After reaping the rewards of a protracted growth spurt, Italy’s film industry is facing a forced slowdown as the country’s right-wing government dithers with modifications they plan to make to several key regulations, most significantly to the country’s now stalled tax incentives for film and TV production.
At a packed protest event held earlier this month in Rome’s Cinema Adriano multiplex, industry figures from all sectors – including producers, writers, actors and big-name directors such as Paolo Sorrentino and Marco Bellocchio – lashed out against having to wait endlessly for the government to approve new guidelines so production companies can apply for the 40% tax credits that basically drive the business. Some are also concerned that their projects might end up not complying with still murky new eligibility criteria.
“We are waiting for the new regulatory framework, and more importantly we need to know how much money the government will grant,...
At a packed protest event held earlier this month in Rome’s Cinema Adriano multiplex, industry figures from all sectors – including producers, writers, actors and big-name directors such as Paolo Sorrentino and Marco Bellocchio – lashed out against having to wait endlessly for the government to approve new guidelines so production companies can apply for the 40% tax credits that basically drive the business. Some are also concerned that their projects might end up not complying with still murky new eligibility criteria.
“We are waiting for the new regulatory framework, and more importantly we need to know how much money the government will grant,...
- 4/17/2024
- by Nick Vivarelli
- Variety Film + TV
In an unprecedented move, 21 unions as well as leading figures from the Italian cinema industry joined forces on Friday (April 5) to voice their concerns about challenges in accessing public funding that have brought film and high-end TV production to a standstill in the country.
“Never have I seen in my long career a unity such as this in the Italian industry,” veteran director Marco Bellocchio said on stage at a crowded event that filled several screening rooms of the Cinema Adriano in Rome. Directors such as Paolo Sorrentino, Paolo Virzì and Fabrizio Gifuni also attended, alongside several actors and producers.
“Never have I seen in my long career a unity such as this in the Italian industry,” veteran director Marco Bellocchio said on stage at a crowded event that filled several screening rooms of the Cinema Adriano in Rome. Directors such as Paolo Sorrentino, Paolo Virzì and Fabrizio Gifuni also attended, alongside several actors and producers.
- 4/9/2024
- ScreenDaily
Exclusive: Distributor-producer Lucky Red is one of Italy’s most respected independent film and TV companies. Run by former actor Andrea Occhipinti since 1987, the firm has released more than 500 titles and produced more than 50 films.
The company has worked with filmmakers including Paolo Sorrentino, Lars Von Trier, Wong Kar Wai, Ang Lee, Park Chan Wook, Michael Haneke, Francois Ozon, Hayao Miyazaki, the Dardenne brothers, Wes Anderson, Paolo Genovese, Denis Villeneuve, Paul Thomas Anderson, Pablo Larraín and Asghar Farahdi.
It has also released more obviously commercial titles such as Angel Has Fallen, Hustlers, Den Of Thieves and Hereditary, and had fruitful theatrical partnerships with companies such as Netflix, Universal and Studio Ghibli.
Since shortly before the pandemic, Lucky Red, which hasn’t been afraid to ruffle the occasional feather, has also increased its activity in TV and exhibition.
We sat down company founder Occhipinti and his longtime lieutenants Stefano Massenzi (Head...
The company has worked with filmmakers including Paolo Sorrentino, Lars Von Trier, Wong Kar Wai, Ang Lee, Park Chan Wook, Michael Haneke, Francois Ozon, Hayao Miyazaki, the Dardenne brothers, Wes Anderson, Paolo Genovese, Denis Villeneuve, Paul Thomas Anderson, Pablo Larraín and Asghar Farahdi.
It has also released more obviously commercial titles such as Angel Has Fallen, Hustlers, Den Of Thieves and Hereditary, and had fruitful theatrical partnerships with companies such as Netflix, Universal and Studio Ghibli.
Since shortly before the pandemic, Lucky Red, which hasn’t been afraid to ruffle the occasional feather, has also increased its activity in TV and exhibition.
We sat down company founder Occhipinti and his longtime lieutenants Stefano Massenzi (Head...
- 9/8/2023
- by Andreas Wiseman
- Deadline Film + TV
Speakers at Screen round-table in Venice included Daniela Elstner, Film i Vast’s Kristina Borjeson, and Lucky Red founder Andrea Occhipinti.
Unifrance’s Daniela Elstner, Film i Vast’s Kristina Borjeson, and Lucky Red founder Andrea Occhipinti were among the international executives who came together to share insights into producing and distributing non-English language films outside of their home territories at a roundtable event in Venice hosted by Screen International and sponsored by the Saudi Film Commission.
In many ways, it seems a good time for non-English language films – audiences and awards have flocked to films and series like Parasite,...
Unifrance’s Daniela Elstner, Film i Vast’s Kristina Borjeson, and Lucky Red founder Andrea Occhipinti were among the international executives who came together to share insights into producing and distributing non-English language films outside of their home territories at a roundtable event in Venice hosted by Screen International and sponsored by the Saudi Film Commission.
In many ways, it seems a good time for non-English language films – audiences and awards have flocked to films and series like Parasite,...
- 9/7/2023
- by Tim Dams
- ScreenDaily
Speakers at Screen round-table in Venice included
Unifrance’s Daniela Elstner, Film i Vast’s Kristina Borjeson, and Lucky Red founder Andrea Occhipinti were among the international executives who came together to share insights into producing and distributing non-English language films outside of their home territories at a roundtable event in Venice sponsored by Screen International and the Saudi Film Commission.
In many ways, it seems a good time for non-English language films – audiences and awards have flocked to films and series like Parasite, All Quiet On The Western Front, Money Heist and Squid Game. However, programming at most cinemas...
Unifrance’s Daniela Elstner, Film i Vast’s Kristina Borjeson, and Lucky Red founder Andrea Occhipinti were among the international executives who came together to share insights into producing and distributing non-English language films outside of their home territories at a roundtable event in Venice sponsored by Screen International and the Saudi Film Commission.
In many ways, it seems a good time for non-English language films – audiences and awards have flocked to films and series like Parasite, All Quiet On The Western Front, Money Heist and Squid Game. However, programming at most cinemas...
- 9/7/2023
- by Tim Dams
- ScreenDaily
Prime Video has unveiled has unveiled its latest slate of Italian original shows and films at a Presents event in Rome, including a remake of No Activity.
The streamer’s glitzy event revealed three new original scripted shows, two unscripted series and six movies, along with a number of returning shows. Among the scripted series is Antonia, the comedy-drama from Groenlandia and Fidelio we told you about earlier this morning in Europe.
Joining Antonia is another Groenlandia series, Niente da Segnalare, which is based on the Australian drama format No Activity.
The six-episode series follows two criminals waiting for an important shipment, two cops on stakeout ready to trigger a raid and two dispatch operators ready to send reinforcements. When the shipment doesn’t arrive, everyone is forced into an exhausting wait.
Valerio Vestoso is the director and Laura Grimaldi,...
The streamer’s glitzy event revealed three new original scripted shows, two unscripted series and six movies, along with a number of returning shows. Among the scripted series is Antonia, the comedy-drama from Groenlandia and Fidelio we told you about earlier this morning in Europe.
Joining Antonia is another Groenlandia series, Niente da Segnalare, which is based on the Australian drama format No Activity.
The six-episode series follows two criminals waiting for an important shipment, two cops on stakeout ready to trigger a raid and two dispatch operators ready to send reinforcements. When the shipment doesn’t arrive, everyone is forced into an exhausting wait.
Valerio Vestoso is the director and Laura Grimaldi,...
- 7/12/2023
- by Jesse Whittock
- Deadline Film + TV
Italian star author Robert Saviano, whose mob exposé “Gomorrah” spawned both Matteo Garrone’s eponymous prizewinning movie and the groundbreaking crime series that plays stateside on HBO, is making his directorial debut.
Saviano will direct “I’m Still Alive,” an animation adaptation of his graphic novel illustrated by Israeli artist Asaf Hanuka (“Waltz With Bashir”). “Still Alive” examines the anti-mob activist’s life under armed guard since being forced to live with police protection shortly after 2006 when Saviano’s account of the inner workings of the Neapolitan Camorra crime syndicate was published.
Just like Saviano’s graphic novel, “I’m Still Alive” will feature illustration’s by Hanuka, an Eisner-winning cartoonist who is known, besides “Bashir,” for his autobiographical strips “The Realist” and for graphic novel “The Divine.”
“I’m Still Alive” is being mounted as an international co-production between Naples-based Mad Entertainment and Lucky Red in Italy, GapBusters for Belgium,...
Saviano will direct “I’m Still Alive,” an animation adaptation of his graphic novel illustrated by Israeli artist Asaf Hanuka (“Waltz With Bashir”). “Still Alive” examines the anti-mob activist’s life under armed guard since being forced to live with police protection shortly after 2006 when Saviano’s account of the inner workings of the Neapolitan Camorra crime syndicate was published.
Just like Saviano’s graphic novel, “I’m Still Alive” will feature illustration’s by Hanuka, an Eisner-winning cartoonist who is known, besides “Bashir,” for his autobiographical strips “The Realist” and for graphic novel “The Divine.”
“I’m Still Alive” is being mounted as an international co-production between Naples-based Mad Entertainment and Lucky Red in Italy, GapBusters for Belgium,...
- 3/6/2023
- by Nick Vivarelli
- Variety Film + TV
The 2022 Eurimages Co-Production Award will be awarded collectively to all Ukrainian producers in a show of solidarity in a year in which Ukraine’s film and TV industry have been devastated by the Russian invasion.
The prize, a joint initiative between the European Film Academy and Eurimages, the cultural support fund of the Council of Europe, is normally given to an individual producer who has been active in terms of co-productions.
The award was created to acknowledge the decisive role co-productions play in fostering international exchange.
Past recipients have included Norway’s Maria Ekerhovd (2021), Luís Urbano (2020), Ankica Jurić Tilić (2019), the Netherlands’ Leonine Petit (2016), Italy’s Andrea Occhipinti (2015) and France’s Margaret Menegoz (2007).
“Exceptionally, this year’s Eurimages Co-Production Award is given to not one, but all producers of Ukraine, as an expression of strong appreciation for the growing quality of Ukrainian production in the past years, and as a sign...
The prize, a joint initiative between the European Film Academy and Eurimages, the cultural support fund of the Council of Europe, is normally given to an individual producer who has been active in terms of co-productions.
The award was created to acknowledge the decisive role co-productions play in fostering international exchange.
Past recipients have included Norway’s Maria Ekerhovd (2021), Luís Urbano (2020), Ankica Jurić Tilić (2019), the Netherlands’ Leonine Petit (2016), Italy’s Andrea Occhipinti (2015) and France’s Margaret Menegoz (2007).
“Exceptionally, this year’s Eurimages Co-Production Award is given to not one, but all producers of Ukraine, as an expression of strong appreciation for the growing quality of Ukrainian production in the past years, and as a sign...
- 11/22/2022
- by Melanie Goodfellow
- Deadline Film + TV
Mia Market panel featured Cameron Bailey, Cecile Gaget, Carole Baraton, Marc Smit, Andrea Occhipinti and Susan Wendt.
The internationalisation of arthouse cinema came into the spotlight during a panel debate with leading industry and festival executives at the Mia market in Rome this week.
“For many years we had been very predominantly North American and European, but even the Oscars have changed, it’s a very international landscape for arthouse cinema,” said Cameron Bailey, CEO of the Toronto International Film Festival (TIFF).
Bailey was joined on the panel by Cecile Gaget, head of film at Wild Bunch, Carole Baraton, founder...
The internationalisation of arthouse cinema came into the spotlight during a panel debate with leading industry and festival executives at the Mia market in Rome this week.
“For many years we had been very predominantly North American and European, but even the Oscars have changed, it’s a very international landscape for arthouse cinema,” said Cameron Bailey, CEO of the Toronto International Film Festival (TIFF).
Bailey was joined on the panel by Cecile Gaget, head of film at Wild Bunch, Carole Baraton, founder...
- 10/14/2022
- by Alina Trabattoni
- ScreenDaily
The number of Italian feature films finding a home outside of Italy doubled between 2017 to 2021, according to a new landmark study commissioned by local cinema body Anica.
Extracts of the research, conducted by Emilio Pucci at eMedia for Anica, were unveiled in a presentation at Rome’s Mia market on Wednesday.
The study’s preliminary findings suggested that between 96 to 118 Italian feature films were distributed outside of Italy in 2021, against between 43 to 52 in 2017. This, in turn, suggested that an estimated 49 of Italian features produced in 2021 had travelled outside of the country.
Pucci explained it was difficult to give exact data, as information was still being verified, so the report gives best and worst-case scenario estimates throughout.
Breaking the 2021 titles down by genre, 68 of the features were fiction features, 31 were non-fiction, and just 1 were animations.
“This is the first time this sort of work has been done,” said Anica General secretary Francesca Medolago Albani.
Extracts of the research, conducted by Emilio Pucci at eMedia for Anica, were unveiled in a presentation at Rome’s Mia market on Wednesday.
The study’s preliminary findings suggested that between 96 to 118 Italian feature films were distributed outside of Italy in 2021, against between 43 to 52 in 2017. This, in turn, suggested that an estimated 49 of Italian features produced in 2021 had travelled outside of the country.
Pucci explained it was difficult to give exact data, as information was still being verified, so the report gives best and worst-case scenario estimates throughout.
Breaking the 2021 titles down by genre, 68 of the features were fiction features, 31 were non-fiction, and just 1 were animations.
“This is the first time this sort of work has been done,” said Anica General secretary Francesca Medolago Albani.
- 10/12/2022
- by Melanie Goodfellow
- Deadline Film + TV
Italy’s International Audiovisual Market Mia is expecting a return to full force this year ahead of its eighth edition in Rome from October 11 to 15.
Speaking at a preview press conference on Thursday, director Gaia Tridente said the meeting had registered a 12 rise in attendance this year with accreditations still open, although she did not give precise figures.
Prior to the Covid-19 pandemic, Mia welcomed 2,500 attendees in 2019, while there were 2,000 registered attendees in 2021 when travel was still restricted.
This year marks the inaugural edition for Tridente who was previously head of scripted at Mia.
Based around Rome’s historic Barberini Palace and the nearby newly refurbished Barberini Cinema, the event spans a traditional market, co-production meetings and a conference.
Expected guests include Banijay CEO Marco Bassetti, Netflix Emea TV boss Larry Tanz, Lionsgate TV Group president Sandra Stern and Fremantle COO and continental Europe CEO Andrea Scrosati as well as...
Speaking at a preview press conference on Thursday, director Gaia Tridente said the meeting had registered a 12 rise in attendance this year with accreditations still open, although she did not give precise figures.
Prior to the Covid-19 pandemic, Mia welcomed 2,500 attendees in 2019, while there were 2,000 registered attendees in 2021 when travel was still restricted.
This year marks the inaugural edition for Tridente who was previously head of scripted at Mia.
Based around Rome’s historic Barberini Palace and the nearby newly refurbished Barberini Cinema, the event spans a traditional market, co-production meetings and a conference.
Expected guests include Banijay CEO Marco Bassetti, Netflix Emea TV boss Larry Tanz, Lionsgate TV Group president Sandra Stern and Fremantle COO and continental Europe CEO Andrea Scrosati as well as...
- 10/6/2022
- by Melanie Goodfellow
- Deadline Film + TV
Click here to read the full article.
This year’s Cannes Film Festival marked the return of the theatrical blockbuster.
Following their Croisette premieres, Top Gun: Maverick and Elvis helped reignite the post-covid box office. The former has earned 1.4 billion worldwide, including more than 700 million domestically. Baz Luhrmann’s Elvis is nowhere near that level, but with a 145 million domestic haul and a 270 million worldwide gross to date, it clearly shows the popcorn-munching crowd was hungry to return to cinemas, at least for big-budget studio releases with plenty of wiz-bang and razzle-dazzle.
Can Venice give the indie industry a similar push? The Venice Film Festival, which opens on Wednesday, Aug. 31 and runs through Sept. 10, kicks off the fall film season, traditionally the strongest quarter for “speciality” movies and art house fare. Venice’s 2022 lineup has plenty to appeal to indie audiences, from Darren Aronofsky’s The Whale with Brendan Fraser...
This year’s Cannes Film Festival marked the return of the theatrical blockbuster.
Following their Croisette premieres, Top Gun: Maverick and Elvis helped reignite the post-covid box office. The former has earned 1.4 billion worldwide, including more than 700 million domestically. Baz Luhrmann’s Elvis is nowhere near that level, but with a 145 million domestic haul and a 270 million worldwide gross to date, it clearly shows the popcorn-munching crowd was hungry to return to cinemas, at least for big-budget studio releases with plenty of wiz-bang and razzle-dazzle.
Can Venice give the indie industry a similar push? The Venice Film Festival, which opens on Wednesday, Aug. 31 and runs through Sept. 10, kicks off the fall film season, traditionally the strongest quarter for “speciality” movies and art house fare. Venice’s 2022 lineup has plenty to appeal to indie audiences, from Darren Aronofsky’s The Whale with Brendan Fraser...
- 8/31/2022
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The David di Donatello Awards were held in Rome on Tuesday evening, the first time Italy’s equivalent to the Oscar has had a fully in-person ceremony in the pandemic era. Taking top honors was Paolo Sorrentino’s The Hand Of God which scooped Best Film and Director as well as Best Supporting Actress for Teresa Saponangelo and a tie for Best Cinematography. In the latter category, The Hand Of God shared the win with Freaks Out, a fantasy drama that likewise debuted in Venice.
Sorrentino’s autobiographical drama launched on the Lido last September where it won the Grand Jury Prize. A Netflix title, it went on to myriad festival and critics prizes and was also nominated for an Oscar as Best International Feature.
Freaks Out, directed by Gabriele Mainetti, also picked up prizes for Producer, Production Design, Hair and Makeup. Other titles to figure in the David di...
Sorrentino’s autobiographical drama launched on the Lido last September where it won the Grand Jury Prize. A Netflix title, it went on to myriad festival and critics prizes and was also nominated for an Oscar as Best International Feature.
Freaks Out, directed by Gabriele Mainetti, also picked up prizes for Producer, Production Design, Hair and Makeup. Other titles to figure in the David di...
- 5/4/2022
- by Nancy Tartaglione
- Deadline Film + TV
Paolo Sorrentino’s Oscar-nominated autobiographical drama “The Hand of God” took top honors at Italy’s 67th David di Donatello Awards, winning best picture, director, supporting actress and tying for the best cinematography statuette.
Sorrentino’s Naples-set film about the personal tragedy and other vicissitudes that drove him to become a top notch film director had been the frontrunner along with young helmer Gabriele Mainetti’s second feature, the elegant effects-laden historical fantasy “Freaks Out.”
“Freaks Out” won six prizes, including for its producer, Andrea Occhipinti, as well as cinematographer, set design, and effects.
The cinematography prize, which was a tie, was split between “Hand of God” Dp Daria D’Antonio, marking the first time this David goes to a woman, and Michele Attanasio for “Freaks Out.”
The Davids were held as a fully in-person ceremony at Rome’s Cinecittà studios just as the famed facilities undergo a radical renewal being...
Sorrentino’s Naples-set film about the personal tragedy and other vicissitudes that drove him to become a top notch film director had been the frontrunner along with young helmer Gabriele Mainetti’s second feature, the elegant effects-laden historical fantasy “Freaks Out.”
“Freaks Out” won six prizes, including for its producer, Andrea Occhipinti, as well as cinematographer, set design, and effects.
The cinematography prize, which was a tie, was split between “Hand of God” Dp Daria D’Antonio, marking the first time this David goes to a woman, and Michele Attanasio for “Freaks Out.”
The Davids were held as a fully in-person ceremony at Rome’s Cinecittà studios just as the famed facilities undergo a radical renewal being...
- 5/3/2022
- by Nick Vivarelli
- Variety Film + TV
Paolo Sorrentino’s “The Hand of God” and Gabriele Mainetti’s “Freaks Out” lead the pack at the David di Donatello Awards this year with 16 nominations each.
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
- 4/30/2022
- by Nick Vivarelli
- Variety Film + TV
The Italian theatrical release of Paolo Sorrentino’s “The Hand of God” is sparking protests from some of the country’s exhibitors who claim the hand of Netflix is cutting them out of the hot title’s big screen bonanza.
“Hand of God,” a Netflix original film produced by Fremantle’s The Apartment, went out on 250 screens in Italy on Wednesday via local distributor Lucky Red, marking the pic’s first theatrical outing, roughly three weeks before its Dec. 15 streaming debut.
The release of Sorrentino’s hotly anticipated film marks the widest theatrical outing in Italy for a Netflix film to date, and also the longest window between a Netflix title’s theatrical and streaming launches.
Yet the streamer, and by extension Lucky Red, have come under fire from some Italian arthouse theater owners who claim they had agreements in place with the distributor to show “Hand of God,” and...
“Hand of God,” a Netflix original film produced by Fremantle’s The Apartment, went out on 250 screens in Italy on Wednesday via local distributor Lucky Red, marking the pic’s first theatrical outing, roughly three weeks before its Dec. 15 streaming debut.
The release of Sorrentino’s hotly anticipated film marks the widest theatrical outing in Italy for a Netflix film to date, and also the longest window between a Netflix title’s theatrical and streaming launches.
Yet the streamer, and by extension Lucky Red, have come under fire from some Italian arthouse theater owners who claim they had agreements in place with the distributor to show “Hand of God,” and...
- 11/26/2021
- by Nick Vivarelli
- Variety Film + TV
It has been a tricky period for theatrical, but as a panel of leading European (and American) film industry experts highlighted today, change has been in the post and the cinema biz will need to adapt to survive.
Speaking during an event at the Mia Market in Rome, Michael Weber, MD at German indie The Match Factory, argued that there are simply too many films being made.
“There is an unbalance between what is produced and what the market can absorb, even with all these platforms. This is something we all have to think about,” he commented. “The last 18 months was an acceleration of what we’ve seen before, we have tried to prepare ourselves for it. For us it’s about identifying films that can still find an audience.”
Weber pointed to his recent hit Drive My Car as an example of a film that ticks that box. The three-hour Japanese movie,...
Speaking during an event at the Mia Market in Rome, Michael Weber, MD at German indie The Match Factory, argued that there are simply too many films being made.
“There is an unbalance between what is produced and what the market can absorb, even with all these platforms. This is something we all have to think about,” he commented. “The last 18 months was an acceleration of what we’ve seen before, we have tried to prepare ourselves for it. For us it’s about identifying films that can still find an audience.”
Weber pointed to his recent hit Drive My Car as an example of a film that ticks that box. The three-hour Japanese movie,...
- 10/14/2021
- by Tom Grater
- Deadline Film + TV
The Italian director’s third, as yet untitled feature, was shot in one of the world’s deepest caves.
Lucky Red has snapped up Italian rights to Michelangelo Frammartino’s third feature (which is currently untitled) from Coproduction Office.
In post-production, it’s the director’s first film since The Four Times which premiered in Directors’ Fortnight in 2010.
Set in southern Italy, the film has been shot under extreme conditions, in one of the deepest caves in the world – 700 metres below the earth. It tells the story of how, in August 1961, speleologists from Italy’s north arrived on a Calabrian...
Lucky Red has snapped up Italian rights to Michelangelo Frammartino’s third feature (which is currently untitled) from Coproduction Office.
In post-production, it’s the director’s first film since The Four Times which premiered in Directors’ Fortnight in 2010.
Set in southern Italy, the film has been shot under extreme conditions, in one of the deepest caves in the world – 700 metres below the earth. It tells the story of how, in August 1961, speleologists from Italy’s north arrived on a Calabrian...
- 7/11/2021
- by Geoffrey Macnab
- ScreenDaily
When Italian sales company True Colours launched from Rome’s Mia market five years ago, international prospects for cinema Italiano titles that were not directed by a handful of name auteurs, such as Nanni Moretti, Matteo Garrone and Paolo Sorrentino, had gotten rather dim.
Italian cinema was being sold around the world mostly by foreign sales outfits that had become the preferred global channel for many of Italy’s producers, partly because they provided minimum guarantees that helped close their budgets and that local sellers could not afford. The problem was that lots of exportable Italian product was being overlooked.
“There was a gap,” says veteran distributor-producer Andrea Occhipinti, head of Lucky Red. As a producer, Occhipinti adds, he was unhappy with how his movies were being handled internationally by non-Italian companies. So in 2015 Lucky Red joined forces with production company Indigo Film (“The Great Beauty”) and they formed True Colours.
Italian cinema was being sold around the world mostly by foreign sales outfits that had become the preferred global channel for many of Italy’s producers, partly because they provided minimum guarantees that helped close their budgets and that local sellers could not afford. The problem was that lots of exportable Italian product was being overlooked.
“There was a gap,” says veteran distributor-producer Andrea Occhipinti, head of Lucky Red. As a producer, Occhipinti adds, he was unhappy with how his movies were being handled internationally by non-Italian companies. So in 2015 Lucky Red joined forces with production company Indigo Film (“The Great Beauty”) and they formed True Colours.
- 11/9/2020
- by Nick Vivarelli
- Variety Film + TV
Exclusive: Venice Film Festival hit Apples has scored more European distribution deals for Paris-based Alpha Violet.
Deals have closed with Lucky Red (Italy), Filmfreak (Netherlands), Fivia McF (Ex-Yugoslavia), New Horizon (Poland) and Filmladen (Austria).
Andrea Occhipinti, CEO, Lucky Red told us: “We were very impressed by Apples. It’s a strong and original film. We are happy to have a new author with Lucky Red; Christos Nikou will certainly make his way onto the international scene.”
The Greek dramedy, which was six years in the making, has already sold to Curzon for the UK and Ireland, Madman for Australia and Feelgood for Greece. CAA is repping U.S.
Also playing today in Toronto’s TIFF Selects program today, the film is set amidst a worldwide pandemic that causes sudden amnesia and follows a middle-aged man who finds himself enrolled in a recovery program designed to help unclaimed patients build new identities.
Deals have closed with Lucky Red (Italy), Filmfreak (Netherlands), Fivia McF (Ex-Yugoslavia), New Horizon (Poland) and Filmladen (Austria).
Andrea Occhipinti, CEO, Lucky Red told us: “We were very impressed by Apples. It’s a strong and original film. We are happy to have a new author with Lucky Red; Christos Nikou will certainly make his way onto the international scene.”
The Greek dramedy, which was six years in the making, has already sold to Curzon for the UK and Ireland, Madman for Australia and Feelgood for Greece. CAA is repping U.S.
Also playing today in Toronto’s TIFF Selects program today, the film is set amidst a worldwide pandemic that causes sudden amnesia and follows a middle-aged man who finds himself enrolled in a recovery program designed to help unclaimed patients build new identities.
- 9/9/2020
- by Andreas Wiseman
- Deadline Film + TV
The virtual debate, which took place on 18 May, saw the participation of four independent film distributors, alongside representatives of Europa Cinemas and Europa Distribution. The second Mia Audiovisual International Market online talk, entitled “(Re)Open for Business – Braving the Coronavirus Crisis: What's Ahead for Film Distributors and Cinemas?”, took place on 18 May and was organised in co-operation with Eave. The one-hour discussion, moderated by Screen International journalist Wendy Mitchell, saw the participation of four independent film distributors – Louisa Dent for Curzon-Artificial Eye (UK), Kim Foss for Grand Teatret and Camera Film (Denmark), Antonio Medici for Bim Distribuzione (Italy) and Andrea Occhipinti for Lucky Red (Italy) – alongside Europa Cinemas' international relations and events administrator, Fatima Djoumer, and Europa Distribution's managing director, Christine Eloy. Following the opening remarks by the moderator, the floor was given to Lucky Red's Occhipinti, who highlighted the importance of the recent MioCinema initiative...
Italian Prime Minister Giuseppe Conte over the weekend said Italian movie theaters will be allowed to reopen on June 15 as coronavirus lockdown restrictions lift. However, it remains to be seen how many cinemas will actually be operational by then.
While it’s unlikely many of Italy’s roughly 4,000 screens will be active next month, the country’s distributors and exhibitors are busy gearing up for summer releases and finding creative solutions for moviegoing to resume.
“In order to open movie theaters, audiences need to feel safe and relaxed” says Andrea Occhipinti, who heads Italian distributor-producer Lucky Red and is also chief of national arthouse theater chain Circuito Cinema.
“As exhibitors, we need to understand how many people will actually go (to the movies),” Occhipinti adds, pointing out that if theaters operate under 30% capacity “it will be a bit complicated economically.”
The other crucial challenge for Italy’s arthouse circuit in...
While it’s unlikely many of Italy’s roughly 4,000 screens will be active next month, the country’s distributors and exhibitors are busy gearing up for summer releases and finding creative solutions for moviegoing to resume.
“In order to open movie theaters, audiences need to feel safe and relaxed” says Andrea Occhipinti, who heads Italian distributor-producer Lucky Red and is also chief of national arthouse theater chain Circuito Cinema.
“As exhibitors, we need to understand how many people will actually go (to the movies),” Occhipinti adds, pointing out that if theaters operate under 30% capacity “it will be a bit complicated economically.”
The other crucial challenge for Italy’s arthouse circuit in...
- 5/18/2020
- by Nick Vivarelli
- Variety Film + TV
“The quarantine has rocked the status quo and accelerated some trends,” said Lucky Red CEO.
Rome-based producer and distributor Lucky Red and sister programming outfit Circuito Cinema are the latest arthouse players to launch a profit-sharing VoD streaming platform in response to the closure of cinemas due to the Covid-19 lockdown.
In collaboration with Italian cinema magazine MYmovies.it, the partners are gearing up to launch their new platform MioCinema on May 18 with French filmmaker Ladj Ly’s gritty Oscar-nominated, Cannes Jury Prize winner Les Miserables kicking off the programme.
Lucky Red had been due to release the film in...
Rome-based producer and distributor Lucky Red and sister programming outfit Circuito Cinema are the latest arthouse players to launch a profit-sharing VoD streaming platform in response to the closure of cinemas due to the Covid-19 lockdown.
In collaboration with Italian cinema magazine MYmovies.it, the partners are gearing up to launch their new platform MioCinema on May 18 with French filmmaker Ladj Ly’s gritty Oscar-nominated, Cannes Jury Prize winner Les Miserables kicking off the programme.
Lucky Red had been due to release the film in...
- 5/13/2020
- by 1100976¦Gabriele Niola¦0¦
- ScreenDaily
European producers to trial AI software aimed at enhancing outcomes for features at script, rough-cut and fine cut stages.
The Paris-based European Producers Club (Epc) and Swiss artificial intelligence start-up Largo have pacted on an experiment to trial how artificial intelligence technology could be applied to European independent film productions, to support their development, financing and distribution.
“The studios have been using AI for a while but the technology has yet to be widely explored by Europe’s independent film production scene,” explained Alexandra Lebret, managing director of the Epc which gathers some 100 top producers from across Europe.
Under the initiative,...
The Paris-based European Producers Club (Epc) and Swiss artificial intelligence start-up Largo have pacted on an experiment to trial how artificial intelligence technology could be applied to European independent film productions, to support their development, financing and distribution.
“The studios have been using AI for a while but the technology has yet to be widely explored by Europe’s independent film production scene,” explained Alexandra Lebret, managing director of the Epc which gathers some 100 top producers from across Europe.
Under the initiative,...
- 2/24/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
The Venice Film Festival has embraced Netflix movies in its 2019 lineup, despite fierce criticism from local and European cinema bodies unhappy about the presence of the streaming giant on the Lido.
Netflix movies set to debut at Venice in main competition this year include Steven Soderbergh’s Panama Papers pic The Laundromat and Noah Baumbach’s Scarlett Johansson starrer Marriage Story, while David Michod’s The King, starring Timothée Chalamet, will debut out of competition. Amazon will be represented out of competition by Kristen Stewart pic Seberg.
The International Union of Cinemas (Unic), which reps cinema operators in 38 territories in Europe, immediately criticized Venice’s decision, stating this morning, “The inclusion of films in official selections that are within the reach of everyone – and not only that of streaming platform subscribers – benefits the audience as a whole. Where films are available solely on these platforms, or receive only a limited ‘technical’ release in cinemas,...
Netflix movies set to debut at Venice in main competition this year include Steven Soderbergh’s Panama Papers pic The Laundromat and Noah Baumbach’s Scarlett Johansson starrer Marriage Story, while David Michod’s The King, starring Timothée Chalamet, will debut out of competition. Amazon will be represented out of competition by Kristen Stewart pic Seberg.
The International Union of Cinemas (Unic), which reps cinema operators in 38 territories in Europe, immediately criticized Venice’s decision, stating this morning, “The inclusion of films in official selections that are within the reach of everyone – and not only that of streaming platform subscribers – benefits the audience as a whole. Where films are available solely on these platforms, or receive only a limited ‘technical’ release in cinemas,...
- 7/25/2019
- by Andreas Wiseman
- Deadline Film + TV
Netflix’s drama On My Skin also won three key awards.
Matteo Garrone’s Dogman won nine prizes from 15 nominations at Italy’s David di Donatello awards in Rome last night (March 27).
The drama, which first premiered at Cannes, won best picture, best supporting actor, best cinematography and best original screenplay.
Despite winning the prize at Cannes, its star Marcello Fonte missed out in the best actor category to Alessandro Borghi for his performance in Netflix’s drama On My Skin, which was eligible for the awards after it was briefly distributed in theatres. Alessio Cremonini’s drama based on...
Matteo Garrone’s Dogman won nine prizes from 15 nominations at Italy’s David di Donatello awards in Rome last night (March 27).
The drama, which first premiered at Cannes, won best picture, best supporting actor, best cinematography and best original screenplay.
Despite winning the prize at Cannes, its star Marcello Fonte missed out in the best actor category to Alessandro Borghi for his performance in Netflix’s drama On My Skin, which was eligible for the awards after it was briefly distributed in theatres. Alessio Cremonini’s drama based on...
- 3/28/2019
- by Gabriele Niola
- ScreenDaily
Matteo Garrone’s gritty revenge drama “Dogman” was the big winner at Italy’s 63rd David di Donatello Awards, the country’s equivalent of the Oscars, taking home nine trophies Wednesday night from a field-beating 15 nominations.
Somewhat surprisingly, however, the sweep did not include a best-actor prize for Marcello Fonte, who had previously won that accolade at Cannes, where “Dogman” premiered, and more recently at the European Film Awards.
“Directing is important…but without great actors you don’t go anywhere,” said Garrone, who thanked Fonte and brought him up onstage.
“I started writing this movie 12 years ago,” Garrone added. “Then, while I was waiting to shoot ‘Pinocchio,’ I actually made it, and the result has gone beyond my expectations.”
Luca Guadagnino’s coming-of-age love story “Call Me by Your Name,” which went into the race with 13 nominations, left relatively empty-handed, winning awards for best adapted screenplay and original song.
Somewhat surprisingly, however, the sweep did not include a best-actor prize for Marcello Fonte, who had previously won that accolade at Cannes, where “Dogman” premiered, and more recently at the European Film Awards.
“Directing is important…but without great actors you don’t go anywhere,” said Garrone, who thanked Fonte and brought him up onstage.
“I started writing this movie 12 years ago,” Garrone added. “Then, while I was waiting to shoot ‘Pinocchio,’ I actually made it, and the result has gone beyond my expectations.”
Luca Guadagnino’s coming-of-age love story “Call Me by Your Name,” which went into the race with 13 nominations, left relatively empty-handed, winning awards for best adapted screenplay and original song.
- 3/28/2019
- by Nick Vivarelli
- Variety Film + TV
To live under the shadow of a famous father must be very hard, especially so if you choose to follow in his footsteps; the fact that you’re born unto him is beyond your control, but to take the same path will bring a lifetime of comparisons, unjust or not. Such is the case with Lamberto Bava; toiling on some of Mario’s films as assistant director (and a couple of Argento’s as well) gave him the confidence to fly solo, and his second feature A Blade in the Dark (1983) is brimming with that confidence – and a bit of blood, too.
Released in its native Italy in August, Blade arrived stateside through Ascot Films, but not until ’86; perhaps this was done to capitalize on Bava’s success with the Argento-produced Demons from the previous year. Regardless of the reasoning, Blade holds its own as an impressive giallo from a...
Released in its native Italy in August, Blade arrived stateside through Ascot Films, but not until ’86; perhaps this was done to capitalize on Bava’s success with the Argento-produced Demons from the previous year. Regardless of the reasoning, Blade holds its own as an impressive giallo from a...
- 3/2/2019
- by Scott Drebit
- DailyDead
Netflix’s plan to release “Roma” and two other films theatrically in North America and Europe was hailed in the U.S. as a major shift in strategy for the streaming giant. But the initiative was met with a scornful shrug in France, where exhibitors say it’s unlikely by itself to produce a reconciliation between Netflix and the Cannes Film Festival. Film bodies in Italy and Germany, home to the Venice and Berlin fests, remain skeptical as well.
With six months to go before Cannes’ next edition, artistic director Thierry Frémaux says he believes a compromise can be found to welcome Netflix back on the Croisette. Last month, he and Cannes president Pierre Lescure met with Netflix content boss Ted Sarandos and film chief Scott Stuber at Frémaux’s Lumière Festival in Lyon, which screened “Roma” as part of a tribute to director Alfonso Cuarón. Netflix says talks are...
With six months to go before Cannes’ next edition, artistic director Thierry Frémaux says he believes a compromise can be found to welcome Netflix back on the Croisette. Last month, he and Cannes president Pierre Lescure met with Netflix content boss Ted Sarandos and film chief Scott Stuber at Frémaux’s Lumière Festival in Lyon, which screened “Roma” as part of a tribute to director Alfonso Cuarón. Netflix says talks are...
- 11/28/2018
- by Elsa Keslassy
- Variety Film + TV
Alfonso Cuaron’s “Roma” will go out theatrically in Italy on about 50 screens as a three-day event release early next month before the film becomes available globally on Netflix.
Italy’s Cineteca di Bologna, known internationally mostly as a film archive and preservation body, has announced that its boutique distribution arm will handle the release of “Roma.” The move comes despite a call by several Italian art-house cinema organizations for exhibitors not to screen “Roma,” which launched in September at the Venice Film Festival and won the Golden Lion.
Though small, the “Roma” event release in Italy will cover all major cities, a representative for Cineteca di Bologna distribution said. It will screen on Dec. 3, 4 and 5, before its appearance on Netflix on Dec. 14.
The Italian “Roma” release is part of Netflix’s push for its biggest theatrical outing to date. The U.S. rollout started in New York and Los Angeles on Nov.
Italy’s Cineteca di Bologna, known internationally mostly as a film archive and preservation body, has announced that its boutique distribution arm will handle the release of “Roma.” The move comes despite a call by several Italian art-house cinema organizations for exhibitors not to screen “Roma,” which launched in September at the Venice Film Festival and won the Golden Lion.
Though small, the “Roma” event release in Italy will cover all major cities, a representative for Cineteca di Bologna distribution said. It will screen on Dec. 3, 4 and 5, before its appearance on Netflix on Dec. 14.
The Italian “Roma” release is part of Netflix’s push for its biggest theatrical outing to date. The U.S. rollout started in New York and Los Angeles on Nov.
- 11/23/2018
- by Nick Vivarelli
- Variety Film + TV
Netflix has become a big disruptor in Italy since launching half a dozen movies at the Venice Film Festival in September. Among the Netflix six were awards hopeful “Roma,” which won the Golden Lion, and local police-brutality drama “On My Skin,” which after the fest was released simultaneously online by Netflix and in 80 Italian theaters via distributor Lucky Red.
That day-and-date release outraged other Italian distributors, causing Lucky Red boss Andrea Occhipinti to resign as head of the national distributors’ association in September. His successor, Luigi Lonigro, chief of Rai Cinema’s 01 Distribution unit, worked with other industry representatives to draft new rules on release windows, which were unveiled this week. Italy will now enshrine into law the informal 105-day window between a film’s first theatrical screening and its availability on other platforms. Limited-release and under-performing titles can have even shorter lag periods – as little as 10 days. The law...
That day-and-date release outraged other Italian distributors, causing Lucky Red boss Andrea Occhipinti to resign as head of the national distributors’ association in September. His successor, Luigi Lonigro, chief of Rai Cinema’s 01 Distribution unit, worked with other industry representatives to draft new rules on release windows, which were unveiled this week. Italy will now enshrine into law the informal 105-day window between a film’s first theatrical screening and its availability on other platforms. Limited-release and under-performing titles can have even shorter lag periods – as little as 10 days. The law...
- 11/16/2018
- by Nick Vivarelli
- Variety Film + TV
Andrea Occhipinti says distribution strategy of Venice title has created tension between me and the exhibitors.
Lucky Red president Andrea Occhipinti has stepped down as head of the national association of distributors (Anica) after the controversial day-and-date release of Venice title On My Skin in both theatres and Netflix.
The film, produced by Lucky Red, was distributed in Italian selected theatres on the same day of its Netflix premiere, September 12. The decision caused an uproar from the national associations of exhibitors who refused to screen it.
Occhipinti said in a statement: “I decided to step down because our choice to...
Lucky Red president Andrea Occhipinti has stepped down as head of the national association of distributors (Anica) after the controversial day-and-date release of Venice title On My Skin in both theatres and Netflix.
The film, produced by Lucky Red, was distributed in Italian selected theatres on the same day of its Netflix premiere, September 12. The decision caused an uproar from the national associations of exhibitors who refused to screen it.
Occhipinti said in a statement: “I decided to step down because our choice to...
- 9/19/2018
- by Gabriele Niola
- ScreenDaily
Andrea Occhipinti, President of Italy’s film distribution association Anica, has resigned following the drama surrounding the recent day-and-date release of police brutality pic On My Skin.
Occhipinti’s distribution and production outfit Lucky Red sold the film to Netflix before it was set for a contentious Venice Film Festival debut. The well-respected industry vet explained his Anica exit in a statement [translated from Italian], “I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the theaters who have screened it (few) and those who have chosen not to (many). The success of the film has increased these tensions.
“Although there were precedents in Italy and there is a wider heated debate at an international level, I do not want a purely corporate choice to be considered as the position of Anica distributors, given my role. In...
Occhipinti’s distribution and production outfit Lucky Red sold the film to Netflix before it was set for a contentious Venice Film Festival debut. The well-respected industry vet explained his Anica exit in a statement [translated from Italian], “I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the theaters who have screened it (few) and those who have chosen not to (many). The success of the film has increased these tensions.
“Although there were precedents in Italy and there is a wider heated debate at an international level, I do not want a purely corporate choice to be considered as the position of Anica distributors, given my role. In...
- 9/18/2018
- by Andreas Wiseman
- Deadline Film + TV
Andrea Occhipinti, the head of Italy’s national distributors’ association, has resigned in the wake of a controversy prompted by the simultaneous theatrical and Netflix release last week of police-brutality drama “On My Skin,” following its Venice Film Festival premiere.
Occhipinti, chief of Rome-based production-distribution company Lucky Red, decided to step down as president of the distributors’ unit within Italy’s motion picture organization, Anica, because “On My Skin’s” release had “created plenty of tensions among exhibitors who programmed the movie (few) and those who chose not to (many),” he said in a statement.
“The film’s success [in movie theaters] increased these tensions,” added Occhipinti, who was one of the film’s producers.
Occhipinti had come under criticism from local exhibitors for participating in the simultaneous release of “On My Skin” in a handful of Italian theaters and on Netflix. Occhipinti called the strategy “a big opportunity,” but many distributors and...
Occhipinti, chief of Rome-based production-distribution company Lucky Red, decided to step down as president of the distributors’ unit within Italy’s motion picture organization, Anica, because “On My Skin’s” release had “created plenty of tensions among exhibitors who programmed the movie (few) and those who chose not to (many),” he said in a statement.
“The film’s success [in movie theaters] increased these tensions,” added Occhipinti, who was one of the film’s producers.
Occhipinti had come under criticism from local exhibitors for participating in the simultaneous release of “On My Skin” in a handful of Italian theaters and on Netflix. Occhipinti called the strategy “a big opportunity,” but many distributors and...
- 9/18/2018
- by Nick Vivarelli
- Variety Film + TV
Andrea Occhipinti has resigned from his post as president of film distributors at Anica, Italy's leading film organization that represents Italy's producers, distributors and technical industries, following the very public feud between Venice and Italy's film exhibitors who were upset that the festival gave so much of its platform to Netflix.
Occhipinti also served as producer of Alessio Cremonini's On My Skin at his Lucky Red company.
"I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the operators who have ...
Occhipinti also served as producer of Alessio Cremonini's On My Skin at his Lucky Red company.
"I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the operators who have ...
- 9/18/2018
- The Hollywood Reporter - Movie News
Andrea Occhipinti has resigned from his post as president of film distributors at Anica, Italy's leading film organization that represents Italy's producers, distributors and technical industries, following the very public feud between Venice and Italy's film exhibitors who were upset that the festival gave so much of its platform to Netflix.
Occhipinti also served as producer of Alessio Cremonini's On My Skin at his Lucky Red company.
"I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the operators who have ...
Occhipinti also served as producer of Alessio Cremonini's On My Skin at his Lucky Red company.
"I decided to resign because our choice of distributing On My Skin by Alessio Cremonini simultaneously in theaters and on Netflix has created many tensions between the operators who have ...
- 9/18/2018
- The Hollywood Reporter - Film + TV
On My Skin is set to open on Netflix and in certain theatres.
Italian production and distribution company Lucky Red has rejected criticism from exhibitors regarding the simultaneous distribution of its Venice title Sulla mia pelle (On My Skin) on Netflix and in select theatres.
A few days after Alberto Barbera unveiled the complete programme of the 75th Venice Film Festival, Italian exhibitors issued a press release criticising the practice of simultaneously distributing movies both online and in theatres without having shared the strategy in advance with the theatres associations.
On My Skin is the only film in the festival that qualifies for the controversy,...
Italian production and distribution company Lucky Red has rejected criticism from exhibitors regarding the simultaneous distribution of its Venice title Sulla mia pelle (On My Skin) on Netflix and in select theatres.
A few days after Alberto Barbera unveiled the complete programme of the 75th Venice Film Festival, Italian exhibitors issued a press release criticising the practice of simultaneously distributing movies both online and in theatres without having shared the strategy in advance with the theatres associations.
On My Skin is the only film in the festival that qualifies for the controversy,...
- 8/2/2018
- by Gabriele Niola
- ScreenDaily
Horror, like any genre, contains multitudes of subgenres and styles, and of course our individual tastes will gravitate to some more than others. But do you have a particular subgenre that you feel like you really should enjoy, but in reality, leaves you feeling flat to the point where you feel like you’re somehow watching it the wrong way? For me, such is the case for the giallo, our Italian forefather to the slasher. I love a good slasher as much as anyone, but when I try and translate that to something like Suspiria or Bay of Blood, something is always missing. I’d chalk it up to just not being my thing, but when I hear passionate fans discuss it, I can’t shake the feeling that if I catch one at the right time, the gears will fall into place and the majesty of the giallo will be revealed.
- 4/25/2018
- by Bryan Christopher
- DailyDead
Company also extends deals with German-speaking Europe, Scandinavia.
STXinternational and Lucky Red have struck a multi-year output deal for Italy, the parties announced on Thursday.
The arrangement kicks off with Ridley Scott’s upcoming John Paul Getty kidnapping thriller All The Money In The World starring Michelle Williams, Kevin Spacey and Mark Wahlberg.
STXinternational said it had also reached agreements to extend many of its major European deals, among them Tobis Film in German-speaking Europe and Sf Studios in Scandinavia.
STXinternational, which distributes directly in the UK, has 33 international distribution partnerships in place covering more than 150 countries. Among the partners are Huayi Brothers in China, Roadshow Films in Australia and New Zealand, Sun Distribution in Latin America and Spain, The Searchers in Benelux, Gulf Film in the Middle East, Vertical Entertainment in Eastern Europe, and Times Media Films in South Africa.
The list includes Intercontinental (Hong Kong), Cinemundo (Portugal), Aqua Pinema (Turkey), Odeon (Greece), Forum Film (Israel...
STXinternational and Lucky Red have struck a multi-year output deal for Italy, the parties announced on Thursday.
The arrangement kicks off with Ridley Scott’s upcoming John Paul Getty kidnapping thriller All The Money In The World starring Michelle Williams, Kevin Spacey and Mark Wahlberg.
STXinternational said it had also reached agreements to extend many of its major European deals, among them Tobis Film in German-speaking Europe and Sf Studios in Scandinavia.
STXinternational, which distributes directly in the UK, has 33 international distribution partnerships in place covering more than 150 countries. Among the partners are Huayi Brothers in China, Roadshow Films in Australia and New Zealand, Sun Distribution in Latin America and Spain, The Searchers in Benelux, Gulf Film in the Middle East, Vertical Entertainment in Eastern Europe, and Times Media Films in South Africa.
The list includes Intercontinental (Hong Kong), Cinemundo (Portugal), Aqua Pinema (Turkey), Odeon (Greece), Forum Film (Israel...
- 7/6/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
STXinternational continues its worldwide expansion, partnering with one of Italy’s top distributors, Lucky Red, on a multiyear output deal. David Kosse and John Friedberg of STXinternational and Andrea Occhipinti and Stefano Massenzi of Lucky Red announced the deal on Thursday.
Lucky Red will distribute Stx’s film slate in Italy, beginning with Ridley Scott’s All The Money in the World. Written by David Scarpa, the film chronicles the kidnapping of John Paul Getty III, and will star Michelle Williams, Mark Wahlberg, Kevin Spacey and Charlie Plummer. Scott is currently shooting the film in Rome.
“Italy is one of the true creative centers of...
Lucky Red will distribute Stx’s film slate in Italy, beginning with Ridley Scott’s All The Money in the World. Written by David Scarpa, the film chronicles the kidnapping of John Paul Getty III, and will star Michelle Williams, Mark Wahlberg, Kevin Spacey and Charlie Plummer. Scott is currently shooting the film in Rome.
“Italy is one of the true creative centers of...
- 7/6/2017
- by Ariston Anderson
- The Hollywood Reporter - Movie News
Distributor plots move into genre and family movies, beginning with Asghar Farhadi’s upcoming thriller.
Italian distribution company Lucky Red is planning to ramp up its production operation, with a focus on genre and family movies.
At an event held in Rome yesterday (June 26) to mark the company’s 30th anniversary, founder and CEO Andrea Occhipinti said: “Distribution will remain our core business, but we want to become one of the most important production companies in Italy.”
“Production may be a good way not to be too dependent on acquisitions, since it’s becoming harder to get the good movies. Instead a good Italian film can make a big difference at the box office”.
One of the most prestigious projects that Lucky Red is co-producing is Asghar Farhadi’s untitled Spanish-language thriller starring Penelope Cruz, Javier Bardem and Ricardo Darin (pictured, top).
As Screen announced during Cannes, the $12-13m project is a French-Spanish-Italian co-production with Lucky Red...
Italian distribution company Lucky Red is planning to ramp up its production operation, with a focus on genre and family movies.
At an event held in Rome yesterday (June 26) to mark the company’s 30th anniversary, founder and CEO Andrea Occhipinti said: “Distribution will remain our core business, but we want to become one of the most important production companies in Italy.”
“Production may be a good way not to be too dependent on acquisitions, since it’s becoming harder to get the good movies. Instead a good Italian film can make a big difference at the box office”.
One of the most prestigious projects that Lucky Red is co-producing is Asghar Farhadi’s untitled Spanish-language thriller starring Penelope Cruz, Javier Bardem and Ricardo Darin (pictured, top).
As Screen announced during Cannes, the $12-13m project is a French-Spanish-Italian co-production with Lucky Red...
- 6/27/2017
- ScreenDaily
Distributor plots move into genre and family movies, beginning with Asghar Farhadi’s upcoming thriller.
Italian distribution company Lucky Red is planning to ramp up its production operation, with a focus on genre and family movies.
At an event held in Rome yesterday (June 26) to mark the company’s 30th anniversary, founder and CEO Andrea Occhipinti said: “Distribution will remain our core business, but we want to become one of the most important production companies in Italy.”
“Production may be a good way not to be too dependent on acquisitions, since it’s becoming harder to get the good movies. Instead a good Italian film can make a big difference at the box office”.
One of the most prestigious projects that Lucky Red is co-producing is Asghar Farhadi’s untitled Spanish-language thriller starring Penelope Cruz, Javier Bardem and Ricardo Darin (pictured, top).
As Screen announced during Cannes, the $12-13m project is a French-Spanish-Italian co-production with Lucky Red...
Italian distribution company Lucky Red is planning to ramp up its production operation, with a focus on genre and family movies.
At an event held in Rome yesterday (June 26) to mark the company’s 30th anniversary, founder and CEO Andrea Occhipinti said: “Distribution will remain our core business, but we want to become one of the most important production companies in Italy.”
“Production may be a good way not to be too dependent on acquisitions, since it’s becoming harder to get the good movies. Instead a good Italian film can make a big difference at the box office”.
One of the most prestigious projects that Lucky Red is co-producing is Asghar Farhadi’s untitled Spanish-language thriller starring Penelope Cruz, Javier Bardem and Ricardo Darin (pictured, top).
As Screen announced during Cannes, the $12-13m project is a French-Spanish-Italian co-production with Lucky Red...
- 6/27/2017
- ScreenDaily
Exclusive: Pedro and Agustin Almodovar exit movie set to shoot in August.
Two-time Oscar winner and festival favourite Asghar Farhadi (The Salesman) was due to fly into Cannes last night to take part in tonight’s 70th edition opening ceremony as a special guest and talk to buyers about his upcoming, currently untitled Spanish-language thriller.
Argentine superstar Ricardo Darin has joined Penelope Cruz and Javier Bardem in the hotly anticipated project, which is due to shoot in Madrid from mid-August.
Darin is set to play Cruz’s husband from Buenos Aires in the family drama and psychological thriller which will explore how the kidnapping of a young girl leads to the unraveling of family secrets.
However, Pedro and Agustin Almodovar’s Spanish outfit El Deseo are no longer on board to produce the movie.
The $12-13m project is now being made as a French-Spanish-Italian co-production with French producer Alexandre Mallet-Guy (producer of Farhadi’s The Past...
Two-time Oscar winner and festival favourite Asghar Farhadi (The Salesman) was due to fly into Cannes last night to take part in tonight’s 70th edition opening ceremony as a special guest and talk to buyers about his upcoming, currently untitled Spanish-language thriller.
Argentine superstar Ricardo Darin has joined Penelope Cruz and Javier Bardem in the hotly anticipated project, which is due to shoot in Madrid from mid-August.
Darin is set to play Cruz’s husband from Buenos Aires in the family drama and psychological thriller which will explore how the kidnapping of a young girl leads to the unraveling of family secrets.
However, Pedro and Agustin Almodovar’s Spanish outfit El Deseo are no longer on board to produce the movie.
The $12-13m project is now being made as a French-Spanish-Italian co-production with French producer Alexandre Mallet-Guy (producer of Farhadi’s The Past...
- 5/17/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Experts on Mia/Europa Distribution panel also discussed the importance of territoriality in European deals and need for diversification to mitigate risk.
With the European film business proving ever risky, diversification can be key to mitigating risk, experts said at the Rome Mia Market panel organized with Europa Distribution entitled “Everything you always wanted to know about distribution but were afraid to ask.”
Andrea Occhipinti, president of Italy’s Lucky Red, said: “What we find healthy is to diversify in all directions, we do a little bit of everything.”
Lucky Red started as an arthouse distributor, eventually also moving into more commercial films, while also working in exhibition, increasingly in production, and now partnering on sales company True Colours.
“It’s an advantage if you have a foot in exhibition. I think also it’s very important to produce more and more, because to acquire good films is very difficult [and very competitive],” Occhipinti added.
Room producer...
With the European film business proving ever risky, diversification can be key to mitigating risk, experts said at the Rome Mia Market panel organized with Europa Distribution entitled “Everything you always wanted to know about distribution but were afraid to ask.”
Andrea Occhipinti, president of Italy’s Lucky Red, said: “What we find healthy is to diversify in all directions, we do a little bit of everything.”
Lucky Red started as an arthouse distributor, eventually also moving into more commercial films, while also working in exhibition, increasingly in production, and now partnering on sales company True Colours.
“It’s an advantage if you have a foot in exhibition. I think also it’s very important to produce more and more, because to acquire good films is very difficult [and very competitive],” Occhipinti added.
Room producer...
- 10/24/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Experts on Mia/Europa Distribution panel also discussed the importance of territoriality in European deals and need for diversification to mitigate risk.
With the European film business proving ever risky, diversification can be key to mitigating risk, experts said at the Rome Mia Market panel organized with Europa Distribution entitled “Everything you always wanted to know about distribution but were afraid to ask.”
Andrea Occhipinti, president of Italy’s Lucky Red, said: “What we find healthy is to diversify in all directions, we do a little bit of everything.”
Lucky Red started as an arthouse distributor, eventually also moving into more commercial films, while also working in exhibition, increasingly in production, and now partnering on sales company True Colours.
“It’s an advantage if you have a foot in exhibition. I think also it’s very important to produce more and more, because to acquire good films is very difficult [and very competitive],” Occhipinti added.
Room producer...
With the European film business proving ever risky, diversification can be key to mitigating risk, experts said at the Rome Mia Market panel organized with Europa Distribution entitled “Everything you always wanted to know about distribution but were afraid to ask.”
Andrea Occhipinti, president of Italy’s Lucky Red, said: “What we find healthy is to diversify in all directions, we do a little bit of everything.”
Lucky Red started as an arthouse distributor, eventually also moving into more commercial films, while also working in exhibition, increasingly in production, and now partnering on sales company True Colours.
“It’s an advantage if you have a foot in exhibition. I think also it’s very important to produce more and more, because to acquire good films is very difficult [and very competitive],” Occhipinti added.
Room producer...
- 10/24/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Exclusive: Screen spoke to Lucky Red following its latest re-release success and ahead of the first local release of The Cat Returns.
Since acquiring the company library in 2005, Italian distributor Lucky Red has energised new audiences and found commercial success through a string of two and three-day Studio Ghibli releases (new and old), which are being termed ‘event’ launches in Italy.
While not ‘event’ releasing as it is known in the UK, Lucky Red has created itself a lucrative niche in the local market through the short-burst release strategy (which doesn’t come with the dressing up or participatory immersion of a Secret Cinema).
In 2011 the two-day release of From Up On Poppy Hill grossed €162,000 from 132 screens
Last weekend the two-day re-release of 1988 classic My Neighbour Totoro grossed €71,000 after luring 8,000 customers to 166 screens only seven years after its first release.
Screen averages aren’t game-changing but margins are strong.
“Event distribution is effective in proportional terms, not absolute...
Since acquiring the company library in 2005, Italian distributor Lucky Red has energised new audiences and found commercial success through a string of two and three-day Studio Ghibli releases (new and old), which are being termed ‘event’ launches in Italy.
While not ‘event’ releasing as it is known in the UK, Lucky Red has created itself a lucrative niche in the local market through the short-burst release strategy (which doesn’t come with the dressing up or participatory immersion of a Secret Cinema).
In 2011 the two-day release of From Up On Poppy Hill grossed €162,000 from 132 screens
Last weekend the two-day re-release of 1988 classic My Neighbour Totoro grossed €71,000 after luring 8,000 customers to 166 screens only seven years after its first release.
Screen averages aren’t game-changing but margins are strong.
“Event distribution is effective in proportional terms, not absolute...
- 12/16/2015
- ScreenDaily
Paolo Sorrentino’s Youth was among the big winners on an evening of political messages.Click Here For Full List Of Winners
Paolo Sorrentino’s Youth was the big winner at this year’s 28th European Film Awards on Saturday night in Berlin, taking home the top honour for European Film 2015 as well as the awards for European Director and European Actor.
These awards came only two years after Sorrentino’s previous film The Great Beauty bagged the same clutch of awards (plus Best European Editor) at the corresponding event.
Michael Caine was visibly moved when he came on stage to accept the European Actor trophy for his portrayal of an elderly composer and conductor. “It’s been 50 years and I’ve never won an award in Europe, and I’ve now won two in one evening,” the veteran actor quipped.
Earlier in the evening, nerves had almost got the better of Efa President Wim Wenders when he...
Paolo Sorrentino’s Youth was the big winner at this year’s 28th European Film Awards on Saturday night in Berlin, taking home the top honour for European Film 2015 as well as the awards for European Director and European Actor.
These awards came only two years after Sorrentino’s previous film The Great Beauty bagged the same clutch of awards (plus Best European Editor) at the corresponding event.
Michael Caine was visibly moved when he came on stage to accept the European Actor trophy for his portrayal of an elderly composer and conductor. “It’s been 50 years and I’ve never won an award in Europe, and I’ve now won two in one evening,” the veteran actor quipped.
Earlier in the evening, nerves had almost got the better of Efa President Wim Wenders when he...
- 12/13/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Youth proved the big winner of the night scoring a hat-trick; Amy Winehouse documentary, The Lobster and Mustang among other winners.
The more than 3,000 members of the European Film Academy – filmmakers from across Europe – voted for this year’s European Film Awards. At the awards ceremony in Berlin on Saturday (Dec 12) the following awards were presented:
European Film 2015
Youth – La Giovinezza
Written & Directed By: Paolo Sorrentino
Produced By: Nicola Giuliano, Francesca Cima & Carlotta Calori
European Comedy 2015
A Pigeon Sat On A Branch Reflecting On Existence (En Duva Satt PÅ En Gren Och Funderade PÅ Tillvaron) by Roy Andersson
European Discovery 2015 – Prix Fipresci
Mustang by Deniz Gamze Ergüven
European Documentary 2015
Amy by Asif Kapadia
European Animated Feature Film 2015
Song Of The Sea by Tomm Moore
European Short Film 2015
Picnic (Piknik) by Jure Pavlović
European Director 2015
Paolo Sorrentino for Youth (La Giovinezza)
European Actress 2015
Charlotte Rampling in 45 Years
European Actor 2015
Michael Caine in Youth (La Giovinezza...
The more than 3,000 members of the European Film Academy – filmmakers from across Europe – voted for this year’s European Film Awards. At the awards ceremony in Berlin on Saturday (Dec 12) the following awards were presented:
European Film 2015
Youth – La Giovinezza
Written & Directed By: Paolo Sorrentino
Produced By: Nicola Giuliano, Francesca Cima & Carlotta Calori
European Comedy 2015
A Pigeon Sat On A Branch Reflecting On Existence (En Duva Satt PÅ En Gren Och Funderade PÅ Tillvaron) by Roy Andersson
European Discovery 2015 – Prix Fipresci
Mustang by Deniz Gamze Ergüven
European Documentary 2015
Amy by Asif Kapadia
European Animated Feature Film 2015
Song Of The Sea by Tomm Moore
European Short Film 2015
Picnic (Piknik) by Jure Pavlović
European Director 2015
Paolo Sorrentino for Youth (La Giovinezza)
European Actress 2015
Charlotte Rampling in 45 Years
European Actor 2015
Michael Caine in Youth (La Giovinezza...
- 12/13/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Dearth of Italian films during summer months on Sorrento conference agenda.
The dearth of Italian releases during the summer months was a hot topic at one of Italy’s most important industry gatherings this week.
Speaking at the annual Giornate Professionali di Sorrento (Nov 30 – Dec 03) on Wednesday, industry debated how local films could reclaim a greater share of the box office during months dominated by Us blockbusters.
“Whenever the quota of national product doesn’t reach 30% of the total we struggle” said Giuseppe Corrado, CEO of The Space Cinema, one of the country’s largest cinema chains (36 venues, 362 screens).
“We are losing €3m in June, €2,8m in August and €1.5m in August,” he continued.
Cinema owners have been asking for a bolder approach from distributors and producers in order to ensure Italian blockbusters can also thrive in the summer season.
Cattleya CEO Riccardo Tozzi, producer of film and TV hits alike, was sceptical...
The dearth of Italian releases during the summer months was a hot topic at one of Italy’s most important industry gatherings this week.
Speaking at the annual Giornate Professionali di Sorrento (Nov 30 – Dec 03) on Wednesday, industry debated how local films could reclaim a greater share of the box office during months dominated by Us blockbusters.
“Whenever the quota of national product doesn’t reach 30% of the total we struggle” said Giuseppe Corrado, CEO of The Space Cinema, one of the country’s largest cinema chains (36 venues, 362 screens).
“We are losing €3m in June, €2,8m in August and €1.5m in August,” he continued.
Cinema owners have been asking for a bolder approach from distributors and producers in order to ensure Italian blockbusters can also thrive in the summer season.
Cattleya CEO Riccardo Tozzi, producer of film and TV hits alike, was sceptical...
- 12/4/2015
- ScreenDaily
'The Sea Inside': Javier Bardem and director Alejandro Amenábar. 'The Sea Inside': Outstanding supporting cast help to lift flawed Right to Die drama Alejandro Amenábar's The Sea Inside often verges on melodrama, featuring as its centerpiece a showy performance by Javier Bardem as a tetraplegic man eager to end his life “with dignity.” Its not inconsiderable flaws notwithstanding – including a simplistic “right to die” debate – this real-life-inspired drama is in and of itself both compelling and touching enough to merit a look; but what makes The Sea Inside a must-see are the superb performances of those in Bardem's periphery. The story revolves around Ramón Sampedro (Javier Bardem), a middle-aged man who has been bed-ridden and dependent on the care of others since a diving accident in his early 20s. (Hence the original Spanish title “Into the Sea.”) Yearning for freedom from his mostly immobile body,...
- 8/23/2015
- by Andre Soares
- Alt Film Guide
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