Spanish Film Biz Embraces Co-Productions

Jason Bateman has exited from the director’s chair on Artemis, the big feature film package starring Scarlett Johansson and Chris Evans that Deadline told you in March that Apple swooped in to acquire in a $100 million-plus deal.

Will Poulter is one busy guy. After turning heads this past year with performances in, and, the actor is back with his latest film, .

Spanish Filmin Buys Lars Von Trier’s ‘The Kingdom’ Trilogy

The 75th Cannes Film Festival is coming to a close. The two-week festival saw some of the biggest stars and most anticipated films of the year come together to celebrate cinema.

Towards the end of Look At Me: XXXTentacion, the new documentary on the life of the late rapper XXXTentacion, director Sabaah Folayan, invisible behind the camera, interviews four of the film’s central sources — X’s mother Cleopatra Bernard, aunt Deandra Ellis, frequent collaborator John Cunningham, and manager Solomon Sobande — as a group. This time, they aren’t being asked to fill in the blanks on X’s childhood or his career.

EXCLUSIVE: The Coalition of Asian Pacifics in Entertainment and Janet Yang Productions announced the four winners of the inaugural Julia S. Gouw Short Film Challenge, which awards a $15,000 production grant to four AAPI women or non-binary filmmakers.

The stars of the new movie Elvis, directed by Baz Luhrmann, stepped out for a press conference and photo call at the 2022 Cannes Film Festival.

Emiliano De Pablos Spanish thesp Luis Tosar (“Miami Vice,” “Way Down”) has joined the cast of sci-fi comedy “Golem,” produced by Spain’s top indie house Aquí y Allí Films.Directed by Juan González and Fernando Martínez (a.k.a. Burnin’ Percebes), the project toplines Brays Efe, star of Netflix hit series “Paquita Salas,” Goya Award winner Bruna Cusí (“Summer 1993”) and Javier Botet (“It,” “Amigo”).Aquí y Allí Films’ Pedro Hernández and Elamedia’s Roberto Butragueño produce the film, scheduled to roll in Madrid from August.Elamedia will distribute in Spain.Aquí y Allí is one of the five Spanish companies selected by Spain’s trade promotion board ICEX and the ICAA film institute to pitch their production slates at Cannes’ Producers Network.

There’s really no overstating the sociocultural impact of Elvis Aaron Presley, whose music and celebrity cleaved the twentieth century in half as an Ozymandias colossus foretelling the future of fame: merchandising, overexposure, descent into self-parody. That’s all in Baz Luhrmann’s new biopic “Elvis,” though mostly because he’s jammed everything he possibly can into its million-millennia run time.

Lise Pedersen In a panel discussion provocatively entitled “Content Scramble for Africa,” guests at the Cannes Film Market’s Cannes Docs sidebar were invited to interrogate the sustainability of current forms of collaboration between the African continent and the Global North in documentary filmmaking.Moderated by IDFA programmer Sarah Dawson, the panel included Laurent Bitty, president of Africadoc-Côte d’Ivoire, Senegalese director and producer Angèle Diabang (“Un air de Kora,” “Le Monde en Face”), Christilla Huillard-Kann, co-founder of Paris-based indie film production company Elda Productions, and Mohamed Saïd Ouma, head of DocA (Documentary Africa), a film fund dedicated to documentary film.

For decades, Italian filmmakers dominated Cannes.If the 1960s saw Federico Fellini, Michelangelo Antonioni and Luchino Visconti reign supreme, somehow the 1970s were even richer. Elio Petri and Francesco Rosi won shared top prizes in 1972, while for two consecutive years later that decade the Taviani brothers and then Ermanno Olmi hoisted Palmes across a border that sits just 40 miles away.This year’s lone competition title from an Italian director (the only other Italian language film, “The Eight Mountains,” comes courtesy of two Belgians), Mario Martone’s “Nostalgia” will probably not break that particular drought, but the Neapolitan director can take solace in another modest honor: Telling a story about mothers and sons, about gangsters and priests, and about a peculiar kind of longing for the past in a place where little has changed for hundreds of years, “Nostalgia” is a nigh perfect candidate to wave il Tricolore.Taking a thin amount of plot and stretching it as far and wide as it can go, the film itself is far from perfect, but it does benefit from “The Traitor” star Pierfrancesco Favino’s terrific lead performance as a man who learns the hard way that there’s no going home again.After forty years abroad, Felice (Favino, of course) returns to his native Naples a stranger in a familiar land.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

EXCLUSIVE: The Rookie‘s Alexi Hawley has signed a rich new deal with eOne. The two-year pact extends Hawley’s previous exclusive deal for television and new media content at the studio. It also includes a first look deal for feature films. As part of the agreement, Hawley will launch a production company.

Rebecca Souw Four films, “Decision to Leave,” “Broker,” “The Hunt” and “No Return” selected for this year’s Cannes Film Festival shed rays of hope for a positive uptake in the Korean film industry, severely damaged due to the COVID pandemic. Juxtaposed against a fruitful run in 2019, the year Bong Joon Ho’s “Parasite” won the Palme d’Or, the massive slow down of the industry saw box office sales plummeting, sizable shrinking of the business, theater closures and a backlog of unreleased filmsAt last year’s Busan Film Festival’s Asian Contents & Film Market veteran film director Park Chan Wook said the release date for “Decision to Leave” was uncertain and as no one is rushing, the team is constantly retouching parts of the film.

Lise Pedersen Paris-based international sales company The Party Film Sales has nabbed the rights for Antongiulio Panizzi’s hybrid documentary “The Girl in the Fountain,” a double portrait of icons Anita Ekberg and Monica Bellucci, which opened at the Torino Film Festival last November.The story of an actress devoured by her own icon, the film alternates between archive footage of Ekberg and reenacted scenes by Bellucci, who retraces Ekberg’s weaknesses and choices, inviting the viewer to reflect on what it is like to be an icon, providing a fresh look at femininity, fame and media exposure.The famous scene in Federico Fellini’s “La Dolce Vita,” in which Marcello Mastroianni and Anita Ekberg take a midnight dip in the Trevi Fountain, hides a much more chaotic life – that of an actress consumed by her own iconic image, says Panizzi. Speaking to Variety ahead of the Torino premiere, Panizzi said that the iconic scene turned out to be a burden for the actress, who got to experience what Rita Hayworth meant when she said that “they go to bed with Gilda; they wake up with me.”It was the director’s wish to have Bellucci tell the Swedish icon’s story, as he believed she would be the perfect match.

Tim McGraw stopped by “The Tonight Show” to talk about the time his wife and co-star Faith Hill had to slap him in a scene for “1883”, the prequel western series to “Yellowstone”.

Anna Marie de la Fuente In response to shifting dynamics at film festivals, many of which have been impacted by the pandemic, a new curated Spanish film platform, Panoramic.film is entering the market.Spearheaded by curator Xavier Puerto, director of the Festival REC de Tarragona and a Spanish-language film programmer for the Tallinn Black Nights Film Festival in Estonia, Panoramica’s offer is two-fold: “We offer festivals the possibility of completing their line-up with especially curated programs and, through our selective catalogue, offer filmmakers the chance to see their films extend their rounds on the international festival circuit,” said Puerto.The idea for the platform came about after conversations with various festival heads and cultural institutions as they grappled with the changes brought about by the pandemic, with many forced to hold online or hybrid editions. “On the other hand, it is a common conversation among filmmakers that most films, for a variety of reasons, have a very ‘short’ life on the festival scene, regardless of their quality,” Puerto noted.With a number of festivals coming to realize that a hybrid version has enabled them to reach audiences beyond their borders, many have embraced it for the long term.“We want to help festivals with the sometimes rather complex process of presenting a hybrid version and help its audiences discover hidden gems,” said Puerto.In practice, Panoramica is integrated into the programming of the festival itself, as well as on its website with a series of conditions such as viewings with geo-blocking, specific dates or viewing limitations.

Emiliano De Pablos Barcelona-based Film Factory Entertainment has acquired international sales rights to horror-thriller “El Cuco” (“The Cuckoo’s Curse”), the latest film by “The Photographer of Mauthausen” and “Two” producer-director Mar Targarona, set up at top Spanish genre auteur house Rodar y Rodar.Vicente Canales’ Film Factory, one of the biggest sales forces in the Spanish-speaking world, is presenting “The Cuckoo’s Curse” to international buyers with a first promo at this week’s Cannes Film Market.Just finished shooting in Barcelona and Germany’s The Black Forest, “The Cuckoo’s Curse” is a Spain-Germany co-production that teams Rodar y Rodar with Barry Films, a Berlin, L.A. and Zurich-based company led by producers Benito and Wolfgang Mueller (“The Perfect Enemy,” “The Whistleblower”).

Dennis Harvey Film CriticThough few members of the public were still denying a link between smoking and cancer at the time, it was still nonetheless rather startling when the extent of the tobacco industry’s deliberate disinformation campaign on that subject got exposed about a quarter-century ago. The déjà vu runs thick watching Jennifer Baichwal’s new documentary, “Into the Weeds,” which provides another illustration of coldblooded corporate denialism in the face of widespread harm.Here the culprit is agrochemical giant Monsanto, and their product Roundup, purportedly for some time the world’s most popular herbicide.