Exclusive: First look at Two Tales, which sells to Italy among other territories.
Los Angeles-based Recreation Media has struck a number of deals here on its family animations Two Tails and Princess In Wonderland led by a deal with Eagle Pictures in Italy.
Both films are currently in production and are being produced by Moscow-based animation studio Licensing Brands.
Recreation handles worldwide rights excluding Cis and Baltics and has licensed rights in Cj and CiMax (South Korea), Bir (Turkey), Empire (Middle East), Ideal (Iran), Green Media (Vietnam), Akson (Poland), Dexin (former Yugoslavia), One Vision (Indonesia), and Pro Films (Bulgaria).
Negotiations are underway for China and additional territories that are expected to close in the coming days.
Victor Azeev directed Two Tails (pictured, which centres on best friends, a beaver and a cat, who attempt to free their pals from alien abductors.
Marina Nefedova directed Princess In Wonderland about a young girl who discovers a magical book on...
Los Angeles-based Recreation Media has struck a number of deals here on its family animations Two Tails and Princess In Wonderland led by a deal with Eagle Pictures in Italy.
Both films are currently in production and are being produced by Moscow-based animation studio Licensing Brands.
Recreation handles worldwide rights excluding Cis and Baltics and has licensed rights in Cj and CiMax (South Korea), Bir (Turkey), Empire (Middle East), Ideal (Iran), Green Media (Vietnam), Akson (Poland), Dexin (former Yugoslavia), One Vision (Indonesia), and Pro Films (Bulgaria).
Negotiations are underway for China and additional territories that are expected to close in the coming days.
Victor Azeev directed Two Tails (pictured, which centres on best friends, a beaver and a cat, who attempt to free their pals from alien abductors.
Marina Nefedova directed Princess In Wonderland about a young girl who discovers a magical book on...
- 5/23/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Chinese director Liu Jie’s De Lan won best film at this year’s Shanghai International Film Festival, while Vito Palmieri’s See You In Texas won the grand jury prize.Scroll down for full list of winners
Liu’s rural tale revolves around a loan officer who travels to a remote village and strikes up a complicated relationship with a Tibetan woman. The director is currently working on Hide And Seek, a Chinese adaptation of a Korean thriller, co-financed by Village Roadshow Pictures Asia.
Palmieri’s See You In Texas tells the story of a young Italian woman who has to make difficult decisions when she is offered an opportunity to perfect her horse-riding skills on a ranch in Texas.
Among other winners, Finnish filmmaker Antti Jokinen picked up best director for Flowers Of Evil; Liu Ye won best actor for his performance in Cao Baoping’s Cock And Bull; and Naomi Fujiyama took best actress...
Liu’s rural tale revolves around a loan officer who travels to a remote village and strikes up a complicated relationship with a Tibetan woman. The director is currently working on Hide And Seek, a Chinese adaptation of a Korean thriller, co-financed by Village Roadshow Pictures Asia.
Palmieri’s See You In Texas tells the story of a young Italian woman who has to make difficult decisions when she is offered an opportunity to perfect her horse-riding skills on a ranch in Texas.
Among other winners, Finnish filmmaker Antti Jokinen picked up best director for Flowers Of Evil; Liu Ye won best actor for his performance in Cao Baoping’s Cock And Bull; and Naomi Fujiyama took best actress...
- 6/20/2016
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
New projects by Peter Greenaway, Pavel Lungin and Valeria Gai Germanika are among 18 feature films selected to be pitched at the fifth edition of Moscow Business Square’s Co-Production Forum.
This will be the second time that Greenaway is at the Forum after presenting his project Food Of Love, based on Thomas Mann’s novella Death In Venice, there last year. His pitch then won him the $40,000 (€30,000) Best Pitch award sponsored by the new Moscow production complex Glavkino.
This time the Welsh-born director will be introducing Eisenstein In Guanajuato, which recounts the time the 33-year-old Russian director fell briefly, but intensely in love in a small Mexican town while researching for the never completed picture Que viva México! in Mexico between 1929-1931.
At last year’s Odessa International Film Festival, Greenaway told ScreenDaily that “99% of the financing” was in place for this project and he hoped at the time to shoot in Mexico at the end of...
This will be the second time that Greenaway is at the Forum after presenting his project Food Of Love, based on Thomas Mann’s novella Death In Venice, there last year. His pitch then won him the $40,000 (€30,000) Best Pitch award sponsored by the new Moscow production complex Glavkino.
This time the Welsh-born director will be introducing Eisenstein In Guanajuato, which recounts the time the 33-year-old Russian director fell briefly, but intensely in love in a small Mexican town while researching for the never completed picture Que viva México! in Mexico between 1929-1931.
At last year’s Odessa International Film Festival, Greenaway told ScreenDaily that “99% of the financing” was in place for this project and he hoped at the time to shoot in Mexico at the end of...
- 6/12/2013
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Shanghai Film Studios/Hus Entertainment
Prince of the Himalayas is that rara avis in the world of cinema -- a film that is genuinely new and different.
Shanghai-born director and co-writer Sherwood Hu has adapted Shakespeare's Hamlet to the rugged highlands of ancient Tibet. A cast composed entirely of Tibetan actors, speaking in their own tongue -- a movie first as far as anybody can tell -- gives this exhilarating epic in an authenticity even if the antique world depicted largely is one of the imagination.
Prince was made almost simultaneously with The Banquet (2006), in which one of China's most commercial directors, Feng Xiaogang, adapted the dark tale of the Prince of Denmark to A.D. 907 China. That film was all pomp and flash with an inert story at its core. Hu's version, though, is a vigorous and muscular entertainment that played to enthusiastic sold-out audiences at the recently wrapped AFI Fest. The film certainly plays to American audiences if Hu can hook up with an adventurous distributor.
Unique among Hamlet interpreters, Hu offers a sympathetic portrait of the king's killer, his brother (Dobrgyal), and Hamlet's mother (Zomskyid), who are seen as victims rather than villains. The prince, too, has undergone a major shift in that his quest turns out to be less to determine the killer and seek revenge than a search for his own identity. Purba Rgyal, trained as a singer and dancer but not an actor, attacks the role of the prince with such energy and abandon that he overcomes his lack of experience.
Cinematographers Cheng Yuanhai and Shao Dan move the camera constantly, as if so in awe of the savage landscape and all the gold jewelry and costumes of animal skins and exotic fabrics that it can't stop searching for new wonders. At times, the film overflows with its heated rhetoric and emotions running amok, but Hu's strong emphasis on spirituality breathes life anew into a magnificent old war horse.
Prince of the Himalayas is that rara avis in the world of cinema -- a film that is genuinely new and different.
Shanghai-born director and co-writer Sherwood Hu has adapted Shakespeare's Hamlet to the rugged highlands of ancient Tibet. A cast composed entirely of Tibetan actors, speaking in their own tongue -- a movie first as far as anybody can tell -- gives this exhilarating epic in an authenticity even if the antique world depicted largely is one of the imagination.
Prince was made almost simultaneously with The Banquet (2006), in which one of China's most commercial directors, Feng Xiaogang, adapted the dark tale of the Prince of Denmark to A.D. 907 China. That film was all pomp and flash with an inert story at its core. Hu's version, though, is a vigorous and muscular entertainment that played to enthusiastic sold-out audiences at the recently wrapped AFI Fest. The film certainly plays to American audiences if Hu can hook up with an adventurous distributor.
Unique among Hamlet interpreters, Hu offers a sympathetic portrait of the king's killer, his brother (Dobrgyal), and Hamlet's mother (Zomskyid), who are seen as victims rather than villains. The prince, too, has undergone a major shift in that his quest turns out to be less to determine the killer and seek revenge than a search for his own identity. Purba Rgyal, trained as a singer and dancer but not an actor, attacks the role of the prince with such energy and abandon that he overcomes his lack of experience.
Cinematographers Cheng Yuanhai and Shao Dan move the camera constantly, as if so in awe of the savage landscape and all the gold jewelry and costumes of animal skins and exotic fabrics that it can't stop searching for new wonders. At times, the film overflows with its heated rhetoric and emotions running amok, but Hu's strong emphasis on spirituality breathes life anew into a magnificent old war horse.
- 11/19/2007
- The Hollywood Reporter - Movie News
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