Vladimir Putin may prefer that people forget about imprisoned Russian opposition leader Alexei Navalny, but the Cinema Eye Honors isn’t.
07.10.2022 - 19:23 / deadline.com
French cinema professionals from across the country’s independent production, distribution and exhibition chain flocked to an emergency general convention in Paris this week to raise the alarm over the future of their industry.
France has long prided itself on being the most cinephile country on the planet, but there is a growing sense among its indie cinema sector that the population has fallen out of love with the seventh art in the wake of the Covid-19 pandemic.
Figures released by the National Cinema Centre (CNC) last week revealed the worst September box office for the country in 42 years, with 7.38 million entries, for a rough box office of $47m, representing a 20.7% drop on September 2021, and a 34.3% fall on the same month in 2019.
Admissions for the first nine months of 2022 are currently trailing 30% below the average for the same period from 2017-2019. September’s drop was due in part to a lack of big U.S. titles on release but beyond that, the arthouse sector of the market has been ailing for months in the wake of the pandemic.
Other indie concerns include the relentless rise of streaming platforms; how high-end drama is encroaching on its audience; negotiations over France’s strict chronology laws that protect the theatrical window; the recent abolition of the TV license and what that means for film finance, as well as the perception that cinema-going is costly amid the cost-of-living-crisis.
There is also criticism of the policies of the CNC under the directorship of Dominique Boutonnat. His drive to support more commercial cinema, as well as high-end drama, and to internationalize the sector has raised hackles among the country’s cinema purists, while others see it as pragmatic in an age of convergence
Vladimir Putin may prefer that people forget about imprisoned Russian opposition leader Alexei Navalny, but the Cinema Eye Honors isn’t.
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K.J. Yossman “Next Level Chef” is headed to France after Kitchen Factory Productions snapped up the French format rights to the culinary competition series. Kitchen Factory, who will produce the French version, announced the deal on Wednesday (Oct. 19) alongside Chef Cyril Lignac, producer Matthieu Jean-Toscani and Studio Ramsay Global, the joint production venture created by British chef Gordon Ramsay’s worldwide production with FOX Entertainment. (Ramsay is pictured above, left, with Lignac). The format of the show sees a three-storey stage on which each level boasts differing culinary equipment and ingredients reflecting their environment. The competing chefs – comprised of restaurant-experienced professionals, home cooks and even social media stars – must use their imagination and unleash their creativity all while keeping their cool as they attempt to climb from the challenging basement floor to the glistening top.
Leo Barraclough International Features Editor Six-time Primetime Emmy award-winner Frank Doelger, whose credits include “Game of Thrones,” “The Swarm,” “John Adams” and “Rome,” and Intaglio Films, a joint venture between Beta Film and ZDF Studios, have started production on surveillance drama thriller “Concordia,” set in an experimental utopian community. ZDF, MBC, France Télévisions and Hulu Japan have signed up as partners for the six-part series, shot in English and directed by Barbara Eder (“The Swarm,” “Barbarians,” “Cop Stories”). Doelger helms as executive producer and showrunner, alongside the executive producers Ute Leonhardt, Rafferty Thwaites, Jan Wünschmann and Robert Franke. Shooting takes place at various locations in Rome, Northern Italy, and Leipzig in Germany.
Frank Doelger is helming a surveillance drama set that counts broadcasters ZDF, MBC and France Télévisions and streamer Hulu Japan as partners.
Rebecca Rubin Film and Media Reporter Paramount’s R-rated thriller “Smile” continues to beat box office expectations in North America and beyond. Over the weekend, the horror movie added $16.3 million at the international box office, boosting its overseas tally to $66.4 million. Globally, “Smile” has grossed $137.5 million, a killer result for a film with a $17 million production budget. It’s an even bigger win when taking into account that “Smile” was originally commissioned for the streaming service Paramount+ and wasn’t intended to play in theaters at all. But positive test screenings encouraged Paramount to give the film a full theatrical rollout. It’s the studio’s latest win following “Top Gun: Maverick,” “The Lost City,” “Scream” and “Sonic the Hedgehog 2.”
Ed Meza @edmezavar The Lumière Festival’s International Classic Film Market (MIFC) in Lyon, France, is celebrating its 10th edition this year with a wide-ranging program focusing on bolstering classic film distribution, the prospects of new commercial territories, film education and a focus on Spain’s heritage film sector. The MIFC, which runs Oct. 18-21, kicks off with a keynote by Gian Luca Farinelli, director of Italy’s Cineteca di Bologna film archive. Market organizers praise Farinelli for “allowing classic films to be found, restored, reviewed and, most often, put back on the market firstly through the Il Cinema Ritrovato Festival, exhibition and distribution activities within the foundation, while maintaining strong links with cinemathques from around the world.”
Lise Pedersen At a time when heritage cinema is booming – thanks to outstanding progress in conservation standards and a growth in demand – Lyon’s Lumière heritage film festival Lumière is playing a leading role in uncovering long-forgotten cinematic gems. “Dans la Nuit” (“In the Night”), widely considered one of the last, if not the last major French silent film, is one of them. It is the only film shot by French actor Charles Vanel, perhaps best remembered for his role as a desperate truck driver in Henri-Georges Clouzot’s acclaimed “The Wages of Fear,” which won both the Golden Bear and the Palme d’Or in 1953. Vanel also stars in the film, alongside Russian-French actress Sandra Milovanoff, who became a silent film era casualty as her Slavic accent was considered unsuitable for talkies.
Independent projections predicted a $50 million opening weekend for the Universal and Blumhouse picture, on par with that of “Halloween Kills.” The 2021 sequel scored $4.9 million at its Thursday box office debut. In 2018, “Halloween” made $7.7 million on its first night and went on to earn an eye-popping $77.5 million from its opening weekend – the second highest of any rated-R horror movie at the time.Set four years after the events of “Halloween Kills,” “Halloween Ends” presents the last showdown between Laurie Strode (Curtis) and longtime nemesis Michael Myers.
Paramount’s Parker Finn-directed horror pic Smile has laughed its way across the $100M mark globally. And it did so in under two weeks of release. Through Tuesday, the gross is $102.3M worldwide, made up of $55.5M domestic and $46.8M from the international box office.
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Naman Ramachandran An influential panel of buyers from Asia and Europe identified multiple problems in the current, depressed post-pandemic box office landscape for arthouse films and attempted to find solutions at a Platform Busan panel on Monday. The panel included Laure Parleani of Totem Films (France), Kim Heaok of Hark & Company (Japan), Beril Heral of Filmarti (Turkey) and June Lee from Korean streamer Watcha. The panel was moderated by Variety Asia editor Patrick Frater. Parleani mentioned that France has had its worst box office September in 42 years, with only Rebecca Zlotowski’s Venice title “Other People’s Children” and Alice Winocour’s Cannes title “Revoir Paris,” both starring Virginie Efira, bringing some cheer amongst local fare.
Paramount’s Smile is positively grinning ear-to-ear as the horror pic from director Parker Finn saw a wild 19% upswing in holdovers at the international box office in its second frame. The weekend gross was $17.5M in 61 markets for a $40M offshore cume and $89.9M global to date.
Rebecca Rubin Film and Media Reporter “Ticket to Paradise,” a romantic comedy that reunites Julia Roberts and George Clooney, is (surprise, surprise) charming audiences at the international box office. The movie has generated $60 million overseas to date, a promising start given the current challenges facing theatrical rom-coms. Of course, it helps when the genre gets a boost from megawatt stars like Roberts and Clooney. According to Universal, which is backing the film, “Ticket to Paradise” is outpacing recent meet-cute stories like “The Lost City,” “Last Christmas” and “Crazy Rich Asians” at the same point in their respective big-screen rollouts. Over the weekend, “Ticket to Paradise” earned $10.5 million from 61 territories, including debuts in France ($1 million), Mexico ($1 million) and Italy ($800,000). In holdover markets, “Ticket to Paradise,” which features Clooney and Roberts as exes who try to stop their daughter from marrying a near stranger, has been popular in Australia ($8.5 million), the United Kingdom and Ireland ($7.4 million) and Germany ($7.4 million). It opens Oct. 21 in the U.S. and Canada.
EXCLUSIVE: One of the most honored documentaries of the year is heading to the very big screen.
Universal Pictures Wins Big At 2022 BASE AwardsThe British Association for Screen Entertainment hosted the 42nd annual BASE Awards at Camden’s Roundhouse Thursday night and Universal Pictures led the winner’s list, taking home five awards, including Outstanding Innovation for Streaming ‘Live’ to Your Living Room: Stand-Up Comedy with Eddie Izzard and Dylan Moran, and Best in Class Packaging for Inglourious Basterds: Total Basterds Edition. Sony Pictures Entertainment and Warner Bros. Discovery followed close behind with four awards each. Sony Pictures Entertainment took home Campaign of the Year for New Release Film – Over 15m Box Office for Spider-Man: No Way Home, while Warner Bros. Discovery won Home Entertainment Campaign of the Year – TV for Game of Thrones: The Iron Anniversary.
Elsa Keslassy International Correspondent Grappling with free-falling theatrical admissions and misplaced blame by exhibitors on so-called “auteur” movies, the leading lights of the French film industry sounded the alarm about the state of the country’s cinema sector during a dramatic and emotional conference. The jam-packed event on Thursday, called Appel aux Etats Generaux (Call for General Assemblies), was organized by some of France’s most established producers including Saïd Ben Saïd, Judith Lou Levy and Philippe Carcassone, who work frequently with directors Paul Verhoven, Mati Diop and Florian Zeller, respectively. The conference was held at the Institut du Monde Arabe, a cultural venue headed by Jack Lang, who served as minister of culture throughout the 1980s. More than 400 people attended the event, including members of the independent distributors guild (DIRE) and the directors guild SRF, the governing body of Cannes’ Directors’ Fortnight.
Bella Hadid steps out for the Miu Miu dinner and Aftershow Party held at Gigi Paris Tuesday (October 4) in Paris, France.