U.S. distributor Film Movement is growing its TV footprint with the acquisitions of four TV movies from Beta Film and documentary series Hidden History (which will be renamed Nazi Junkies) from Paris-based outfit #Edith Paris.
“Although we’ve long built our catalog with award-winning feature films from around the world, we’re excited to be turning our attentions to acquisitions of broadcast content,” explained Film Movement President Michael Rosenberg. “Now more than ever, there are countless hours of intriguing programming perfect for North American audiences, and we’re looking forward to expanding Film Movement’s library with compelling television-based content.”
The four Sara Stein TV movies (4×90), which Film Movement will distribute across North America, follow the cases of Berlin criminal investigator Sara Stein (Katharina Lorenz), who cultivates a low-key style, abhors violence and spends much of her work between Tel Aviv and the German capital. The four movies comprise Sara Stein: Shalom Berlin,...
“Although we’ve long built our catalog with award-winning feature films from around the world, we’re excited to be turning our attentions to acquisitions of broadcast content,” explained Film Movement President Michael Rosenberg. “Now more than ever, there are countless hours of intriguing programming perfect for North American audiences, and we’re looking forward to expanding Film Movement’s library with compelling television-based content.”
The four Sara Stein TV movies (4×90), which Film Movement will distribute across North America, follow the cases of Berlin criminal investigator Sara Stein (Katharina Lorenz), who cultivates a low-key style, abhors violence and spends much of her work between Tel Aviv and the German capital. The four movies comprise Sara Stein: Shalom Berlin,...
- 1/10/2019
- by Andreas Wiseman
- Deadline Film + TV
Exclusive: Paramount Pictures has optioned the screen rights to Blitzed, based on the provocative Norman Ohler non-fiction book that uncovers an untold aspect of what fueled the Nazi war machine during World War II, as seen through the eyes of Adolf Hitler’s personal physician—Dr. Theodor Morell. Morell’s position gave him direct access to the most evil figure in modern history, and the book made headlines for all of the drugs that were prescribed for Hitler and others in the Third Reich and its armies.
The book will be adapted by Paul Scheuring, best known for being the creator, writer and executive producer of Prison Break. Appian Way, Chris Donnelly, Rick Yorn and David Greenblatt will produce. Ohler will be executive producer. His bestselling book was translated into over 30 languages.
Scheuring is repped by CAA and Lbi.
The book will be adapted by Paul Scheuring, best known for being the creator, writer and executive producer of Prison Break. Appian Way, Chris Donnelly, Rick Yorn and David Greenblatt will produce. Ohler will be executive producer. His bestselling book was translated into over 30 languages.
Scheuring is repped by CAA and Lbi.
- 8/6/2018
- by Mike Fleming Jr
- Deadline Film + TV
2008 was quite a year for Oscar-winning director Danny Boyle, and as he has been winding down from the roller coaster ride that was Slumdog Millionaire, he has also taken some time to carefully choose his next project. He had been attached to possibly direct a handful of projects including Johannesburg (a movie about South Africa based on the novel Ponte City by Norman Ohler), and Solomon Grundy (which has since been shelved due to its similarity to The Curious Case of Benjamin Button). There had also been rumours [1] about him possibly returning to direct another sequel to 28 Days Later. This week, Variety [2] has confirmed that his next movie will be none of these. Instead, Boyle will helm a project called 127 Hours, about a mountain climber named Aron Ralston. Ralston had a pretty harrowing experience during a climb in Utah in May, 2003, when his right arm was accidentally pinned under a boulder.
- 11/5/2009
- by Sean
- FilmJunk
Cannes, In Competition
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
- 5/28/2008
- The Hollywood Reporter - Movie News
Cannes, In Competition
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
It's well known that once-revered German auteur Wim Wenders doesn't make films like he used to. The director of such cinema classics as "Kings of the Road" (1976), "The American Friend" (1977), "Paris, Texas" (1984) and "Wings of Desire" (1987) hasn't made a decent film in years, apart from "Buena Vista Social Club", his 1998 documentary on music in Cuba.
However, Wenders has reached a new low with "Palermo Shooting", a film of startling and embarrassing banality and, yes, even silliness. One is hard-pressed to imagine any commercial future whatsoever for this film, and a pickup by a U.S. distribution company seems virtually impossible.
Finn (Campino) is a very, very handsome photographer who leads a hectic but exciting professional life. (This character seems to be lifted almost intact from Antonioni's "Blow-up", including a scene in which he enlarges a photograph to find its hidden meaning.)
One night he's almost killed in a automobile accident, and he comes face-to-face with the meaninglessness of his life. After a fashion shoot in Palermo, he decides to stay in the Sicilian city, presumably to reconnect with the reality that has been drained from his high-tech locations and to discover the meaning of life.
What he discovers instead is a fleeting monklike figure, part real and part dreamlike, who is shooting semi-imaginary arrows at him. Everyone he encounters in his mostly cliched wanderings through the city tells him Palermo is "the city of death" despite the fact that many other writers and filmmakers have long ago awarded this honor to Naples. He also meets Flavia (Giovanna Mezzogiorno) , a specialist in the restoration of frescoes, who also helps to restore his spirit.
Every time the film goes philosophical on us, the resultant dialogue is sententious and banal. We learn, among other things, that people during the time of the fresco that Flavia is restoring were afraid of death, and that they still are, and that, to live life to the fullest, we should do everything as though it were for the last time. He speaks meaningfully of "absurd freedom" and "desperate futility." Finn also is repeatedly warned that doing this "fashion crap" is hurting his reputation in the art world, another not-exactly-fresh theme.
Finn also is beset by recurring nightmares in which he is reduced to a minuscule figure in a gigantic room (shades of "The Incredible Shrinking Man", but at least that guy had the excuse of atomic radiation). Another favorite is a distorted clock that he hangs on to in mid-air (shades of Bergman's "Wild Strawberries"). Wenders seems to have absolutely no idea that these images would cause audiences to laugh out loud (and not in a good way).
In his travels, Finn encounters a huge number of disparate souls that impart various nuggets of wisdom. He tells one, in one of the movie's better moments, that "I am completely lost". But all of this pales into insignificance when he comes face-to-face with Death, appropriately played by Dennis Hopper. During their verbal sparring, Death explains reasonably that "the fear of death is really a fear of life," but the best exchange comes when he peevishly complains that "I'm tired of playing the bad guy" and asks Finn, the accomplished photographer, to help him improve his image by taking a great photo, even if it has to be a digital one, which he doesn't approve of.
For most viewers, the question of the meaning of it all will come down to this: Where does Wenders find people to continue to invest in his films?
Production: Neue Road Movies. Cast: Campino, Giovanna Mezzogiorno, Dennis Hopper, Lou Reed, Inga Busch. Director: Wim Wenders. Screenwriters: Wim Wenders, Norman Ohler. Producer: Gian-Piero Ringel. Director of photography: Franz Lustig. Sales: Hanway Films. No rating, 124 minutes. Production designer: Sebastian Soukup Costume designer: Daniela Ciancio Editor: Peter Przygodda, Oli Weiss Music: Irmin Schmidt...
- 5/27/2008
- The Hollywood Reporter - Movie News
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