6 items from 2016
Madrid — Two of Spain’s most anticipated titles of the year – Alberto Rodriguez’s true-life Spanish espionage expose “Smoke & Mirrors” and Rodrigo Sorogoyen’s serial-killer procedural “May God Save Us” – will world premiere in main competition at the 64th San Sebastian Festival.
Also competing at the highest-profile film event in the Spanish-speaking world: Romantic dramedy “La Reconquista,” a first big fest bow for Jonas Trueba, an engaging, audience-friendly arthouse auteur..
Starring Liam Neeson, Sigourney Weaver and Felicity Jones, Spaniard Juan Antonio Bayona’s “A Monster Calls” will celebrate its European premiere at San Sebastian, screening out of competition, as announced last week.
Presented Thursday in Madrid, the 11 Spanish features selected for this year’s San Sebastian invite several off-the-cuff conclusions. First, eight are world premieres: The large spread of fresh films from Spain remains one of San Sebastian’s biggest lures.
Again, Spanish producers used to think thrice before premiering »
- John Hopewell
Paramount and The Film Arcade have announced a September 23rd release date for "Goat," Andrew Neel's fraternity drama which was a hit at Sundance. Nick Jonas and Ben Schnetzer star in the film which will open on September 23rd in New York, Los Angeles, and other select U.S. cities along with a digital and on demand release on that date. [Source: EW]
David Goyer is set to direct a remake of Baran bo Odar's German film "Who Am I". The story follows a man who falls in with a group of hackers in Berlin who attempt to gain notoriety by disrupting the public order. Dan Wiedenhaupt ("The Solutrean") is penning the script for the remake. [Source: Deadline]
- Garth Franklin
Madrid — Juanma Bajo Ulloa’s “Baby,” Manuel Martin Cuenca’s “Brando” and Cristina Andreu’s “Mara 13 Mara 18” are among the seven projects to be pitched at the highly popular 2016 Spain-Ile de France Small is Beautiful forum, a networking event now in its ninth edition.
Maria Leon (“The Sleeping Voice,” “Alli abajo”), regarded in Spain as one of the finest Spanish actresses of her generation, is attached to star in fantasy romantic drama “Not the End,” helmed by Cesar and Jose Esteban Alenda, another project to be unveiled in Paris.
Taking place June 24 in Paris, and part of its alternative Spanish film festival Different!, the meet serves to introduce a cream of edgier Spanish movie projects, arthouse and niche mainstream, to three dozen or so Paris-based distributors and international sales agents, in one of the world’s capitals of non-popcorn cinema.
Small is Biutiful often marks the first time Spanish movies »
- John Hopewell
Once made up of almost pure-play Spanish film vendors, Spain’s sales sector is diversifying to survive.
One reason: the number of Spanish star-driven pics with high production values has plunged as average Spanish movie budgets dropped from $3.4 million in 2009 to $2.0 million in 2015.
Despite some exceptions, local films have followed the trend of foreign-language fare the world over and sell abroad at lower prices than 10 years ago. International buyers are becoming increasingly selective in foreign-language acquisitions and struggle ever more to open them theatrically.
International business is also polarizing. Per Canales, “There’s practically no middle ground: Either you make good sales on films with a theatrical opening or small sales for other release windows.”
Latido Films CEO »
- Emiliano De Pablos
For Spain’s top movie players, TV production could prove their salvation.
When Spain’s largest telco, Telefonica, bought total control of its biggest pay TV operator, Canal Plus Spain, in May 2014, it was an unprecedented move for Europe’s “big five” movie territories.
The positive consequences of that telco-content convergence, compounded by Netflix’s launch in Spain last October and HBO promising a Spanish streaming service by this year-end, are now playing out all over Spain’s content industry.
Co-producing and promoting 10-15 titles a year, Spain’s biggest broadcast networks Mediaset España and Atresmedia have helped fire up Spanish films’ domestic market shares to 25.5% in 2014 and 19% last year — both modern highs.
Led by “Julieta,” Pedro Almodóvar’s fifth competition entry, Spain boasts its biggest festival presence at Cannes for years with four features. But all the other films — Catalan Albert Serra’s “The Death of Louis Xiv,” a »
- John Hopewell and Emiliano De Pablos
Guadalajara – Who said distributors can no longer rely on TV sales? In a deal model which looks set to multiply in the Mexico, as competition in Latin America’s VOD space heats up, Eckehardt Von Damm’s Corazon Films has acquired all rights for Mexico and VOD for the whole of Latin America – both Svod and Tvod – to Federico Veiroj’s “The Apostate.”
“New VOD platforms in the region allow local distributors to be more aggressive as Latin American films become more palatable,” said Sandro Halphen, Corazon head of development and rights’ manager.
Pick-up by Corazon Films, a production-distribution shingle that releases a mix of U.S. (Scott Hick’s “Fallen,” “American Ultra”) and Mexican movies, ticks off another major territory for “The Apostate,” an irreverent belated coming-of-age comedy from Spanish-Uruguayan director Veiroj which, world premiering at Toronto, won a Fipresci award and Special Jury Prize at San Sebastian.
- John Hopewell
6 items from 2016
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