Spanish streaming service Filmin has acquired Lars von Trier’s “The Kingdom” trilogy, along with the full library of films by the director, from TrustNordisk.
Von Trier is currently completing the third and final instalment of “The Kingdom,” his cult 1990s TV show about the good, evil and paranormal inside the neurosurgical ward of Denmark’s main hospital.
Filmin is also acquiring the restored Seasons 1 and 2 of the show and will launch the complete series in Spain. The trilogy has already been acquired in several territories, including Germany and Austria (Koch Films), Japan (Synca Creations) and South Korea (AtNine).
“We are pleased to experience this high level of interest in the series among buyers, who are evidently intrigued and excited about the series’ epic story, director and cast, which of course comes as no surprise,” said Susan Wendt, TrustNordisk’s managing director.
Von Trier penned the script in collaboration with Niels Vørsel,...
Von Trier is currently completing the third and final instalment of “The Kingdom,” his cult 1990s TV show about the good, evil and paranormal inside the neurosurgical ward of Denmark’s main hospital.
Filmin is also acquiring the restored Seasons 1 and 2 of the show and will launch the complete series in Spain. The trilogy has already been acquired in several territories, including Germany and Austria (Koch Films), Japan (Synca Creations) and South Korea (AtNine).
“We are pleased to experience this high level of interest in the series among buyers, who are evidently intrigued and excited about the series’ epic story, director and cast, which of course comes as no surprise,” said Susan Wendt, TrustNordisk’s managing director.
Von Trier penned the script in collaboration with Niels Vørsel,...
- 6/1/2022
- by Elsa Keslassy
- Variety Film + TV
Lars von Trier is set to direct “Kingdom Exodus,” the third and final season of “The Kingdom,” his cult 1990s TV show about the good, evil and paranormal inside the neurosurgical ward of Denmark’s main hospital.
Louise Vesth at Zentropa Entertainments is producing the five-episode season, which will start shooting next year. TrustNordisk handles international sales on the show, which is expected to be delivered in 2022. “The Kingdom Exodus” is a collaboration between Viaplay, Dr and Zentropa, with financial support from Film i Väst and Nordisk Film & TV Fond, among others.
Von Trier penned the script in collaboration with Niels Vørsel, as for the first two runs. A third season was being planned in the late 1990s before being abandoned followed the death of two cast members, Ernst-Hugo Järegård and Kirsten Rolffes.
“The Kingdom” was adapted by Stephen King in the U.S. as a 13-episode drama titled...
Louise Vesth at Zentropa Entertainments is producing the five-episode season, which will start shooting next year. TrustNordisk handles international sales on the show, which is expected to be delivered in 2022. “The Kingdom Exodus” is a collaboration between Viaplay, Dr and Zentropa, with financial support from Film i Väst and Nordisk Film & TV Fond, among others.
Von Trier penned the script in collaboration with Niels Vørsel, as for the first two runs. A third season was being planned in the late 1990s before being abandoned followed the death of two cast members, Ernst-Hugo Järegård and Kirsten Rolffes.
“The Kingdom” was adapted by Stephen King in the U.S. as a 13-episode drama titled...
- 12/17/2020
- by Elsa Keslassy
- Variety Film + TV
With the Scandinavian market becoming increasingly divided between blockbusters and indies, mid-budget films are left in limbo and struggling to get financial backing.
“The polarization starts at the funding stage,” says Hakon Overas of Norway’s 4½ Fiksjon, the production company behind Hans Petter Moland’s “Out Stealing Horses,” in competition for the Golden Bear in Berlin. “[The Norwegian Film Institute] won’t give money to those films ‘in the middle,’ the ones we used to make.”
Moland’s business partner Turid Oversveen agrees. “We used to focus on quality art films, but today we are forced to include blockbusters and more commercial films or we are out of business.”
For Torleif Hauge, Project Advisor at the Nordisk TV and Film Fund, the investors’ risk-averse attitude is down to consumer behavior: “People still go to the cinema, tickets are selling like never before, but more money is going to blockbusters because that’s what people go to see.
“The polarization starts at the funding stage,” says Hakon Overas of Norway’s 4½ Fiksjon, the production company behind Hans Petter Moland’s “Out Stealing Horses,” in competition for the Golden Bear in Berlin. “[The Norwegian Film Institute] won’t give money to those films ‘in the middle,’ the ones we used to make.”
Moland’s business partner Turid Oversveen agrees. “We used to focus on quality art films, but today we are forced to include blockbusters and more commercial films or we are out of business.”
For Torleif Hauge, Project Advisor at the Nordisk TV and Film Fund, the investors’ risk-averse attitude is down to consumer behavior: “People still go to the cinema, tickets are selling like never before, but more money is going to blockbusters because that’s what people go to see.
- 2/10/2019
- by Lise Pedersen
- Variety Film + TV
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