The Night Manager producer The Ink Factory is forging a TV version of John Le Carré’’s A Most Wanted Man almost a decade after making a feature film version, with Snabba Cash writer Oskar Söderlund attached as showrunner.
09.11.2022 - 00:05 / deadline.com
In its second week of release, All Quiet on the Western Front has entered Netflix’s Most Popular Non-English Films List in the seventh spot with 71.45M total hours viewed. For the second week in a row, the film was the #1 non-English film with 39.9M hours viewed and was in the Top 10 in 90 countries.
All Quiet on the Western Front is Germany’s country selection for the Oscars and is above 90% fresh for critics and audiences alike on Rotten Tomatoes.
Directed by Edward Berger, the film is a new take on the classic 1929 novel by Erich Maria Remarque. The film tells the story of a young German soldier, played by Felix Kammerer, on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war turns into desperation and fear as they fight for their lives, and each other, in the trenches. Daniel Brühl, Sebastian Hülk, Albrecht Schuch, and Anton von Lucke also star.
Berger directs from a screenplay by Lesley Paterson and Ian Stokell. The Netflix film is the first German-made adaptation of the novel.
The Night Manager producer The Ink Factory is forging a TV version of John Le Carré’’s A Most Wanted Man almost a decade after making a feature film version, with Snabba Cash writer Oskar Söderlund attached as showrunner.
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Edward Berger’s All Quiet On The Western Front and Kenneth Branagh’s Belfast top the European Film Academy’s Excellence Awards honoring achievement in the arts and crafts categories, the winners of which were announced on Wednesday.
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After the release of “Lady Bird,” if you would have told me that Greta Gerwig would begin her transition into a blockbuster filmmaker working on various major franchises, I would have been shocked. That isn’t to say that she’s incapable of such things, but her sensibilities seemed deeply rooted in indie storytelling and more dramatic fare.
Production expenditure on Australian scripted content reached an all-time high of A$2.29BN ($1.47BN) in the 2021-2022 period to June, according to Screen Australia’s annual drama report, with a record A$1.51BN spent on Australian titles and A$777M on foreign productions.
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