South African genre film Good Madam (Mlungu Wam) will be world premiering at TIFF!
Thur. Sep 9 | 9:45pm | Cinema 1
Fri. Sep 10 | 2:30pm | Scotiabank 4 (P&I)
Fri. Sep 10 | 4:00pm | Online (P&I)
Fri. Sep 10 | 7:00pm | Online (Canada Only)
Fri. Sep 17 | 8:00pm | Cinesphere IMAX Theatre
Fri. Sep 17 | 9:00pm | Online (Canada Only)
Mon. June 21:
10:30 Pre-Cannes 12 – I Was a Simple Man
13:00 Pre-Cannes 5 – The Sanctity of Space
Tue. June 22:
10:00 Pre-Cannes 19 – The Nowhere Inn
14:30 Pre-Cannes 20 – Ascension
17:00 Pre-Cannes 9 – First Date
Wed. June 23:
12:30 Pre-Cannes 4 – The Sanctity of Space
14:00 Pre-Cannes 3 – Superior
16:30 Pre-Cannes 20 – I Was a Simple Man
Thur. June 24:
10:00 Pre-Cannes 11 – The Nowhere Inn
12:30 Pre-Cannes 8 – El Planeta
14:30 Pre-Cannes 4 – First Date
16:30 Pre-Cannes 20 – Ascension
Fri. June 25:
10:00 Pre-Cannes 7 – El Planeta
12:00 Pre-Cannes 11 – Superior
Tue. March 2:
9:15 Sundance at EFM 1 – First Date
12:45 Virtual Cinema 10 – Wildcat
13:40 Sundance at EFM 2 – I Was a Simple Man
15:10 Virtual Cinema 12 – Lorelei
17:20 Virtual Cinema 13 – The Sanctity of Space
Wed. March 3:
9:10 Virtual Cinema 11 – Lorelei
11:05 Virtual Cinema 3 – The Sanctity of Space
14:40 Virtual Cinema 11 – My Heart Can’t Beat Unless You Tell It To
17:45 Sundance at EFM 2 – I Was a Simple Man
18:15 Sundance at EFM 1 – Superior
Thur. March 4:
9:30 Sundance at EFM 2 – I Was a Simple Man
11:00 Sundance at EFM 1 – First Date
13:10 Virtual Cinema 7 – The Surrogate
14:45 Sundance at EFM 2 – El Planeta
16:20 Sundance at EFM 1 – Superior
18:00 Virtual Cinema 6 – My Heart Can’t Beat Unless You Tell It To
Fri. March 5:
11:00 Sundance at EFM 2 – El Planeta
16:10 Virtual Cinema 5 – The Surrogate
17:45 Virtual Cinema 7 – Wildcat
First Date will be world premiering at the Sundance Film Festival! The film centers on Mike, a teenager who finally works up the guts to ask out the girl next door, Kelsey. When he’s conned into buying a shady ’65 Chrysler to pick her up, his first date plans spiral out of control as he finds himself targeted by criminals, cops, and a vengeful cat lady. With thrilling action, unexpected twists, and a charming romance at the heart of it all, First Date is a truly entertaining ride that never misses a beat. Get ready for the breakout film of the festival!
Sunday 1/31 at 6:00pm PST | 9:00pm EST
Tue. 2/2 at 7:00pm PST | 10:00am EST
Get your tix here!
Our EFM slate this year includes Berlinale selections White Riot and Minyan, Sundance titles Feels Good Man, The Last Shift, Dinner in America, and Summer White, and TIFF selection Hearts and Bones!
Thur. February 20:
11:00 CinemaxX 15 | The Last Shift
Fri. February 21:
9:00 CinemaxX 11 | Minyan
13:10 Parliament Studio | Dinner in America
16:05 CinemaxX 17 | Summer White
19:05 CinemaxX 11 | Feels Good Man
Sat. February 22:
10:00 CinemaxX 9 | Feels Good Man
14:40 CinemaxX 17 | Dinner in America
15:30 Cubix 7 | Minyan (Festival)
16:50 CinemaxX 13 | White Riot
Sun. February 23:
11:30 dffb-Kino | Hearts and Bones
15:30 Zoo Palast 1 | White Riot (Festival)
16:20 dffb Atelier Studio | Summer White
22:00 Cubix 5 | Minyan (Festival)
Mon. February 24:
9:00 CinemaxX 11 | The Last Shift
9:30 Parliament Studio | White Riot
14:20 CinemaxX 16 | Minyan
Tue. February 25:
20:00 Cubix 8 | White Riot (Festival)
Wed. February 26:
13:00 Urania | White Riot (Festival)
Thur. February 27:
21:30 CinemaxX7 | Minyan (Festival)
Fri. February 28:
16:15 Zoo Palast 2 | Minyan (Festival)
Sat. February 29:
22:00 Cubix 7 | Minyan (Festival)
Sun. March 1:
13:00 Cubix 9 | Minyan (Festival)
15:30 FaF | White Riot (Festival)
Visit will be attending EFM 2020 with our slate of new and recent titles. Punk rock doc White Riot will have its international premiere at the Berlinale in the Generations section.
Stay tuned for our full lineup!
We will be attending Sundance this year with world premieres Summer White and Dinner in America.
Sat. 1/25 | 8:30am | Holiday 1 (P&I)
Sun. 1/26 | 5:30pm | Egyptian Theatre
Mon. 1/27 | 10:00pm | Redstone Cinema 2
Tue. 1/28 | 6:00pm | Broadway Centre Cinema 6
Thur. 1/30 | 3:00pm | Sundance Mountain Resort
Fri. 1/31 | 6:00pm | Library Center Theatre
Sat. 2/1 | 4:00pm | Holiday Village Cinema 4
Dinner in America
Fri. 1/24 | 9:30pm | The Ray Theatre
Sat. 1/25 | 11:59pm | Broadway Centre Cinema 6
Sun. 1/26 | 8:30am | Prospector Square Theatre
Sun. 1/26 | 4:00pm | Holiday Village Cinema 4 (P&I)
Wed. 1/29 | 9:00pm | Holiday 2 (P&I)
Fri. 1/31 | 3:30pm | Eccles Theatre
Sat. 2/1 | 2:30pm | The MARC Theatre
We will be attending AFM this year with a number of titles including Hearts and Bones, Alice, Initials S.G., Saint Frances, Adam, CRSHD, Tito, and The Wall of Mexico. Visit will be located in Room 530 of the Loews Hotel.
We will be attending the Marche and Cannes this year with an exciting lineup of titles, including Alice, Saint Frances, Initials S.G., Adam, The Wall of Mexico, CRSHD, Tito, and The Sharks.
We will be screening The Sharks, State Like Sleep, Lost Holiday, This Teacher, Jirga, Spell, Helmet Heads, and If the Dancer Dances. We will be located at Gropius Bau #13.
We will be attending the Marche and Cannes this year with an exciting lineup of titles, including 1985, Maine, Behold My Heart, Dayveon, Slut in a Good Way, and City of Joel.
We will be located in Lerins M4.
Thur. May 10:
18:00 | Riviera 1 | Madeline’s Madeline
Fri. May 11:
18:00 | Lerins 1 | Behold My Heart
Sat. May 12:
13:30 | Palais J | 1985
Sun. May 13:
09:30 | Lerins 2 | Slut in a Good Way
12:00 | Palais I | Maine
Mon. May 14:
10:00 | Lerins 1 | City of Joel
12:00 | Lerins 1 | 1985
Wobble Palace and Anchor and Hope have been selected to SXSW 2018.
Fri. 3/9 at 9:45pm – Alamo Lamar C
Sun. 3/11 at 11:00am – Rollins Theatre at the Long Center
Wed. 3/14 at 4:15pm – Alamo Ritz 2
Anchor and Hope:
Sat. 3/10 at 4:45pm – Alamo Lamar B
Mon. 3/12 at 7:30pm – Alamo Ritz 2
Tue. 3/13 at 7:45pm – Satellite Venue: AFS Cinema
We are excited to have Madeline’s Madeline, The Queen of Fear, and Time Share at this year’s Sundance Film Festival.
Mon. 1/22 at 3:00pm – PC Library, PC
Tue. 1/23 at 2:30pm – Holiday 1, PC (P&I)
Tue. 1/23 at 2:30pm – MARC, PC
Wed. 1/24 at 9:00pm – Park Ave., PC
Fri. 1/26 at 6:00pm – SLC Library, SLC
Sat. 1/27 at 3:15pm – Holiday 2, PC
The Queen of Fear:
Fri. 1/19 at 5:30pm – Holiday 1, PC (P&I)
Sun. 1/21 at 5:30pm – Prospector, PC
Mon. 1/22 at 9:00pm – Tower, SLC
Tue. 1/23 at 4:00pm – Redstone 2, PC
Fri. 1/26 at 4:00pm – Holiday 4, PC
Sat. 1/27 at 10:00am – Holiday 4, PC
Fri. 1/19 at 12:00pm – Holiday 2, PC (P&I)
Sat. 1/20 at 5:15 p.m. – Prospector, PC
Sun. 1/21 at 9:15 p.m. – Tower, SLC
Mon. 1/22 at 3:00 p.m. – Temple, PC
Fri. 1/26 at 11:30 p.m. – Prospector, PC
Sat. 1/27 at 3:00 p.m. – Temple, PC
We will be attending AFM this year with a number of titles including Vampire Clay, Good Favour, Maze, Anchor and Hope, Messi and Maud, Barley Fields on the Other Side of the Mountain, Columbus, M.F.A., Flesh and Blood, and Cold November. Visit will be located in Room 530 of the Loews Hotel.
We will be attending the Marche and Cannes this year with an exciting lineup of titles, including Maze, M.F.A., Flesh and Blood, Cold November, Columbus, Family Life, and Dayveon.
We will be located in Lerins M4.
Wed. May 17:
16:00 Riviera 1 Dayveon
Thur. May 18:
14:00 Lerins 3 Family Life
16:00 Lerins 3 Columbus
Fri. May 19:
14:00 Lerins 3 Flesh and Blood
15:30 Lerins 2 M.F.A
18:00 Riviera 1 Cold November
Sat. May 20:
9:30 Lerins 4 Maze (Buyers Only)
Mon. May 22:
12:00 Lerins 3 M.F.A
Tue. May 23:
14:00 Lerins 3 Flesh and Blood
16:00 Lerins 3 Maze (Buyers Only)
We are excited to be bringing MFA and Rat Film to SXSW this year.
We will be attending the Berlinale and EFM this year with an exciting lineup of titles, including Dayveon, Family Life, Columbus, The Bomb, X500, Rat Film, and Morris From America.
We will be located in MGB #12.
Thur. February 9:
11:30 CinemaxX 10 – Rat Film
16:30 CinemaxX 11 – Family Life
17:45 CinemaxX 6 – Dayveon
Fri. February 10:
9:30 CineStar 2 – Tanna
12:30 CinemaxX 15 – Dayveon
15:00 Haus der Berliner Festspiele – the bomb (Festival)
21:30 CineStar 8 – Dayveon (Festival)
22:00 Haus der Berliner Festspiele – the bomb (Festival)
Sat. February 11:
10:45 CinemaxX 11 – X500
11:20 CinemaxX 19 – Columbus
14:00 Zoo Palast – Morris From America
14:00 Delphi – Dayveon (Festival)
14:45 CinemaxX 11 – Family Life
18:00 Haus der Berliner Festspiele – the bomb (Festival)
Mon. February 13:
12:40 CinemaxX 9 – Dayveon
18:45 CinemaxX 13 – Columbus
22:30 Cubix 9 – Dayveon (Festival)
Sun. February 19:
17:00 HKW – Dayveon (Festival)
We are very excited to represent four amazing titles at Sundance Film Festival this year: Dayveon, Family Life, The Incredible Jessica James, and Columbus. Ryan Kampe and Ania Trzebiatowska will be attending the festival.
We will be attending AFM this year with an exciting lineup of post-production and completed titles, including Maze, Untitled Carlos Marques-Marcet Project, Good Favour, Family Life, Cold November, X500, From Nowhere, Kicks, Claire In Motion, My Revolution, Morris From America, and Suntan.
We will be based in booth #530 of the Loews Hotel. Let us know if you will be attending as well!
We will be bringing Always Shine, From Nowhere, Claire in Motion, Morris From America, Suntan, My Revolution, and Another Country to the Cannes Film Festival.
Wed. May 11:
15:30 / Lerins 2 / Claire in Motion
Thur. May 12:
9:30 / Riviera 2 / From Nowhere
11:30 / Lerins 4 / Morris From America
Fri. May 13:
13:30 / Lerins 2 / Always Shine
19:30 / Le Raimu / Another Country (Festival Screening)
Sat. May 14:
13:30 / Lerins 2 / Suntan
15:30 / Lerins 2 / Claire in Motion
Sun. May 15:
9:30 / Lerins 2 / Morris From America
12:00 / Riviera 1 / Always Shine
Mon. May 16:
13:30 / Lerins 4 / My Revolution
17:30 / Lerins 4 / From Nowhere
We are excited to be bringing From Nowhere, Claire in Motion, and Suntan to SXSW.
Fri. March 11:
8:00pm / Alamo Lamar A / Suntan
Sat. March 12:
8:00pm / Alamo Lamar C / From Nowhere
Sun. March 13:
9:00pm / Alamo Slaughter / Suntan
Mon. March 14:
4:00pm / Vimeo Theater / Claire In Motion
Tue. March 15:
10:45am / Alamo Lamar C / Claire In Motion
3:00pm / Alamo Slaughter / From Nowhere
7:00pm / Alamo Ritz 1 / Suntan
Thur. March 17:
8:00pm / Alamo Ritz 2 / From Nowhere
8:30pm / Alamo Lamar C / Claire In Motion
Fri. March 18:
11:00am / Alamo Lamar C / Suntan
Sat. March 19:
5:30pm / Alamo Lamar B / From Nowhere
We will be screening Berlinale selection My Revolution in the market along with Morris From America, Jacqueline (Argentine), Suntan, My Friend From the Park, and Tanna at EFM. Our booth is located in MGB #12.
Thur. February 11:
14:20 / Kino Arsenal 1 / Suntan
17:00 / CineStar 1 / Morris From America
Fri. February 12:
11:20 / CineStar 6 / My Friend From the Park
17:10 / Parliament / Jacqueline (Argentine)
Sat. February 13:
16:15 / CinemaxX Studio 19 / Tanna
Sun. February 14:
9:15 / CinemaxX 4 / My Revolution
11:55 / Kino Arsenal 2 / Morris From America
17:00 / Kino Arsenal 2 / Suntan
17:00 / HKW / My Revolution (Festival Screening)
Mon. February 15:
15:30 / Kino Arsenal 2 / My Revolution
Wed. February 17:
14:00 / CinemaxX 3 / My Revolution (Festival Screening)
Thur. February 18:
11:30 / CinemaxX 2 / My Revolution
Sat. February 20:
12:30 / Zoo Palast 1 / My Revolution (Festival Screening)
Sun. February 21:
16:30 / CinemaxX 3 / My Revolution (Festival Screening)
Tanna received amazing reactions from press and audiences after its world premiere at the Venice Film Festival. The Hollywood Reporter wrote, ‘Told with captivating simplicity and yet richly cinematic, [Tanna is] a haunting love story’ while Screen Daily called it ‘a beautiful odyssey with strong spiritual undertones.’
We are excited to be bringing Krisha, Just Jim, The Nymphets, and I Smile Back to Cannes.
Thur. May 14:
10:00 / Riviera 3 / I Smile Back
14:00 / Lerins 2 / The Nymphets
Fri. May 15:
12:00 / Riviera 1 / Just Jim
14:00 / Riviera 3 / The Nymphets
Sat. May 16:
14:00 / Riviera 3 / I Smile Back
Sun. May 17:
16:00 / Riviera 3 / Krisha (Buyers Only)
Mon. May 18:
10:00 / Lerins 2 / Krisha (Buyers Only)
14:00 / Lerins 2 / Just Jim
Wed. May 20:
11:30 / Miramar / Krisha (Festival Screening)
18:00 / Miramar / Krisha (Festival Screening)
22:00 / Miramar / Krisha (Festival Screening)
Thurs. May 21:
08:30 / Miramar / Krisha (Festival Screening)
We are excited to be attending Hong Kong IFF, where Charlie’s Country will be screening!
Fri. March 27 at 7:30pm – UA Cityplaza
Mon. March 30 at 2:15pm – The Grand Cinema
We are excited to be bringing Just Jim, The Nymphets, and Unexpected to SXSW.
Fri. March 13:
6:45pm / Alamo Lamar C / Unexpected
Sat. March 14:
12:00pm / Alamo Slaughter / Unexpected
2:15pm / Alamo Lamar B / Just Jim
6:45pm / Stateside Theatre / The Nymphets
Mon. March 16:
5:00pm / Alamo Lamar C / Just Jim
Tue. March 17:
10:00pm / Alamo Lamar B / The Nymphets
Wed. March 18:
3:30pm / Alamo Lamar A / Unexpected
10:15pm / Marchesa / Just Jim
Thur. March 19:
10:00pm / Alamo Slaughter / The Nymphets
We are excited to present to you our Berlinale/EFM line up. Bizarre will be making it’s world premiere in the Panorama section. We are also bringing Sundance favorites Unexpected, Sam Klemke’s Time Machine, The Strongest Man, and People Places Things.
Thurs. February 5:
13:15 / Dffb-Kino / Sam Klemke’s Time Machine
15:30 / MGB Kino / Unexpected
Fri. February 6:
09:00 / CinemaxX 17 / Bizarre
Sat. February 7:
11:15 / Dffb-Kino / Unexpected
22:30 / Cubix 7&8 / Bizarre (Festival Screening)
Sun. February 8:
10:40 / CineStar 4 / Unexpected
14:45 / CinemaxX 19 / Sam Klemke’s Time Machine
Mon. February 9:
12:20 / CinemaxX 17 / Bizarre
17:00 / Arsenal 2 / The Strongest Man
Tue. February 10:
22:30 / CinemaxX 7 / Bizarre (Festival Screening)
Wed. February 11:
20:15 / CineStar 3 / Bizarre (Festival Screening)
Thurs. February 12:
20:45 / Cubix 7&8 / Bizarre (Festival Screening)
We will be attending AFM this year with our own booth in Room 526 of the Loews Hotel. We will be bringing our current slate, as well as two new titles, Snakehead and Always Shine.
Screen Daily reports:
EXCLUSIVE: Ryan Kampe and his team have acquired rights to a pair of titles and will commence sales at AFM this week.
Crime thriller Snakehead stars Lucy Liu as a smuggled immigrant who becomes a human smuggler herself only to be targetted by rivals and the FBI.
Evan Jackson Leong directs his passion project from his own screenplay and most recently directed the documentary Linsanity.
Brian Yang of 408 Films produces with Gregory Chou and E Brian Dobbins and Allen Fischer of Principato-Young Entertainment. The latter two are currently in production on Sea Of Trees, while Chou is producing the Halle Berry thriller Kidnap.
Jason Weinberg of Untitled Entertainment and Maryellen Mulcachy of Framework Entertainment also serve as producers.
Always Shine is currently in production from director Sophia Takal and stars Caitlin FitzGerald, Mackenzie Davis and Jane Adams.
The psychological thriller follows two struggling LA actresses who embark on a road trip to Big Sur to mend their damaged friendship.
Takal’s first film, Green, debuted at SXSW in 2011 and won the SXSW Chicken & Egg Emergent Narrative Woman Director award and earned a Gotham Award nomination.
‘We are constantly evolving our slate to meet the needs of the market and our own internal tastes,’ said Visit Films president Kampe.
‘Both of these films are from directors with unique visions and stories to tell and follow on the successful year that we have had with It Follows, Charlie’s Country and 10.000 KM.’
Davis and Takal are represented by UTA. Davis is managed by Thruline. Takal is managed by Brillstein. FitzGerald is handled by ICM and Authentic.
We are excited to announce that Charlie’s Country and It Follows have been selected to the Toronto International Film Festival! Charlie’s Country will be in the Contemporary World Cinema section while It Follows will be in Midnight Madness.
Here are the screening Times:
Thur. September 4
8:30am Scotiabank 14 – Charlie’s Country (Press and Industry Screening)
9:30pm Scotiabank 6 – It Follows (Press and Industry Screening)
Sun. September 7
6:45pm Scotiabank 3 – Charlie’s Country
11:59pm Ryerson Theatre – It Follows
Tue. September 9
12:45pm TIFF Bell Lightbox Cinema 3 – Charlie’s Country
4:00pm Scotiabank 9 – It Follows
Sat. September 13
1:15pm Scotiabank 1 – Charlie’s Country
Charlie’s Country – http://www.tiff.net/festivals/thefestival/programmes/contemporary-world-cinema/charlies-country
It Follows – http://www.tiff.net/festivals/thefestival/programmes/midnight-madness/it-follows
Congrats to David Gulpilil for winning the Best Actor prize in Un Certain Regard for his performance in Charlie’s Country.
Here are the market and festival screening times for our films during Cannes:
Thur. May 15:
9:45 Palais G – 52 Tuesdays
13:30 Riviera 4 – I Won’t Come Back
15:30 Palais J – 10.000 KM
Fri. May 16 :
9:30 Riviera 2 – I Won’t Come Back
13:30 Palais J – 10.000 KM
Sat. May 17:
11:30 Miramar – It Follows (Festival Screening)
13:30 Riviera 4 – 10.000 KM
16:00 Private Buyer’s Screening – Charlie’s Country
17:00 Miramar – It Follows (Festival Screening)
22:00 Miramar – It Follows (Festival Screening)
Sun. May 18:
8:30 Miramar – It Follows (Festival Screening)
9:30 Private Buyer’s Screening – Charlie’s Country
14:00 Palais I – It Follows
Mon. May 19:
13:30 Riviera 4 – It Follows
Thur. May 22
11:00 Debussy Theater – Charlie’s Country (Festival Screening)
16:30 Debussy Theater – Charlie’s Country (Festival Screening)
Fri. May 23
13:00 Bazin Theater – Charlie’s Country (Festival Screening)
We’re excited to announce that our teen horror It Follows has been selected to Critics’ Week.
Screen Daily reports on our new title Charlie’s Country:
‘EXCLUSIVE: Visit Films has come on board to handle world sales excluding Australia, New Zealand and Italy on the Un Certain Regard selection.
Charlie’s Country marks the fourth film by Rolf de Heer to premiere in official selection at Cannes after competition contenders The Quiet Room in 1996 and Dance Me To My Song in 1998 and UCR 2006 special jury prize winner entry Ten Canoes.
de Heer and David Gulpilil co-wrote Charlie’s Country, about an Aboriginal warrior torn between his community’s traditional way of life and his new modern existence.
Gulpilil, whose credits include Australia, Rabbit-Proof Fence and Crocodile Dundee, plays the protagonist who heads into the wild to live life the old way after his gun, spear and best friend’s jeep are confiscated.
Charlie’s Country also stars Peter Djigirr, Luke Ford and Gary Sweet. Nils Erik Nielsen, Djigirr and de Heer produced.
The Vertigo Productions and Bula’Bula Arts Aboriginal Corporation coproduction is presented by Screen Australia and Domenico Procacci and produced in association with the South Australian Film Corporation, Larrakia Nation Aboriginal Corporation and Adelaide Film Festival.
Meanwhile David Robert Mitchell’s It Follows, which Visit also represents after previously selling Mitchell’s The Myth Of The American Sleepover, will screen in Critics’ Week.
The film centres on a 19-year-old girl who experiences a strange sexual encounter and is subsequently plagued by disturbing visions and the belief that she is being followed.
Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi and Lili Sepe star. Northern Lights Films and Animal Kingdom financed the film and Rebecca Green, Laura D Smith, David Robert Mitchell, David Kaplan and Erik Rommesmo produced.
Frederick W Green, Joshua Astrachan, Jeff Schlossman, Bill Wallwork, P Jennifer Dana, Alan Pao and Mia Chang served as executive producers.
The Myth Of The American Sleepover debuted at Cannes Critics’ Week in 2011 and was released by IFC Films in North America.’
We’re coming to Tribeca! Food Chains and I Won’t Come Back will be screening in the festival.
Food Chains – http://tribecafilm.com/filmguide/53286a79b57ce982ad000114-food-chains
I Won’t Come Back – http://tribecafilm.com/filmguide/53208af1c07f5df7d2000773-i-won-t-come-back
Time to celebrate! Visit Films’ new Argentinian dramatic thriller History of Fear (Historia del miedo) has been invited into Competition for the Berlinale.
We are going into Berlin with a strong slate – Food Chains, featuring Eva Longoria and narrated by Forest Whitaker will be screening in the culinary section Kulinarisches Kino in Berlin.
Congratulations to 52 Tuesdays on winning Best Director in the World Cinema Dramatic Competition! The film will continue its exciting journey at the Berlinale in the Generation section.
We have a winner at the Indie Memphis Film Festival: It Felt Like Love was awarded Best Narrative Feature! Check out the whole article:
Screen Daily reports on our new title IT FOLLOWS:
‘EXCLUSIVE: Ryan Kampe will commence sales at AFM next week on David Robert Mitchell’s follow-up to The Myth Of The American Sleepover.
It Follows has begun production in and around Detroit in Mitchell’s native Michigan state and stars Maika Monroe, Keir Gilchrist and Daniel Zovatto.
Northern Lights Films and Animal Kingdom are financing the project, described as ‘a terrifying coming-of-age nightmare about sex, love and the unseen horrors that follow us.’ Rebecca Green and Laura D Smith will produce alongside Erik Rommesmo for Northern Lights, David Kaplan for Animal Kingdom and Mitchell. Frederick W Green, Jeff Schlossman, and P Jennifer Dana serve as executive producers. It Follows marks Animal Kingdom’s first feature since Short Term 12, winner of this year’s SXSW grand jury prize and Los Angeles Film Festival audience award.
‘David has, once again, written an amazing script that takes his arthouse sensibilities and mashes it up with some psychologically terrifying filmmaking,’ said Visit Films president Kampe. ‘This is the perfect commercial crossover project for him.’
Visit previously handled sales on The Myth Of The American Sleepover (pictured), which screened in Cannes Critics Week and earned a special jury prize following its SXSW premiere. IFC Films distributed in the US.’
We are excited that our new title STAY by director Wiebke von Carolsfeld will be screening in selection at TIFF this year.
Additionally, we are organizing a market screening of EXHIBITION by British filmmaker Joanna Hogg.
Please see our Festivals and Markets News for the screening times. More info on the film can be found in our sales catalog.
Halley was awarded the Grand Jury Prize at the Muestra Nacional de Cine en Fresnillo (Munacifre).
A Teacher is this year’s winner of the Narrative Feature Grand Jury Prize of the Dallas International Film Festival!
Congratulations to Hannah Fidell who won the SXSW Chicken and Egg Emergent Narrative Woman Director Award for A Teacher!
Look out, NYC! Flex Is Kings will be opening the Viewpoints Section of the Tribeca Film Festival !
Thursday, April 18th at 17:30 at the AV7-03
Friday, April 19th at 19:00 at the CCC-05
Thursday, April 25th at 21:45 at the CCC-08
Saturday, April 27th at 19:00 at the CCC-05
We are excited to announce that The Wait will have its world premiere this year at SXSW. It is screening at the following times:
Sunday, March 10 at 4pm at the Stateside Theatre
Monday, March 11 at 6pm at the Violet Crown 1&2
Fresh from it’s world premiere at Sundance, where it won the Special Jury prize, UPSTREAM COLOR will have its international premiere in the Panorama section of the Berlin Film Festival. Schedule is as follows:
Sat Feb 9, 10:45 CinemaxX 9 (Press & Industry)
Sun Feb 10, 22:00 CineStar (International Premiere!)
Thu Feb 14, 21:30 CinemaxX 7
Fri Feb 15, 22:45 CineStar 3
Sat Feb 16, 20:15 CineStar 3
Sun Feb 17, 20:15 Cubix 8
Sun Feb 17, 20:15 Cubix 7
We are excited to present to you our Berlinale/EFM line up. Hot off the heels of its world premiere in competition at Sundance, Shane Carruth’s UPSTREAM COLOR will have its international premiere in Panorama in the Berlinale. In addition, we have several other brand new titles fresh from Sundance and Rotterdam that will be presented in the market. Looking forward to seeing you there!
Visit Films Berlin Market Screening Schedule:
Thursday, Feb 7
Il Futuro, 11:45 AM, CineStar 6
Watchtower, 6:35 PM, MGB Kino
Friday, Feb 8
Halley, 4:00 PM, Cubix 1
Saturday, Feb 9
A Teacher, 9:45 AM, Cubix 2
Upstream Color, 10:45 AM, CinemaxX 9
Sunday, Feb 10
Il Futuro, 11:30 AM, CinemaxX 10
It Felt Like Love, 2:40 PM, CinemaxX 18
Monday, Feb 11
Upstream Color, 11:30 AM, Cubix 2
A Teacher, 3:30 PM, Cubix 2
TEDDY BEAR was nominated as one of the five nominees for European Discovery 2012! The winner will be announced at the 25th European Film Awards on December 1st in Malta. We are looking forward to it.
Visit Films has exciting news to share – CALIFORNIA SOLO won the Best Narrative Film prize at the Woodstock Film Festival this weekend! And editor Alex Jablonski took home the Best Editing Award as well. Wow! Congrats to the CALIFORNIA SOLO team.
We are pleased to announce the newest addition to the Visit Films slate: WATCHTOWER by Pelin Esmer. Be sure to check it out when it premieres at the Toronto International Film Festival in the Contemporary World Cinema section. Screening details are as follows:
Friday Sept. 7 Scotiabank 5 (P&I), 2:00 PM
Saturday Sept. 8 TIFF Bell Lightbox 3, 9:30 PM
Sunday Sept. 9 Cineplex Yonge & Dundas 2, 9:15 AM
Thursday Sept. 13 Scotiabank 7 (P&I), 9:45 AM
Sunday Sept. 16 Scotiabank 9, 3:30 PM
Visit Films, a worldwide film sales company, is looking for an office coordinator. The position will require the candidate to provide basic support to Visit’s four full time employees as well as office management. Additional work will include assisting the sales team in market preparation, database management and scheduling. The ability to learn and adapt to the demands of the job can be more important than experience in a similar position. Starting salary is in the mid 20’s and will include health care, dental and other benefits. This is a full time position in Brooklyn. Cover letter and resume should be sent to firstname.lastname@example.org. Looking for someone to start immediately.
Don’t miss Ali Samadi Ahadi’s powerful documentary, THE GREEN WAVE, now playing in theaters in LA and NYC. ‘Stories this emotional and passionate are in many ways timeless,’ said Film Critic Kenneth Turan from the Los Angeles Times. Click here to read the full review|http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-green-wave-iran-movie-review-20120810,0,3859142.story
FIRST POSITION is being released on DVD in the fall, and in theaters internationally this fall/winter, but for anyone living in the U.S. who wants to watch it at home on Video On Demand (via Comcast, Cablevision, AT&T, Verizon, Time Warner, Bright House, Cox, RCN, Metrocast, Midcontinent, Service Electric or Uverse), IT’S ONLY AVAILABLE UNTIL AUGUST 2nd SO DON’T WAIT!!
Visit Films is pleased to announce that CALIFORNIA SOLO will be screening in the competition section of the upcoming 38th Annual Deauville American Film Festival. Big congratulations to Marshall Lewy and the entire CALIFORNIA SOLO team!
Stay tuned for more info and screening details…
The Deadline Team reports on the latest domestic sales news for our title, DON’T STOP BELIEVIN’: EVERYMAN’S JOURNEY…
Cinedigm Entertainment Group has acquired U.S. distribution rights to the film which is planned for release across theatrical, on-demand and premium digital in Spring 2013. Don’t Stop Believin’: Everyman’s Journey is the real-life rock-n-roll story of Filipino singer Arnel Pineda, a formerly homeless teen who was plucked from YouTube by lead guitarist and founding Journey member Neal Schon to become the front man for the iconic American rock band and a real-life celebrity. The film follows Arnel on this personal odyssey, including a worldwide tour with core band members Neal Schon, Jonathan Cain, Ross Valory and Deen Castronovo, and a homecoming performance in Manila for 25,000 people. Don’t Stop Believin’: Everyman’s Journey premiered at the 2012 Tribeca Film Festival. It was directed and written by Ramona S. Diaz. Diaz also co-produced the film with Cappella Fahoome Brogden. John Baruck and Joshua Green served as executive producers. Cinedigm Entertainment Group is a division of Cinedigm Digital Cinema Corp.
Click here to read the article on Deadline|http://www.deadline.com/2012/07/cinedigm-acquires-music-doc-dont-stop-believin-everymans-journey/?fb_action_ids=446771565344071&fb_action_types=og.likes&fb_source=timeline_og&action_object_map=%7B%22446771565344071%22:10151112432745132%7D&action_type_map=%7B%22446771565344071%22:%22og.likes%22%7D&action_ref_map=%5B%5D
Sundance award winner TEDDY BEAR is to be released in NY next week at the Film Forum! Don’t miss this sweet and beautiful drama from the Visit Films 2012 slate. Click here|http://www.filmforum.org/movies/more/teddy_bear for showtimes and tickets.
See it here – Berlin Eiszeit, FSK, Central, Tilsiter, München Neues Arena & Monopol, Nürnberg Filmhaus, Karlsruhe Kurbel, Leipzig Schaubühne, Stuttgart Corso & EM, Düsseldorf Metropol, Dortmund Sweet Sixteen, Köln Filmhaus, Hannover Kinos am Raschplatz, Hamburg 3001, Frankfurt Mal Sehn, Bamberg Lichtspiel, Dresden Casablanca, KIF & Programmkino Ost, Bremen Schauburg, Münster Cinema, Seefeld & Starnberg Breitwand
Thank you to all of our filmmakers and worldwide partners for helping make Cannes 2012 a huge success. Jeremy Kay from Screen Daily reports on some of the deals we closed…
VISIT FILMS CLOSES DEALS ON DINOTASIA, END OF LOVE
23 May, 2012 | By Jeremy Kay
Ryan Kampe’s Visit Films has struck a slew of sales on key titles here, led by a deal with Ascot Elite for German-speaking Europe on dinosaur documentary Dinotasia.
Kampe also licensed rights to Cineplex for Taiwan, IPA for Thailand and Vietnam and Velavan for India.
Mark Webber’s father-son drama The End Of Love has gone to Codex for Turkey, while Mads Matthiesen’s Sundance award-winning sex tourism drama Teddy Bear has landed at Aurora for Poland and Encore for airlines.
Werner Herzog’s Cave Of Forgotten Dreams has gone to Binci for China and Imagine for Dutch-speaking Benelux.
Hexagon will distribute Sundance 2012 entry California Solo starring Robert Carlyle in Japan, while Viasat will release in Scandinavia and Sundance Channel International will release in Spain, Portugal, Eastern Europe, Southeast Asia and Dutch-speaking Benelux.
Viasat will also handle the Scandinavian release of the Berlin Crstal Bear winner Arcadia starring John Hawkes and SXSW 2012 romance See Girl Run with Robin Tunney and Adam Scott. The latter will open in Turkey through Codex and has gone to Pictureworks for airlines.
Thurs 5/17, Arcadia, 12.00, Riviera 1
Thurs 5/17, Dinotasia, 13:30, Rivera 2
Fri 5/18, The End of Love, 9:30, Lerins 1
Fri 5/18, Don’t Stop Believin’, 14:00 Palais I
Sat 5/19, Dollhouse, 13:30, Rivera 2
Sun 5/20, See Girl Run, 13:30, Lerins 1
Sun 5/20, Dinotasia, 16:00, Palais I
Mon 5/21, The End of Love, 11:30, Palais J
Mon 5/21, Don’t Stop Believin’, Riviera 2
Visit Films is excited to announce the addition of four new titles to our Cannes line-up: DON’T STOP BELIEVIN’: EVERYMAN’S JOURNEY, SEE GIRL RUN, DINOTASIA and THE END OF LOVE. Market screening schedule coming soon!
Visit Films to Launch Four New Market Titles in Cannes
11 May, 2012 | By Jeremy Kay
Ryan Kampe’s slate features Ramona Diaz’s Don’t Stop Believin’: Everyman’s Journey, Nate Meyer’s See Girl Run, dinosaur documentary Dinotasia and previously announced The End Of Love from Mark Webber.
Don’t Stop Believin’: Everyman’s Journey premiered in Tribeca and chronicles the extraordinary story of how Filipino musician Arnel Pineda went from being a singer in an amateur cover-band to lead singer of the iconic American rock band Journey.
Dinotasia is Herzog’s immersive animated documentary that recaptures the lost world of the Mesozoic Era and is narrated by Werner Herzog and directed by David Krentz and Erik Nelson.
Rom-com See Girl Run stars Robin Tunney as a married Brooklynite who returns to her small-town Maine roots to see if things could work out with her high school sweetheart. Adam Scott also stars. The film premiered at SXSW.
Webber’s The End Of Love (pictured) premiered at Sundance and follows a young father who struggles to raise his infant son after the boy’s mother dies.
Visit’s sales roster includes Berlin Crystal Bear winner Arcadia featuring John Hawkes, Dollhouse from Kirsten Sheridan, Sundance prize winning Teddy Bear and Marshall Lewy’s California Solo starring Robert Carlyle.
Visit Films is proud to announce that TEDDY BEAR took home the top prize at Krakow’s Off Plus Camera International Festival in Independent Cinema this past weekend! Director Mads Matthiesen attended the closing night gala, where he received a cash prize of $100,000 USD and a 1 million PLN subsidy from the Polish Film Institute to be spent on the production of his next feature film in Poland. The Danish director said, ‘It is a great honor to be here today. Thank you for having me and for showing my film (…) I will return here to make my next film.’ Big congrats to Mads Matthiesen and the entire TEDDY BEAR team!
Visit is proud to announce two new additions to our slate, both of which will soon have their world premiere at the Berlinale. Kirsten Sheridan’s DOLLHOUSE in Panorama, and Olivia Silver’s ARCADIA, starring John Hawkes, in Generations. Check the sidebar of this blog page for full screenings details.
We are thrilled to share the news that Mads Matthieson, director of TEDDY BEAR was honored as Winner of the World Cinema Directing Award, for Dramatic films at Sundance Film Festival 2012. The prize was announced at the Filmmaker awards ceremony on Saturday night.
‘That’s great, man. Great surprise. Just want to thank Sundance. It’s a pleasure coming here. Everything around this festival, the audiences, is great,’ says Matthiesen.
Visit Films congratulates Mads and the entire TEDDY BEAR team on this fantastic accolade!
Visit Films is pleased to share our market screening schedule for this years EFM in Berlin. We will be at the same booth as last year, MGB #12, first floor. Come and say hi if you are there and get yourself to a market screening if you’ve got the appropriate badge!
Thurs 2/9 First Position 11.00 CinemaxX 19
Thurs 2/9 The Odds 13.00 CinemaxX 17
Fri 2/10 Teddy Bear 9.00 CinemaxX 17
Sat 2/11 First Position 19.20 CinemaxX 19
Sun 2/12 California Solo 10.45 CinemaxX 18
Tues 2/14 Arcadia 16:30 MGB Cinema
We are pleased to announce our slate for the 2012 Sundance Film Festival. Mads Matthiesen’s directorial debut TEDDY BEAR|http://filmguide.sundance.org/film/120125/teddy_bear will compete in the World Dramatic Competition and Marshall Lewy’s CALIFORNIA SOLO|http://filmguide.sundance.org/film/120217/california_solo, starring Robert Carlyle will screen in Premieres. You should see both of them if you will be in Park City! We will also be presenting both films at the EFM in Berlin.
Screen Daily’s Jeremy Kay reports on our latest acquisitions, soon premiering at TIFF. Read on for the good stuff….
7 September, 2011 | By Jeremy Kay
Ryan Kampe’s New York-based sales company has boarded international rights to teen murder mystery The Odds from writer-director Simon Davidson and drama Fable Of The Fish from Adolfo Borinaga Alix Jr. Both films will receive their world premieres at Toronto, which kicks off on Thursday (8) and Kampe will begin sales.
The Odds (pictured) is set against the world of underground teenage gambling as a high school student must find his best friend’s killer before the game is exposed. Tyler Johnston, Jaren Brandt-Bartlett, Calum Worthy and Julia Maxwell star. Davidson makes his feature directorial debut feature and Kirsten Newlands and Oliver Linsley produced.
Fable Of The Fish is about an aging woman whose dreams of becoming a mother are answered, albeit in a bizarre way when she gives birth to a fish. Cherry Pie Picache, Bembol Roco, Anita Linda, Rosanna Roces and Evelyn Vargas star. Alix Jr, Jonas Antonio Gaffud and Elizabeth Juan produced the surreal drama.
‘We are happy to team up with Adolfo for a third feature,’ Kampe said. ‘Fable Of The Fish is his strongest film yet working with both fantasy and allegory. Additionally, Simon has made a film that will appeal to buyers looking for an accessible title that has great elements of murder intrigue, mystery and the adrenaline of a high stakes card game. We hope that this will be the beginning of a long term partnership with this strong writer-director as well.’
The Odds producer Newlands added: ‘We are thrilled to be working with Visit Films. Their commitment to support the creative and to represent films that we all want to see is unparalleled. We look forward to this new partnership.’
Visit’s sales slate includes Bellflower, Cave Of Forgotten Dreams, The Myth Of The American Sleepover,The Green Wave, and Après Le Sud (Heat Wave).
We’re pleased to announce two new titles added to the Visit Films slate, both of which will soon premiere at the Toronto International Film Festival 2011.
The first is a debut feature by Simon Davidson called THE ODDS, screening the Canada First section. The second is the latest from Adolfo Alix Borinaga Jr of the Philippines, called FABLE OF THE FISH. It will screen in Visions. Details for both Public and Press & Industry screenings are as follows:
Sat. 9/10, 10.00 am, Scotiabank Theatre 5 (P&I)
Mon. 9/12, 8.45 pm, AMC 10
Wed. 9/14, 5.30 pm, AMC 6
Thurs. 9/15, 10.00 am, Scotiabank Theatre 5 (P&I)
Sat. 9/17, 3.00 pm, AMC 10
FABLE OF THE FISH
Fri. 9/9, 4.30 pm, TIFF Bell LightBox 5 (P&I)
Sat. 9/10, 3.00 pm, AMC 7
Sun. 9/11, 7.00 pm, AMC 4
Thurs. 9/15, 10.00 am, Scotiabank Theatre 10 (P&I)
Sun. 9/18, 1.00 pm, AMC 7
Both films will also soon screen at the Busan International Film Festival in Korea, so stay tuned for more details.
Film Movement captures ‘Hearts’
Gallic romantic comedy to get North American release
By JOHN HOPEWELL
New York-based specialty label Film Movement has acquired North American rights to ‘The Queen of Hearts,’ the directorial debut of French thesp-turned-helmer Valerie Donzelli.
Film Movement will give ‘Hearts’ a fourth quarter theatrical opening in New York, a limited national roll-out after that, and a day-and-date cable video-on-demand premiere.
One of a growing breed of arresting young Gallic distaff directors — think Celine Sciamma, Katell Quillevere — Donzelli also wrote ‘Hearts.’
A jaunty, Paris-set romantic comedy, ‘Hearts’ turns on thirtysomething Adele, played by Donzelli, who, dumped by her boyfriend, flings herself at pretty well any man she meets, ignoring Mr. Right.
Jeremie Elkaim plays all three of her lovers. France’s Les Prods. Balthazar produced.
Released February 2010 in Gaul, ‘Hearts’ did only niche local box office, selling 27,744 tix (around $240,000). But, playing Locarno’s Filmmakers of the Present competition, it went on to build a growing fest rep and garner upbeat reviews with slots at the Mumbai, Buenos Aires, Santiago de Chile, Mill Valley and St. Louis fests.
Variety called it ‘an endearingly goofy spin on looking-for-love-in-the-big-city comedies.’
Donzelli has just wowed critics with her second film as a director, ‘Declaration of War,’ again co-starring Elkaim, which opened May’s Cannes Critics’ Week.
The North America deal on ‘Hearts’ was negotiated between Film Movement prexy Adley Gartenstein and VP, acquisitions and distribution Rebeca Conget and Ryan Kampe of Visit Films.
‘Talented French actress Valerie Donzelli has directed herself in an utterly charming and whimsical comedy that is both sexy and touching without ever getting sentimental. We’re delighted to be distributing this promising new director’s feature film debut,’ Gartenstein said.
Viewing films in the Wasted Youth sidebar, the FIPRESCI international critics’ jury gave its prize this year to Serbian filmmaker Nikola Lezaic’s feature debut Tilva Rosh which had premiered at last year’s Locarno Film Festival.
Registered Delegates can now sign up for a 1-2-1 with our very own Aida LiPera. This industry event will be held on Monday June 20th. See you there!
During last month’s Cannes Film Festival, Screen International and Technicolor hosted a lunch with a broad range of guests to discuss how digital technology is enhancing the creative experience
THE PANEL – CANNES, MAY 2011
Claude Gagnon – president, Technicolor Creative Services
Miranda Jones – post-production supervisor (TT3D: Closer To The Edge, Stardust)
Angel Martin – managing director, Technicolor Spain
Leon Rousseau – sound restoration, LE Diapason
Aaron Ryder – producer, FilmNation
Ivan Sen – writer-director (Toomelah, Beneath Clouds)
Larry Smith – DoP (The Guard, Bronson)
Adrian Wootton – CEO, Film London
Digital technology now impacts on every aspect of the film-making process and the cinema experience, through capture, delivery, post-production and projection. At Cannes, Screen International editor Mike Goodridge and Technicolor hosted a roundtable discussion of all things digital, encompassing the extent to which digital technology has revolutionised the industry, and the gains and drawbacks of 3D and digital film restoration.
Mike Goodridge: Do you think the new generation of digital cameras are effectively duplicating the film experience?
Larry Smith: No.
Ivan Sen: It’s a huge dilemma. I’ve shot three films digitally but I have a film I’m shooting in Hong Kong and there’s no way I’d shoot it digitally considering the resulting emotion from digital. It’s not in the same league as film. Digital has its purpose, the flexibility is fantastic but in the end it’s always about the final image.
Aaron Ryder: Most of the film-makers I’ve worked with would always prefer to work on film. I worked on a Jake Kasdan comedy [The TV Set] a while ago that shot on digital and benefited because there was a lot of improvisation and he wanted multiple takes. But there’s a richness and quality to film that sets it apart. The kind of ‘found footage’ movies that are being shot today, like a Paranormal Activity, that kind of film strives for a realist effect that comes with digital.
IS: For me, the whole film-making process is too cluttered and not streamlined enough. So there are elements I try to bring to the film-making process to simplify it. Digital is part of that. I shot my latest film, Toomelah, entirely myself. Not even with a sound recordist.
Adrian Wootton: It’s a double-edged sword because the danger of digital is that you shoot and shoot, but I’m convinced with the film-makers, actors and crew we’re working with [on the Microwave scheme], the intimate and more flexible experience of digital lets them know they’re not burning acres of film and money. It makes the process viable.
LS: Yes, when you have a budget to shoot on film you are constantly living under great pressure. For some it can be too much. Digital removes that pressure.
AW: There’s a slew of distributors who are buying low-budget film and making healthy returns on those. There’s a different ecology now.
MG: Does the audience notice the difference between digital and film?
Miranda Jones: Joe Public, I don’t think so. But the discerning cinema-goer, yes. At the moment we’re trying to replicate the film-look in the grading area. There’s already a post programme that can introduce grain.
MG: Digital has certainly revolutionised post-production…
AR: Absolutely. Put it this way: when was the last film that didn’t have a DI [digital intermediate]? Ten years ago it was a luxury. I made The Prestige with Disney and we were the only Disney film at the time not to go through the DI process. Chris [Nolan] doesn’t do that on any of his films. He shoots on anamorphic. And his films look brilliant.
Angel Martin: Comparing the traditional film shoot and all that entails, versus shooting on digital and going through DI, the process is more expensive on digital.
LS: That’s absolutely right. If you’ve manipulated the film in the correct way, if you’ve exposed it correctly as a DoP, you don’t need a DI process.
AR: But those old aesthetics are dying. I can only think of a few film-makers shooting on film and preserving that. It’s different with the low-budget films, but the big-budget film-makers are enamoured with the new technology.
AM: One question for you, Aaron: you also work as a sales agent; when you sell a film, do buyers ask how the movie has been shot? Do they pay more for the better quality?
AR: There was more concern about digital films three or four years ago. The technological advancements made over the last few years have alleviated some of those concerns. Foreign distributors are very savvy. Now it’s more a question of content.
MG: Let’s think about 3D for a moment. That is bringing a whole new level of cameras and hassle to the production process…
AM: The preparation and set-up for 3D is far more arduous. Post-production supervisors get involved much earlier.
MJ: Yes, I was involved six months before we even got to shooting anything on TT3D. Three of us spent six months researching. 3D has to be a very controlled environment but we couldn’t set up as you should with 3D, because it was a documentary.
AW: And the cameras themselves are slow to move around.
AR: I co-produced Sanctum in Australia. They spent an hour each day just fixing the cameras. Admittedly it was underwater, but there’s a lot of downtime that affects the creative process.
AW: But it’s early days. Broadcasters are going to drive this, too, with in-home 3D. As the technology gets faster quicker, lighter, it will all become easier.
LS: It’s interesting. We started thinking about cost reduction with digital. And now we’re talking about adding cost.
AR: But look at Black Swan and The King’s Speech. It’s not all about event movies. Not everyone wants to see event cinema.
MG: Does Technicolor think 3D is around for the long run?
Claude Gagnon: Oh yes. Especially for the broadcasters. We’ve done 25 pictures since Chicken Little some years ago. Animation is great but we need to find a balance with other genres.
MG: Leon, explain how you restore sound on an old film?
Leon Rousseau: To tell you the truth, the digital revolution in sound was 20 years ago. The main breakthrough I see in the recent years is that we now work for digital cinemas.
AW: Over the last few years, digital rendering has found ways of restoring classics in a way that photochemical restoration just can’t do because they are so damaged or it’s so expensive or time-consuming. I saw The African Queen recently and looking at that film with the legendary Angela Allen, [who was responsible for] the continuity on that film, she said it was better than she had ever seen it.
LR: But there’s also a danger that you unmix and then remix in 5.1. There’s a perception that if it’s mono it’s bad and 5.1 all good. There are real dangers. Our role is to respect the mix as you respect the rest of the film. You must preserve the interaction between image and sound.
CG: I believe there will be a big revolution in sound in the next five to 10 years. We are 5.1 now, 7.1 is coming.
MG: But shooting in digital has allowed a lot more flexibility when it comes to transferring files.
LR: Yes. We’re doing a huge restoration project for the Indian government. They work on the images and we restore the sound. The process is quite simple.
CG: The post-pro on Black Swan was all done in New York and Matthew Libatique was in Los Angeles doing the colour correction. That really accelerated the process.
The Visit Films screening schedule for Cannes is now available!
Official Screening ((Un certain regard):
May 13, 11:00, Debussy
May 14, 14:00, Bazin
May 16, 11:00, Salle 60eme
May 17, 18:00, Palais I
Après le sud (Heat Wave)
Official Screenings (La Quinzaine):
May 19, 19:30, Thèâtre Croisette
May 20, 11:30, Cinèma Les Arcades
May 12, 10:00, Riviera 1
May 19, 11:30, Thèâtre Croisette
May 11, 15:30, Palais J
May 12, 11:30, Gray 4
Cave of Forgotten Dreams
May 12, 14:00, Lerins 2
We’re very happy to announce Jean-Jacques Jauffret’s Après le sud (Heat Wave) as the newest addition to the Visit Films slate. Soon having it’s world premiere at the Cannes Film Festival in La Quinzaine please see below for dates and times:
May 19, 19:30, Thèâtre Croisette
May 20, 11:30, Cinèma Les Arcades
May 12, 10:00, Riviera 1
May 19, 11:30, Thèâtre Croisette
Just added to the Visit Films slate is the Sundance and SXSW hit Bellflower by filmmaker Evan Glodell. His first feature, Bellflower tells the tale of two friends who spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang ‘Mother Medusa’.
Acquired by Oscilloscope for the US, Visit will represent the film for international sales, starting at the Marche du Film in Cannes next month.
Visit Films is thrilled to announce that Ivan Sen’s Toomelah will screen as part of Un Certain Regard at the Cannes Film Festival next month. From Australia, this is Sen’s third feature.
We congratulate the filmmakers on this great success!
May 13, 11:00, Debussy
May 14, 14:00, Bazin
May 16, 11:00, Salle 60eme
May 17, 18:00, Palais I
The Sundance breakout hit ‘The Taqwacores’ is soon coming out on DVD. Add it to your Netflix|http://movies.netflix.com/WiMovie/The_Taqwacores/70129450?trkid=2361637#height1049 queue today or purchase through Amazon|http://www.amazon.com/Taqwacores-Bobby-Naderi/dp/B004K7M6U6/ref=sr_1_2?ie=UTF8&qid=1299258210&sr=8-2. Get on it!
Ryan Kampe of New York’s Visit Films has closed a deal with Ascot Elite for German-speaking territories on Werner Herzog’s Cave Of Forgotten Dreams.
Kampe also licensed rights for the former Yugoslavia to Discovery after presenting the film to buyers at the EFM in Berlin, where he announced a French deal with Metropolitan.
Cave Of Forgotten Dreams played as a special screening at the Berlinale and premiered in Toronto last year. It chronicles the discovery of wall paintings dating back approximately 30,000 years in a cave in central France.
The film previously sold to IFC for the US and will open through Picture House in the UK, Star Sands in Japan and Against Gravity in Poland.
Visit Films has started talks with buyers on Werner Herzog’s 3D documentary Cave Of Forgotten Dreams after acquiring international sales excluding the UK, Japan and select television rights.
Company president Ryan Kampe has licensed French rights to Metropolitan. The film premiered at Toronto and recounts the discovery of wall paintings in the Chauvet Cave in central France dating back some 30,000 years.
Cave Of Forgotten Dreams will play in special presentation here and previously sold to IFC for the US, Picture House for the UK, Against Gravity for Poland and Star Sands for Japan.
‘We have been in love with the film since its Toronto premiere and are so pleased to be working with Werner and his team,’ Kampe said. ‘Werner’s singular vision has allowed him to craft a film which uses 3D to its full effect and helps bring the medium away from popcorn movies and into films of true substance and beauty.’
Visit’s EFM slate include the Sundance pair Jess + Moss from Clay Jeter which screens in Generation here, as well as Ali Samadi Ahadi’s German-Iranian documentary and Lola entry The Green Wave.
An Indie Gumshoe in Oregon’s Gloom
COLD WEATHER, the third feature by young filmmaker Aaron Katz, begins in the modestly introspective vein of many a low-budget American indie. On an indefinite break from college, Doug has returned home to Portland, Ore., where he’s staying with his sister, Gail. The film appears poised to explore their shared history and private uncertainty, the simultaneous distance and closeness that sometimes defines adult sibling dynamics.
But with little warning, odd elements start creeping in, as if from another movie. Clues to shadowy goings-on are discovered in motel rooms and amid library stacks. The mopey protagonist turns intrepid gumshoe. There is a missing suitcase of money, and there are occasions for stakeouts and chases — just like in the movies.
25 January, 2011 | By Jeremy Kay
Tennessee-born Clay Jeter talks to Jeremy Kay about his feature directorial debut Jess + Moss, which screens in Sundance’s New Frontier section this week.
Through a series of vignettes that chronicle lazy summer days Jeter paints an idiosyncratic portrait of childhood as 18-year-old Jess and her second cousin Moss, 12, idle away the days talking, playing and discovering. The film has already won admirers for its evocative, languid pacing and dreamy West Kentucky milieu.
Kevin Iwashina of Preferred Content represents North American rights and Visit Films is handling international sales.
The story is so intimate and heartfelt – is it pure autobiography?
‘The idea for the movie came from a combination of things. The primary location is my great-grandfather’s tobacco farm in West Kentucky. He’d grown up there with his brother and my mum and her younger cousin spent time there, as did my older sister, so a lot of this is drawn from personal experience.’
It started out as two short films, so tell us how you fused them into one overarching feature?
‘I had wanted to shoot these two shorts called Jess + Moss in 35mm and Five Dollars in digital. Two weeks before we were going to shoot at the farm we asked how we could turn them into one feature because we had so many ideas. So a three-day stay got extended to seven and even though all our crew had to leave to go back to film school or do some paying jobs we stayed on and filmed it. Sarah [Hagan, Jeter’s girlfriend who plays Jess] and Austin [Vickers, who plays Moss] would be helping me out and holding the boom and that kind of stuff.’
How did you find your cast?
‘As I said I’d been dating [lead actress] Sarah for a year and knew she would do it. I was an actor when I was a kid and had this amazing agent called Betty Clark. I needed kids for Five Dollars, which was all children, so I called up Betty and she helped me out, which must have been a tough sell because I had never directed anything before and the story involved children in intense situations. We set up casting sessions and Austin was the first kid, He’d done a play and didn’t have the normal stage mum. He listened and responded and was a natural charmer. He was perfect for Five Dollars and it had to be him for Jess + Moss.’
Sarah and Austin are wonderful together. Was there instant chemistry?
‘When I put Austin together with Sarah it was like this magic that I could never have known. They spent a lot of time together annoying the crap out of each other. I told them to only refer to each other as Jess and Moss, even when the camera wasn’t rolling. I gave them this tape recorder and a lot of the voice over in the film comes from stuff they just came up with while they hung out.’
The story seems so fluid. How much of it was set down and how much was improvised?
‘I had the outline for the story and often wrote on the day of shooting. There was never a full screenplay but just these pages of ideas. My sister and mother get story credits on this, too.’
The film feels so organic. Were you tempted to tinker with it a lot?
‘It’s so hard to get a full green light to make something, especially when you’ve never made something before. Getting into Sundance was the best thing because we could easily be tinkering with this movie for another two years. It was frightening and amazing when we heard because everybody who said they’d help did and pulled together to get this ready. We literally finished last a few days before the festival.’
The look of the film evokes early David Gordon Green on films like George Washington and All The Real Girls. How did you create that look?
‘I’d been working as a cinematographer since I’d got out of film school [USC] so I had a camera and a collection of old film stock. You never want to throw that stuff away so we shot our movie on about 35 different films stocks. ‘
How did the shoot go?
‘We shot in 15 days over the course of a year. We shot seven days up front [in July 2009] and put it together to see the shape of the movie. We went off and did other jobs in between and went back to it in March 2010 and then July. Everyone who worked on the project worked for free. Luckily we were in a position where we had a small enough amount of money from myself and my parents so we didn’t have financiers breathing down our neck. The project had lulls. The editor would have to take off time and do some commercials and then work a bit more on this movie.
This was one of the hottest June and Julys on record. When we went back in March it was cold but the actors were wearing the same clothes. It was intense. We were out in the middle of nowhere. We were roughing it.’
How would you describe the film?
‘The movie is very much about landscape and a documentation of space and time. For me it’s really about childhood and some of the fleeting moments that you don’t notice always but that create existence. Se against that is the tragedy of growing up.’
We’re proud to present our line up for this years EFM in Berlin. Hope to see you at one of the screenings!
Cave of Forgotten Dreams
Mon 2/14 1:25 PM Astor Lounge (Market Screening)
Jess + Moss
Mon 2/14 9:30 AM Marriott 3 (Market Screening)
The Green Wave
Sat 2/12 10:45 AM dffb-Kino (Market Screening)
Wed 2/16 9:30 AM dffb-Kino (Market Screening)
The Off Hours
Tues 2/15 11:30 AM CinemaxX 18 (Market Screening)
Fri 2/11 8:45 AM CinemaxX 17 (Market Screening)
Small Town Murder Songs
Sat 2/12 10:45 AM CinemaxX 17 (Market Screening)
Mon 2/14 2:30 PM CinemaxX 17 (Market Screening)
The Myth of the American Sleepover
Sun 2/13 12:30 PM CinemaxX 18 (Market Screening)
Tues 2/15 12:45 PM CinemaxX 17 (Market Screening)
We’re proud to announce the official screenings info for Werner Herzog’s CAVE OF FORGOTTEN DREAMS, Clay Jeter’s JESS + MOSS, and Ali Samadi Ahadi’s THE GREEN WAVE at the Berlinale 2011. Please try and make it if you can!
CAVE OF FORGOTTEN DREAMS
Sun 2/13 10:30 PM Berlinale Palace (Premiere Screening)
Mon 2/14 12:00 PM Urania (Official Screening)
Mon 2/14 1:25 PM Astor Lounge (Market Screening)
Mon 2/14 5:30 PM Urania (Official Screening)
JESS + MOSS
Mon 2/14 9:30 AM Marriott 3 (Market Screening)
Thu 2/17 8:00 PM Haus der Kulturen der Welt Kino 1 (Official Screening)
Sat 2/19 3:30 PM Cubix 8 (Official Screening)
Sun 2/20 2:00 PM Haus der Kulturen der Welt Kino 2 (Official Screening)
THE GREEN WAVE
Sat 2/12/ 10:45 AM dffb Kino (Official Screening)
Tues 2/15 13:13 PM CinemaxX1 (Official Screening)
Wed 2/16 9:30 AM dffb Kino (Official Screening)
PARK CITY — Experimental films at Sundance are not unlike the flu bugs that run rampant through the festival’s many crowded venues: They’re inevitable but to be avoided if possible. First-time writer-director Clay Jeter’s Jess + Moss proves an exception.
Experimental films at Sundance are not unlike the flu bugs that run rampant through the festival’s many crowded venues: They’re inevitable but to be avoided if possible. First-time writer-director Clay Jeter’s Jess + Moss proves an exception. Not that its slow rhythms and intricate sight and sound design won’t tax the patience of those who trek here for celebrity sightings and the next hot film.
Jeter has thought deeply about how best to convey the themes he wishes to express here — themes about memory, longing and the power of the quotidian on a hot summer’s day — and how to express these things without benefit of a traditional narrative. Jess + Moss represents a bracing jolt from the usual film experience while at the same time lacking the pretension that accompanies so many experimental films.
There is no real story as such here. Two young people have only each other for companionship during a summer on a western Kentucky tobacco farm. Second cousins Jess (Sarah Hagan) and Moss (Austin Vickers) are 18 and 12 respectively. The age gap is not insignificant. Jess would probably like to experiment with boy-girl things that Moss’ immaturity prevents. Moss wants the older girl to entertain him a bit: Like telling him the story over and over again about his parents, who were killed long ago.
The film lets you gather information about these two not only from their conversations but from recorded memories. Old video and tape recordings are played. The youngsters make their own recordings as well. A crumbling farmhouse on the property, still filled with the degraded furniture and effects of lives long gone, fill in more details.
It’s also amazing how poignant Connie Francis’ old recording of Tammy, played over a couple of montages, becomes under these circumstances.
Two scenes with the boy’s and girl’s families show they are families in name only: The youngsters are completely alienated from these adults.
Jeter, who wrote the script with Debra Jeter, Will Basanta and Issac Hagy — more a succession of visual and aural strategies than a traditional screenplay — is deliberately unhelpful in providing a full background to his characters. A viewer senses rather than understands the back stories.
The two actors hold the screen quite naturally for the entire running time. Hagan is a pro with roles on the series Freaks and Geeks and Buffy the Vampire Slayer while Vickers is not. It makes no difference as the two behave as if they grew up together. They trade insults and secrets with equal ease. They are so used to each other that they shrug off small cruelties since they need one another.
Moss probably wonders why Jess hits herself every now and then. Jess wonders if she should change or edit the story of his parents, if only to alter their routine.
Jeter shot on over 30 different kinds of film stock, some many years old while others are brand new, Thus sharp, color saturated images collide with grainy ones. Some memories are fuzzy or faded while others are not, the film implies through this arresting style.
The filmmaker made the film on his family’s tobacco farm so perhaps his own memories may filter through those of his fictional characters. Or maybe they’re not fictional at all. Jess + Moss is, to put it mildly, open to interpretation.
20 January, 2011 | By Jeremy Kay
Visit Films has acquired international sales and festival rights to Clay Jeter’s directorial debut Jess + Moss ahead of its world premiere in Sundance on Sunday .
The New Frontier entry will also screen in the Berlinale next month.
Sarah Hagan and Austin Vickers play second cousins who spend the dying days of summer in rural Western Kentucky exploring deep secrets as they contemplate an uncertain future.
Preferred Content is representing North American rights and the company’s managing partner Kevin Iwashina serves as executive producer along with Jason Berman.
‘This is a film that we all fell in love with,’ Visit Films partner Ryan Kampe said. ‘The artistry is phenomenal and the characters mesmerising. International buyers looking for a return to classic American independent cinema will be very pleased. Clay will be one of this year’s major discoveries.’
‘When I first screened Jess + Moss and subsequently met the filmmaker, I immediately knew that this was a creative endeavor with which I had to be associated,’ Iwashina said. ‘It is a reflection of all the reasons that I have been a supporter of independent filmmakers since the inception of my career.’
Visit Films’s recent sales slate includes Trash Humpers, Small Town Murder Songs, Tilva Rosh, and Myth Of The American Sleepover.
We are about to head off to Sundance with a slate of three fantastic titles – The Off Hours, The Green Wave, and Jess + Moss. As usual, these films have in common their unique vision and quality filmmaking. If you’re in Park City, please make sure to catch them all!
The Green Wave
3:00 PM Fri, Jan 21 Holiday Village Cinema IV
9:00 AM Mon, Jan 24 Temple Theatre
1:30 PM Tue, Jan 25 Holiday Village Cinema I (P&I)
9:00 PM Thu, Jan 27 Holiday Village Cinema IV
6:45 PM Fri, Jan 28 Broadway Centre Cinemas V (SLC)
9:00 AM Sat, Jan 29 Holiday Village Cinema IV
The Off Hours
3:00 PM Sat, Jan 22 Yarrow Hotel Theatre
12:00 PM Sun, Jan 23 Redstone Cinemas 8
9:15 AM Wed, Jan 26 Holiday Village III (P&I)
6:15 PM Wed, Jan 26 Egyptian Theatre
4:30 PM Sat, Jan 29 Broadway Centre Cinemas IV (SLC)
Jess + Moss
5:30 PM Sun, Jan 23 Prospector Square Theatre
9:00 PM Mon, Jan 24 Redstone Cinemas 8
3:00 PM Tue, Jan 25 Broadway Centre VI (SLC)
9:30 AM Thu, Jan 27 Holiday Village Cinema II
10:30 PM Fri, Jan 28 Broadway Centre IV (SLC)
6:00 PM Sat, Jan 29 Holiday Village Cinema IV
Kimjongilia has been selected as a Documentary Channel 2010 top premiere! Of the 31 ‘Best of Doc’ films, the Documentary of the Year will be selected by an online public vote as part of a sweepstakes. Vote for Kimjongilia if you know what’s good for you!
Latin American industry heats up at Ventana Sur
2 December, 2010 | By Wendy Mitchell
Organisers and attendees of this week’s Ventana Sur market in Buenos Aires explain why Latin America needs its own market, and why deals should be strong for this year’s diverse crop of films.
Having a smash hit puts a lot of pressure to deliver a great follow-up. That’s the case for Ventana Sur, the Buenos Aires-based film market that launches its second run tomorrow (and runs through Dec 6). The inaugural edition last year was such a hit that buzz has quickly spread among international buyers and sellers that it is the hot new market that warrants attention (and that’s not just for sunshine in December).
Fabien Westerhoff, HanWay’s Director of Sales & Distribution – Broadcast, Home Entertainment, Theatrical Media, says: ‘On the acquisition side, Ventana Sur presents itself as a great platform to meet with Latin American talent, and on the sales side to promote Latin movies towards specialized distributors from the art house circuit that might not have made the trip to AFM. It’s positioning in the market calendar makes it a welcoming additional opportunity window before the end of the year.’
‘The second year is always a challenge,’ says Jerome Paillard, the Cannes Marche director who also serves as co-director of Ventana Sur. ‘The first year no one knows what to expect, and now expectations are very high.’
The organisers are working hard to meet those expectations. For the second year, there are a number of important changes – the first being that all meetings, market areas and screening rooms are now in the same area, not a cab ride away, centered near the Cinemark Puerto Madero. There will be an increased number of screenings, and they will also be more market-driven than last year.
Paillard said that when Instituto Nacional De Cine Y Artes Audiovisuales (INCAA) initially asked for the Marche to get involved, he immediately thought it was a good idea. ‘There is a need in Latin America for such an event,’ Paillard tells Screen. ‘There are some events in Latin America that support Latin American films, but there is no kind of event supporting Latin American films ONLY.’
Buenos Aires-based Guido Rud of FilmSharks International adds that Ventana Sur was a needed addition to the festival/market landscape. ‘Having key territories like the US having more than a third of the people speaking Spanish, plus Spain, Mexico, Brazil and Argentina are key territories on the international playing field. We had to have a market like Ventana Sur or Guadalajara that really boost our own culture and languages as a focus in the market.’
This year, there will be about 50 sales companies with stands (15 of those from Latin America), and 300 buyers and sellers are expected to attend. More than 120 world premieres will be presented.
‘Last year was quite successful in terms of business done,’ Paillard says. ‘And now the market is a little more active. Most of the films aren’t very expensive so distributors can make decisions more quickly.’
It should be a strong year for films on offer. ‘The Secret In Their Eyes won the Oscar, so that film helped to give a lot of attention to Latin American film. But there is vast diversity in Latin American film.’ He explains that of the 400+ films on offer this week the mix includes arthouse films, genre films, documentaries and even 3D projects.
One key VS offering is the Primer Corte programme, of works in progress. The 10 participants showing new work this year include Cannes Cinefondation Residence alumni Hernan Belon from Argentina, Mexican director Yulene Olaizola who previously directed Intimacies of Shakespeare and Victor Hugo, 2009 Sundance Lab alum Alejandro Landes from Colombia, and another Argentine film-maker, Marco Berger, who previously directed Plan B.
Pyramide international’s Eric Lagesse had a great first trip in Ventana Sur in 2009, when he bought Leap Year (Ano Bisiesto), which was screening in Primer Corte before it was finished. The film went on to Cannes where it won the Camera d’Or. Lagesse says he has to return to the market following a ‘fairy tale’ like that, as well as because Argentine cinema is strong in France. ‘The link is strong between these two countries, so it is good to maintain the contact.’ He says it’s a must-attend event for Pyramide already.
Ryan Kampe of New York-based Visit Films hopes to both acquire new Latin American titles and talk to Latin American distributors about his international slate, noting ‘because it is expensive for many distributors to travel to the European markets and festivals, this is a good way forus to see them in a more informal environment.’
And Olaf Aichinger, acquisition manager at Bavaria Film International, told Screen: ‘Saleswise, despite the slump of the arthouse segment we find Latin American audiences to still be very appreciative of quality arthouse films and we find Latin American distributors to be very loyal buyers. And apart from the usual suspects, there have come some exciting, artistically creative and commercially viable films from Latin America lately, like We Are What We Are from Mexico, or The Silent House from Uruguay.’
Also, eight European producers will be coming to VS to discuss projects they could do with Latin American partners.
The concurrent Expotoons (Nov 30-Dec 2) and Latin Side of the Doc (Nov 30-Dec 3) events will also welcome professionals from animation and documentaries. Also, the second European Cinema Week will run alongside Ventana Sur, to be held at Buenos Aires’ Gaumont Cinema on Place Congresco.
IndieWire featured the full list of Independent Spirit Award nominations today so congratulations to Adele Romanski for receiving a nomination in the Piaget Producers category for her work on The Myth of the American Sleepover!
Ryan Kampe will be participating in the second annual Ventana Sur market in Buenos Aires. He will be there from 12/2 until 12/7. If you are also attending, make sure to find him and say hola!
Screen Media takes North American ancillary rights to La Soga
16 November, 2010 | By Jeremy Kay
7-57 Releasing has licensed North American ancillary rights to Screen Media Films for Josh Crook’s Dominican hit La Soga.
Visit Films partner Ryan Kampe brokered the deal, which includes a six-figure advance. Visit represents international rights and will present the crime drama to buyers at next month’s Ventana Sur market in Buenos Aires.
La Soga premiered at Toronto in 2009 and stars Manny Perez as a police officer who fights local corruption. Denise Quinones and Juan Fernandez also star.
7-57 Releasing and Michael Bassick’s Markedia Worldwide released La Soga theatrically in August in New York City day-and-date with the nationwide Dominican Republic release through partner Antena Latina Films.
The film has grossed $1m worldwide and will continue to roll out in select US cities through early 2011.
‘Since we had a strong theatrical run in the US and the Dominican Republic, we wanted an ancillary partner with proven results and transparent accounting,’ 7-57 Releasing managing partner Patrick Morris said. ‘Robert Baruc and the team at Screen Media provide just that.’
Tilva Rosh wins in Estoril; Europa Distribution conference hosts 60 distributors
15 November, 2010 | By Andreas Wiseman
Nikolai Lezaic’s drama has picked up the Best Film Award and the Cineuropa Award at the fourth Estoril Film Festival in Portugal.
Tilva Rosh, Serbian director Lezaic’s debut feature, tells the story of two teenagers growing up in a desolate mining town in eastern Serbia. The feature had previously picked up the Heart Of Sarajevo award and premiered at Locarno.
French actress Isabelle Huppert was awarded theSpecial João Benárd da Costa Jury Prize for her performance in Marc Fitoussi’s comedy Copacabana, while Andrey Stempkovsky, Anush Vardanyan and Givi Shavgulidze shared the Montblanc Best Screenplay Award for Russian feature Reverse Motion.
According to festival director Paulo Branco the fifth Estoril Film Festival attracted between 25,000-30,000 visitors. The festival was opened by singer Lou Reed and presented masterclasses from Stephen Frears and John Malkovich.
Speaking to Screen, Branco said: ‘This was one of the festival’s best editions. We had great films and great art. This festival is based on transversality and the belief that any artist is a filmmaker and any filmmaker is an artist.’
Branco confirmed that going forward the Estoril festival would remain the home of the annual Europa Distribution conference which this year attracted over 60 independent European distributors for its fourth edition.
Over the two-day conference delegates discussed a range of topics including the current state of the European VOD market (which is forecast to be worth €2.2bn by 2013), crowd funding-based production and distribution initiatives and the ongoing Virtual Print Fee (VPF) negotiations.
Regine Vial, president of Europa Distribution and head of distribution at Les Films Du Losange, presented the key elements of legislation recently passed in France outlining French distributors’ contribution to the digitalisation of screens.
The new legislation ensures that the French ministry of culture provides a €125m subsidy for the cost of equipment required for digital conversion, non-film related industries such as sport and theatre, which are increasingly using digital cinemas to show events, make a contribution to the VPF, and crucially that the cost of digitalisation is cheaper than the costs incurred in producing and distributing 35mm prints. According to the law VPF payback to the third party installation outfit can be made over a ten-year period.
Speaking to Screen, Vial said: ‘I think this is very important. We now have regulation that says that digitalisation must be cheaper than 35mm [production and distribution] and we have a ten year time period in which the payments. We are happy to pay this contribution. I don’t think this model is necessarily the best rule for other countries but it helps to discuss it and exchange ideas.’
France is the first country to pass comprehensive legislation concerning the VPF.
During a panel on current VOD experiences MUBI founder Efe Cakarel was upbeat about the potential for revenue growth in the art house-focused VOD market.
In the wake of MUBI’s recent deal with Sony Playstation, which makes it possible to download the independent film platform from the Playstation Store as a free application, Cakarel anticipated a boom in the niche sector. He warned delegates that ‘as an industry we previously overestimated the short term potential of VOD, but now we are underestimating the importance and impact of VOD going forward.’ Cakarel informed delegates that since the launch of the MUBI-Playstation deal on Wednesday the company had signed up 210,000 new registrants. Cakarel claimed that thanks to the partnership, which extends across 16 countries and approximately 16m consoles, MUBI had ‘overnight become one of the most significant independent distribution platforms in the world’.
Of the conference’s success, Adeline Monzier of Europa Distribution said: ‘We’ve reached a point where we have very common ground on a lot of topics and we are now sharing a great deal of information. We had some very lively debates, the delegates took an active part in the schedule and the networking events worked really well. After four years this is a very good sign. We will be back next year.’
Some great news from the 27th edition of the International Festival of French-Speaking Film of Tubingen-Stuttgart – Vital Signs (Les Signes Vitaux) has won the Grand Prix for the best first or second feature film. A prize of 5000 euros was awarded to the filmmaker, Sophie Deraspe by Volker Lamm, owner of the cinemas of Tübingen.
The prize was decided on by an international jury made up of Romain Goupil (Chairman), Marcela Lacub, Mathilde Bonnefoy and Sophie Francesco Ranieri Martinotti Salbot. Congrats to the Vital Signs team!
TILVA ROSH has just been awarded the grand-prix award for Best Story at the IFF ‘2-in-1’ in Moscow!!
Here is a photo of actor, Marco Todorovic, accepting the prize (with his skateboard) at the festival. Congrats!
So many sales, we had trouble fitting them into one press release. The Taqwacores, The Freebie, Small Town Murder Songs, Bear Nation, Myth of The American Sleepover, Queen of Hearts and Don’t Stop Believin’: Everyman’s Journey.
Thank you to all of our worldwide partners on these films.
Visit Films announces slew of sales in run-up to AFM
25 October, 2010 | By Jeremy Kay
New York-based sales company Visit Films has closed a number of deals ahead of next week’s AFM in Santa Monica.
At the recent London Film Festival (LFF) industry screening series, Visit Films licensed all UK rights to Eyad Zahra’s Muslim punk film The Taqwacores (pictured) to Network Releasing and is close to a UK deal for LFF selection Cold Weather.
Sundance premiere The Taqwacores launched in the US on October 22 through Strand Releasing and Bac Films will open it in France in early 2011.
Visit licensed The Freebie, ahead of its international premiere in Rome as the opening night film in the Extra Section, to Delta Pictures in Italy.
Toronto premiere Small Town Murder Songs went to Israel (Lev Films) and Turkey (Irfan Films). The Myth Of The American Sleepover has been licensed to France (Metropolitan), Australia and New Zealand (Curious), Benelux (Filmfreak), Iceland (Greenlight) and television and digital rights in Eastern Europe and the Middle East (IFC).
Tilva Rosh went to Romania (Transilvania) and Turkey (Irfan). The fashion documentary Picture Me was acquired for Canada (Mongrel), Australia and New Zealand (Vendetta), France (Eurozoom), Germany (Atlas), Brazil (Globosat) and Italy (Delta).
Bear Nation went to Atlantide for Italy, which also picked up Harmony Korine’s Trash Humpers, as did Filmfreak for the Benelux. Queen Of Hearts was acquired by Film Sin Fronteras for Latin America and the busy Atlantide for Italy.
Finally, Visit licensed Don’t Stop Believin’: Everyman’s Journey, a documentary about the rock band Journey that is in post-production, to Hopscotch for Australia and New Zealand.
Check out this review of The Taqwacores by all things hip magazine, NYLON – and don’t forget to go see it this weekend if you are in NYC. It’s in theatres today!!!
Fresh off premiering his film at the Sundance Film Festival earlier this year, Eyad Zahra’s directorial debut ‘The Taqwacores’ hits theaters in New York this Friday, October 22. In anticipation of the film’s release, Zahra shared an exclusive clip of his film with indieWIRE.
The good folks at Hammer to Nail have given Helen their highest viewing recommendation on this month’s new releases VOD report.
Check out your cable system to see where you can watch Helen now!
IndieWire names the top, upcoming releases for at-home platforms. Our excellent doc, Kimjongilia was named in the list of their top 5. Make sure to get your DVD copy or purchase to view via Amazon today!
Indie Wire report on the latest sales news for our title, The Myth of the American Sleepover…
A scene from David Robert Mitchell’s ‘The Myth of the American Sleepover.’ Image courtesy of IFC Films.
North American and select international rights to David Robert Mitchell’s award-winning drama, ‘The Myth of the American Sleepover’ have been picked up by IFC Films.
Starring a cast of young newcomers in their feature film debuts and produced by Adele Romanski (‘The Freebie’), ‘Sleepover’ had its U.S. debut at the SXSW Film Festival in March and its international premiere at the 2010 Cannes Film Festival in the International Critics’ Week section, the first American film in five years to be selected for this honor. IFC Films will release the film next year.
Jeff Deutchman, Manager of Acquisitions & Productions for IFC Films negotiated the pact with George Rush of the Law Office of George M. Rush. Deutchman also negotiated with Ryan Kampe of Visit Films for select international rights.
Sara Ziff was interviewed on FOX 5 this morning. Her film PICTURE ME, co-directed with Ole Schell, opens today in New York. Click here to see the video|http://www.myfoxny.com/dpp/good_day_ny/model-sara-ziff-20100917
In lead up to it’s US theatrical release today, Picture Me is featured in an article on gawker.com. Since appearing on the site yesterday, the story has been read by more than 45,000 people. Keep spreading the word!
Check out this great IndieWire piece on Adele Romanski, producer of both The Freebie and The Myth of the American Sleepover. We already knew she kicks serious behind in the world of indie film and now everyone else does too!
FUTURES | Producer, Editor, Director Adele Romanski
by Brian Brooks
An editor, producer and now trying her hand at directing, Adele Romanski has traveled the gamut behind the camera. She produced David Robert Mitchell’s ‘The Myth of the American Sleepover,’ as well as Katie Aselton’s directorial debut, ‘The Freebie,’ which screened in the inaugural NEXT section at the 2010 Sundance Film Festival where it was acquired for domestic distribution by Phase 4 Films (and opening theatrically on Friday September 17th).
Congratulations to David Robert Mitchell and his film, The Myth of the American Sleepover for winning the Prix du Jury at the Deauville American Film Festival this past weekend. The Jury, who were led by actress Emmanuelle Beart, declared Myth a joint winner with Debra Granik’s Winter’s Bone.
2 September, 2010 | By Jeremy Kay
Ryan Kampe and Sylvain Tron of New York-based Visit Films will commence sales next week on Small Town Murder Songs and Look, Stranger.
Ed Gass-Donnelly wrote and directed Small Town Murder Songs, which will receive its world premiere in the Contemporary World Cinema section.
The modern gothic tale of crime and redemption stars Peter Stormare as an aging police officer from a small Ontario Mennonite town who hides a violent past until a local murder upsets the calm of his newly reformed life. Aaron Poole, Jill Hennessey and Martha Plimpton round out the key cast.
Look, Stranger is written and directed by Arielle Javitch and screens in the Discovery section. The story centres on a woman who makes the dangerous journey home from a refugee camp and stars acclaimed Romanian actress Anamaria Marinca. Lisa Muskat produced.
Javitch was supported in production by the Sundance Institute / Anneberg Foundation, Cinereach, New York State Council On The Arts, and the Berlinale Talent Campus.
Visit Films will also be supporting a number of other recent titles, including Sarajevo competition winner Tilva Rosh, Locarno competition title Cold Weather, and Cannes Critic’s Week premiere The Myth Of The American Sleepover.
Congrats to the Tilva Rosh team for winning the top jury prize and best actor award at the Sarajevo International Film Festival this past weekend.
Check out the article from The Hollywood Reporter on ‘The Myth of the American Sleepover’ taking home the inaugural American indie newcomer prize at the 2010 Munich Film Festival. Congrats to the Myth team!
The Cines del Sur Film Festival of Granada held their awards ceremony this past weekend and we are proud to announce that Denise Newman, lead actress in Oliver Hermanus’ ‘Shirley Adams’ won the Jury Special Mention for Best Actress. Congrats to Denise and the ‘Shirley’ team!
Congratulations to VITAL SIGNS for winning top awards at the Arctic Polar Lights Film Festival in Russia this past weekend! The jury foreman announced the prize while underlining the film’s coherence and the direction of the actors. Well done to filmmakers Sophie and Nicolas, as well as to their lead actress Marie!
Another great article on The Myth of The American Sleepover.
IFC Films today announced the acquisition of two popular female-helmed titles from last year’s SXSW Film Festival, Judith Krant’s ‘Made in China’ and Dia Sokol’s ‘Sorry, Thanks.’ The fish-out-of-water comedy ‘China’ won SXSW’s Grand Jury Prize as well as the Chicken & Egg Award for Emerging Female Director. Relationship comedy ‘Sorry’ is Sokol’s feature directorial debut, after producing the acclaimed ‘Beeswax’ and ‘Nights and Weekends.’ Both films will be released on VOD in June. IFC’s Jeff Deutchman brokered both deals – with the Film Collaborative’s Orly Ravid for ‘China’ deal, and with Visit Films’ Ryan Kampe for ‘Sorry.’ [Basil Tsiokos]
For the Cannes 2010 Marche du film, we decided to raffle off an iPad as a thank you to all of our buyers who we met with during the market. Today was the draw and the lucky winner is Carl Rickmers of Splendid Film of Germany. Congrats Carl!
by Brian Brooks (Updated 5 hours, 25 minutes ago)
David Robert Mitchell made a tender and sweet coming-of-age story that has given the young writer/director some nice attention. His first feature, ‘The Myth of the American Sleepover’, had its world debut at the SXSW Film Festival in March where it received a special jury prize for Best Ensemble Cast, and has made its way to Cannes this week, screening in Critics Week.
Not unlike ‘Sleepover,’ Mitchell is a charming and engaging person who’s pursued a particular aesthetic and feel for his film, which was about eight years in the making. And like most filmmakers getting their start, he took chances. The result was one of the more innovative teen dramas in recent memory.
‘I definitely felt a certain amount of weight in wanting to do a good job,’ Mitchell told indieWIRE on a sunny afternoon at the American Pavilion in Cannes this week. ‘There were a lot of things I wanted to accomplish with it and going into production was frightening, but I decided I had to just focus on the things I had control over. I wrote the script and I believed in it and I kept faithful to the story.’
‘The Myth of the American Sleepover’ follows four young people on the last night of summer. The teens, all played by first-time actors, cross paths one long night as they seek out love and adventure.
Mitchell sought out ‘real kids with screen presence’ to fill the roles, most of them hailing from the suburban Detroit neighborhood where he grew up, and he developed the story via a combination of his own experiences and his own creative input.
‘I wanted the audience to see these characters and not recognize them from elsewhere – just see them as people,’ Mitchell said. ‘I thought people who don’t have a lot of experience [with acting] would bring something more natural to it… We wanted to find people who were a little bit different than what youd find in a Hollywood film.’ The tone and feel of ‘Sleepover’ is reminiscent of teen dramas before that heyday of high school films in the ’80s as embodied by John Hughes, though Mitchell said that those classics do mean a lot to him.
‘I used the spine of ‘American Graffiti’ to tell a story that is a bit more gentle, natural and intimate,’ Mitchell observed. ‘There are small moments that may not seem important but are actually very important. Sitting with a girl on the slide and wanting to kiss her. Inching a bit closer to someone. Hanging out on a summer evening with your friends in the backyard. There are the bigger moments too, of course, but there are also those quiet and gentle moments that are important.’
After finishing undergrad in Michigan, Mitchell decided to enroll in Florida State’s graduate film program after he decided to go into filmmaking – something he said he had wanted to do since junior high school. He had also started making shorts a few years later in high school.
‘I had this deep desire to be surrounded by people who wanted to make movies as much as I did. I wanted something really intense. It’s everything to me.’
While at Florida State, he was already formulating the idea for ‘Sleepover’ in addition to other projects. After completing his program in 2002, he moved to Los Angeles along with some classmates who ended up working on the film with him. He’s currently working on a script about a boy pursuing a girl that he says is ‘tonally similar to ‘Sleepover,’ in addition to a story about an L.A. woman in her 20s, which he described as a ‘simple character story.’ ‘I also have other stories from when I was younger that I’d like to go back to, but maybe not right away,’ he said.
‘I like horror films and science fiction, but at the core, what I want to do are [stories] like ‘Sleepover.’ Maybe not always about teenagers, but something that is honest, personal and gentle at its core.’
Dir: David Robert Mitchell. US. 2009. 93mins
Few US indie films since Michael Lehmann’s Heathers (1988) have shown the originality of The Myth of the American Sleepover, David Robert Mitchell’s poignant debut feature. Unlike Heathers, it’s not satirical, and the director does not adhere to the conventional linear story arc, with alternating high and low dramatic points.
The movie has the potential to catch on with both younger and older audiences, the latter finding the truth of teen angst and delight in their memory banks.
Mitchell loosely structures the film like interlocked concentric circles (he has said his idea of narrative is more European than American), which pivot on four high school and college age teens in a cocooned suburban milieu who pass through what might seem like minor ups and downs to an adult viewer, but in fact are major to the youths, caught as they are between the conflicting urges of sex, belonging, and achieving.
Though lacking recognisable names, the actors deliver excellent and credible performances — an achievement recognised when The Myth won Best Ensemble at the South by Southwest festival, where it had its world premiere in March. It screens in Critics Week in Cannes.
Coupled with Mitchell’s confident, stylish but unobtrusive direction, the movie has the potential to catch on with both younger and older audiences, the latter finding the truth of teen angst and delight in their memory banks. It should do well for an American independent film in foreign territories, especially in English-language markets, infatuated as many foreigners are with stateside suburbia. Once it finds a distributor, and with the help of critics, it should find a decent audience in the home market.
The action takes place at the end of summer, just before the school year begins. Several sleepovers are held, mostly in students’ homes, and, except for some unexpected visits — some welcome, some not — are segregated by gender. Pretty Maggie (Sloma, the discovery here and a strong candidate for future stardom), younger than most and therefore of low rank in the hierarchy based on school level, is one of the only students to pass on the overnights.
She is preoccupied with flirting with Steven, a cynical poolboy (Diedrich), biking with her friend Beth (DeNoyer), and dancing, both in a school marching group and, in party mode before it gets rained out.
Handsome Rob (Morton) attends the ‘guy’ sleepover, but he is too obsessed with a pretty blonde he eyed that afternoon at the supermarket to enjoy himself. As self-absorbed as most teens are, he is completely oblivious to the crush his friend Marcus (McCallum) has on him. Attractive Claudia (Bauer) is the newcomer, invited at the last minute to the cool girls’ sleepover, who discovers the jealousy and spite not only of the others (she has a sexy boyfriend) but also within herself.
The fourth principal character is Scott (Jacobsen), a college junior who returns to the safety of this world, in part to recover some sort of relationship he had several years before with a set of twins, Ady and Anna Abbey (Nikita and Jade Ramsey), who enjoy teasing him. Not without its good moments, this section is the weakest of the four, perhaps because Scott is so removed from this insular universe that the viewer is pulled out of it. Altogether, though, the back-and-forth cutting between the youngsters is excellent — not surprising, since Mitchell is an experienced editor.
Production company: Roman Spring Pictures
International sale: Visit Films, +1 718 312-8210
Executive producer: Michael Ferris Gibson
Producer: Adele Romanski
Screenplay: David Robert Mitchell
Cinematography: James Laxton
Editor: Julio C. Perez IV
Production designer: Jeanine A. Nicholas
Music: Kyle Newmaster
Main cast: Claire Sloma, Marlon Morton, Amanda Bauer, Brett Jacobsen, Nikita Ramsey, Jade Ramsey, Annette DeNoyer, Wyatt McCallum, Mary Wardell, Doug Diedrich, Dane Jones
The Immaculate Conception of Little Dizzle’ is like ‘Clerks’ reimagined by William S. Burroughs. Looking as if it were devised on acid and executed on mushrooms, this imaginative debut feature from the Seattle artist and filmmaker David Russo finds meaning in cleaning and life in dead ends.
New York-based Visit Films has acquired international rights to Cannes Critics Week selection The Myth Of The American Sleepover.
The film premiered at the SXSW film festival where it won the Jury Award and was written and directed by David Robert Mitchell.
Set in the hinterland of Metro-Detroit, the story follows four young people as they search for love and adventure on the last night of summer. Adele Romanski produced.
If you are seeing this note, then you have made it to our new website. A destination for film buyers, Visit’s new site should make it easier to find and research our growing slate of titles. If you find any bugs, let us know.
Visit Films partner Ryan Kampe will be speaking on a panel at the 2008 Independent Filmmakers Conference in New York City. The panel is called Show and Sell: Positioning For Festivals and features panelists Tom Quinn (Magnolia), Jarod Neece (SXSW) and Reid Rosefelt along with Ryan.
In the name of the Human Rights and Democracy Network (HRDN), the One World Film Festival have awarded NC Heikin’s Kimjongilia the award for Best Film 2010.
In honor of this achievement, the HRDN will hold a special screening and ceremony soon in Brussels, followed by a debate on the state of North Korea.
Manager of Acquisitions and Festivals, Aida LiPera, will participate on a panel titled Distribution Now – What’s Working?, at next month’s Hot Docs Canadian International Documentary Festival in Toronto.
Visit Films will be at MIPTV from April 12 – April 15th. See us there
Oliver Hermanus’ directorial debut, Shirley Adams, has been nominated for Best Feature film as part of the 2009 South African Film & Television Awards. Equivalent to the Oscars,the SAFTAs are among South Africa’s most prestigious creative honors.
In addition to Best Feature, Shirley Adams has also been nominated for additional awards including Best Director for Hermanus, Best Actress for Denise Newman, as well as Best Editing, Best Writing, Best Production and Best Costume Design. Winners will be awarded at a glittering ceremony on February 7th, 2010 at the State Theatre in Pretoria.
Picture Me’ named on buzz list for the American Film Market 2009.
Sometimes it takes another couple of viewings to recognise just how great a quiet original can be. Written and directed by Christine Molloy and Joe Lawler, Helen is the mesmerising tale of an orphan girl who probes her own identity when she is used as a stand-in during a police reconstruction of a murder, and it is nothing less than one of the best films of the year.
Ryan Kampe and Sylvain Tron’s Visit Films has acquired international sales rights to Toronto entry Shirley Adams and Dear Lemon Lima.
The five nominated films for the Nordic Council Film Prize 2009 have been announced today. The prestigious film award worth DKK 350.000 [€47.000] is shared between the director, the scriptwriter and the producer. The winner of The Nordic Council Film Prize 2009 will be announced October 21.
This year’s nominees are:
Denmark – Antichrist, director Lars Von Trier
Finland – Sauna, director AJ Annila
Iceland – The Amazing Truth about Queen Raquela, director Olaf de Fleur Johannesson
Norway – North (Original Title – Nord), director Rune Denstad Langlo
Sweden – Light Year (Original Title – Ljusår), director Mikael Kristersson
The Immaculate Conception of Little Dizzle,’ directed by David Russo and produced by Peggy Case, was named best feature at the 2009 Downtown Film Festival-L.A., which concluded during the weekend.
Visit Films has acquired international sales rights to Ole Schell and Sara Ziff’s documentary Picture Me and will commence sales at Toronto.
The film premiered at the 2009 Genart Film Festival Film Festival and was named best documentary at the Milan International Film Festival.
The Montreal-based Fantasia Film Festival ends today after welcoming 90,000 fans with 40% of its 195 screenings sold out since the event started July 9th.
The 13th edition of the genre film festival gave its jury prize for best feature to Yang Ik-june’s Breathless and the jury prize for best first feature went to Dominic Murphy’s White Lightnin’. David Russo won best director for The Immaculate Conception Of Little Dizzle.
Ryan Kampe and Sylvain Tron’s New York-based sales company Visit Films will premiere three new titles in Cannes next week including two Directors’ Fortnight screenings and one out-of-competition entry.
The roster features Denis Cote’s Canadian entry Carcasses about an eclectic junk car collector in the woods of Quebec and fellow Directors’ Fortnight entry Ho Tzu Nyen’s Singapore-Canada film Here, which focuses on a controversial video therapy in a mental institution.
He’s a long shot to win. It’s pretty clear the late Heath Ledger’s going to win. But Michael Shannon—former longtime Chicagoan and current Brooklynite, as is his partner, actress Kate Arrington, and their daughter, Sylvie—woke up Thursday to the news he’d been nominated for a supporting actor Academy Award, for his performance as the excoriating, electroshocked mathematician in ‘Revolutionary Road.’
‘I couldn’t be happier,’ Shannon said Thursday, speaking by phone from a hotel in Park City, Utah. The actor’s attending the Sundance Film Festival this year. He is there with two pictures. One was screened in competition: ‘The Greatest,’ starring Pierce Brosnan and Susan Sarandon, with Shannon in a supporting role. The other, ‘The Missing Person,’ filled an out-of-competition slot and showcases Shannon in a leading part, that of an alcoholic private eye. He was surprised, he said.
Ryan Kampe and Sylvain Tron’s Visit Films has boarded worldwide rights to Noah Buschel’s The Missing Person, set to premiere at Sundance and receive its market premiere in Berlin.
Michael Shannon, red hot following his stand-out turn in Revolutionary Road, stars alongside Amy Ryan, and Tony Award winner Frank Wood as an alcoholic private eye hired to follow a man presumed missing after the 9/11 attacks.
Visit had a very successful AFM selling 5 new titles as well as continuing sales on films from Cannes and Berlin. Full recap soon. Also, some exciting news on Sundance shortly.
Visit Films has announced the worldwide acquisition of Toronto International Film Festival’s Contemporary World Cinema selection Adela from prolific Filipino director Adolfo Alix Jr. The film tells the story of Adela, a former radio personality, who is celebrating her 80th birthday in the slums of Manila. Alone and without support, she longs for the family and stability of years gone by. Mundane events take on a heightened meaning as Adela gauges her life against those of the sea of humanity.
Visit Films has acquired worldwide rights to Tariq Tapa’s feature directorial debut Zero Bridge ahead of its world premiere in Venice.
Zero Bridge was shot entirely in the Indian-occupied city of Srinagar, Kashmir, with a cast of local, non-professional actors and recounts the story of a teenage pickpocket who forms a bond with one of his victims. Josee Lajoie and Hilal Ah Langoo produced and Hunter Gray and Paul Mezey served as executive producers.
A glance at the multi-tasking names in the credits is enough to show just how homemade New York film-maker Josh Safdie’s debut film is. And at just 68 minutes, it challenges the definition of full-length feature. But it would be a shame to hold either limitation against it, as The Pleasure Of Being Robbed is a charming indie title, suffused with the spirit of the French New Wave of the early sixties and possessed of a quirky likeability that has as much to do with co-writer Eleonore Hendricks’ delicate performance as an urban vagabond who likes to steal things just for the hell of it, as with Safdie’s sure command of tone.
We are so happy to announce the acquisition of Josh Safdie’s Director’s Fortnight bound film The Pleasure of Being Robbed. More details to come soon..
Browse over to the link below to see an article on the indie film scene abroad –
Visit Films has acquired international rights to Azazel Jacob’s new film Momma’s Man. The Company’s partners Ryan Kampe & Sylvain Tron announced the deal following negotiations with the film’s producers. Visit Films will premiere Momma’s Man at the Marché du Film during the upcoming Cannes Film Festival for international buyers. Momma’s Man has recently screened at the Sundance Film Festival, Rotterdam Film Festival, and New Directors/New Films program and is scheduled to screen at many more festivals throughout the world in the upcoming months. THINKFilm acquired domestic rights earlier in the year.
Visit Films is in final negotiations for an exciting new slate of films for 2008. Details will be announced shortly.
Partner Ryan Kampe will be speaking on a sales agent panel at the 2008 SXSW Film Festival. The panel takes place on Sunday March 9, 2008.
Visit Films returned from a successful AFM and have been in the process of closing post-market deals. Screen International published a piece on Visit’s ‘Severed Ways’ sales on day 5 of the market.
Visit Films is excited to announce that they have acquired international sales rights to two amazing American films.
Visit Films will be an exhibitor at the 2007 American Film Market in Santa Monica, California. The full slate of films will be announced shortly. Please contact Visit Films to arrange a meeting in room 220 at the Loews Santa Monica Beach Hotel.
Visit Sales title ‘Severed Ways: The Norse Discovery of America’ premiered in competition at The LA Film Festival to a packed house. The LA Weekly called the film a ‘must see.’
Recently, at the Cannes Film Festival and Market, international film publication Screen Daily wrote an article about Visit’s new sales endeavor.
NY-based Visit establishes boutique sales arm
by Jeremy Kay, Los Angeles
Visit Films, the New York-based production company run by former Focus Features International distribution employee Ryan Kampe and commercials producer and creative executive Sylvain Tron, has launched the boutique sales agency Visit Sales.
The company will specialise in finding foreign distribution channels for independent American projects and the partners will attend Cannes to establish ties with distributors.
Visit Sales will launch its inaugural roster at the AFM in November. Its slate includes Steve Barron’s 2006 Gotham Award winner Choking Man and the upcoming LA Film Festival competition entry Severed Ways: The Norse Discovery Of America.
‘There is a place in the marketplace for small American films that is currently being under-represented,’ Kampe and Tron said. ‘As film-makers ourselves, we know the value of even a number of small sales on these films. The niche that we want to fill is to be able to bring high quality low cost titles to distributors throughout the world.
‘By keeping overhead low on our side, the pricing and terms can be very competitive. The key for us is in volume, which we hope will help our partners fill the product needs that they have. We will be focusing on international sales and will in certain situations also sell domestic rights.’
Visit Sales is actively looking for American films that have had a successful run on the festival circuit to add to the slate.
Kampe and Tron established Visit Films in December 2005. Its first production was The Big Bad Swim, which premiered at Tribeca 2006. The development slate includes the Louisiana-set post-Katrina drama The Good Forest, friendship drama Entry Level, and the dark family drama A Simple Love Story.
The Big Bad Swim has begun its theatrical rollout with director Ishai Setton following up the screenings with Q&A sessions.