“Obviously you don’t have real dinosaurs — sometimes you have people playing dinosaurs — but we love animatronics and we’re trying to do as much with them as possible,” he said of the sequel. “I think animatronics bring soul and reality to it. We’re trying to find the balance between animatronics and CGI in order to cheat the audience so they
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
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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The win marks the second time that Thornton and an Australian film have won the top award at the APSAs, which cover 70 countries. Thornton’s debut feature, Samson and Delilah, won the best film award in 2009.
Sweet Country’s Apsa win also follows a special jury award for the period western at the Venice Film Festival in October and a win in the Platform section of Toronto International Film Festival in September.
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
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
Co-organized by Uruguay’s Mutante Cine production outfit, the event unspools in Montevideo over Nov. 23-27, prior to the 9th Ventana Sur, Latin America’s biggest movie market. Thanks to a special collaboration agreement, Puentes participant-producers can attend Ventana Sur (Nov. 27 – Dec. 1), in Buenos Aires. This is the fifth year that Montevideo hosts the Puentes event.
Founded in 2009 by Eave (European Audiovisual Entrepreneurs), Puentes is a training workshop for Europe and LatAm producers, which took place for the first time in Uruguay in 2012.
An Arte Award winner at San Sebastian’s 5th Europe-Latin America Co-Production Forum last year, Maura Delpero’s “Hogar” is produced by Italian Alessandro Amato’s Dispàrte in co-production with Argentinean Campo Cine. The first fiction
His 2013 short took him to festival nominations and wins around the world from Los Angeles to Karlovy Vary. The next year he was nominated for best documentary short at Tribeca, along with co-director Juan Manuel Renau, for their film “Las Luces,” (The Lights). And, his third feature “Años luz,” which followed esteemed Argentine director Lucrecia Martel as she filmed this year’s Argentine submission for the foreign-language Oscar “Zama,” premiered at Venice this year.
2017 looks to be something of a banner year from the director. His latest feature documentary “Soldado,” got it’s first lofty bit of recognition at February’s Berlinale Festival where the film was in the running for both the Glasshütte Original Documentary Award, and a Crystal Bear. It then competed at San Sebastian’s Zabaltegi Section. This week
Cinetren will release “To the Desert” on Nov. 30 in Argentina.
“To the Desert” is also just the third live-action feature from Ulises Rosell, one of the founding fathers of the New Argentine Cinema who, along with Daniel Burman, Israel Adrián Caetano and Lucrecia Martel, was one of the directors of 1996’s “Historias Breves,” a omnibus feature calling card for a new generation of Argentine directorial talent.
Though Rosell won a brace of awards for 2006’s “Sofabed,” his career has been lower-profile to date than these illustrious contemporaries, “To the Desert” marking by far his largest canvas for a theme which has marked some of his finest films, a
Errol Morris’s “The Thin Blue Line” looked at murder in the heartland with a spirit that evoked Norman Mailer’s “The Executioner’s Song.” Werner Herzog’s “Into the Abyss” entered the minds of two vicious killers (it didn’t get as deep into the abyss as it implied, but it was a game attempt). “O.J.: Made in America” turned the Simpson saga into a charged excavation of the roots of violence. Now Barbara Kopple, the veteran director of documentaries about embattled workers (“Harlan County U.S.A.,” “American Dream”), pop-music
A former rhythmic gymnast herself, Prus seems to equally adore the exquisite physicality of the discipline and abhor the psychological torment that goes into it. That said, no interest at all in the subject is required to find “Over the Limit” coolly riveting: If anything, the less you know about its beleaguered heroine, Margarita Mamun, and
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