#cannes film market

[hwajoongie]

FISTS CLENCHED...

#JOOYOUNG............. im going to gnaw on a brick i need her.. #lee joo young #iu #lee jieun #👭🏻🌈❤️🧡💛💚💙💜🤎🖤❤️‍🔥❤️‍🔥💖💘💖💖💘❤️‍🔥💘💖💘👩‍❤️‍💋‍👩👩‍❤️‍💋‍👩👩‍❤️‍💋‍👩👩‍❤️‍👩👭🏻🌈🏳️‍🌈🌈 #broker #broker 2022 #broker movie #75th cannes film festival #cannes film market #cannes 2022

[jellysun18]

win, winning, won

#anne hathaway #Anne Hathaway Cannes #cannes #cannes film festival #cannes film market #cannes fashion #cannes festival 2022

[rosalyn51]

petr_jakl Dnes vecer mame projekci Zizky na filmovem festivalu v Cannes, tak se musim vohaknout 😎 We've got a screening of Medieval in Cannes today.

______

Ben Foster, Matthew GoodE, Sophie Lowe, Michael Caine, Til Schweiger, Roland Møller, William Moseley

Marché du Film, France

#matthew goode #michael caine #ben foster #sophie lowe #william moseley #medieval (2022) #jan zizka film #jan zizka #medieval movie #czech film #marche du films #cannes film market #cannes film festival

[ladaeliseeva]

#ladaeliseeva #cinematography #festivals #box office #film news #movie review #news #film products #film market #film marketing #film industry #new york film academy #producer #cannes film festival #venice film festival #berlin film festival #networking #entertainment #cine #premiere #jury #nominations #academy awards #oscar nominations #film society #35 mm film #red carpet #lucky people #celebs

[ramirez-la-pelicula]

Der EFM European Film Market

ist der größte Filmmarkt in Europa und einer der wichtigsten weltweit. Die gesamte Branche kommt bei diesem Treffen von Produzenten, Distributoren, Studios, Künstlern, Investoren, Sponsoren, Herstellern, Medien und mehr zusammen.

"RAMIREZ Volksmusikdrama" kam durch die Hand eines Produktions-, Kommunikations- und Entwicklungsteams nach Berlin, um Möglichkeiten zu sehen und an allen Instanzen, Vorträgen, Gesprächen, Tischen, Geschäftsrunden, vom 16. bis 26. Februar, dann der Eröffnungsgala teilzunehmen der 73. Berlinale.

Ein weiterer Meilenstein für Theater und Kino von Entre Ríos!

Das Werk von Daniel González Rebolledo, mit Originalmusik von Eduardo Retamar, gefilmt und produziert von Lucio Stoppello, hat bisher vier Kurzfilme im Wettbewerb, 3 in der OFFIZIELLEN AUSWAHL, 2 in London, von denen einer am kommenden Montag, dem 20. November, gezeigt wird bis 6. März.

Ein Kurzfilm, der speziell für die Teilnahme am NIKON-Fotowettbewerb in Japan produziert wurde, und ein Spielfilm in zwei Versionen, der sich bis Oktober in der Postproduktion befindet.

In Berlin anwesend, um unsere lokale Produktion zu zeigen.

 Das gesamte EFM-Team wünscht einen erfolgreichen Markt und wir freuen uns auf viele fruchtbare Treffen.

Dieser EFM ist ein Meilenstein für unabhängige Filmemacher aus Entre Ríos, Santa Fe und Theater- und Filmproduktionen aus dem Landesinneren, die auf der 73. Berlinale vertreten sind.

EFM-Agenda:

Datum: 17. Februar:

Neben vielen anderen relevanten Branchenthemen sprechen die EFM Industry Sessions auch die dringendsten Fragen dazu an, wie man das richtige Publikum findet, anspricht und hält.

Zum ersten Mal wird die Europäische Kommission die Ergebnisse einer großen multinationalen Umfrage zum Publikumsverhalten und -geschmack in Europa veröffentlichen, die für den bevorstehenden vollständigen Marktbericht Media Outlook in Auftrag gegeben wurde. Heute nehmen wir an der Präsentation und Diskussion teil, um zu verstehen, was das europäische Publikum sehen möchte.

Auf den Wellen surfen: Audience Building in einer neuen Zeit des Wandels

Eine neue Welle wirtschaftlicher Herausforderungen und sich ändernde Verbrauchertrends stören die Erholung nach COVID für das europäische Kino und stellen Geschäftsmodelle und finanzielle Nachhaltigkeit auf die Probe. Dieses Panel wird neue Realitäten und das Potenzial für innovative und kooperative Ansätze in der gesamten Wertschöpfungskette untersuchen.

Datum: 19. Februar

EFM STARTUPS: Informationen und Tools zum Wiederaufbau der Branche

Unsere Branche steht an einem Wendepunkt. Die Landschaft hat sich in den letzten Jahren dramatisch verändert und es gibt kein Zurück mehr. Es ist an der Zeit, Bilanz zu ziehen und neu aufzubauen, um neue Ideen und Lösungen ans Licht zu bringen. Die Gründer von EFM Startups tun genau das: Sie entwickeln neue Tools, technologische Innovationen, proprietäre Software und mehr, um die Arbeitsweise der Branche herauszufordern und zu verändern. Schließen Sie sich den diesjährigen 11 ausgewählten EFM-Startups an, wenn sie ihre neuen Lösungen präsentieren, um zum Wiederaufbau der Branche beizutragen.

Datum: 19. Februar

Geschäftsmodelle verändern mit einem A

Welche Chancen eröffnet werbefinanziertes Video-on-Demand (AVOD) oder werbefinanziertes Free-to-Air-Fernsehen (FAST) für unabhängige Produzenten? Hat dies Auswirkungen auf kreative Inhalte? Welche Parameter der Geschäftsmodelle ändern sich? Lassen Sie uns Punkte zwischen Publikum, Produzenten und Verleihern verbinden.

Datum: 19. Februar

CRESCINE – Förderung der Wettbewerbsfähigkeit der Filmindustrie in kleinen europäischen Ländern

CRESCINE ist eines der neuen EU HORIZON-Projekte, das darauf abzielt, die Wettbewerbsfähigkeit der europäischen Filmindustrie zu steigern.

CRESCINE startet nächsten Monat und während dieser Präsentation werden wir den Umfang des Projekts, seine Ziele und Hauptbeiträge hervorheben. Nicht verpassen!

The X Factor: Wie Sie Begeisterung für Ihren neuen Film wecken

Mit einem endlosen Angebot an "Inhalten" wie "RAMIREZ Drama Musical Folk" war es noch nie so wichtig, das Publikum für Ihren Film zu begeistern, aber es war noch nie so schwierig, den Lärm zu durchbrechen. Wir sehen uns an, wie die weltweit führenden unabhängigen Distributoren den entscheidenden Enthusiasmus erzeugen, der den Unterschied zwischen Erfolg und Misserfolg ausmacht.

Datum: 20. Februar

Pluralität in Sachbüchern: Was in der Mainstream-Ära auf dem Spiel steht

Wie können wir auf dem risikoaversen, algorithmengesteuerten Markt nach der Pandemie einen Raum für reichhaltigen, vielfältigen und vielfältigen künstlerischen Ausdruck sichern und ambitionierte kreative Dokumentarfilme fördern?

Datum: 21. Februar

4 Europäischer Filmmarkt - EFM

PODCAST 🎙 Neue Folge jetzt verfügbar! 🎙

In dieser Folge von Industry Insights teilen Linda Beath, Petri Kemppinen und Fredrik af Malmborg, allesamt Experten für Film- und Fernsehfinanzierung, ihre Ideen zu Strategien zur Finanzierung eines Spielfilms oder einer Fernsehserie.

Diese Staffel wurde in Kooperation mit dem Goethe-Institut produziert und von Creative Europe MEDIA kofinanziert . Diese besondere Folge wurde in Zusammenarbeit mit dem von Johanna Koljonen organisierten Nostradamus-Projekt des Göteborg Film Festivals entwickelt .  ECCO Inc.  Filmfestival Göteborg.

Danke an den European Film Market - EFM! Vielen Dank an das Team von Marché du Film - Festival de Cannes und Cinando für die Zimmerreservierung, die Organisation von Konferenzen und die Maximierung unserer Präsenz in dieser Ausgabe.  Wir werden hier sein, um alle Fragen zu beantworten, die Sie in dieser Ausgabe von Europas größtem Filmmarkt zum Film "RAMÍREZ, Drama Musical Folk", zu Kurzfilmen und mehr haben.

#European Film Market #EFM #Marche du Film #Festival de Cannes #Europa #Film Europa #Berlinale #berlinale 2023 #berlin #ramirez #ramirez film #ramirez cortos #films #shorts #short video #cortometraje #cortometraggio #courtmetrage

[ricardotomasz]

Such is life! Behold, a new Post published on Greater And Grander about Pitching and Film Packaging Your Film Projects; S1 E25

See into my soul, as a new Post has been published on https://greaterandgrander.com/pitching-and-film-packaging-your-film-projects-s1-e25

Pitching and Film Packaging Your Film Projects; S1 E25

Donna Wheeler (producer of DEATH OF A SALESWOMAN) sits down to talk about how she develops projects and reverse engineers projects to determine the best packaging for a low-budget film. Donna Wheeler is an entrepreneur, filmmaker, artist, and closet-poet.

Credits Include...

Death of a Saleswoman starring Ursula Burton

Tupperware Women starring Marci Simon

Pococurante starring Naomi Grossman

The Girl Next Door starring Deborah Lemen

Please like and subscribe, it helps us out a lot.

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#Cannes, #CigarBars, #Documentary, #DocumentaryAboutHomeless, #FilmFestivalSuccess, #FilmMarkets, #Filmmaking, #IndependentFeature, #Inspiration, #PackagingFilmProjects, #PodcastCommunity, #PodcastEpisode, #PodcastInterview, #PodcastAndChill, #ProducersLoungePodcast, #SurvivingTheRecession, #TrendingTechnologies

#Cannes #Cigar Bars #Documentary #Documentary about Homeless #Film Festival Success #Film Markets #Filmmaking #IndependentFeature #Inspiration #Packaging Film Projects #Podcast Community #Podcast Episode #Podcast Interview #PodcastAndChill #Producers Lounge Podcast #Surviving the Recession #Trending Technologies

[goodassmotherliker]

Beyond repulsed that Ben Whishaw has agreed to whitewash a literal russian nazi in Limonov: The Ballad. A nazi whose pathetic existence would be forgotten in a couple of years unless russian director Kiril Serebrennikov decided to immortalize the romanticized version of him and market it to the festival crowd as a story of a rebel and avant-garde rock star. The Cannes Film Festival made a huge mistake by including this film in its program. Last time, Serebrennikov used the Cannes platform to advocate for lifting the sanctions from Roman Abramovich (a notorious russian oligarch) and portray russian soldiers as victims of russian war against Ukraine.

#limonov #the ballad of eddie #kiril serebrennikov #limonov: the ballad #cannes #ben whishaw #russian war against ukraine #artistic freedom my ass #am i writing it because i know that soon enough my feed will be full of edgy ben whishaw gifs as he plays limonov

[flanaganfilm]

Mike, can you tell us your experience premiering Oculus at tiff 2013? I recently saw Perri Nemiroff’s interview with you (looking like a baby btw- so young) and it made me think about what your mindset must have been as in getting yo experience the launch of your career, post Absentia, at one of the most prestigious festivals.

Oh, I remember that very well... a lot changed in a very short amount of time. And I think I know the interview you're talking about, I keep trying to link to it here but it doesn't take...

So there are few things to point out about Oculus and about what was happening in my life at the time. When Oculus got greenlit, I was working full time as a reality television editor. I used to sneak out of my job at lunch to go to "doctor's appointments" whenever I had to come for production meetings or casting sessions (they started to think there was something really, really wrong with my health).

Making the movie was an amazing learning experience - it was my first "real" movie, and full of lessons. It was the first collaboration with people who would become pillars of my career moving forward, like producer Trevor Macy (who is now my partner at Intrepid Pictures and who has produced everything I've ever made since) and my DP Michael Fimognari, who is one of the most important collaborators of my life. It was also the first time I worked with a young actress named Kate Siegel, who played the spooky ghost in the mirror.

We went into TIFF with distribution already in place. FilmDistrict had committed to the project during the Cannes market before we shot the movie, so we thought we were set. It was going to be my big theatrical debut.

Just before we premiered at TIFF, FilmDistrict abruptly and bafflingly dropped the film. I still don't really know why. They had committed to a worldwide theatrical release for the movie, but for reasons that were never made entirely clear to me, they dropped us just before the festival. Suddenly the whole enterprise was in jeopardy, and I didn't know if anyone would pick the movie back up.

I was absolutely terrified.

Being my first "real" movie, I didn't really know how this world worked and couldn't understand why our distributor didn't want to release it. We'd made the movie they had been excited about, they seemed to really like it, and we'd done everything they asked - it was a shock to the system. So when we rolled into tiff, we were homeless and trying not to let FilmDistrict's abrupt change of heart poison our chances of another sale.

I had never been to TIFF before but heard about Midnight Madness, which had seen huge sales from Cabin Fever and Insidious. Bidding wars had broken out while the films were still screening. But being part of the program was absolutely no guarantee of distribution - in fact, this might be the highest this movie would ever rise.

Trevor Macy and I went to the world premiere of The Green Inferno, which was playing the night before we played, and the audience was ROWDY. Like, shouting and hollering throughout the movie. We looked at each other with wide, nervous eyes - if this was the Midnight Madness audience, they were going to hate our movie the next day. We were considerably slower, ponderous, and atmospheric in a room that seemed to demand visceral, overt entertainment. I left the screening feeling dejected and a little doomed. Trevor was more upbeat, citing conversations he'd had with the programmer, Colin Geddes, who assured us he'd put our movie in the best possible spot for its success.

Our screening was September 9th, 2013 at midnight. I was petrified, and we were sold out. I remember walking into the theater feeling like this was the most important screening of my life. I wasn't alone, thank goodness. Trevor Macy, Michael Fimognari, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, and James Lafferty were on hand. The film seemed to play well. It was the opposite of the screening the night before, which Colin had told us would happen - "watch," he had said. "The Saturday night slot is the big crazy one. You guys are Sunday, and it's going to be completely different. They'll plug right in."

He was right. You could hear a pin drop for most of the first half, and then there were moments of scattered applause that picked up as the film progressed. By the end, people were jumping in their seats and cheering for young Tim and Kaylee. There was an audible gasp when the anchor swung. And the applause at the credits seemed heartfelt and loud.

Most of that is a blur for me. I found this grainy pic from the Q&A after the film. I still had no idea how it had gone, or what was going to come out of it. I remember having hard time putting words together, and I vividly recall feeling like I sounded like an absolute moron whenever I talked, and trying to pass the microphone over to the actors as often as I could.

It's tough to see everyone in the pic, but from left to right it is Colin Geddes, Michael Fimognari, myself, Trevor Macy, Katee Sackhoff, Brenton Thwaites, Rory Cochrane, and James Lafferty.

When I stepped out of the theater, though, I became aware that everything had changed. I was immediately surrounded by people who had seen the film, suddenly shaking a ton of hands and realizing that it had been a hit. I walked into the theater by myself, utterly anonymous, and feeling every bit like an imposter. But everything was different when I walked out. I remember someone from the press talking about it years later, and saying "I was there that night - you walked into the theater with nothing, and walked out with a career."

People were asking me to sign stuff. That had never happened in my life. People wanted to get pictures. It was SO. FUCKING. WEIRD. Someone snapped a picture during that little whirlwind, and you can see it on my (young, skinny, hopelessly naive) face - an overall bewilderment, a gentle disbelief that this was happening:

I loved my experience at TIFF. And it absolutely started everything. Relativity, Blumhouse, and WWE Films joined forces to make an offer on the movie at the festival, and we left with a theatrical distribution deal. My career had officially begun. Now, I wouldn't feel like it had for several more years - I remained in fight/flight/survival mode well through Gerald's Game - but in retrospect, yes, that's when it happened.

Thank you for asking this question, it's been a while since I've looked back at this period of my life. It kinda makes me want to watch that movie again. It has been a LONG time, and I owe it a lot.

Maybe everything.

#oculus #tiff #toronto film festival #midnight madness #I cannot and will not accept that this was only ten years ago

[pers-books]

“Doctor Who” star Jodie Whittaker will lead a short film fund aimed at championing female and non-binary filmmakers.

The Empower fund, a community-led initiative backed by Primetime, a global vetted platform to help the industry find and hire more women above and below the line behind the camera, and Bournemouth Film School, was launched at the Cannes film market. It aims to remove the barriers of access to finance and star power that restrict underrepresented filmmakers. The fund will focus on championing female and non-binary filmmakers and grant them access to a minimum of a £10,000 ($12,430) grant in addition to other perks.

Whittaker will feature in or voice the final film, with the intention of increasing the visibility of the project and the filmmaker selected. The actor will also collaborate to create a prompt for filmmakers as a starting point for a character or story she would like to explore. There will be a focus on accessibility and reaching filmmakers who might not traditionally put themselves forward for grant funding. A brief will then be distributed and U.K.-based female and non-binary filmmakers will be encouraged to submit their short film project for consideration. Five projects will be shortlisted via an industry jury, and from that Whittaker will select the live action or animation film she would like to take part in or voice.

The fund will be accessible for any female or non-binary filmmaker who has directed at least three short films, one of which must have screened at a BAFTA or Academy qualifying film festival. The teams applying for funding must adhere to BFI diversity standards in order be considered.

Primetime was launched by actor Victoria Emslie (“Downton Abbey”) at Cannes in 2019 and the platform was relaunched earlier this year. It has members in some 70 countries, including multi-BAFTA, Emmy and Academy Award winners and nominees. Bournemouth Film School, at Arts University Bournemouth, has partnered with Primetime as part of its Funding Futures platform, which houses several funding schemes to support filmmakers, creatives, artists and innovators.

Whittaker said: “Being a part of this exciting journey and having the opportunity to work with talented new voices and creatives is an absolute joy. I can’t wait to work alongside Victoria and the amazing teams at Primetime and Funding Futures.”

Emslie added: “Community-driven change is one of the single most powerful and actionable ways to shake up traditional funding pipelines and the projects that receive finance. By paying in for each other with this focused intentionality, the rise to the top is navigated together as a collective.”

Jonathan Carr, director of the Bournemouth Film School, said: “The success of our groundbreaking Funding Futures schemes hinges on the strength of our partnerships. Our key focus is to encourage positive change within a sustainable industry. We’re delighted to play a pivotal role with Primetime to create a funding opportunity to truly champion inclusivity.”

Will Shutt from Funding Futures said: “The Empower fund hopes to create a space to make a film with filmmakers that reflects the core values of Primetime’s mission. I’m excited to see the outcome of connecting talented filmmakers with Jodie and the award. It can only lead to something special.”

Bournemouth Film School is hosting a Funding Futures showcase event at BFI Southbank on June 16 to unveil the Empower fund.

#Jodie Whittaker #Short Film #Female + Non-Binary Filmmakers

[blackswaneuroparedux]

The bikini is the most important thing since the atom bomb.

Diana Vreeland

The origins of contemporary bikini day may be traced back to a French engineer, a Parisian exotic dancer, a nuclear testing site in the United States, and a postwar fabric shortage.

In 1946, Western Europeans joyously greeted the first war-free summer in years, and French designers came up with fashions to match the liberated mood of the people. Two French designers, Jacques Heim and Louis Réard, developed competing prototypes of the bikini. Heim called his the “atom” and advertised it as “the world’s smallest bathing suit.”

French fashion designer Louis Reard was determined to create an even more scandalous swimsuit. Réard's swimsuit, which was basically a bra top and two inverted triangles of cloth connected by string, was in fact significantly smaller. Made out of a scant 30 inches of fabric, Réard promoted his creation as “smaller than the world’s smallest bathing suit.”

Réard claimed that the bikini was named for Bikini Atoll, the site of nuclear tests by the United States in the Pacific Ocean.

Louis Réard's bikini was so little that he couldn't find anyone brave enough to wear it. After being rejected by a number of fashion models, he came across Micheline Bernardini. She was a 19-year-old nudist at the Casino de Paris who consented to be the first to try on his daring bikini. Michelle Bernardini debuted this revealing costume at the Piscine Molitor in Paris during a poolside fashion show, and it revolutionised swimwear on 5 July 1946. The bikini was a hit, especially among men, and Bernardini received some 50,000 fan letters.

Before long, bold young women in bikinis were causing a sensation along the Mediterranean coast. Spain and Italy passed measures prohibiting bikinis on public beaches but later capitulated to the changing times when the swimsuit grew into a mainstay of European beaches in the 1950s. Réard's business soared, and in advertisements he kept the bikini mystique alive by declaring that a two-piece suit wasn’t a genuine bikini “unless it could be pulled through a wedding ring.”

But it really took when what we would call cultural influencers took to it. It was in 1953, thanks to Brigitte Bardot, that the bikini became a "must-have" and the history of the bikini became historic, when she was photographed wearing one on the Carlton beach at the Cannes Film Festival. She also wore one in 1956, in the film "Et Dieu… créa la femme".

The United States also caught on to the trend, as it was only two years later that Ursula Andress posed in a white bikini on the poster for the James Bond film, Dr. No. The poster created a considerable marketing coup, and women adopted the bikini. According to a study by Time, 65% of younger women adopted the bikini in 1967.

There is no question the bikini is hardly modern. Many think they date back to ancient Roman times because of the murals uncovered in excavated ruins in Sicily. This isn’t really true.

Despite the celebrated images from the mosaics in Piazza Armerina, of the ancient Roman girl wearing what looks like a bikini, the answer is, “not really”.  The ancient Roman girls weren’t even first to wear what to our eyes looks like a bikini. However, the fact that we seem to find “bikinis” in ancient depictions should make us rethink our hubristic bias that we in modern times have invented everything and that people in ancient times didn’t know how to live.

Archaeologists have found evidence of bikini-like garments that date to as far back as 5600 BC. That’s roughly 5000 years before the Romans did so. In the Chalcolithic era of around 5600 BC, the mother-goddess of Çatalhöyük, a large ancient settlement in southern Anatolia, was depicted astride two leopards while wearing a bikini-like costume.

Two-piece garments worn by women for athletic purposes are depicted on Greek urns and paintings dating back to 1400 BC. In fact, even just the notion that women participated in sports in the ancient world should make us sit up and take notice.

Today we tend to imagine women in the ancient world as being practically sequestered in their homes, spinning, weaving and having babies. But this is a gross oversimplification of their role.

Active women of ancient Greece wore a breast band called a mastodeton or an apodesmos, which continued to be used as an undergarment in the Middle Ages. While men in ancient Greece abandoned the perizoma, partly high-cut briefs and partly loincloth, women performers and acrobats continued to wear it.

In the famous mosaics to be found at Villa Romana del Casale in Piazza Armerina, the girls who seem to be wearing the “bikini” are Roman and the so-called bikini had already been around for at least 5,000 years by then. In the artwork “Coronation of the Winner” done in floor mosaic in the Chamber of the Ten Maidens (Sala delle Dieci Ragazze) in Sicily the bikini girls are depicted weight-lifting, discus throwing, and running.

The bikini was gradually done away as Christianity became more influential as the centuries wore on. Christian attitudes towards swimming restricted the clothing of women for centuries, the bikini disappeared from the historical record after the Romans until the early 20th century with Louis Beard’s re-invention of the two piece bathing suit as the ‘bikini’.

Photos: In 1956 Emilio Pucci designed this bikini inspired by the mosaics of the Villa Romana Del Casale in Sicily.

#vreeland #diana vreeland #bikini #femme #history #fashion #style #woman #louis reard #bathing suit #beach #ancient rome #ruins #inspiration #ancient world #bikini atoll #atomic bomb #paris #italy #sicily #culture #society

[maximumwobblerbanditdonut]

“The Couple Next Door” at MIPCOM 2023 in Cannes 🇫🇷

Beta Film distributed “The Couple Next Door” series, the Beta Film drama series was sold before the MIPCOM’s event to Movistar Plus+ in Spain and Nordic countries, public television stations NRK in Norway, YLE in Finland, SVT in Sweden, DR. in Denmark and RÚV in Iceland took the title.

The official thriller of the dark psychological drama ‘The Couple Next Door’ (6x1h, Eagle Eye Drama/Beta/Channel4/STARZ/LIONSGATE+) delves into the repercussions of pursuing one's darkest desires. Sam Heughan and Eleanor Tomlinson partner with Alfred Enoch (Harry Potter, How to Get Away With Murder) and Jessica De Gouw (The Secret She Keeps) was presented on Tuesday 17th October at The World Greatest Gathering of TV & Entertainment Executives 16-19 October 2023 at Palais des Festivals, Cannes.

#thecouplenextdoor show will launch this autumn 2023, there's no date, on Channel 4 in the UK, Starz in North America and Lionsgate+ in Latin America. Filming took place earlier this year in Leeds and Belgium, and Beta Film is the distributing.

BETA Unveils MIPCOM 2023 line-up with over 20 new dramas and seasons from 15 countries - Thrillers, about tragedies, and love stories of fresh and compelling series from all over Europe, which will celebrate its world premiere at the prestigious Grand Auditorium of the Palais de Festivals in Cannes.

MIPCOM CANNES 2023- (Marché International des Programmes de Communication, English: International Market of Communications Programmes) is an entertainment content market', and happens every October, MIPCOM is the most anticipated week for global decision-makers to compete for new series, source international production partners, and set the development agenda for the coming year and beyond.

The 39th edition of MIPCOM CANNES brought together more than 12,000 delegates from over 110 countries, including 3,000 buyers, to the vibrant city of Cannes.

Because of the BAFTA’s event, I believe the TV Preview and official thriller to the public will not be available until Wednesday 1st November in London (it makes sense to show everything in one day) with cast Sam Heughan, Eleanor Tomlinson, Alfred Enoch, David Allison, writer, Dries Vos, director as announced, at the Princess Anne Theatre.

#thecouplenextdoor #thriller # BETA #Cannes #MIPCOM2023 #France #PalaisdeFestivals #InternationalMarketofCommunications #Channel4 #EagleEye

[elennemigo]

“Paddington” producer-distributor Studiocanal is gearing up to shoot “How To Stop Time,” starring Benedict Cumberbatch and with D.C. Moore (“Mary & George”) and Tomas Alfredson (“Tinker Tailor Soldier Spy”) on board as key creative talent.

Production on the title by Studiocanal and SunnyMarch will be announced by CEO Anna Marsh on Monday at her keynote at Cannes’ MipTV trade fair. 

Based on Matt Haig’s bestselling novel, “How To Stop Time” is written by Moore with Alfredson set to direct. Filming will take place in London and other parts of Europe in 2024, said Marsh. 

Published in 2017, “How To Stop Time” turns on Tom Hazard, a London high-school history teacher, apparently 41, but suffering from anageria, or a very slow ageing process, which means he has lived since the 1500s. Affected by a life of perpetual loss, Tom is part of a like-conditioned secret power elite whose only rule is: Never fall in love.Then he meets a captivating French teacher at his school who seems equally fascinated by him.

Robyn Slovo (“Tinker Tailor Soldier Spy”) is series producer alongside Cumberbatch, Adam Ackland, Claire Marshall and Leah Clarke for SunnyMarch (“Patrick Melrose,” “The Child in Time”). Moore, Alfredson, Haig and Jamie Byng executive produce. Ron Halpern, Studiocanal EVP global production and SVP global production Joe Naftalin executive produce and are overseeing for Studiocanal.  

“Losing his loved ones, his existence is in many senses one of perpetual loss. So you can imagine Benedict being absolutely perfect for the role,” Marsh told Variety in the run-up to her keynote. 

“How to Stop Time” will also key in on a love story that, for reasons beyond its lovers’ control, seemingly cannot last. “There are many themes that hit home,” she added.

Cumberbatch said that when he first read “How to Stop Time,” “the potential of this story was immediately obvious.” “In his inimitable style, Matt once again explores what it is to be human and what it is to live a life – a very long one in this case – with pathos, insight, humor, drama and inspiration,” the actor-producer continued. 

He also praised Alfredson for being “the perfect person to capture the scale, tension, and sense of humour alive in DC Moore’s adaptation.”

Canal+ will air “How to Stop Time” in France, throughout Africa and in its six territories in Eastern Europe. Beyond the Canal+ footprint, Studiocanal will look to take the series onto the open market.

As it looks to build an even larger presence in the English-language scripted space and address international audiences, Marsh confirmed to Variety that Studiocanal has acquired an equity stake in London-based Strong Film & Television, co-founded in late 2020 by “Broadchurch” director James Strong and Matt Tombs, a former executive at the BBC and Paramount.

“We have the appetite to make more globally-reaching shows, and a lot of the talent for those kinds of international shows is definitely in London. There’s a lot of great talent there,” March said.

#benedict cumberbatch #how to stop time #mat haig #I CANNOT BELIEVE THIS!! #this a romantic story with time travels ppl!! #news #my post

[fairyofsilence]

THAT'S THE INDUSTRY, BABY | SERIES MASTERPOST |

Warning: This series is yandere themed and each story has individual warnings of their own, proceed with caution.

I don't agree nor condone any of the actions made by any of the characters throughout this series, I also do not belive that any of the members of BTS would act this way or have this type of behaviour, this story it's fiction and it's written with the sole purpose of entertainment, please proceed with caution.

Each part contains different warnings and word counts, this series is currently ongoing.

You can find my main masterlist here.

Bangtan Entertainment has grown into one of the biggest companies in the entertainment industry, having some of the greatest talents from South Korea under their belt, with an extensive range of artist going from music to filming to the modeling industry, get to know all about the most influential Bangtan artist here!

—FROM THE RKIVE MUSIC RECORDS:

“Kim Namjoon, the multi-talented producer who has taken the industry by storm, presents his most recent music project with Bangtan Entertainment’s new upcoming artist. Don't miss your chance to get a sneak peek at her debut - read here for all the details.”   — RISING STAR | KIM NAMJOON [P: 04/22/2023] [E: 05/27/2023]  [PART 1 OF 7]

“Orchestra conductor Min Yoongi talks about his latest masterpiece 'Prosperpine', and how he found his muse in the making of it, read more about his new opera here”.  — A NIGHT AT THE OPERA | MIN YOONGI  [COMING SOON] [PART 2 OF 7]

“If there’s one thing that we know about the world’s favorite rapper J-Hope it’s to expect the unexpected, and his latest album reveals the dark side of Jung Hoseok, a side that he reveals; ‘Never thought it existed until recently’. Check out all the details about his new album here!”. — HOPE MEETS EVIL | JUNG HOSEOK  [COMING SOON] [PART 7 OF 7]

—FROM THE GOLDEN CLOSET FILM & PRODUCTIONS:

"Film prodigy Jeon Jungkook does it yet again, his latest movie '9 Bullets' receives a fifteen-minute standing ovation at Cannes Festival, but the director reveals that the mastermind behind this soon to be classic film it's none other than his talented screenwriter, learn more about her here!". — SMILE! YOU’RE ON CAMERA | JEON JUNGKOOK  [COMING SOON] [PART 5 OF 7]

"Nation's heartthrob and critically acclaimed actor Kim Seokjin is officially off the market and we couldn't be more heartbroken about it, the good news is he claims that; 'His heart it's safely guarded’ by his partner. Read more about it here".  — SAFETY NET | KIM SEOKJIN  [COMING SOON] [PART 6 OF 7]

—FROM VANTE'S PHOTOGRAPHY & MODELING WORLDWIDE:

"'BEHIND THE LENSE', we let the latest photography exhibition by the extravagant Vante speak for itself, but there's only one thing we can say about it: it's without a doubt, his best work yet. See more exclusive content here". — BEHIND HIS LENSE | KIM TAEHYUNG  [COMING SOON] [PART 3 OF 7]

"Supermodel and brand ambassador Park Jimin reveals that 'makeup has definitely changed his life', and says that he has to thank his makeup artist for that, find out what his essentials are here!".  — RUN(A)WAY | PARK JIMIN [COMING SOON] [PART 4 OF 7]

© fairyofsilence | All rights reserved |

#bts series #bts au #bts yandere #yandere bts #TTIB series #TTIB masterpost #yandere!namjoon #namjoon x reader #yandere!yoongi #yoongi x reader #yandere!bts #yandere!taehyung #taehyung x reader #yandere!jungkook #jungkook x reader #yandere!jimin #jimin x reader #yandere!seokjin #jin x reader #yandere!hoseok #hoseok x reader

[isagrimorie]

“Doctor Who” star Jodie Whittaker will lead a short film fund aimed at championing female and non-binary filmmakers.

The Empower fund, a community-led initiative backed by Primetime, a global vetted platform to help the industry find and hire more women above and below the line behind the camera, and Bournemouth Film School, was launched at the Cannes film market. It aims to remove the barriers of access to finance and star power that restrict underrepresented filmmakers. The fund will focus on championing female and non-binary filmmakers and grant them access to a minimum of a £10,000 ($12,430) grant in addition to other perks.

#jodie whittaker #this confirms a lot #she will forever be #my doctor #doctor who cast #the doctor

[dlstmxkakwldrlarchive]

4:44 (Time of Fear) starring Onew was auctioned & presented for purchase at Cannes Film Market to positive reviews!

[...] In the case of the "4:44," it's a horror genre short-form content based on everyday materials such as ASMR, courier, and noise between floors in a limited space like an apartment. It was produced in a total of eight episodes.

It is said that it targets overseas mobile platforms and has a unique format, and many idol-turned-actors such as "SHINee" Onew, "GFRIEND" former member Sowon, and "I.O.I" former member Lim Na-young have appeared and received good responses.

#230521 #onew #lee jinki #jinki #shinee #circle era #4:44 time of fear #actor onew #daily update #trans #articles #the journalist called him idol turned actor but lets ignore it

[oddbunny]

Another Gael interview found in an ancient comment thread. GQ 2012, I believe.

Star of such major art-house hits as Y Tu Mamá También, Bad Education, The Motorcycle Diaries, and Babel, Gael Garcia Bernal has spent the past decade chiseling out an impressive résumé of provocative, politically engaged movies that speak to audiences around the world. His latest, Pablo Larraín's No, which debuted this weekend at the Cannes Film Festival, is no exception, recreating the moment when widely feared Chilean dictator Augusto Pinochet was shockingly ousted during a 1988 referendum by a brilliant marketing man (played by Bernal) who retooled his own soda-pitching prowess to get out the vote.

···

GQ: You're basically a Cannes vet at this point, right? Is this your sixth time?

Gael Garcia Bernal: There must be another time that I came. I think it's the seventh year I've been here.

GQ: Fair to say you're pretty comfortable here.

Gael Garcia Bernal: Yeah. And one thing that is wonderful about this festival is the fact that once the lights come down and everyone's in the cinema, we're all equal. And if the film's a good movie, everyone hears about it no matter what.

GQ: How do you pack?

Gael Garcia Bernal: Well, the first time nobody gave me clothes at all, but now my good friends at Dior send me stuff, and with that I'm sort of good. They give me a tuxedo to wear, and a couple of suits and things. That's fantastic because you can get kicked out if you don't dress up. I've been kicked out once.

GQ: You're kidding. When?

Gael Garcia Bernal: I came to a screening, and I was trying to go in with not a tuxedo suit, but, like, just a jacket and a made-up tie, and they said no. Impossible.

GQ: Fair to say you're not a fan of that aspect of Cannes.

Gael Garcia Bernal: Well, I'm a fan of now, since I'm still caring about those things. But one thing I must mention is that the parties used to be better.

GQ: How so?

Gael Garcia Bernal: When we brought the movie Deficit, we had a party from midnight until eight in the morning. We brought friends from Mexico that played music and everyone was dancing full-on—a complete blow-out. So much fun. God. Deficit obviously didn't win any awards, but the Hollywood Reporter did name us Best Party.

GQ: Distinctive.

Gael Garcia Bernal: I'm very proud of that award. Yeah.

GQ: Let's talk about No. You mentioned how word gets out when there's a good movie, and this is definitely one of those moments. Why do you think people are responding to this film?

Gael Garcia Bernal: Because it's a good one! Its complexity is immense. It's a highly intellectual movie and a very moving film as well. It deals with a universal issue, which is the relationship of a person with politics and power.

GQ: But it's also about using ad language to sell human rights as a product.

Gael Garcia Bernal: Well, there is a clear warning in the film. Because we think that democracy can change a lot of things, but we're being fooled, because democracy is not the election. We've been taught that democracy is having elections. And it isn't. Elections are the most horrendous aspect of democracy. It's the most mundane, trivial, disappointing, dirty aspect of it.

GQ: Because it's turning voting into a commodity.

Gael Garcia Bernal: Every democracy is constructed day-to-day. And the electoral process reduces and minimalizes every single aspect of human complexity. We're putting it into pamphlets. We're doing a publicity show. We're becoming symbols. Let's not give the electoral process so much importance. We have to be cynical about it. Let's give importance to the real democracy that's constructed on a day-to-day basis. That's my hopeful perspective on it. But my realization while I was doing the movie was like, ****, the electoral process is really horrible.

GQ: Are you a politically active person? After all, your daughter's name is Libertad.

Gael Garcia Bernal: Well, fortunately that is a well-known name in Spanish, so it's not like all of a sudden calling someone, I don't know, Mountain.

GQ: But it must have been on your mind somewhere, right?

Gael Garcia Bernal: It was. It was. I mean, it's possibly the best word ever, together with Love. My daughter is incredible and she really symbolizes that.

GQ: At this point, you are such an international star, but you still seem very committed to making films in South America. Is that important to you?

Gael Garcia Bernal: Well, it's important because it's the best place for me to fly—I feel like I can play more roles. I can kind of get a more biological grasp on what's being done and then, I can play around more. In English, I'm a little bit limited. I speak English as a second language, and that's a little limitation that I have to work around and I have to use it to my favor. So, yes, that's why I end up wanting to do more things in Latin America.

GQ: You started acting at a very young age, and starred in a Telenovela when you were a teen in the late '80s. Since No was made with vintage U-Matic video cameras to recreate the visual flavor of the late '80s, was it crazy to see yourself shot on low-grade technology again?

Gael Garcia Bernal: Well, I wasn't aware of the technology when we were shooting the soap opera, since I was very young. But I must say that one great surprise that happened is that before doing this film, we'd talk about how horrible it was to do soap operas and how horrible that video was. But when I saw the movie, I was like, man, isn't it strange how all of a sudden this format seems so nostalgic and filled me with longing for that time. It's just kind of like, wow, this nostalgic feeling—looking at how light comes into the window and everything. It gave me a good feeling. This horrendous video feels so romantic now. Who would have thought?

#gael garcia bernal #gael garcía bernal #interviews #just imagining Gael getting kicked out of Cannes 🤭