Roma (2018) - News Poster

(2018)

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Studio Marketing Chiefs Discuss the Theatrical vs. Netflix Oscars Debate

  • Variety
On a day where a large part of the Fox marketing department was wiped out in the aftermath of the Disney merger, a group of marketing chiefs from other studios and streamers sat down at the Variety Entertainment Marketing Summit presented by Deloitte “to discuss the issues shaping the feature marketing landscape today, including the theatrical distribution vs. Netflix Oscars debate.

“It’s an Academy issue, they need to figure out how they want to define what a feature film is…they need to be crystal clear on how they’re evaluating it,” said Michelle Hooper, Marketing Evp at Fox Searchlight. “For me I feel like it needs to be a level playing field, they need to define is it a four-week theatrical window, and they need to report box office, regardless of the spending. It just needs to be defined and all of us need to be playing in the same sand box.
See full article at Variety »

Alfonso Cuaron’s ‘Roma’ Nabs Nine Nominations for 6th Premios Platino

  • Variety
Alfonso Cuaron’s ‘Roma’ Nabs Nine Nominations for 6th Premios Platino
As was widely anticipated, Alfonso Cuaron’s triple Oscar-winning “Roma” dominated the 6th Premios Platino nominations, unveiled Thursday at Hollywood’s legendary Roosevelt Hotel, the site of the very first Oscars. It snagged a total of nine nominations, including best film, director, art direction, cinematography, and acting for its two Oscar-nominated actresses, Yalitza Aparicio and Marina de Tavira.

Roma,” which won Mexico’s first best foreign-language film Oscar, is up against pics that were also submitted for their respective countries in the Academy Awards’ foreign-language category: Colombia’s “Pajaros de Verano,” Uruguay’s “La Noche de 12 Años,” and Spain’s “Campeones.” The first two titles nabbed six Premios Platino noms each while “Campeones” took five. Paraguay’s Oscar submission “Las Herederas” took five nominations.

The ceremony streamed live on Facebook with Premios Platino ambassador and CNN Español journalist Juan Carlos Arciniegas hosting the event alongside actors Joaquin Cosio, Angie Cepeda,
See full article at Variety »

'Roma' Tops Platino Award Nominations

Mexico's Roma topped the nominations for Latin America's Platino Awards, which were announced Thursday at the Roosevelt Hotel in Los Angeles.

Alfonso Cuaron's film received nine noms in the main categories, including for best film, director and actress (for both Yalitza Aparicio and Marina de Tavira).

To be hosted by Juan Carlos Archiniegas and featuring Latin American stars such as Angie Cepeda (Wild Horses), Jaime Camil (Jane the Virgin), Joaquín Cosio (Narcos: Mexico), Karla Souza (How to Get Away With Murder) and Luis Gerardo Mendez (Charlie's Angels), the Platino Awards will present trophies in 17 categories.

Roma ...
See full article at The Hollywood Reporter »

Global Box Office Flat in 2018, Netflix and Subscription Services Rise in Popularity

  • Variety
Global Box Office Flat in 2018, Netflix and Subscription Services Rise in Popularity
The domestic box office rebounded in 2018 in a recovery fueled by blockbusters such as “Black Panther” and “Incredibles 2.” Ticket sales in the U.S. climbed 7% to top out at a record $11.9 billion, according to a new report by the Motion Picture Association of America (MPAA). That helped off-set declines in overseas markets in Europe and Latin America, pushing the global box office to $41.1 billion, a year-over-year improvement of a percentage point.

The MPAA study is produced by the entertainment industry trade group and is intended to provide a comprehensive look at the overall state of the film business.

In addition to box office revenues, the report found that the global home entertainment business increased by 16% to reach $55.7 billion last year. This was driven primarily by the rise of digital rentals, sales, and subscriptions to streaming services such as Netflix. Digital home entertainment spending in the U.S. increased 24% to
See full article at Variety »

Toronto Film Fest Promotes Programmer to Battle Venice

Toronto Film Fest Promotes Programmer to Battle Venice
The Toronto Film Festival on Thursday said it has promoted longtime Spanish-language film programmer Diana Sanchez to the new role of senior director, film, effective April 15.

As she oversees programming across the festival group, Sanchez's relationships with Pedro Almodovar, Guillermo del Toro and Sebastian Lelio in her new role should help Toronto audiences discover more Oscar contenders, rather than view The Shape of Water, Roma and other riches from Venice after they bowed on the Lido.

"Diana and I will work with film programming teams to amplify the cumulative impact of Tiff’s singular resources: a prominent film festival,...
See full article at The Hollywood Reporter »

Qumra 2019: Oscar Winner Eugenio Caballero On ‘Roma,’ ‘Pan’s Labyrinth’ And The “Az-Tech” Approach To Production Design

Qumra is an industry event comprising lectures, masterclasses, labs, and mentoring sessions, held annually in the Qatari capital Doha for the benefit of emerging filmmakers from the region and worldwide, sponsored by the increasingly influential Doha Film Institute.

“Production designers are the great unsung heroes of the film world,” declared one audience member soberly during the Q&A portion of Eugenio Caballero‘s Qumra masterclass. “That’s the fun part,” Caballero replied impishly.

Continue reading Qumra 2019: Oscar Winner Eugenio Caballero On ‘Roma,’ ‘Pan’s Labyrinth’ And The “Az-Tech” Approach To Production Design at The Playlist.
See full article at The Playlist »

Scorsese's The Irishman Won't Be Finished in Time for Cannes

Netflix hoped to screen Martin Scorsese's The Irishman at the Cannes Film Festival this year. However, the movie will not be finished in time to debut at the annual French festival. The streaming platform and the festival had a very public battle last year over the fact that France has a strict policy involving streaming movies playing in theaters. According to laws in France, there must be a 36 month wait before a movie can be shown on a streaming platform, which isn't how Netflix handles its projects. This led Netflix to pull Alfonso Cuaron's Roma and premiere it at the Venice Film Festival instead, along with a lot of confusion surrounding streaming platform projects and their place at film fstivals in general.

A lot has changed in the last year and the Cannes Film Festival has been keeping an open dialogue with Netflix. The streaming platform's Ted Sarandos and
See full article at MovieWeb »

Scorsese’s ‘The Irishman’ Won’t Be Finished by Cannes, as Netflix Plans to Skip Festival

Following IndieWire’s report earlier this month that Netflix and the Cannes Film Festival were unlikely to find a solution in order to allow Netflix films to play in competition, Variety now confirms the streaming giant will be skipping the festival entirely for the second year in a row. The move means high profile Netflix titles such as Martin Scorsese’s “The Irishman,” Steven Soderbergh’s “The Laundromat,” David Michod’s “The King,” the Safdie brothers’ “Uncut Gems” (Netflix is handling international rights), and an untitled Noah Baumbach film will not debut at Cannes and will most likely wait until fall film festival season.

Scorsese’s “The Irishman,” starring Robert De Niro and Al Pacino, would have easily been the biggest title at Cannes, but Variety reports the film would not have been ready to debut by May even if Netflix was bringing films to the Croisette. Scorsese is using
See full article at Indiewire »

Qumra 2019: Production designer Eugenio Caballero talks 'Pan's Labyrinth', 'Roma' and earthquakes

”“I’ve been thinking about why I do a lot of films about destruction,” Caballero told the audience.

Leading Mexican production designer Eugenio Caballero touched down in Qatar to talk about his work on Pan’s Labyrinth, The Limits Of Control, The Impossible, A Monster Calls and Roma for the Doha Film Institute’s Qumra event this weekend (March 15-20).

Caballero acknowledged production designers are rarely in the limelight - by comparison with other key crew such as cinematographers and costume designers - and joked this was one of the perks of the job.

However he was keen to promote
See full article at ScreenDaily »

No Netflix films at Cannes for second year running, reports suggest

Martin Scorsese’s The Irishman and The Laundromat, starring Meryl Streep, among releases unlikely to get festival screenings

The loss of Netflix titles was perceived by many to be a heavy blow for last year’s Cannes film festival. After artistic director Thierry Frémaux ruled that titles from the streaming giant were ineligible to compete for the Palme d’Or, Netflix head Ted Sarandos duly pulled their full roster from the Croisette.

Films such as Roma, The Ballad of Buster Scruggs and many more duly played at rival festivals, before progressing to considerable acclaim.

Related: The Spielberg v Netflix row spotlights a movie industry in flux | Peter Bradshaw
See full article at The Guardian - TV News »

No Netflix films at Cannes for second year running, reports suggest

Martin Scorsese’s The Irishman and The Laundromat, starring Meryl Streep, among releases unlikely to get festival screenings

The loss of Netflix titles was perceived by many to be a heavy blow for last year’s Cannes film festival. After artistic director Thierry Frémaux ruled that titles from the streaming giant were ineligible to compete for the Palme d’Or, Netflix head Ted Sarandos duly pulled their full roster from the Croisette.

Films such as Roma, The Ballad of Buster Scruggs and many more duly played at rival festivals, before progressing to considerable acclaim.
See full article at The Guardian - Film News »

Despite Ongoing Peace Talks, Netflix Won’t Have Any Movies at Cannes 2019 (Exclusive)

  • Variety
Although Netflix and the Cannes Film Festival continue quietly to negotiate a potential settlement to their differences, the streaming giant will be absent from the Croisette again this year with no film in or out of competition, Variety has learned.

The ongoing talks between the two sides have been friendly, including a dinner in Los Angeles just over a week ago with Netflix’s Ted Sarandos and Scott Stuber and Cannes artistic director Thierry Fremaux, who was in town for a summit hosted by the Hollywood Foreign Press, one insider said. The meeting was one of several held since Netflix and Cannes’ bitter spat before last year’s festival, which led the streamer to take “Roma” to Venice instead, where it won the Golden Lion.

But no solution has been found yet that would allow a Netflix title to return to Cannes’ competition lineup. In any case, it does not
See full article at Variety »

‘Triple Frontier’: Ben Affleck and Director J.C. Chandor on the Ending and That [Spoiler]

Spoilers for Triple Frontier follow below. A month after Netflix's Spanish-language drama Roma took home three Oscars (including Best Director), the streaming service just released a star-studded action-thriller that’s been in development in Hollywood for a decade. Triple Frontier started as the next project from The Hurt Locker writer Mark Boal and director Kathryn Bigelow, but despite attracting A-list talent like Will Smith over the years, the film couldn’t get made. Until Netflix stepped in. The finished version hails from All Is Lost and A Most Violent Year director J.C. Chandor (who …
See full article at Collider.com »

Oscars or Emmys? How a Feature Film Could Earn Nominations From Both Academies

Oscars or Emmys? How a Feature Film Could Earn Nominations From Both Academies
At this point, the “Roma” distribution debate is exhaustive (if not exhausting), but it’s one that Steven Spielberg inadvertently began in March 2018, while promoting “Ready Player One.” Speaking to the U.K.’s ITV News, he said: “Once you commit to a television format, you’re a TV movie. You certainly — if it’s a good show, deserve an Emmy. But not an Oscar.”

Netflix didn’t even announce its acquisition of the film until April 2018, so it’s unlikely that Spielberg specifically referred to Cuarón’s passion project. However inadvertently, Spielberg’s statement also introduced a compelling question: Should creative intention inform awards qualification?

If you’re an Emmy, the answer is no.

To be clear: The TV Academy draws a line when it comes to theatrical exhibition and Emmys qualification. If you put something on 250-plus screens across four months, as we estimate Netflix did with “Roma,
See full article at Indiewire »

Why Social Impact Entertainment Is Ready for the Spotlight in Hollywood (Guest Blog)

  • The Wrap
Why Social Impact Entertainment Is Ready for the Spotlight in Hollywood (Guest Blog)
Last month’s Oscars represented a breakthrough — not only for the diversity of winners, but for a larger idea that has been gaining momentum in recent years: that mass entertainment and deeper social messages are not mutually exclusive, but rather an opportunity for Hollywood to do well and do good at the same time.

The extraordinary range of winning films, which addressed themes of racism to social class to sexual identity, put a spotlight on the growing desire of large audiences to grapple with — and in many cases influence — some of the world’s most thorny issues. Winners and nominees like “Green Book,” “Roma,” “If Beale Street Could Talk,” “The Wife,” “BlackKklansman,” “Vice” and “Can You Ever Forgive Me?” show us that in a world of “fake news” and “alternative facts,” people are hungering for more reality.

“The State of Social Impact Entertainment” (Sie), released on March 5, is a landmark
See full article at The Wrap »

Academy Rule Changes From the Spielberg Vs. Netflix Battle? Maybe Not What You Think

We’re a week from the first post-Oscars governors meeting, on March 19; that’s usually the time for the show postmortem. However, the Spielberg vs. Netflix elephant is already waiting in the boardroom.

While supporters can (and do) wax poetic about the “theatrical experience,” there’s a very practical question on the table: Just how far is the Academy willing to go to declare the primacy of brick-and-mortar cinema? Currently, the Oscar-qualifying requirement is one week in a commercial theater — and that release can be day and date with streaming. Governors argued heatedly about this on Oscar night and since, complaining that Netflix movies like “Roma” have an unfair advantage: They have the deepest pockets, the biggest platform, and no obligation to the 90-day theatrical release window.

Steven Spielberg clearly believes that movies belong in movie theaters, but extending the theatrical requirement could impact documentary, foreign-language, and independent films that
See full article at Thompson on Hollywood »

Academy Rule Changes From the Spielberg Vs. Netflix Battle? Maybe Not What You Think

We’re a week from the first post-Oscars governors meeting, on March 19; that’s usually the time for the show postmortem. However, the Spielberg vs. Netflix elephant is already waiting in the boardroom.

While supporters can (and do) wax poetic about the “theatrical experience,” there’s a very practical question on the table: Just how far is the Academy willing to go to declare the primacy of brick-and-mortar cinema? Currently, the Oscar-qualifying requirement is one week in a commercial theater — and that release can be day and date with streaming. Governors argued heatedly about this on Oscar night and since, complaining that Netflix movies like “Roma” have an unfair advantage: They have the deepest pockets, the biggest platform, and no obligation to the 90-day theatrical release window.

Steven Spielberg clearly believes that movies belong in movie theaters, but extending the theatrical requirement could impact documentary, foreign-language, and independent films that
See full article at Indiewire »

2020 Oscar Predictions: Best Director

2020 Oscar Predictions: Best Director
One of the big questions about the 2020 Oscars is whether or not there will be a split between the winners of Best Picture and Best Director, as we’ve seen in three of the last four years. Before the academy reintroduced the preferential ballot for Best Picture in 2010, such divides were fairly rare. Now, they are the rule rather than the exception at the Academy Awards. (Scroll down for the most up-to-date 2020 Oscars predictions for Best Director.)

Why is this?

Unlike every other Oscar category, which are decided by a popular vote, the winner of the Best Picture award is determined by a weighted ballot. Voters rank their choices from first to last. If one nominee garners more than 50% of the first place vote, it automatically wins. If, however, no nominee can meet that threshold, the film with the fewest first place votes gets eliminated, with its ballot getting reapportioned to the second place choice.
See full article at Gold Derby »

2020 Oscar Predictions: Best Picture

2020 Oscar Predictions: Best Picture
Predicting the winner of the Academy Award for Best Picture is never easy. We were sure the top prize at the 2019 Oscars would go to “Roma” but it was “Green Book” that won. In coming up with our 2020 Oscar predictions, we considered a slew of factors, starting with the preferential ballot used to determine the winner. Add in the pedigree of the filmmakers, the critical reception to the films, the box office tally and the track record of the studios. We take all of these into consideration again as we look ahead to the 2020 Academy Awards. (Scroll down for the most up-to-date predictions for this year’s Best Picture race.)

Contenders began to emerge at the Sundance Film Festival in January. Others will be seen for the first time at the Cannes Film Festival in May. However, most of the top tier of Best Picture hopefuls won’t screen until
See full article at Gold Derby »

Oscar-winning Production Designer Eugenio Caballero Gives Guadalajara Master Class

  • Variety
Guadalajara, Mexico — At the Guadalajara Int’l Film Festival (Ficg) to give a master class, “Roma” production designer Eugenio Caballero sat down with Variety prior to the sold-out Ficg event on Saturday. As Mexico’s only production designer to win an Oscar (for his work in Guillermo del Toro’s “Pan’s Labyrinth”) and who was again nominated for his meticulous work on Alfonso Cuaron’s multi-Oscar-winning black-and-white memoir, “Roma,” Caballero has been keen to allay his public-speaking fears to pay it forward and share what he knows about his craft.

He is set to give more master classes in Doha and in Europe before he decides on which of two current job offers to accept, both of them in Europe. “Not everyone understands what production design entails, not even people in the business,” he said, adding: “It’s more a narrative discipline than an aesthetic discipline.”

“I want to
See full article at Variety »
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