Exclusive: An international drama series billed as the “Brazilian Succession” is being developed, with Nothing to Lose director Alexandre Avancini attached.
Diosual Television Studios, the TV arm of Diosual Entertainment, has created Whose Money Is It?, with telenovela writer Solange Castro Neves writing in collaboration with Thalma Bertozzi.
The series is an adaptation of the Brazilian non-fiction book ‘Whose Money Is It? Fear, Luck and Bad Luck: Victories and Stumbles in the Stock Market’ by Adley Piovesan and Homero Chemale.
The plan is for a three-season series, with Diosual seeking co-production and co-investment partners, with two international streamers understood to have been close to closing deals.
The plot is billed as a “a family drama with elements of action and investigation,” taking place in the financial markets of the present day with flashbacks from three decades ago.
Diosual Television Studios, the TV arm of Diosual Entertainment, has created Whose Money Is It?, with telenovela writer Solange Castro Neves writing in collaboration with Thalma Bertozzi.
The series is an adaptation of the Brazilian non-fiction book ‘Whose Money Is It? Fear, Luck and Bad Luck: Victories and Stumbles in the Stock Market’ by Adley Piovesan and Homero Chemale.
The plan is for a three-season series, with Diosual seeking co-production and co-investment partners, with two international streamers understood to have been close to closing deals.
The plot is billed as a “a family drama with elements of action and investigation,” taking place in the financial markets of the present day with flashbacks from three decades ago.
- 12/18/2023
- by Jesse Whittock
- Deadline Film + TV
Minha Vida em Marte highest grossing local film in ninth place overall.
Brazilian cinema in 2019 held firm at 11% market share of overall box office as it did the previous year, while overall box office grew 13.7% to a record Brl 2.79bn ($684m).
Attendance grew year-on-year by 7.8% to 177.2m, according to online data specialist Filme B. While the overall box office boost can be explained in part by a 5.54% increase in the average ticket price, the figures do not necessarily mean that the Brazilian market grew in the last 12 months.
The performance of local cinema barely changed as the number of admissions...
Brazilian cinema in 2019 held firm at 11% market share of overall box office as it did the previous year, while overall box office grew 13.7% to a record Brl 2.79bn ($684m).
Attendance grew year-on-year by 7.8% to 177.2m, according to online data specialist Filme B. While the overall box office boost can be explained in part by a 5.54% increase in the average ticket price, the figures do not necessarily mean that the Brazilian market grew in the last 12 months.
The performance of local cinema barely changed as the number of admissions...
- 1/12/2020
- by 245¦Elaine Guerini¦40¦
- ScreenDaily
Decline is due to the country’s economic recession; optimism for 2019
The Brazilian box office fell for the first time for 12 years in 2018 due to the country’s severe recession and the underperformance of blockbusters.
Total box office receipts decreased by 10% to Brl$ 2.4b ($638m) in 2018 from Brl$ 2.7b ($718m) in 2017, according to Filme B, the online content company specialing in collecting and analysing data from the local film market.
Admissions also fell by 10.2% to 164.3m in 2018, continuing a decline that began the year before.
However local films performed slightly better than the box office as a whole. This was largely thanks to one title,...
The Brazilian box office fell for the first time for 12 years in 2018 due to the country’s severe recession and the underperformance of blockbusters.
Total box office receipts decreased by 10% to Brl$ 2.4b ($638m) in 2018 from Brl$ 2.7b ($718m) in 2017, according to Filme B, the online content company specialing in collecting and analysing data from the local film market.
Admissions also fell by 10.2% to 164.3m in 2018, continuing a decline that began the year before.
However local films performed slightly better than the box office as a whole. This was largely thanks to one title,...
- 1/23/2019
- by Elaine Guerini
- ScreenDaily
A dozen new specialty titles packed theaters this weekend. Sony Classics’ The Seagull and Roadside Attractions/30West’s Beast edged out the competition, grossing $80,607 in six locations and $52,078 in four theaters respectively.
The big screen version of Russian dramatist Anton Checkhov’s The Seagull opened in six New York and Los Angeles locations Friday, scoring the best per theater average of the specialty newcomers. Directed by Michael Mayer and starring Annette Bening, Saoirse Ronan, Corey Stoll and Elisabeth Moss, the feature grossed $80,607, averaging $13,434. Spc picked up the title in 2017, but held off releasing while it opened Bening starrer Film Stars Don’t Die in Liverpool. The producers showed an early version of The Seagull to Spc co-president Michael Barker, who gave notes.
“We addressed those notes in the final edit,” said producer Leslie Urdang in a conversation earlier this week about the film. “We give real kudos to him for helping us.
The big screen version of Russian dramatist Anton Checkhov’s The Seagull opened in six New York and Los Angeles locations Friday, scoring the best per theater average of the specialty newcomers. Directed by Michael Mayer and starring Annette Bening, Saoirse Ronan, Corey Stoll and Elisabeth Moss, the feature grossed $80,607, averaging $13,434. Spc picked up the title in 2017, but held off releasing while it opened Bening starrer Film Stars Don’t Die in Liverpool. The producers showed an early version of The Seagull to Spc co-president Michael Barker, who gave notes.
“We addressed those notes in the final edit,” said producer Leslie Urdang in a conversation earlier this week about the film. “We give real kudos to him for helping us.
- 5/13/2018
- by Brian Brooks
- Deadline Film + TV
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