The animated pic is on par with Disney’s “Moana,” which earned $2.6 million from previews during the same frame last year. It went on to gross $82 million over five days.
The family film has been on track to take in $55 million to $60 million at 3,948 venues during the Thanksgiving holiday period from Wednesday to Sunday. Estimates indicate that the costly “Justice League,” which has pulled in a disappointing $111.9 million in its first five days, will come in No. 1 again with about $60 million to $65 million.
“Coco” opens in nearly 2,800 3D locations, 106 premium large format screens, and 268 theaters offering the film in Spanish. Unlike “Justice League,” critics have embraced “Coco” (its Rotten Tomatoes score is currently 95%).
Just before “Coco” began its Tuesday night previews, news broke that animation guru John Lasseter would be taking a six-month leave from the company over allegations of inappropriate behavior toward women. [link
After a glittering career as a singer, and then as an actress, she became a key figure in the running of first the Shaw Brothers movie studio, then at the top of Tvb, Hong Kong’s leading free-to-air TV station.
Tvb said that she died peacefully at 5.28pm local time at Hong Kong Sanatorium and Hospital, in Happy Valley, surrounded by her family. No cause of death was given.
Born in Shanghai in 1934 as Lee Monglan, the daughter of a nightclub singer, she moved to Hong Kong in the 1940s with her mother and quickly turned professional as a singer. She was noted for her singing abilities in Chinese and English, and often sang English covers of Chinese hits.
She met her husband, the legendary Sir Run Run Shaw after a performance
“Following 2017’s anniversary edition, the Festival is beginning a new period in its history,” Festival President Pierre Lescure said in a statement. “We intend to renew the principles of our organization as much as possible, while continuing to question the cinema of our age and to be present through its upheavals.”
The new schedule, the statement read, will allow festival organizers to “rebalance” the two weeks of the event and bring “new energy” to the festival.
Under the deal, Deutsche Telekom customers in Germany, Poland and the Netherlands have already gained access to Netflix content.
“We want to ensure the best content offering and TV experience for our customers and will work with Netflix to further expand our great partnership”, said Thomas Kicker, senior VP of group partnering at Deutsche Telekom.
Maria Ferreras, Netflix’s VP of business development Emea, said the partnership builds on “Netflix”‘s strong relationship with Deutsche Telekom.
“We are thrilled to open a new world of exclusive and critically-acclaimed entertainment for millions of Deutsche Telekom’s TV and Mobile customers in Europe,” said Ferreras.
Netflix content has been available in 4K to subscribers of EntertainTV, Deutsche Telekom’s streaming service, in Germany since October.
In Poland, meanwhile, Netflix
The film, which won the Golden Lion at the Venice festival earlier this year, is the second feature by cinematographer turned director Warwick Thornton. His first film “Samson and Delilah” won the Apsa best picture award in 2009, making Thornton the only two-time Apsa winner.
The Apsa awards were in their 11th iteration. They were presented Thursday evening at a ceremony in Brisbane, Australia.
The other big winner on the evening was India’s “Newton.” It earned a best acting prize for Rajkummar Rao, while Mayank Tewari, Amit V. Masurkar claimed the award for best screenplay.
Russia’s Andrey Zvyagintsev was named best director for “Loveless,” which had its premiere in Cannes. Zvyagintsev previously won the best film award with “Leviathan” in 2014.
The international awards were selected by a jury headed by film editor, Jill Bilcock. She praised
Sold by Newen Distribution, “Ouro” was directed by Kim Chapiron (“Dogpound”) and Philippe Triboit (“Spiral”) and produced by Mascaret Films.
Set in the Guyanese forest, “Ouro” follows the journey of Vincent, a 20-year-old geology student from Paris who goes to French Guyana to do an internship at a gold mining company and drifts into the dangerous world of gold trafficking.
The series will start airing on AMC Spain in January, followed by a roll-out in Portugal a month later.
“We are thrilled to bring this fantastic adventure drama to our Portuguese and Spanish audience” said Pilar de las Casas, VP of Cinema and Documentary Channels at AMC Networks International Iberia.
“Ouro” was acquired last week by Sony Pictures Television Networks for Continental Europe.
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There was a time, not all that long ago, when Luca Guadagnino’s new film Call Me By Your Name would have been something of a fringe item. A florid gay love story, set in the rarefied playground of wealthy white academics who use “summer” as a verb, awash in Euro-art flourishes inspired by the likes of Bertolucci and Antonioni, and based on an André Aciman novel treasured chiefly within the Lgbt community, it’s the kind of film towards which enraptured critics usually struggle to steer substantial audiences.
Related: Call Me By Your Name review – gorgeous gay love story seduces and overwhelms
After found footage and phone footage films, here, with the inevitability of a man in belted jeans launching a new iPhone model to a crowd of saucer-eyed disciples, is the first ever selfie movie – a naive and self-indulgent piece with very little going for it other than zeitgeist bragging rights.
Shot mostly on camera phones by the actors, #Starvecrow is a tiny-budget British drama about a group of insufferably privileged twentysomething mates. Ben Willens is Ben, a controlling narcissist who creepily films everything on his phone. When his on-off girlfriend (Ashlie Walker) walks out for good, he steals her friends’ mobiles – giving the film its footage of attention-seeking drunken antics and nastier behaviour never intended for Snapchat. Ben, like one of the lads from Made in Chelsea
In all, 58 projects came from 23 countries, each exploring different themes and formats. “It’s so wonderful to travel with all these filmmakers and see the world through their eyes,” says Adriek van Nieuwenhuijzen, the festival’s head of industry. “The variety is huge this year, and it’s not only political topics dealing with society. Last year, what
That was the tone maintained by the festival’s well-received selection of prizewinners, presented on Wednesday night, many of which tackled conflict and political turmoil with an empathetic but battle-wearied worldview. The top award in the festival’s feature-length competition, Serbian director Mila Turajlic’s “The Other Side of Everything,” had already premiered in low-key fashion at Toronto in September, but this thoughtful reflection on the still-unresolved legacy of civil war in Serbia found a more vocally receptive
The long, complicated saga known as the Never-Ending Rehabilitation of Mel Gibson unspools another chapter. Gibson is playing his most prominent on-screen role, in Daddy’s Home 2, since his obscenity-filled antisemitic meltdown on the shoulder of the Pacific Coast Highway on a hot July night in Malibu more than a decade ago.
Given the serendipity of long-range movie-release schedules, how was Gibson to know that his latest bid for a soft landing back in the box-office charts, and back in the warm bosom of filmgoers worldwide, would take place during a tsunami of revelations of sexual chicanery and all-round vileness among top Hollywood figures and Washington politicians?
This year’s works in progress selections have been divided into two groups. The first group is the Screenings and Work in Progress section, which was specially curated by José Luis Rebordinos, director of the San Sebastian Film Festival. The remaining works in progress are in the Video Room section.
Starting with the local fare, “Luciferina,” is the only Argentine work in progress at this year’s Blood Window. From director Gonzalo Calzada, the film is the story of Natalia, a teenage girl with a supernatural gift. After a family trauma, the origins of her ability must be faced, and a ritual executed to protect the girl from something which has been with her
The section is the second in a series that began in 2016. “Last year,” says Van Halsema, “we had a program, also called Shifting Perspectives, from which we basically wanted to look at what was left over from the history of colonialism – the slave trade, slavery between Africa as a continent and Europe and the U.S..
The programmers picked films from each of these regions, and then, as they were watching them, we realized right away that there was a blind
Sure to travel the festival circuit as widely as Derki’s debut did, starting discussions along the way about complicity and trust in documentary filmmaking, “Of Fathers and Sons” has a combination of artistic muscle and frank
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