Denver-based distributor Fathom Events and Spain’s Bosco Films are teaming to release this September in 700 U.S. theaters the Spanish documentary “Libres” (“Free”).
Portraying the cloistered life of 12 monasteries in Spain, “Free” will be the fourth feature both partners jointly release stateside.
Their distribution relationship kicked-off last year, with the U.S. release of faith-based doc “Vivo” (“Alive”), which scored $352,000 on its April 24 launch, entering into the domestic box office Top Ten.
Further recent Fathom-Bosco releases include Spanish biopic “Esclavos y reyes” (“Claret”) and French pilgrimage documentary “Lourdes.”
For “Free’s” Latin American and Mexican bows, scheduled for Sept. 21, Madrid-based Bosco Films has inked deals with key exhibition chains such as Cinemex, Cinemark and Cinépolis.
Bosco opens “Free” in Spanish theaters on April 21.
Directed by Santos Blanco and written by Javier Lorenzo, “Free” is a journey into the interior of men through the lives of those people who have...
Portraying the cloistered life of 12 monasteries in Spain, “Free” will be the fourth feature both partners jointly release stateside.
Their distribution relationship kicked-off last year, with the U.S. release of faith-based doc “Vivo” (“Alive”), which scored $352,000 on its April 24 launch, entering into the domestic box office Top Ten.
Further recent Fathom-Bosco releases include Spanish biopic “Esclavos y reyes” (“Claret”) and French pilgrimage documentary “Lourdes.”
For “Free’s” Latin American and Mexican bows, scheduled for Sept. 21, Madrid-based Bosco Films has inked deals with key exhibition chains such as Cinemex, Cinemark and Cinépolis.
Bosco opens “Free” in Spanish theaters on April 21.
Directed by Santos Blanco and written by Javier Lorenzo, “Free” is a journey into the interior of men through the lives of those people who have...
- 3/14/2023
- by Emiliano De Pablos
- Variety Film + TV
Film also stars Mathieu Demy, Elsa Zylberstein and Sidse Babett Knudsen.
Coproduction Office has added members to Club Zero with multiple buyers snapping up Jessica Hausner’s psychological drama at the EFM.
The ensemble film set at an elite boarding school sold to Bac Films in France, Klockworx in Japan, Academy Two in Italy, Karma in Spain, September Films in Benelux, Camera in Denmark, Praesens Film in Switzerland, Bio Paradis in Iceland, Alambique in Portugal, Ama Films in Greece, New Horizons in Poland, Vertigo in Hungary, Independenta in Romania, Filmstop Inspiration in the Baltic countries and Front Row in the Middle East.
Coproduction Office has added members to Club Zero with multiple buyers snapping up Jessica Hausner’s psychological drama at the EFM.
The ensemble film set at an elite boarding school sold to Bac Films in France, Klockworx in Japan, Academy Two in Italy, Karma in Spain, September Films in Benelux, Camera in Denmark, Praesens Film in Switzerland, Bio Paradis in Iceland, Alambique in Portugal, Ama Films in Greece, New Horizons in Poland, Vertigo in Hungary, Independenta in Romania, Filmstop Inspiration in the Baltic countries and Front Row in the Middle East.
- 2/28/2023
- by Rebecca Leffler
- ScreenDaily
A staple figure of the Un Certain Regard section with three trips dating back to 2001’s Lovely Rita and 2004’s Hotel with her last feature Amour Fou (2014) being profiled there, the only non-Cannes anomaly in her output so far has been 2009’s Lourdes which premiered at the Venice Film Festival. Jessica Hausner makes her first trip to the competition with what appeared to be a Little Shop of Horrors-esque / Invasion of the Body Snatcher stale about breeding. Starring Emily Beecham, Ben Whishaw, Kerry Fox, some cool lab plants and lab coats, this genre item is production design bliss, meticulous in design and feels like a cross between Akerman and Kubrick.…...
- 5/17/2019
- by Eric Lavallée
- IONCINEMA.com
In lesser hands, “Little Joe” would be a very dangerous film. As it stands, the latest masterful psychodrama from Austrian powerhouse Jessica Hausner still has plenty of potential to offend. A horticultural riff on “Invasion of the Body Snatchers” that broadly likens the spread of antidepressants to a dehumanizing alien force, “Little Joe” can be seen as a direct attack on anyone who’s ever appreciated the benefits of a mood-enhancing pharmaceutical, either firsthand or otherwise; the movie isn’t the least bit subtle in its suggestion that people on Prozac are addicted to their own well-being, and that their dependency siphons away at the full spectrum of who they are.
At the same time, Hausner — whatever her personal feelings on the matter — is too cunning an artist to launch such an uncomplicated broadside against millions of human beings who are just trying their best to put one foot in front of the other.
At the same time, Hausner — whatever her personal feelings on the matter — is too cunning an artist to launch such an uncomplicated broadside against millions of human beings who are just trying their best to put one foot in front of the other.
- 5/17/2019
- by David Ehrlich
- Indiewire
The talents of an able cast are dismayingly wasted as Jessica Hausner’s chiller fails to deliver on its premise
Jessica Hausner’s Little Joe is one of the most keenly anticipated movies here in Cannes. This brilliant director from Austria has a fascinating body of work – her Lourdes (2009), a mysterious, challenging film about miracles, has a claim to the status of modern classic.
But I was disappointed by this new film, her first in English. It’s a quasi sci-fi chiller about people’s behaviour and language being creepily altered; perhaps its numb weirdness is down to a director with no instinctive feeling for the English language. But it’s a fascinating looking film, shot in a cold, clear, crisply refrigerated style that provides an exhilaration of its own.
Jessica Hausner’s Little Joe is one of the most keenly anticipated movies here in Cannes. This brilliant director from Austria has a fascinating body of work – her Lourdes (2009), a mysterious, challenging film about miracles, has a claim to the status of modern classic.
But I was disappointed by this new film, her first in English. It’s a quasi sci-fi chiller about people’s behaviour and language being creepily altered; perhaps its numb weirdness is down to a director with no instinctive feeling for the English language. But it’s a fascinating looking film, shot in a cold, clear, crisply refrigerated style that provides an exhilaration of its own.
- 5/17/2019
- by Peter Bradshaw
- The Guardian - Film News
It’s fifth time lucky for Austria’s Jessica Hausner, who has had a strong Cannes presence since her unsettling debut Lovely Rita premiered there in 2001. After returning with the Lynchian 2004 thriller Hotel, Hausner took 2009’s provocative French religious drama Lourdes to compete in Venice before coming back to the Croisette in 2014 with the literary romance Amour Fou. Now she follows Austrian stalwarts Michael Haneke and Ulrich Seidl into the major league with a cautionary British-set sci-fi called Little Joe, in which Emily Beecham stars as Alice, a single mother and plant breeder who has created a flower remarkable for both its beauty and its therapeutic properties.
What’s Little Joe about?
I would say that, at the center of the film, is the idea of Frankenstein. Frankenstein invented a monster and lost control over it. And, in my film, Alice is a scientist who invents a monster and she also loses control over it.
What’s Little Joe about?
I would say that, at the center of the film, is the idea of Frankenstein. Frankenstein invented a monster and lost control over it. And, in my film, Alice is a scientist who invents a monster and she also loses control over it.
- 5/16/2019
- by Damon Wise
- Deadline Film + TV
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