TrustNordisk Sells Petter Næss’s Oslo-Set Dramedy ‘Nothing to Laugh About’ (EXCLUSIVE)

Nick Vivarelli International CorrespondentFremantle has acquired a 70% stake in Italy’s Lux Vide, the prominent TV production company that has been steadily raising its standing in the international arena, most recently with the high-end TV series “Medici,” “Devils” and “Leonardo.”The long-gestating Lux Vide deal, which closed on Thursday, marks the latest acquisition by the expanding RTL-owned production and distribution giant. Fremantle, which has been on a buying spree, now owns or controls a panoply of independently operated production shingles across Europe, as well as in Israel, Australia and the U.S.Their stated goal is to invest and grow in the global scripted arena where, by their count, Fremantle delivered 81 scripted shows in 2021, including BBC One hit “The Responder,” HBO Max series “Lust,” from Sweden’s Miso Film, and Italian dystopian drama “Anna.” Previous Fremantle investments include acquiring the 12 former Nent Studios production labels in Norway, Sweden, Finland and Denmark (now rebranded This is Nice Group); Australian-American television production company Eureka Productions; U.K.-based Naked Entertainment; French label Kwai; and Israel’s Abot Hameiri, among others.The Lux purchase also marks Fremantle’s third acquisition of a production company in Italy, where the company already owns Wildside and The Apartment, the outfit behind Paolo Sorrentino’s Oscar-nominated “The Hand of God.” Fremantle also recently inked a pact with Italy’s Cinecittà involving the long-term rental of six sound stages at the iconic Rome studios.Founded in 1992 by Ettore Bernabei, who was a long-time former chief of Italian pubcaster RAI, Lux Vide has since been headed by his progeny, Matilde and Luca Bernabei.

Leo Barraclough International Features EditorBerlinale Competition title “Return to Dust,” written and directed by China’s Li Ruijun, has been sold to Modern Films for U.K. and Ireland, and BTeam Pictures for Spain.

Resembling more of a personal tribute than exhaustive biography, Pietro Marcello‘s Lucio Dalla documentary, “For Lucio,” takes its title as an invitation. A rambling eulogy that is just as often confusing as it is profound, Marcello’s wisp of a film (running less than 80 minutes) may be missing key context for those not already versed in the life and music of the politically-oriented Italian singer-songwriter.

Peter Debruge Chief Film Critic“You are not here for a cure,” the founder of a 26-day sexual therapy retreat tells the small group of women enrolled in her program at the outset of “That Kind of Summer.” Laying out the ground rules for the sensitive self-awareness exercise that follows — a loosely structured hiatus from unhealthy temptations, designed for those whose out-of-control impulses have made their lives unmanageable — she reassures, “You are not forbidden any sexual thoughts or behavior here. You are not sick.”Shot on grainy Super 16 with the kind of unsteady handheld aesthetic that suggests the cameraperson really ought to get their inner ear checked, Denis Côté’s radically nonjudgmental “let’s talk about sex” drama looks and feels like a documentary — at least, it could pass as one until a giant CG tarantula crawls up the wall while one of the women is masturbating late in the game.

Nick Vivarelli International CorrespondentDubai-based independent film distributor and producer Front Row Filmed Entertainment has acquired global rights – excluding theatrical, which is limited to the MENA region – for Lebanese drama “Death of a Virgin and the Sin of Not Living” that launched last year from Berlin’s Panorama section.Produced by Beirut-based Bee On Set Productions, “Death of a Virgin” marks director George Peter Barbari’s feature debut. It stars newcomers Etienne Assal, Adnan Khabbaz, Jean-Paul Franjieh and Elie Dankoura Saad.

Elvis Presley only married once to Priscilla Presley and together they had The King's only child, Lisa Marie Presley. The celebrity couple's daughter was born exactly nine months to the day from their wedding night on February 1, 1968. Her parents later divorced in 1973 and from 1984-2006, Priscilla's partner was screenwriter turned computer programmer Marco Garibaldi, with whom she had a son.

K.J. Yossman Dogwoof will handle international sales for Jason Kohn’s “Nothing Lasts Forever” following its world premiere in Berlin.Kohn spent ten years on the project, traversing across the world and speaking to industry insiders including Dusan Simic, Aja Raden, Martin Rappaport, Stephen Lussier and Chandu Sheta.“Infiltrating the highly secretive diamond industry, Kohn uncovers a threat to the lucrative trade that could devalue every diamond ever mined, effectively destroying the universal symbol of love and commitment,” reads the logline.

EXCLUSIVE: Shooting upcoming Netflix pic Against The Ice was no straightforward task, as its stars and director reveal to Deadline in a first interview as a trio.

Nick Vivarelli International CorrespondentFour years after the death of his brother Vittorio, with whom he shared a celebrated career, Paolo Taviani is back in the Berlin competition solo, with “Leonora Addio.” The brothers won the Golden Bear in 2012 with “Caesar Must Die,” about high-security inmates performing Shakespeare.The free-form film he made –– screening on Feb. 15 –– takes its cue from a story titled “Il Chiodo” (“The Nail”) by Italian playwright and author Luigi Pirandello, written shortly before he died in 1936.

Elsa Keslassy International CorrespondentNordic production powerhouse Miso Film, which looks to make a splash at the Berlinale Series with its daring HBO Max show “Lust,” is developing high-end international dramas with Scandinavian creatives such as Pilou Asbæk (“Borgen”), Ole Bornedal (“Nightwatch”) and Fenar Ahmad (“Darkland”). The company is part of Fremantle.Ahead of the Berlinale, Miso founders Peter Allen and Jonas Bose discussed with Variety their ambition to find new voices and original ways to tell stories.The banner, which just started shooting the third season of “Those Who Kill” and is about to begin filming Season 3 of “Face to Face” with Lars Mikkelsen, recently shot Norwegian sci-fi comedy “Blasted,” for Netflix.

Elsa Keslassy International CorrespondentNordic production powerhouse Miso Film, which looks to make a splash at the Berlinale Series with its daring HBO Max show “Lust,” is developing high-end international dramas with Scandinavian creatives such as Pilou Asbæk, Ole Bornedal and Fenar Ahmad. The company is part of FremantleMedia.Ahead of the Berlinale, Miso founders Peter Allen and Jonas Bose discussed with Variety about their ambition to find new voices and original ways to tell stories. The banner, which just started shooting the third season of “Those Who Kill” and is about to begin filming season 3 of “Face to Face” with Lars Mikkelsen, recently shot “Blasted,” the first Norwegian sci-fi comedy, for Netflix.

Elsa Keslassy International CorrespondentTrustNordisk has closed a flurry of sales on a pair of 3D-animated family features, “Little Allan — The Human Antenna” and “The Super,” underscoring the market appeal of independent youth-skewing movies.“Little Allan – The Human Antenna” marks Danish film Amalie Naesby Fick’s follow up to her commercially successful debut “The Incredible Story of The Giant Pear,” which premiered in the the Generation Kplus section at Berlin in 2018. This year, the helmer has her daring drama series “Sex” selected for the Berlinale Series.The film takes place during summer vacation, when introverted, 11-year old Allan starts acting as a human antenna for his old neighbor, who thinks a huge invasion fleet from the outer space is on its way.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.

The adage “write what you know” works well for writer-director Peter Strickland with his Berlin Film Festival Encounters feature Flux Gourmet. The former member of The Sonic Catering Band makes rich work of a fictional culinary performance collective, while also tackling taboos in the depiction of stomach problems on screen.

Just as the Tiktok-ers and Instagrammites of the world had completed the mainstreaming of ASMR, master of the tactile Peter Strickland has returned to restore the unsettling, alien quality to sensation. In “Flux Gourmet,” his latest and most bizarre film — a hotly contested title he earns with this feverish stew of murdered turtles, torrid orgies, and heartrending fart-tending — texture is everything.

Outré horror maestro Peter Strickland is back. The filmmaker behind such Eurotica, vintage, throwback classics such as “Berberian Sound Studio” (2012), “The Duke of Burgundy” (2014), and “In Fabric” (2018), returns to the Berlin Film Festival this week (today, in fact), with his latest deliciously bizarro offering, “Flux Gourmet.” The premise? Something like beef within the culinary/sonic art collective world and a whole set of egos and intestinal issues.

Anna Marie de la Fuente Top Argentine sales and production company, FilmSharks Int’l, has picked up worldwide sales rights to Matias Lucchesi’s latest film “The Broken Land” (“Las Rojas”) ahead of its debut at the European Film Market (EFM).This will be the second time for a Lucchesi film to be present in Berlin. Lucchesi snagged the best feature prize at the Berlinale Generation Kplus sidebar with his feature debut, “Natural Sciences,” in 2014.Shot mainly in the majestic Cordillera de las Andes of Mendoza, Argentina, “The Broken Land” can be described as a thriller with Western undertones, highlighted by the soulful music of composer Hernan Segret.Drama centers on two female paleontologists, played by Argentina’s Mercedes Moran (“La Cienaga”) and Uruguay’s Natalia Oreiro (“The Unseen”), who are at loggerheads from the moment they meet. Oreiro’s character, Constanza, has come to the protected national reserve where Moran’s equally strong-willed character, Carlota, has been toiling for years.

Naman Ramachandran British auteur Peter Strickland is back with his fifth feature, “Flux Gourmet,” and it is as striking and uncompromising as his previous body of work, which includes “In Fabric” (2018), “The Duke of Burgundy” (2014), “Berberian Sound Studio” (2012) and “Katalin Varga” (2009). “Flux Gourmet” world premieres at the Berlin Film Festival’s Encounters strand on Feb. 11.The film follows a sonic collective trio with rocky interpersonal dynamics, who take up residency at an institute devoted to culinary and alimentary performance and have to answer to the institute’s head, who has her own opinions about their work.

It’s a neat conceit, making the directing colossus of 1970s German cinema into the star of his own show. Peter Von Kant, the opening film of the Berlin Film Festival, is “freely adapted” by French director François Ozon from The Bitter Tears Of Petra Von Kant, Rainer Werner Fassbinder’s highly stylized 1972 story of three women locked in a toxic triangle of love, jealousy, domination and submission. The storyline and much of the dialogue, is the same; where Ozon shakes it up is by making the trio all men.