Screen looks at the key take-aways from the annual exhibitors convention in Las Vegas which ran April 8-11.
Exhibitors in decent shape; AMC boss fends off bankruptcy talk
Cineworld has come through a restructure. Cinemark continues to run a tight ship. And AMC will not file for bankruptcy – or so CEO Adam Aron asserted whenever a reporter was within earshot, despite a heavy debt load and incessant speculation about the financial health of the world’s largest circuit after Covid and the Hollywood strikes.
However Drafthouse is exploring a sale, and Hollywood sources told Screen the likelihood is there will be consolidation down the line,...
Exhibitors in decent shape; AMC boss fends off bankruptcy talk
Cineworld has come through a restructure. Cinemark continues to run a tight ship. And AMC will not file for bankruptcy – or so CEO Adam Aron asserted whenever a reporter was within earshot, despite a heavy debt load and incessant speculation about the financial health of the world’s largest circuit after Covid and the Hollywood strikes.
However Drafthouse is exploring a sale, and Hollywood sources told Screen the likelihood is there will be consolidation down the line,...
- 4/13/2024
- ScreenDaily
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? In October 2019 Chen Zhou came over to Gijón to act but also help me shoot El Planeta. Back then I promised I wouldn’t cut my hair until I visited Shanghai again, because I was supposed to spend a month in China during March 2020. Of course, all those plans got cancelled. Now my hair is much longer than I expected and I truly miss my friend and collaborator Chen Zhou. But I also […]
The post "I Promised I Wouldn't Cut My Hair": Director Amalia Ulman | El Planeta first appeared on Filmmaker Magazine.
The post "I Promised I Wouldn't Cut My Hair": Director Amalia Ulman | El Planeta first appeared on Filmmaker Magazine.
- 1/31/2021
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
How did events of 2020—any of them—change your film, either in the way you approached it, produced it, post-produced it, or are now thinking about it? In October 2019 Chen Zhou came over to Gijón to act but also help me shoot El Planeta. Back then I promised I wouldn’t cut my hair until I visited Shanghai again, because I was supposed to spend a month in China during March 2020. Of course, all those plans got cancelled. Now my hair is much longer than I expected and I truly miss my friend and collaborator Chen Zhou. But I also […]
The post "I Promised I Wouldn't Cut My Hair": Director Amalia Ulman | El Planeta first appeared on Filmmaker Magazine.
The post "I Promised I Wouldn't Cut My Hair": Director Amalia Ulman | El Planeta first appeared on Filmmaker Magazine.
- 1/31/2021
- by Filmmaker Staff
- Filmmaker Magazine - Blog
‘Relic’
While some distributors are cutting back, Umbrella Entertainment plans to release approximately 18 titles in cinemas this year, up from 14 in 2019.
The distributor has high hopes for its Australian acquisitions which run the gamut of genres from drama, horror and Western to sci-fi.
“We’re passionate about overcoming the cultural cringe that Australian audiences still have a tendency to display and are dedicated to fostering new Australian talent,” Umbrella head of acquisitions Ari Harrison tells If.
“As a small, close-knit team, we aim to concentrate our efforts on films that we love and can support from the ground up. We want to work hand-in-hand with the filmmakers with the goal of getting their film ‘out there’ so that it finds its audience.
“Essentially we aim to ensure that the films we acquire have the capacity for national theatrical success in Australia and New Zealand, with potential for continued growth via their ancillary platforms.
While some distributors are cutting back, Umbrella Entertainment plans to release approximately 18 titles in cinemas this year, up from 14 in 2019.
The distributor has high hopes for its Australian acquisitions which run the gamut of genres from drama, horror and Western to sci-fi.
“We’re passionate about overcoming the cultural cringe that Australian audiences still have a tendency to display and are dedicated to fostering new Australian talent,” Umbrella head of acquisitions Ari Harrison tells If.
“As a small, close-knit team, we aim to concentrate our efforts on films that we love and can support from the ground up. We want to work hand-in-hand with the filmmakers with the goal of getting their film ‘out there’ so that it finds its audience.
“Essentially we aim to ensure that the films we acquire have the capacity for national theatrical success in Australia and New Zealand, with potential for continued growth via their ancillary platforms.
- 2/16/2020
- by The IF Team
- IF.com.au
‘Top End Wedding’, ‘Hearts and Bones’ and ‘The King’ are among the 34 longlisted films.
Some 34 feature films will compete for nominations for this year’s Aacta Awards, and the longlist covers a diverse range of titles, from box office earners like Top End Wedding and Storm Boy, through to critically lauded films like The Nightingale and micro budget indies such as Suburban Wildlife.
However, perhaps the most notable inclusion in the longlist is David Michôd’s Netflix Original The King, which premiered at Venice Film Festival last week to an eight-minute standing ovation.
Typically, to be eligible for Aacta Awards, a film – even when made for a streaming platform – must have paid cinema screenings in Australia or local festival play.
Aacta has made an exception for The King, which is not due to play in Australian cinemas or in festivals before its release on Netflix later this year, because of...
Some 34 feature films will compete for nominations for this year’s Aacta Awards, and the longlist covers a diverse range of titles, from box office earners like Top End Wedding and Storm Boy, through to critically lauded films like The Nightingale and micro budget indies such as Suburban Wildlife.
However, perhaps the most notable inclusion in the longlist is David Michôd’s Netflix Original The King, which premiered at Venice Film Festival last week to an eight-minute standing ovation.
Typically, to be eligible for Aacta Awards, a film – even when made for a streaming platform – must have paid cinema screenings in Australia or local festival play.
Aacta has made an exception for The King, which is not due to play in Australian cinemas or in festivals before its release on Netflix later this year, because of...
- 9/10/2019
- by jkeast
- IF.com.au
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