-relations efforts for IFC Films, IFC Midnight, Sundance Selects and streaming service IFC Films Unlimited. Last December, her oversight was expanded to include the labels Shudder and Rlje Films.
Sok led 20th anniversary efforts for IFC Films and was integral in constructing the 2020 drive-in release and promotion strategy during the pandemic. She also led publicity strategy and campaigns for all films during the most successful financial years in IFC Films history.
While Sok is one of many executives to recently leave IFC including distribution head Jasper Basch,...
Sok has been Head of PR for the last five years in an overall seven-year career at IFC (she worked there from 2008-2010), and was first hired by Jonathan Sehring to run the department. She led public-relations efforts for IFC Films, IFC Midnight, Sundance Selects and streaming service IFC Films Unlimited. Last December, her oversight was expanded to include the labels Shudder and Rlje Films.
Sok led 20th anniversary efforts for IFC Films and was integral in constructing the 2020 drive-in release and promotion strategy during the pandemic. She also led publicity strategy and campaigns for all films during the most successful financial years in IFC Films history.
While Sok is one of many executives to recently leave IFC including distribution head Jasper Basch,...
- 4/24/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Filmmakers and executives, creatives of music, theater and art remembered Tom Luddy as friend and mentor, tastemaker and cultural force who deployed an astonishingly vast network to nurture talent and bring people and projects together over decades.
The co-founder of the Telluride Film Festival passed away in February.
“I am thinking of getting a tattoo of you on my arm,” said Irish director Mark Cousins at tribute event at the Paris Theatre over the weekend. “Here is Hitchcock on my arm, and here is and Kira Muratova. Maybe you would fit between the two?” He added, “For the rest of my life, I will see partly through your eyes. I miss you and I love you.”
“Tom Luddy was a constant presence. The sun around which so many of us have revolved,” said Ken Burns. The two met when Burns screened Huey Long at Telluride in 1985. “For the next 35-plus years,...
The co-founder of the Telluride Film Festival passed away in February.
“I am thinking of getting a tattoo of you on my arm,” said Irish director Mark Cousins at tribute event at the Paris Theatre over the weekend. “Here is Hitchcock on my arm, and here is and Kira Muratova. Maybe you would fit between the two?” He added, “For the rest of my life, I will see partly through your eyes. I miss you and I love you.”
“Tom Luddy was a constant presence. The sun around which so many of us have revolved,” said Ken Burns. The two met when Burns screened Huey Long at Telluride in 1985. “For the next 35-plus years,...
- 4/17/2023
- by Jill Goldsmith
- Deadline Film + TV
When you cover the arthouse business, you get used to familiar faces more than famous ones. Programmers, distributors, and sales agents may not walk the red carpet alongside their stars, but they’re at all the afterparties, in the trenches of every major film festival, constantly plotting ways to get new work seen. Their ubiquity makes it possible to visualize this pocket of the entertainment industry so when the faces change places, it stands out.
In that respect, this week was extraordinary. Within 48 hours, news broke of senior independent film executives leaving jobs they held for years, in some cases not of their own volition. Welcome to the great indie contraction.
First came John Vanco, the 18-year veteran of the IFC Center, heading to Netflix to take over the booking of New York’s Paris Theater, as well as the Bay Cinema and the Egyptian in L.A.. On its...
In that respect, this week was extraordinary. Within 48 hours, news broke of senior independent film executives leaving jobs they held for years, in some cases not of their own volition. Welcome to the great indie contraction.
First came John Vanco, the 18-year veteran of the IFC Center, heading to Netflix to take over the booking of New York’s Paris Theater, as well as the Bay Cinema and the Egyptian in L.A.. On its...
- 4/1/2023
- by Eric Kohn
- Indiewire
“The donkey is cute, but this is not a Disney movie,” said Jonathan Sehring, the former IFC Films head whose young distribution outlet Sideshow, with Janus Films, presents Jerzy Skolimowski’s Cannes Jury Prize winning Eo at two NYC theaters this weekend. “We launched Sideshow for great movies that would otherwise get overlooked to give them the best release that they can possibly get,” he told Deadline.
Eo hits the big screen a year after the partners opened Ryusuke Hamaguchi’s Drive My Car, tenderly leading the three hour-long Japanese film about a bereft theater director overseeing a production of Uncle Vanya through a decorated awards season expansion that garnered four Oscar nominations, a win for Best International Feature and some solid box office coin.
“It’s not something we invented. It was a very traditional platform release for, what we hoped when we acquired it, would be a critically acclaimed film.
Eo hits the big screen a year after the partners opened Ryusuke Hamaguchi’s Drive My Car, tenderly leading the three hour-long Japanese film about a bereft theater director overseeing a production of Uncle Vanya through a decorated awards season expansion that garnered four Oscar nominations, a win for Best International Feature and some solid box office coin.
“It’s not something we invented. It was a very traditional platform release for, what we hoped when we acquired it, would be a critically acclaimed film.
- 11/18/2022
- by Jill Goldsmith
- Deadline Film + TV
Imprison Iranian filmmaker Jafar Panahi’s “No Bears” has sold into North America, with Sideshow and Janus Films acquiring U.S. rights, and Films We Like buying the movie for Canada.
“No Bears,” which premiered earlier this month at the Venice Film Festival, portrays two parallel love stories. “In both, the lovers are troubled by hidden, inevitable obstacles, the force of superstition and the mechanics of power,” reads an official synopsis.
The film is written, produced, and directed by Panahi, and stars Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjei, Mina Kavani, Narjes Dalaram and Reza Heydari.
The pic won Venice’s Special Jury Prize before appearing as a Special Presentation at the Toronto International Film Festival. It will next screen at this month’s New York Film Festival and at the BFI London Film Festival.
Panahi was recently ordered by Iranian authorities to serve out a six-year sentence that he...
“No Bears,” which premiered earlier this month at the Venice Film Festival, portrays two parallel love stories. “In both, the lovers are troubled by hidden, inevitable obstacles, the force of superstition and the mechanics of power,” reads an official synopsis.
The film is written, produced, and directed by Panahi, and stars Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjei, Mina Kavani, Narjes Dalaram and Reza Heydari.
The pic won Venice’s Special Jury Prize before appearing as a Special Presentation at the Toronto International Film Festival. It will next screen at this month’s New York Film Festival and at the BFI London Film Festival.
Panahi was recently ordered by Iranian authorities to serve out a six-year sentence that he...
- 9/28/2022
- by Manori Ravindran
- Variety Film + TV
Iranian’s Lido prize-winner heading to New York, London festivals.
Sideshow and Janus Films have acquired all US rights from Celluloid Dreams to Jafar Panahi’s Venice special jury prize winner No Bears and will mount an awards push for the imprisoned Iranian director.
Films We Like has picked up all Canadian rights to the tale of two parallel love stories which explores superstition and the mechanics of power.
Panahi wrote, directed, produced and stars in No Bears alongside Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjei, Mina Kavani, Narjes Dalaram, and Reza Heydari.
The film screened in Toronto following its world...
Sideshow and Janus Films have acquired all US rights from Celluloid Dreams to Jafar Panahi’s Venice special jury prize winner No Bears and will mount an awards push for the imprisoned Iranian director.
Films We Like has picked up all Canadian rights to the tale of two parallel love stories which explores superstition and the mechanics of power.
Panahi wrote, directed, produced and stars in No Bears alongside Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjei, Mina Kavani, Narjes Dalaram, and Reza Heydari.
The film screened in Toronto following its world...
- 9/28/2022
- by Jeremy Kay
- ScreenDaily
Iranian director Jafar Panahi remains behind bars in Tehran but his cinema continues to travel.
In a fresh sales announcement, Sideshow and Janus Films have acquired all U.S rights and Films We Like has taken all Canadian rights to Panahi’s Venice Special Jury Prize winner ‘No Bears’.
Celluloid Dreams handles international sales.
U.S. distributors Sideshow and Janus Films are now planning an awards season campaign in the best director category for Panahi and will release the film in time for an Oscar push.
The director is currently serving a reactivated, six-year suspended prison sentence, originally handed out in 2010, after he was detained in July by Iranian authorities as part of a crackdown on freedom of expression and dissent.
Since then, tensions over the Iranian government’s authoritarian rule have ratcheted up in recent days amid protests over the killing of 22-year-old Mahsa Amini, while in custody for not wearing her burqa properly.
In a fresh sales announcement, Sideshow and Janus Films have acquired all U.S rights and Films We Like has taken all Canadian rights to Panahi’s Venice Special Jury Prize winner ‘No Bears’.
Celluloid Dreams handles international sales.
U.S. distributors Sideshow and Janus Films are now planning an awards season campaign in the best director category for Panahi and will release the film in time for an Oscar push.
The director is currently serving a reactivated, six-year suspended prison sentence, originally handed out in 2010, after he was detained in July by Iranian authorities as part of a crackdown on freedom of expression and dissent.
Since then, tensions over the Iranian government’s authoritarian rule have ratcheted up in recent days amid protests over the killing of 22-year-old Mahsa Amini, while in custody for not wearing her burqa properly.
- 9/28/2022
- by Melanie Goodfellow
- Deadline Film + TV
Sideshow and Janus Films have acquired the U.S. rights to “No Bears,” the next film from Iranian director Jafar Panahi, who is imprisoned and serving a six-year prison sentence by the Iranian government.
Panahi’s latest film made its world premiere at the Venice Film Festival this fall and won the Special Jury Prize. It later played at the Toronto International Film Festival.
The accolades came shortly after Panahi was arrested by Iranian authorities after he had inquired about the status of two other detained Iranian directors. The government has now forced him to serve out a six-year jail sentence originally issued to Panahi in December 2010. At that time, he was banned for 20 years from directing movies, writing screenplays or giving any form of interview with an Iranian or foreign press, though he has since showcased other films such as “This Is Not a Film,” “Closed Curtain,” “Taxi” and...
Panahi’s latest film made its world premiere at the Venice Film Festival this fall and won the Special Jury Prize. It later played at the Toronto International Film Festival.
The accolades came shortly after Panahi was arrested by Iranian authorities after he had inquired about the status of two other detained Iranian directors. The government has now forced him to serve out a six-year jail sentence originally issued to Panahi in December 2010. At that time, he was banned for 20 years from directing movies, writing screenplays or giving any form of interview with an Iranian or foreign press, though he has since showcased other films such as “This Is Not a Film,” “Closed Curtain,” “Taxi” and...
- 9/28/2022
- by Brian Welk
- The Wrap
Cannes sensation “Eo,” which tells the story of a donkey’s life, has been acquired for North America by Sideshow and Janus Films. The film is the latest collaboration for the U.S. distribution duo that brought this year’s best international feature Oscar winner, “Drive My Car,” to audiences Stateside.
Directed by Jerzy Skolimowski, “Eo” shared the Cannes Jury Prize with Félix Van Groeningen and Charlotte Vandermeersch’s “The Eight Mountains.”
The film, a word-of-mouth hit on the Croisette, shares a vision of modern Europe through the prism of a gray donkey, who meets all sorts of people on his life’s path, experiences joy and pain, as well as disasters and unexpected bliss — all without losing his beautiful innocence. Upon accepting the Jury Prize in Cannes, Polish director Skolimowski thanked “all six” of his donkeys.
The project is the latest collaboration between filmmaker and HanWay Films founder Jeremy Thomas and Skolimowski,...
Directed by Jerzy Skolimowski, “Eo” shared the Cannes Jury Prize with Félix Van Groeningen and Charlotte Vandermeersch’s “The Eight Mountains.”
The film, a word-of-mouth hit on the Croisette, shares a vision of modern Europe through the prism of a gray donkey, who meets all sorts of people on his life’s path, experiences joy and pain, as well as disasters and unexpected bliss — all without losing his beautiful innocence. Upon accepting the Jury Prize in Cannes, Polish director Skolimowski thanked “all six” of his donkeys.
The project is the latest collaboration between filmmaker and HanWay Films founder Jeremy Thomas and Skolimowski,...
- 6/1/2022
- by Manori Ravindran
- Variety Film + TV
The donkey tale has also sold across Europe, the Middle East and Asia.
UK outfit HanWay Films has closed a raft of deals on Jerzy Skolimowski’s Eo, which won the jury prize at Cannes on Saturday (May 28).
The film, which depicts the existential odyssey of a donkey, has been picked up for North America by Sideshow and Janus Films, and for the UK and Ireland by BFI Distribution.
HanWay has also secured sales for Benelux (The Searchers), Italy (I Wonder), Spain (A Contracorriente), Portugal (Nitrato), Greece (Odeon), Turkey (Bir), Middle East (Front Row), China (Dddream), Japan (Fine Films), Taiwan...
UK outfit HanWay Films has closed a raft of deals on Jerzy Skolimowski’s Eo, which won the jury prize at Cannes on Saturday (May 28).
The film, which depicts the existential odyssey of a donkey, has been picked up for North America by Sideshow and Janus Films, and for the UK and Ireland by BFI Distribution.
HanWay has also secured sales for Benelux (The Searchers), Italy (I Wonder), Spain (A Contracorriente), Portugal (Nitrato), Greece (Odeon), Turkey (Bir), Middle East (Front Row), China (Dddream), Japan (Fine Films), Taiwan...
- 6/1/2022
- by Michael Rosser
- ScreenDaily
This year’s Academy Award nominations are dominated by films from deep-pocketed studios, specialty divisions and streamers. Yet as most 2021 indies were sidelined to the Spirit Awards, a few such as “Drive My Car,” “Flee,” “The Worst Person in the World” and “Writing With Fire” managed to score noms in David vs. Goliath campaign battles.
With less funding and smaller platforms, how did they do it? The awards publicity firm worth asking is Perception PR, which scored high-profile noms for indies with Joachim Trier’s Norwegian romantic comedy-drama “The Worst Person in the World” (original screenplay and international feature), distributed by Neon; Jonas Poher Rasmussen’s Danish animated doc “Flee”, from Neon/Participant; and a actress nom for Kristen Stewart in Pablo Larraín’s “Spencer,” from Neon/Topic.
Several Oscar voters cited the online Academy Screening Room, now in its third year as a great equalizer to catching up with smaller films,...
With less funding and smaller platforms, how did they do it? The awards publicity firm worth asking is Perception PR, which scored high-profile noms for indies with Joachim Trier’s Norwegian romantic comedy-drama “The Worst Person in the World” (original screenplay and international feature), distributed by Neon; Jonas Poher Rasmussen’s Danish animated doc “Flee”, from Neon/Participant; and a actress nom for Kristen Stewart in Pablo Larraín’s “Spencer,” from Neon/Topic.
Several Oscar voters cited the online Academy Screening Room, now in its third year as a great equalizer to catching up with smaller films,...
- 3/17/2022
- by Gregg Goldstein
- Variety Film + TV
As Drive My Car sped from a best screenplay win and stellar reviews at Cannes to four Oscar nominations, distributor credits for the three-hour Japanese drama went to Sideshow/Janus Films – the former a little known new venture from Jonathan Sehring.
The longtime head of IFC Films said he launched Sideshow with “a group of friends.” Drive is its first project. Other are coming but “nothing we are ready to talk about yet.” The friends include Jonathan Turell and Peter Becker, partners in Janus Films. Turell is also CEO and Becker president of The Criterion Collection, a separate company that shares a leadership team and frequently works in concert with Janus. Their fathers, the late William Becker and Saul Turell, acquired Janus Films in 1965 and, Sehring said, gave him his first job out of college. “I worked for their dads. It’s almost like family to me,...
The longtime head of IFC Films said he launched Sideshow with “a group of friends.” Drive is its first project. Other are coming but “nothing we are ready to talk about yet.” The friends include Jonathan Turell and Peter Becker, partners in Janus Films. Turell is also CEO and Becker president of The Criterion Collection, a separate company that shares a leadership team and frequently works in concert with Janus. Their fathers, the late William Becker and Saul Turell, acquired Janus Films in 1965 and, Sehring said, gave him his first job out of college. “I worked for their dads. It’s almost like family to me,...
- 2/27/2022
- by Jill Goldsmith
- Deadline Film + TV
When “Drive My Car” received four Oscar nominations this week, it represented a triumph of arthouse cinema at a moment when it could really use the boost. The Academy might have wished that one of the 10 Best Picture slots went to James Bond or Spider-Man, but Ryusuke Hamaguchi’s three-hour adaptation of a Haruki Murakami short story has become a better case study for what it takes to keep the movie business alive.
Daring, non-English language cinema challenges even the bravest distributors. That was certainly the situation at Cannes last July, when more than one buyer told me they were having a hard time parsing the marketplace potential for several of the festival’s critical darlings. One of these was “Drive My Car,” which took 30 minutes to roll its opening credits and used a quiet, enigmatic approach to craft the world of a widowed theater director rediscovering his creative passion...
Daring, non-English language cinema challenges even the bravest distributors. That was certainly the situation at Cannes last July, when more than one buyer told me they were having a hard time parsing the marketplace potential for several of the festival’s critical darlings. One of these was “Drive My Car,” which took 30 minutes to roll its opening credits and used a quiet, enigmatic approach to craft the world of a widowed theater director rediscovering his creative passion...
- 2/13/2022
- by Eric Kohn
- Indiewire
Starz Original Programming President Kathryn Busby is to chair BAFTA’s new-look North America Board, with actor Elliot Knight and ThunderChild CEO Karl Stewart set as Deputy Chairs.
Deadline revealed in 2020 that BAFTA would be merging its LA and New York entities in the U.S., with former BAFTA LA CEO Matthew Wiseman promoted to Executive Director and Head of North America and former BAFTA New York Director, Lisa Harrison, becoming Director of Operations, North America.
The UK awards body officially confirmed the new structure and board today and said it will unify the New York and LA entities, “strengthening its global mission and delivering greater benefits to members.”
Busby, who succeeded Christina Davis at Starz this week, and Knight will also join BAFTA’s Board of Trustees, which is chaired by London-based BAFTA chair Krishnendu Majumdar.
“With the election of Kathryn Busby as chair of our new North America board,...
Deadline revealed in 2020 that BAFTA would be merging its LA and New York entities in the U.S., with former BAFTA LA CEO Matthew Wiseman promoted to Executive Director and Head of North America and former BAFTA New York Director, Lisa Harrison, becoming Director of Operations, North America.
The UK awards body officially confirmed the new structure and board today and said it will unify the New York and LA entities, “strengthening its global mission and delivering greater benefits to members.”
Busby, who succeeded Christina Davis at Starz this week, and Knight will also join BAFTA’s Board of Trustees, which is chaired by London-based BAFTA chair Krishnendu Majumdar.
“With the election of Kathryn Busby as chair of our new North America board,...
- 1/5/2022
- by Max Goldbart
- Deadline Film + TV
BAFTA is expanding its North American operations with the launch of a single North America board, which unites the organization’s New York and Los Angeles entities.
Kathryn Busby, president of original programming at Starz, has been appointed the inaugural chair of the board. She will be joined by actor Elliot Knight and Karl Stewart, CEO of Thunder Child and president of 1TwentyFour as deputy chairs.
The single united board aims to strengthen BAFTA’s “global mission to inspire, support and celebrate across film, games and television, delivering greater benefits to its membership, programme participants and audiences wherever they are,” according to the organization.
Matthew Wiseman, BAFTA Los Angeles’s CEO has been promoted to executive director and head of North America while Lisa Harrison, BAFTA New York’s director, becomes director of operations for North America.
Betsy Rodgers, SVP of business & legal affairs at IFC Entertainment and Rlje Films,...
Kathryn Busby, president of original programming at Starz, has been appointed the inaugural chair of the board. She will be joined by actor Elliot Knight and Karl Stewart, CEO of Thunder Child and president of 1TwentyFour as deputy chairs.
The single united board aims to strengthen BAFTA’s “global mission to inspire, support and celebrate across film, games and television, delivering greater benefits to its membership, programme participants and audiences wherever they are,” according to the organization.
Matthew Wiseman, BAFTA Los Angeles’s CEO has been promoted to executive director and head of North America while Lisa Harrison, BAFTA New York’s director, becomes director of operations for North America.
Betsy Rodgers, SVP of business & legal affairs at IFC Entertainment and Rlje Films,...
- 1/5/2022
- by K.J. Yossman
- Variety Film + TV
AMC Networks on Wednesday said that longtime film executive Arianna Bocco has been named president of its IFC Films division. Bocco was previously EVP of Acquisitions and Production. She replaces departing IFC Films Co-President Lisa Schwartz. Schwartz had served as Co-President with Jonathan Sehring who retired at the end of 2018.
Bocco has spent more than a decade overseeing acquisitions and productions for IFC Films as well as genre label IFC Midnight.
In her new role, Bocco will continue to oversee acquisitions, production, marketing and publicity, while adding oversight of theatrical film distribution and the fast-growing IFC Films Unlimited subscription streaming service. Bocco will report to Miguel Penella, AMC Networks’ president of SVOD, who oversees the company’s new premium subscription bundled offering AMC+, which includes IFC Films Unlimited; its portfolio of subscription video on demand services Acorn TV, Shudder, Sundance Now, and Umc; as well as Rlje Films. Penella reports to Ed Carroll,...
Bocco has spent more than a decade overseeing acquisitions and productions for IFC Films as well as genre label IFC Midnight.
In her new role, Bocco will continue to oversee acquisitions, production, marketing and publicity, while adding oversight of theatrical film distribution and the fast-growing IFC Films Unlimited subscription streaming service. Bocco will report to Miguel Penella, AMC Networks’ president of SVOD, who oversees the company’s new premium subscription bundled offering AMC+, which includes IFC Films Unlimited; its portfolio of subscription video on demand services Acorn TV, Shudder, Sundance Now, and Umc; as well as Rlje Films. Penella reports to Ed Carroll,...
- 12/2/2020
- by Anthony D'Alessandro
- Deadline Film + TV
Arianna Bocco has been named president of IFC Films. Her promotion comes after more than a decade at the indie studio, where Bocco oversaw acquisitions and productions for IFC Films as well as for its genre label IFC Midnight.
Bocco is stepping into the role after Lisa Schwartz announced in November that she was stepping down as co-president of the studio. Jonathan Sehring, who served as co-president of IFC Films for decades, left the company in 2018.
In her new role, Bocco will continue to oversee acquisitions, production, marketing and publicity, while adding oversight of theatrical film distribution. She will also be tasked with continuing to grow its subscription streaming service, IFC Films Unlimited.
IFC Films is owned by AMC Networks. Bocco will now report to Miguel Penella, AMC Networks’ president of SVOD. He, in turn, reports to Ed Carroll, AMC Networks’ COO.
“Arianna is a talented and respected executive who...
Bocco is stepping into the role after Lisa Schwartz announced in November that she was stepping down as co-president of the studio. Jonathan Sehring, who served as co-president of IFC Films for decades, left the company in 2018.
In her new role, Bocco will continue to oversee acquisitions, production, marketing and publicity, while adding oversight of theatrical film distribution. She will also be tasked with continuing to grow its subscription streaming service, IFC Films Unlimited.
IFC Films is owned by AMC Networks. Bocco will now report to Miguel Penella, AMC Networks’ president of SVOD. He, in turn, reports to Ed Carroll, AMC Networks’ COO.
“Arianna is a talented and respected executive who...
- 12/2/2020
- by Brent Lang
- Variety Film + TV
An embarrassment of riches is presenting tough choices for the group that decides which French film to submit for a foreign language Oscar.
At midpoint, 2019 has already fielded one of the strongest editions for French movies in decades. Celine Sciamma’s “Portrait of a Lady on Fire” and Ladj Ly’s feature debut “Les Miserables,” both of which debuted to rave reviews at this year’s Cannes Film Festival, are among those vying to be selected. They join Francois Ozon’s “By The Grace of God,” the winner of the Berlin’s Silver Bear Award, as the top candidates.
But more titles could join the list of French Oscar contenders. The National Film Board (Cnc), the organization tasked with establishing rules for the selection of French films submitted for Oscar consideration, is revising the guidelines, according to three industry insiders. Most notably, it is now allowing films to have limited,...
At midpoint, 2019 has already fielded one of the strongest editions for French movies in decades. Celine Sciamma’s “Portrait of a Lady on Fire” and Ladj Ly’s feature debut “Les Miserables,” both of which debuted to rave reviews at this year’s Cannes Film Festival, are among those vying to be selected. They join Francois Ozon’s “By The Grace of God,” the winner of the Berlin’s Silver Bear Award, as the top candidates.
But more titles could join the list of French Oscar contenders. The National Film Board (Cnc), the organization tasked with establishing rules for the selection of French films submitted for Oscar consideration, is revising the guidelines, according to three industry insiders. Most notably, it is now allowing films to have limited,...
- 7/1/2019
- by Elsa Keslassy and Brent Lang
- Variety Film + TV
Following the recent news of Disney+ and Apple TV+, IFC Films has thrown its hat in the streaming arena. The indie stalwart has announced a service of its own, IFC Films Unlimited, which will become the digital home of titles it’s released throughout its nearly two-decade history.
Among the initial offerings: Palme d’Or winners “4 Months, 3 Weeks and 2 Days,” “Dheepan,” “The Wind That Shakes the Barley,” plus “Certified Copy,” “Gomorrah,” “Kid with a Bike,” and “Tale of Tales,” among several hundred others. More will be added on a regular basis.
The launch is coinciding with this year’s Cannes Film Festival, where many of the distributor’s most celebrated movies first premiered. IFC Films Unlimited will first be available on Amazon Prime Video Channel for a monthly price of $5.99.
“Over our nearly 20-year history, we’ve been fortunate to have established a rich library of the best in independent...
Among the initial offerings: Palme d’Or winners “4 Months, 3 Weeks and 2 Days,” “Dheepan,” “The Wind That Shakes the Barley,” plus “Certified Copy,” “Gomorrah,” “Kid with a Bike,” and “Tale of Tales,” among several hundred others. More will be added on a regular basis.
The launch is coinciding with this year’s Cannes Film Festival, where many of the distributor’s most celebrated movies first premiered. IFC Films Unlimited will first be available on Amazon Prime Video Channel for a monthly price of $5.99.
“Over our nearly 20-year history, we’ve been fortunate to have established a rich library of the best in independent...
- 5/16/2019
- by Michael Nordine
- Indiewire
Sundance 2019 brings tempered expectations after a quiet 2018 market, when big-spenders Netflix and Amazon withdrew from the fray. As distributors can no longer rely on output deals with Netflix, they are looking to Starz and Hulu to make up the shortfall. And with Amazon Video Direct’s Film Festival Stars program gone, there’s no artificial bottom to the market, which gives everyone more room to maneuver, but also risks leaving the least commercial indies with no distribution at all. And some companies are changing their deals so that theatrical distribution is no longer guaranteed.
The festival always programs a strong selection of potential documentary Oscar contenders, but while prices are bound to be more exuberant following last year’s tsunami of box office hits led by Oscar contender “Rbg” and Morgan Neville tearjerker “Won’t You Be My Neighbor?,” this year’s selection may not be as commercially robust.
Read...
The festival always programs a strong selection of potential documentary Oscar contenders, but while prices are bound to be more exuberant following last year’s tsunami of box office hits led by Oscar contender “Rbg” and Morgan Neville tearjerker “Won’t You Be My Neighbor?,” this year’s selection may not be as commercially robust.
Read...
- 1/24/2019
- by Anne Thompson
- Thompson on Hollywood
Sundance 2019 brings tempered expectations after a quiet 2018 market, when big-spenders Netflix and Amazon withdrew from the fray. As distributors can no longer rely on output deals with Netflix, they are looking to Starz and Hulu to make up the shortfall. And with Amazon Video Direct’s Film Festival Stars program gone, there’s no artificial bottom to the market, which gives everyone more room to maneuver, but also risks leaving the least commercial indies with no distribution at all. And some companies are changing their deals so that theatrical distribution is no longer guaranteed.
The festival always programs a strong selection of potential documentary Oscar contenders, but while prices are bound to be more exuberant following last year’s tsunami of box office hits led by Oscar contender “Rbg” and Morgan Neville tearjerker “Won’t You Be My Neighbor?,” this year’s selection may not be as commercially robust.
Read...
The festival always programs a strong selection of potential documentary Oscar contenders, but while prices are bound to be more exuberant following last year’s tsunami of box office hits led by Oscar contender “Rbg” and Morgan Neville tearjerker “Won’t You Be My Neighbor?,” this year’s selection may not be as commercially robust.
Read...
- 1/24/2019
- by Anne Thompson
- Indiewire
After the release of “Boyhood,” IFC Films co-president Jonathan Sehring reached a turning point. He agreed to finance Richard Linklater’s ambitious 12-year filmmaking project in 2002, just two years after he began overseeing the independent film production label at AMC Networks. With “Boyhood” completed in 2014 and nominated for Best Picture at the Oscars the next year, Sehring began to consider a new chapter.
“I couldn’t figure out what to do that could surpass that,” Sehring said. “‘Boyhood’ was the pinnacle.” On November 28, it was announced that Sehring would depart IFC after 18 years — and a career that included more four decades at the parent company, where he also helped launch the Independent Film Channel in 1994.
Sehring’s legacy features many key moments for independent film in the 21st century. Under his guidance, the company pivoted from production to distribution; pioneered a day-and-date VOD release strategy that saved the business; and...
“I couldn’t figure out what to do that could surpass that,” Sehring said. “‘Boyhood’ was the pinnacle.” On November 28, it was announced that Sehring would depart IFC after 18 years — and a career that included more four decades at the parent company, where he also helped launch the Independent Film Channel in 1994.
Sehring’s legacy features many key moments for independent film in the 21st century. Under his guidance, the company pivoted from production to distribution; pioneered a day-and-date VOD release strategy that saved the business; and...
- 12/2/2018
- by Eric Kohn
- Indiewire
IFC Films could face sanctions from the MPAA due to Wednesday’s nationwide screenings of an unrated version of Lars von Trier’s art-house gorefest “The House That Jack Built,” the organization said.
“The MPAA has communicated to the distributor, IFC Films, that the screening of an unrated version of the film in such close proximity to the release of the rated version — without obtaining a waiver — is in violation of the rating system’s rules,” the MPAA said in a statement late Wednesday.
“The effectiveness of the MPAA ratings depends on our ability to maintain the trust and confidence of American parents,” the organization continued. “That’s why the rules clearly outline the proper use of the ratings. Failure to comply with the rules can create confusion among parents and undermine the rating system — and may result in the imposition of sanctions against the film’s submitter.”
Also Read: Surprise!
“The MPAA has communicated to the distributor, IFC Films, that the screening of an unrated version of the film in such close proximity to the release of the rated version — without obtaining a waiver — is in violation of the rating system’s rules,” the MPAA said in a statement late Wednesday.
“The effectiveness of the MPAA ratings depends on our ability to maintain the trust and confidence of American parents,” the organization continued. “That’s why the rules clearly outline the proper use of the ratings. Failure to comply with the rules can create confusion among parents and undermine the rating system — and may result in the imposition of sanctions against the film’s submitter.”
Also Read: Surprise!
- 11/29/2018
- by Thom Geier
- The Wrap
IFC Films co-president Jonathan Sehring is leaving the company at the end of the year.
The veteran executive announced his plans on Wednesday. He helped launch the Independent Film Channel in 1994 and create IFC Films in 1999.
IFC Films will be led by a trio of remaining IFC Films executives: Sehring’s co-president Lisa Schwartz; Arianna Bocco, the executive vice president of acquisitions and productions; and John Vanco, senior VP/general manager of the IFC Center.
Sehring noted that he has had two careers at AMC Networks, with 20 years in film and 20 years in television. AMC Networks is IFC Films’ parent company. IFC Films encompasses its sister distribution labels Sundance Selects and IFC Midnight, its production label IFC Productions, and the IFC Center.
Under Sehring’s direction, IFC Films financed Richard Linklater’s “Boyhood” for 12 years, leading to six Academy Award nominations, including best picture. Other notable IFC titles include Armando Iannucci...
The veteran executive announced his plans on Wednesday. He helped launch the Independent Film Channel in 1994 and create IFC Films in 1999.
IFC Films will be led by a trio of remaining IFC Films executives: Sehring’s co-president Lisa Schwartz; Arianna Bocco, the executive vice president of acquisitions and productions; and John Vanco, senior VP/general manager of the IFC Center.
Sehring noted that he has had two careers at AMC Networks, with 20 years in film and 20 years in television. AMC Networks is IFC Films’ parent company. IFC Films encompasses its sister distribution labels Sundance Selects and IFC Midnight, its production label IFC Productions, and the IFC Center.
Under Sehring’s direction, IFC Films financed Richard Linklater’s “Boyhood” for 12 years, leading to six Academy Award nominations, including best picture. Other notable IFC titles include Armando Iannucci...
- 11/28/2018
- by Dave McNary
- Variety Film + TV
Capping off a four-decade career in independent film and television, Jonathan Sehring announced today he was stepping down as co-president of IFC Films, the New York City-based film production and distribution company he helped create exactly 20 years ago. According to Deadline, which broke the news, Sehring is leaving of his own accord, opting to take time for himself, but retaining the right to pursue other endeavors in the independent film space in the future.
Sehring helped launch the Independent Film Channel in 1994 and later created IFC Films, which encompasses IFC Films, Sundance Selects and IFC Midnight. The film distribution labels are owned and operated by AMC Networks.
“I’ve been contemplating this move for several years and on the 20th anniversary of our launching IFC Films, it just felt like the right time,” Sehring said. “I am forever grateful to Jim Dolan and Chuck Dolan, Marc Lustgarten and Josh Sapan...
Sehring helped launch the Independent Film Channel in 1994 and later created IFC Films, which encompasses IFC Films, Sundance Selects and IFC Midnight. The film distribution labels are owned and operated by AMC Networks.
“I’ve been contemplating this move for several years and on the 20th anniversary of our launching IFC Films, it just felt like the right time,” Sehring said. “I am forever grateful to Jim Dolan and Chuck Dolan, Marc Lustgarten and Josh Sapan...
- 11/28/2018
- by Jude Dry
- Indiewire
IFC Films co-president Jonathan Sehring announced on Wednesday that he has decided to step down after a two decades-long career at the company.
“I’ve been contemplating this move for several years and on the 20th anniversary of our launching IFC Films, it just felt like the right time,” Sehring said in a statement. “I am forever grateful to Jim Dolan and Chuck Dolan, Marc Lustgarten and Josh Sapan for the unbelievable opportunities they afforded me since I joined the organization nearly 40 years ago. I have had two incredible careers at AMC Networks, 20 years in film and 20 years in television, and I am immensely proud of the films and television shows we produced and distributed, the brands we built, the businesses we launched and all that we have accomplished during my time with the organization.”
Sehring has been a champion of independent filmmakers, leading IFC Films in supporting a wide...
“I’ve been contemplating this move for several years and on the 20th anniversary of our launching IFC Films, it just felt like the right time,” Sehring said in a statement. “I am forever grateful to Jim Dolan and Chuck Dolan, Marc Lustgarten and Josh Sapan for the unbelievable opportunities they afforded me since I joined the organization nearly 40 years ago. I have had two incredible careers at AMC Networks, 20 years in film and 20 years in television, and I am immensely proud of the films and television shows we produced and distributed, the brands we built, the businesses we launched and all that we have accomplished during my time with the organization.”
Sehring has been a champion of independent filmmakers, leading IFC Films in supporting a wide...
- 11/28/2018
- by Trey Williams
- The Wrap
Exclusive: Marking the end of a remarkable four decade run at its parent company, IFC Films co-president Jonathan Sehring is stepping down at year end. The decision is his, and he will take some time for himself, but retains the right to do other things in the indie film space where he has been an important figure for years. The affable Long Islander helped launch the Independent Film Channel in 1994 and later created IFC Films.
Stepping up to lead IFC Films into the future is Sehring’s co-president Lisa Schwartz, Arianna Bocco, who’s currently Evp Acquisitions and Productions, and John Vanco, who will continue in his role as Senior Vice President/General Manager of the IFC Center. The company encompasses IFC Films, Sundance Selects and IFC Midnight, the multi-platform film distribution labels owned and operated by AMC Networks.
“I’ve been contemplating this move for several years and on...
Stepping up to lead IFC Films into the future is Sehring’s co-president Lisa Schwartz, Arianna Bocco, who’s currently Evp Acquisitions and Productions, and John Vanco, who will continue in his role as Senior Vice President/General Manager of the IFC Center. The company encompasses IFC Films, Sundance Selects and IFC Midnight, the multi-platform film distribution labels owned and operated by AMC Networks.
“I’ve been contemplating this move for several years and on...
- 11/28/2018
- by Patrick Hipes and Mike Fleming Jr
- Deadline Film + TV
Longtime IFC Films co-president Jonathan Sehring will exit the top post at the end of the year, the company announced Wednesday.
“If there’s a Hall of Fame for independent film, a big name on that list would be Jonathan Sehring. He is one of a handful of people who ushered in and breathed life into what we now commonly call ‘independent film,’ one of the great American art forms of our time,” said Josh Sapan, CEO of AMC Networks, IFC Films’ parent company.
IFC Films is one of the last remaining New York-based indie film ...
“If there’s a Hall of Fame for independent film, a big name on that list would be Jonathan Sehring. He is one of a handful of people who ushered in and breathed life into what we now commonly call ‘independent film,’ one of the great American art forms of our time,” said Josh Sapan, CEO of AMC Networks, IFC Films’ parent company.
IFC Films is one of the last remaining New York-based indie film ...
- 11/28/2018
- The Hollywood Reporter - Movie News
Longtime IFC Films co-president Jonathan Sehring will exit the top post at the end of the year, the company announced Wednesday.
“If there’s a Hall of Fame for independent film, a big name on that list would be Jonathan Sehring. He is one of a handful of people who ushered in and breathed life into what we now commonly call ‘independent film,’ one of the great American art forms of our time,” said Josh Sapan, CEO of AMC Networks, IFC Films’ parent company.
IFC Films is one of the last remaining New York-based indie film ...
“If there’s a Hall of Fame for independent film, a big name on that list would be Jonathan Sehring. He is one of a handful of people who ushered in and breathed life into what we now commonly call ‘independent film,’ one of the great American art forms of our time,” said Josh Sapan, CEO of AMC Networks, IFC Films’ parent company.
IFC Films is one of the last remaining New York-based indie film ...
- 11/28/2018
- The Hollywood Reporter - Film + TV
’I’ve been contemplating this move for several years and on the 20th anniversary of IFC Films, it just felt like the right time.’
Independent film stalwart and IFC Films co-president Jonathan Sehring, who was part of the team that pioneered the day-and-date distribution model and championed numerous auteur-driven gems throughout his career, will leave IFC Films at the end of the year, the company said on Wednesday (28).
Sehring, one of the most urbane and knowledgeable executives in the business, has led IFC Films for two decades, in which time he has built a world-class home for auteur filmmaking whose...
Independent film stalwart and IFC Films co-president Jonathan Sehring, who was part of the team that pioneered the day-and-date distribution model and championed numerous auteur-driven gems throughout his career, will leave IFC Films at the end of the year, the company said on Wednesday (28).
Sehring, one of the most urbane and knowledgeable executives in the business, has led IFC Films for two decades, in which time he has built a world-class home for auteur filmmaking whose...
- 11/28/2018
- by Jeremy Kay
- ScreenDaily
IFC Films announced on Wednesday that it has acquired the U.S. rights to British writer-director Michael Winterbottom’s “The Wedding Guest,” starring Dev Patel.
The thriller follows a mysterious British man (Patel) who leaves London for Pakistan. He arrives at a Punjabi village, where the locals are getting ready for a lavish wedding, arranged by the bride’s rich, respectable family while she was in Britain. The man tells the villagers that he is a friend of the family, but this isn’t true. The man has a lot of secrets.
Radhika Apte and Jim Sarbh also star in the film.
Also Read: Dev Patel and 'The Wedding Guest' Co-Star Radhika Apte Feel Fortunate for Diversity Shift in Hollywood (Video)
“We are thrilled to be teaming up with [director Michael Winterbottom] again, as this marks our tenth film together over the last decade. After working with him most recently on the comedic series ‘The Trip,...
The thriller follows a mysterious British man (Patel) who leaves London for Pakistan. He arrives at a Punjabi village, where the locals are getting ready for a lavish wedding, arranged by the bride’s rich, respectable family while she was in Britain. The man tells the villagers that he is a friend of the family, but this isn’t true. The man has a lot of secrets.
Radhika Apte and Jim Sarbh also star in the film.
Also Read: Dev Patel and 'The Wedding Guest' Co-Star Radhika Apte Feel Fortunate for Diversity Shift in Hollywood (Video)
“We are thrilled to be teaming up with [director Michael Winterbottom] again, as this marks our tenth film together over the last decade. After working with him most recently on the comedic series ‘The Trip,...
- 10/31/2018
- by Trey Williams
- The Wrap
Sony Pictures Worldwide Acquisitions retains worldwide rights excluding the Us.
IFC Films has picked up Us rights to The Wedding Guest starring Dev Patel following its recent world premiere at Tiff.
Michael Winterbottom reunites with the distributor on the drama about a British man who sets off to the wedding of a rich family’s daughter in Pakistan armed with fake ID’s and a gun. Radhika Apte and Jim Sarbh also star.
Melissa Parmenter, Winterbottom, Deepak Nayar, Nik Bower and Patel produced, and Peter Touche and Andrea Scarso served as executive producers.
Sony Pictures Worldwide Acquisitions’ Stage 6 Films, Riverstone Pictures...
IFC Films has picked up Us rights to The Wedding Guest starring Dev Patel following its recent world premiere at Tiff.
Michael Winterbottom reunites with the distributor on the drama about a British man who sets off to the wedding of a rich family’s daughter in Pakistan armed with fake ID’s and a gun. Radhika Apte and Jim Sarbh also star.
Melissa Parmenter, Winterbottom, Deepak Nayar, Nik Bower and Patel produced, and Peter Touche and Andrea Scarso served as executive producers.
Sony Pictures Worldwide Acquisitions’ Stage 6 Films, Riverstone Pictures...
- 10/30/2018
- by Jeremy Kay
- ScreenDaily
IFC Films has acquired U.S. rights to Michael Winterbottom’s thriller “The Wedding Guest” with Dev Patel.
The movie, which had its world premiere at Toronto in the Special Presentations section, stars Patel as a mysterious British man who leaves London and embarks on a journey across Pakistan and India with fake ID cards. He arrives at a lavish wedding, pretending to be a friend of the family, but this isn’t true. The man has a gun and a job to do; he also has a lot of secrets, and so does the bride. Patel stars opposite Radhika Apte and Jim Sarbh.
This marks the 10th collaboration between IFC Films/Sundance Selects and Winterbottom who last worked together on the director’s hit series “The Trip” with Steve Coogan and Rob Brydon.
“After working with him most recently on the comedic series ‘The Trip,’ we’re looking forward...
The movie, which had its world premiere at Toronto in the Special Presentations section, stars Patel as a mysterious British man who leaves London and embarks on a journey across Pakistan and India with fake ID cards. He arrives at a lavish wedding, pretending to be a friend of the family, but this isn’t true. The man has a gun and a job to do; he also has a lot of secrets, and so does the bride. Patel stars opposite Radhika Apte and Jim Sarbh.
This marks the 10th collaboration between IFC Films/Sundance Selects and Winterbottom who last worked together on the director’s hit series “The Trip” with Steve Coogan and Rob Brydon.
“After working with him most recently on the comedic series ‘The Trip,’ we’re looking forward...
- 10/30/2018
- by Elsa Keslassy
- Variety Film + TV
The opening weekend of Jonah Hill’s feature directorial debut Mid90s has given distributor A24 two of the year’s three best opening-frame per-theater averages to date. Fresh off premiere screenings at the Toronto and New York film festivals, the coming-of-age pic grossed $249,500 during the weekend for a robust $62,375 per-screen average to lead a full slate of specialty fare.
Also debuting this weekend was Fox Searchlight’s Can You Ever Forgive Me?, starring Melissa McCarthy and Richard E. Grant, which started its box office run by taking in $150,000 in five locations. Wildlife, from director and co-writer Paul Dano and starring Jake Gyllenhaal and Carey Mulligan, opened $105,614 in four locations, averaging $26,403.
A24 said Mid90s, starring Sunny Suljic, Lucas Hedges and Katherine Waterston in Hill’s homage to his growing up in 1990s Los Angeles, will add more runs next weekend after the strong opening. It was 2018’s third-best per-screen...
Also debuting this weekend was Fox Searchlight’s Can You Ever Forgive Me?, starring Melissa McCarthy and Richard E. Grant, which started its box office run by taking in $150,000 in five locations. Wildlife, from director and co-writer Paul Dano and starring Jake Gyllenhaal and Carey Mulligan, opened $105,614 in four locations, averaging $26,403.
A24 said Mid90s, starring Sunny Suljic, Lucas Hedges and Katherine Waterston in Hill’s homage to his growing up in 1990s Los Angeles, will add more runs next weekend after the strong opening. It was 2018’s third-best per-screen...
- 10/21/2018
- by Brian Brooks
- Deadline Film + TV
Independent handles international sales.
IFC Films has picked up Us rights to the Patricia Clarkson detective noir Out Of Blue following its recent world premiere at Toronto International Film Festival.
Carol Morley wrote and directed the Martin Amis adaptation about a New Orleans homicide detective who investigates the shooting of leading astrophysicist and black hole expert in a case that shakes her view of the universe and herself.
Rounding out the key cast are Mamie Gummer, Jacki Weaver, James Caan, and Toby Jones. Independent handles international sales. IFC FIlms plans a 2019 theatrical release.
Luc Roeg, Cairo Cannon, and Maggie Monteith produced.
IFC Films has picked up Us rights to the Patricia Clarkson detective noir Out Of Blue following its recent world premiere at Toronto International Film Festival.
Carol Morley wrote and directed the Martin Amis adaptation about a New Orleans homicide detective who investigates the shooting of leading astrophysicist and black hole expert in a case that shakes her view of the universe and herself.
Rounding out the key cast are Mamie Gummer, Jacki Weaver, James Caan, and Toby Jones. Independent handles international sales. IFC FIlms plans a 2019 theatrical release.
Luc Roeg, Cairo Cannon, and Maggie Monteith produced.
- 10/18/2018
- by Jeremy Kay
- ScreenDaily
For a country that boasts Europe’s biggest film industry and produces about 300 films per year, France has a fairly bad track record when it comes to the foreign-language Oscar race. Only three French entries have earned an nomination in the last decade, and the last one which took home the statuette was Régis Wargnier’s “Indochine,” in 1993.
Olivier Assayas, who won best director at Cannes two years ago with Kristen Stewart-starrer “Personal Shopper,” believed he had a solid shot with his latest outing, “Non-Fiction,” which stars Juliette Binoche and competed in Venice before earning praise in Toronto. But France’s Oscar committee has caused a ruckus by declaring it ineligible for submission according to rules that Assayas and the film’s U.S. distributor criticize as “arcane.”
“I’ve been making films since 1986, and I think I’m one of the only French directors whose every movie since...
Olivier Assayas, who won best director at Cannes two years ago with Kristen Stewart-starrer “Personal Shopper,” believed he had a solid shot with his latest outing, “Non-Fiction,” which stars Juliette Binoche and competed in Venice before earning praise in Toronto. But France’s Oscar committee has caused a ruckus by declaring it ineligible for submission according to rules that Assayas and the film’s U.S. distributor criticize as “arcane.”
“I’ve been making films since 1986, and I think I’m one of the only French directors whose every movie since...
- 9/21/2018
- by Elsa Keslassy
- Variety Film + TV
Following its well-received world premiere in the Midnight Madness program at the Toronto International Film Festival, Emma Tammi’s supernatural Western The Wind has been acquired by IFC Midnight for Us distribution, with plans for a 2019 release:
Press Release: – IFC Midnight announced today it is acquiring U.S. distribution rights to Emma Tammi’s narrative feature film The Wind produced by Soapbox Films and Divide/Conquer. The film made its World Premiere at the 2018 Toronto International Film Festival to an enthusiastic Midnight Madness crowd and it will screen at Fantastic Fest this weekend.
With The Wind, director Emma Tammi and writer Teresa Sutherland have embarked on a nightmarish yet empathetic exploration of domestic solitude, skillfully conjuring — in bone-chilling visual and sonic strokes — an indescribable spectre that seems to emanate from the abyss of the night itself. Hailed by critics as a femme-centric western and supernatural horror, the film stars Caitlin Gerard,...
Press Release: – IFC Midnight announced today it is acquiring U.S. distribution rights to Emma Tammi’s narrative feature film The Wind produced by Soapbox Films and Divide/Conquer. The film made its World Premiere at the 2018 Toronto International Film Festival to an enthusiastic Midnight Madness crowd and it will screen at Fantastic Fest this weekend.
With The Wind, director Emma Tammi and writer Teresa Sutherland have embarked on a nightmarish yet empathetic exploration of domestic solitude, skillfully conjuring — in bone-chilling visual and sonic strokes — an indescribable spectre that seems to emanate from the abyss of the night itself. Hailed by critics as a femme-centric western and supernatural horror, the film stars Caitlin Gerard,...
- 9/17/2018
- by Derek Anderson
- DailyDead
IFC Midnight is acquiring U.S. distribution rights to Emma Tammi’s supernatural Western “The Wind,” following its world premiere at Midnight Madness at the Toronto Film Festival.
The film is produced by Soapbox Films and Divide/Conquer. Tammi directed from a script by Teresa Sutherland in an exploration of domestic solitude, conjuring an indescribable spectre that seems to emanate from the abyss of the night itself. “The Wind” stars Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Dylan McTee, and Miles Anderson.
Jessica Kiang gave the film a positive review for Variety: “A convincingly feminist melding of western legend and cabin-in-the-woods horror, but not in the way one might initially think, ‘The Wind’ doesn’t seek to make infallible heroes of its women, but to understand and empathize with even their most unforgivable acts. And it’s a hugely promising debut in terms of Tammi’s steady, assured directorial craft.
The film is produced by Soapbox Films and Divide/Conquer. Tammi directed from a script by Teresa Sutherland in an exploration of domestic solitude, conjuring an indescribable spectre that seems to emanate from the abyss of the night itself. “The Wind” stars Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Dylan McTee, and Miles Anderson.
Jessica Kiang gave the film a positive review for Variety: “A convincingly feminist melding of western legend and cabin-in-the-woods horror, but not in the way one might initially think, ‘The Wind’ doesn’t seek to make infallible heroes of its women, but to understand and empathize with even their most unforgivable acts. And it’s a hugely promising debut in terms of Tammi’s steady, assured directorial craft.
- 9/17/2018
- by Dave McNary
- Variety Film + TV
Female-oriented supernatural horror will screen at will screen at Fantastic Fest this weekend in Austin, Texas.
IFC Midnight has picked up Us rights to Emma Tammi’s Tiff selection The Wind produced by Soapbox Films and Divide/Conquer and plans a 2019 release.
The female-oriented supernatural horror received its world premiere in Tiff Midnight Madness and will screen at Fantastic Fest this weekend in Austin, Texas.
Teresa Sutherland wrote the screenplay about a woman who relocates with her husband to settle in the American frontier where an evil presence lurks.
Caitlin Gerard stars with Julia Goldani Telles, Ashley Zukerman, Dylan McTee,...
IFC Midnight has picked up Us rights to Emma Tammi’s Tiff selection The Wind produced by Soapbox Films and Divide/Conquer and plans a 2019 release.
The female-oriented supernatural horror received its world premiere in Tiff Midnight Madness and will screen at Fantastic Fest this weekend in Austin, Texas.
Teresa Sutherland wrote the screenplay about a woman who relocates with her husband to settle in the American frontier where an evil presence lurks.
Caitlin Gerard stars with Julia Goldani Telles, Ashley Zukerman, Dylan McTee,...
- 9/17/2018
- by Jeremy Kay
- ScreenDaily
Emma Tammi’s horror western The Wind has been acquired by IFC Midnight for a 2019 release in the United States.
The deal for The Wind was negotiated by IFC Midnight with ICM Partners/Xyz Films on behalf of the filmmakers. The Wind made its world premiere at Tiff’s Midnight Madness section and is continuing on to Fantastic Fest this weekend.
The pic follows a woman haunted by an evil presence in the 1800s frontier where she’s settled with her husband. Teresa Sutherland penned The Wind, which stars Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Dylan McTee, and Miles Anderson. Soapbox Films produced with Divide/Conquer.
The Wind features an array of female creatives in addition to Tammi and the stars, including production designers Hillary and Courtney Andujar, set decorator Elsbeth Mumm and film editor Alexandra Amick.
“Emma Tammi’s impressive debut into narrative filmmaking starring a break out...
The deal for The Wind was negotiated by IFC Midnight with ICM Partners/Xyz Films on behalf of the filmmakers. The Wind made its world premiere at Tiff’s Midnight Madness section and is continuing on to Fantastic Fest this weekend.
The pic follows a woman haunted by an evil presence in the 1800s frontier where she’s settled with her husband. Teresa Sutherland penned The Wind, which stars Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Dylan McTee, and Miles Anderson. Soapbox Films produced with Divide/Conquer.
The Wind features an array of female creatives in addition to Tammi and the stars, including production designers Hillary and Courtney Andujar, set decorator Elsbeth Mumm and film editor Alexandra Amick.
“Emma Tammi’s impressive debut into narrative filmmaking starring a break out...
- 9/17/2018
- by Anthony D'Alessandro
- Deadline Film + TV
IFC Films has scooped up the U.S. rights to Trevor Nunn’s period spy thriller “Red Joan” with Judi Dench and Sophie Cookson, which had its world premiere at the Toronto Film Festival on Thursday.
Represented in international markets by Embankment Films, “Red Joan” explores the complex persona and legacy of Joan Stanley, a seemingly demure physicist who was also a long-serving British spy for the Kgb. “Red Joan” was written by Lindsay Shapero (“Royal Wives at War”) based on Jennie Rooney’s best-selling novel of the same name.
“Red Joan” stars Dench as Joan Stanley, a retired scientist living in a London suburb who gets arrested by MI5 and accused of providing intelligence to Communist Russia. We flash back to 1938, and young Joan (Cookson) is a new physics student at Cambridge, where she is drawn into a circle of pro-ussr politicized youths and falls for a young communist,...
Represented in international markets by Embankment Films, “Red Joan” explores the complex persona and legacy of Joan Stanley, a seemingly demure physicist who was also a long-serving British spy for the Kgb. “Red Joan” was written by Lindsay Shapero (“Royal Wives at War”) based on Jennie Rooney’s best-selling novel of the same name.
“Red Joan” stars Dench as Joan Stanley, a retired scientist living in a London suburb who gets arrested by MI5 and accused of providing intelligence to Communist Russia. We flash back to 1938, and young Joan (Cookson) is a new physics student at Cambridge, where she is drawn into a circle of pro-ussr politicized youths and falls for a young communist,...
- 9/14/2018
- by Elsa Keslassy
- Variety Film + TV
Spy drama to play at San Sebastian, Zurich.
IFC Films has picked up Us rights from Embankment Films to spy drama and Tiff selection Red Joan starring Judi Dench and Sophie Cookson.
The film received its world premiere in Toronto on Thursday. Trevor Nunn directed from Lindsay Shapero’s adapted screenplay based on Jennie Rooney’s novel.
Red Joan begins with the arrest in 2000 of retired Joan Stanley, who as a young woman had been recruited by the Russians while at Cambridge University and spent her life passing on nuclear secrets to the Kgb.
The story is based on the life of Melita Norwood,...
IFC Films has picked up Us rights from Embankment Films to spy drama and Tiff selection Red Joan starring Judi Dench and Sophie Cookson.
The film received its world premiere in Toronto on Thursday. Trevor Nunn directed from Lindsay Shapero’s adapted screenplay based on Jennie Rooney’s novel.
Red Joan begins with the arrest in 2000 of retired Joan Stanley, who as a young woman had been recruited by the Russians while at Cambridge University and spent her life passing on nuclear secrets to the Kgb.
The story is based on the life of Melita Norwood,...
- 9/14/2018
- by Jeremy Kay
- ScreenDaily
The three French majority productions playing in competition in Venice are entirely different from one another in style and tone, and even more so in terms of their American distribution strategies.
Both Jacques Audiard’s “The Sisters Brothers” and Olivier Assayas’ “Double Lives” will be released under significantly different conditions, while David Oelhoffen’s “Close Enemies” will hit the Lido still looking for a buyer. Taken all together, however, these three cases offer a reasonable snapshot of the current U.S. market for French cinema.
Audiard’s “The Sisters Brothers” stands as the outlier, one of the rare French productions to land U.S. distribution before the cameras ever rolled. L.A.-based production company Annapurna Pictures came on board in May 2017 and announced that it would release the English-language Western through its nascent distribution arm.
Time will no doubt tell, but Annapurna’s interest in the project likely does...
Both Jacques Audiard’s “The Sisters Brothers” and Olivier Assayas’ “Double Lives” will be released under significantly different conditions, while David Oelhoffen’s “Close Enemies” will hit the Lido still looking for a buyer. Taken all together, however, these three cases offer a reasonable snapshot of the current U.S. market for French cinema.
Audiard’s “The Sisters Brothers” stands as the outlier, one of the rare French productions to land U.S. distribution before the cameras ever rolled. L.A.-based production company Annapurna Pictures came on board in May 2017 and announced that it would release the English-language Western through its nascent distribution arm.
Time will no doubt tell, but Annapurna’s interest in the project likely does...
- 9/4/2018
- by Ben Croll
- Variety Film + TV
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