Category Archives: distribution

Theatres strike: Kollywood comes to a standstill

Posted by Larry Gleeson


By M Suganth & Thinkal Menon | TNN

With no major breakthrough in the talks between Tamil Nadu Film Exhibitors Association and the state government on Monday, theatres continued to remain closed throughout the state on Tuesday as well, affecting the Tamil film industry. The association had called for a strike after the state government announced the imposition of 30% local body tax in addition to the Goods and Services Tax…


Presently, there are two requests that are being made by the exhibitors. One is the removal of the announced local body tax, which added with the 28% GST, will increase the entertainment tax in Tamil Nadu to a staggering 58%. The other is a request to rationalise the ticket prices, which were fixed way back in 2007 to their present rates. In a GO issued in 2009, the Tamil Nadu government had capped ticket prices at `120 for multiplexes (defined as theatres with three or more screens). For single screen theatres, the rate of admission was capped at `50 (municipal corporation), `40 (municipalities), `25 (town panchayats) and `15 (village panchayats) for air-conditioned theatres. However, theatres, especially those in the suburbs and rural areas, have been flouting these restrictions and collecting a higher amount.
And exhibitors feel this was necessitated because there had been no hike in ticket prices for almost 10 years, despite inflation.

Rakesh Gowthaman of a theatre in the suburbs, says, “The strike cannot go on like this. An amicable solution should be formed at least by Thursday. Our two demands are — to remove the local body tax and allow permission to hike ticket rates. We aren’t asking for an unreasonable hike; the current ticket price across the state should be revised based on the area (panchayat, municipality, corporation) where the theatre falls and its facilities.”

The Karnataka government has capped ticket rates at multiplex at `200. In Hyderabad, it is `300, while in Kerala, the average ticket prices in multiplexes is `250. So, there has also been a request to allow multiplexes to charge `200. It will be a double whammy for the industry if the local taxes are imposed on top of the GST and ticket rates remaining the same as they were almost 10 years ago,” opines G Dhananjayan, producer and distributor, whose Ivan Thanthiran is among last Friday’s releases which have been severely affected by this strike.

However, the government, we are told, is not ready to forgo the local tax because it feels that this is a major source of revenue for the local bodies. But some in the industry also feel that this could also be because the government, by using tax exemption, wants to keep the industry under its control. “I am not sure when was the last time cinema theatres in TN were shut down, but I am pretty sure these are unprecedented situations currently prevailing. When other state governments across India have recognized the idea of GST and reformed their local taxation system, why has the TN government alone not taken any of these reform measures yet? This government simply wants to hold the industry and the producers at ransom, so they can extract their pound of flesh as bribes on the pretext of giving tax exemption, at the time of release. This systemic plunder has to stop,” hits out S Sashikanth, producer of Vikram Vedha, which has postponed its July 7 release because of the uncertainty prevailing in Kollywood.


The popular opinion among audiences, especially those on social media, seems to be that the industry is suffering on account of its own extravagances, from producers inflating the box-office figures to paying stars in crores. This is why lyricist Madhan Karky has come in for praise, after announcing that he will be taking a 15% cut in his remuneration. “I don’t have much knowledge about taxation or GST, but speaking to some producers, I realised that the local body tax is a big blow to them. Since higher salaries raise the cost of filmmaking, I’ve decided to take a cut in my payment. I do not know how much my gesture will help producers, but this is the only way I can offer them my support,” says Karky. He informs that he is planning to continue with his decision even after the stand-off between the exhibitors and the government has ended, “for a year or two until the industry is back on track.”






Nigeria supports aspiring Nollywood practitioners with N420 million grant

Posted by Larry Gleeson

The Federal Government has released the sum of N420.2 million to the Nigeria film industry, Nollywood, to improve and support aspiring practitioners.

The Deputy Director of Information, Federal Ministry of Finance, Patricia Deworitshe, in a statement in Abuja said, the money which is the second tranche payment will benefit 105 film distributors.

The Buhari-led administration had earlier introduced the “Project Act Nollywood”, with three primary components designed to develop the movie making value chain.

The components comprise of the Film Production Fund (FPF), Capacity Building Fund (CBF) and Innovative Distribution Fund (IDF).

The FPF and CBF have been fully implemented, while the IDF is on-going.

The IDF covers online, National, Regional and community categories of Nollywood Film distribution and exhibition.

Its objectives are to improve the distribution network of Nigerian Audio-Visual contents, cut down on piracy, create jobs, and protect intellectual property rights within the Nigerian entertainment industry.

N1.8 billion was approved for disbursement to 106 beneficiaries in this component, and N1.335 billion was disbursed earlier in the year as the first tranche to 105 beneficiaries.

Deworitshe said : “Fifteen community cinemas and viewing centres have been established through the grant and this has improved the distribution network of movies in Nigeria.The programme has supported 18 firms in strengthening online distribution platforms, this has helped curb illegal downloads and piracy.

“Two hundred and fifty six permanent jobs and 544 temporary jobs have been created through the financial support provided to 105 beneficiaries by the programme,’’ she said.

She explained that the programme has allowed distributors to expand their capacity to lip-synching their content in French for onward distribution to the ECOWAS sub-region.

Italian distributor Lucky Red reveals ambitious production plans

Posted by Larry Gleeson

By Gabriele Niola


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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, French producer Alexandre Mallet-Guy of Memento Films and Che producer Álvaro Longoria of Spanish stalwarts Morena Films.

It will also be made in co-production with France 3 Cinema and supported by Canal Plus and France Télévision.

Other projects already greenlit by Lucky Red include the untitled new feature from Gabriele Mainetti (They Call Him Jeeg Robot), which started shooting in January; the GoPro-shot sci-fi horror Ride, from Mine directors Fabio Guaglione and Fabio Resinaro, and Sotto La Mia Pelle (Under My Skin), a legal drama centred on a man who gets beaten by the police, with Jasmine Trinca (Fortunata).

The move into production will help Lucky Red expand beyond the arthouse audience, which is not as lucrative as it used to be, according to Occhipinti.

“Our audience is getting old,” he said. “Once also small arthouse movies were able to make a good result, now it’s impossible”.

As a result, Lucky Red is branching out into genre and family movies, popular comedies, and television: “We are working with Fox Italy on a series but still can’t tell if it will be an international or national project”, said Occhipinti.

Lucky Red previously moved into the exhibition sector after becoming the main shareholder in the 130-screen Circuito Cinema arthouse chain. They also co-founded world sales company True Colours together with Indigo, which scored a series of deals for its Cannes 2017 slate, including for Sergio Castellitto’s Un Certain Regard drama Fortunata and Simone Godano’s body-swapping comedy Wife & Husband.

At the press conference, Occhipinti also discussed why Lucky Red became the first company in the Italian cinema industry to commit to an ethical code of inclusion and tolerance towards gay employees.

“Being gay myself I’m very close to these problems,” says Occhipinti, “We decided to issue and promote this code publicly before the first law allowing gay unions was passed in Italy. We wanted to make a statement not only to guarantee maternity and paternity rights to our gay employees, but also to say that if our institutions are not moving and addressing the issue, we are doing it by ourselves”.

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Organic PR agency opens Manchester office

Posted by Larry Gleeson

By Orlando Parfitt

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Account manager Chris Boyd will lead Organic’s northern business.


London-based film and TV publicity and marketing agency Organic has opened a new office in Manchester.

“Organic North”, based in the Havas Village on Princess Street, will work with the London office to service Organic’s existing clients to provide on-the-ground services in Manchester and the surrounding area.

The agency will also work with new clients based outside of London, covering UK and regional publicity campaigns, junkets, festivals, media management, unit publicity and social media management.

Account manager Chris Boyd will lead Organic’s northern business and travel between Manchester and London.

Organic North will sit alongside sister agency Target Live – a full service agency for the Arts and live events – which also opened an office in Manchester earlier this year.

Caragh Cook, managing director of Organic, said: “Having a home in Manchester means we can provide a communications hub for the North, situated in the heart of an exciting, progressive city – a growing media destination which is bursting with creativity and culture. In the last few weeks, the team has been busy working on several films at Sheffield Doc/Fest, kicking off an exciting new chapter for Organic.”

Organic is part of Havas Media Group in the UK, after the acquisition of its parent group Target MCG in October 2016. Target MCG incorporates Target Media, Target Live, Organic and Superhero.

Organic’s clients include: Netflix, Altitude Film Distribution; Curzon; Disney; Entertainment One; Embankment Films; Hanway; Icon Film Distribution; Lionsgate; Pathe; Sierra/Affinity; Twentieth Century Fox; Warner Bros.; Studiocanal and Universal Pictures.

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Big SVOD Players Become Bigger Forces in Film

Posted by Larry Gleeson

By Michael Malone

Netflix, Amazon are major factors at movie festivals around the world

The big subscription VOD platforms, led by Netflix and Amazon, have slowly but surely been making major moves into original film productions. While the effort has hardly elevated either player to the ranks of elite film producers, the performance by Amazon’s Manchester by the Sea during awards season — it was a Best Picture nominee at the Academy Awards, a first for a film backed by a streaming service — showed that the streaming platforms have more than just crafting binge-worthy original TV series on their minds.

Manchester by the Sea cemented the fact that the SVOD platforms can make movies of that caliber,” Tony Gunnarsson, principal analyst at Ovum, a research firm for the digital industry, said. “They don’t have to come from Hollywood studios.”

Amazon bought distribution rights to Manchester for $10 million. While the film did not get Best Picture, it did take home the Oscars for Best Actor and Best Original Screenplay.

Netflix’s Bigger Bet

Despite Amazon’s awards success, Netflix has been the most active of the SVOD platforms in terms of producing original films. Speaking at the Producers Guild of America’s Produced By Conference in Los Angeles earlier this month, Netflix chief content officer Ted Sarandos drew a reaction from the crowd when he revealed that the service currently has 40 original movies in the works. Some of Netflix’s higher-profile original films include the prison documentary 13th; Brad Pitt’s War Machine, which Netflix paid $60 million for, according to published reports; war drama Beasts of No Nation; Martin Scorsese’s The Irishman, which starts shooting this summer; and an eight-movie deal with Adam Sandler.

Okja, which made a stir last month at the Cannes Film Festival, starts streaming on Netflix June 28.

Amazon’s original film ambitions have been more modest. In July 2015, it acquired Spike Lee’s Chi-Raq, which debuted in February 2016 as the streaming platform’s first original movie. Early last year, Amazon acquired six films at the Sundance Film Festival. At this year’s Sundance, it shelled out $12 million for distribution rights to rom com The Big Sick.

Hulu, meanwhile, has been producing documentaries for its original films. Those include Becoming Bond, about Australian actor George Lazenby’s unlikely rise to playing James Bond in the 1969 film On Her Majesty’s Secret Service.

None of those three SVOD players would speak for this story.

Amazon and Netflix have emerged as forces at the various film festivals around the world. “Netflix and Amazon are in the movie business,” Assembly Entertainment CEO Christina Wayne said at the recent B&C and Multichannel News Next TV Summit. “They are at the festivals, out-buying everybody.”

Industry insiders mostly see it as a smart strategy. Original productions better define a programmer than acquired ones, they said, and they’re typically cheaper, too. “You make more money when you make your own movie than when you get the rights to a third-party Hollywood movie,” Gunnarsson said. “Those are quite expensive.”

Netflix’s production costs in 2017 are around $6 billion, and Amazon’s $4.5 billion.

Television has started to rival film in terms of prestige in recent years, evident in the many film luminaries working in TV, such as Anthony Hopkins starring in HBO’s West-world and Woody Allen making Crisis in Six Scenes for Amazon. Yet film still offers a certain degree of glamour.

“I think it makes absolute sense,” said Dave Smith, CEO of media consultancy SmithGeiger, of the streamers’ moves into film production. “It’s a brand extension into original programming, and it gets you into film, which is seen as the highest level in the entertainment paradigm.”

It also might mean prestigious film awards, which are good for the brand, Smith added.

Bigger Content, Smaller Screens

SVOD services’ moves into original films come as viewers get more used to consuming longer-form content on smaller screens. Long-form content — which software company Ooyala defines as more than 20 minutes in length — represents 65% of viewing on computers, up from 35% a year before, and 55% of viewing on smartphones, up from 29% a year before.

The SVOD players have very different approaches to making their film offerings stand out. Amazon appears more willing to have its films offered for traditional theatrical release before they turn up on SVOD, which can mean a mighty marketing push for a film before it ends up on Amazon.

Bob Berney, head of marketing and distribution at Amazon Studios, addressed theater owners at CinemaCon last year, reassuring them the six films it acquired at Sundance would get theatrical releases — and aggressive marketing strategies.

Netflix movies don’t spend as much time on the big screen. War Machine, for one, had a limited theatrical release in New York and Los Angeles. Netflix took some heat at the Cannes Film Festival last month related to theatrical releases. Pedro Almodóvar, head of the festival jury, said Netflix movies that won’t be in theaters should not be eligible to win the Palme d’Or prize. When the Netflix film Okja premiered at Cannes, the Netflix logo on screen at the start of the film got a lusty boo out of the crowd.

But it appears both SVOD players are in the film business for the long term. As Christina Wayne sees it, such platforms are expanding to reflect the public’s love for TV series, talk shows, children’s programming, movies and whatever else they wish to watch. “It’s going to be Netflix and Amazon,” she said, “where we watch every single bit of content.”

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How A24 is Disrupting Hollywood

Posted by Larry Gleeson

by Zach Baron

The story behind the studio that produced “Moonlight” and “It Comes At Night”, as told by Barry Jenkins, Sofia Coppola, James Franco, Robert Pattinson, and the founders of A24 themselves.

There are more glamorous things to be, in Hollywood, than an independent distribution company. For instance, an actress. Or a director. Or a screenwriter. Key grip. Maybe even that guy with a two-way radio who keeps you from walking through a movie set. Film-distribution companies tend to be important but invisible: They buy finished films, cut trailers, make posters, and put movies into movie theaters—or, more often these days, dump them onto VOD, never to be heard from again. There are exceptions to this rule, such as Miramax, the company that upended indie cinema in the ’90s, backing then unknown filmmakers like Steven Soderbergh and Quentin Tarantino. And there are studio subdivisions, like Fox Searchlight, that have consistently guided films like 12 Years a Slave and Birdman to Academy Awards and box office success over the past twenty years. But in general distribution is like plumbing: unseen, unnoticed, and notable only when it malfunctions.

So it was strange, if you were a moviegoer in 2013, to see the A24 logo pop up again and again before movies as varied and weird as Harmony Korine’s Spring Breakers and Sofia Coppola’s The Bling Ring, James Ponsoldt’s The Spectacular Now and Roman Coppola’s A Glimpse Inside the Mind of Charles Swan III. It wasn’t just that, for a new distribution company, it seemed to have a level of taste and an instinct for cool that is atypical in Hollywood. It was also that A24 was releasing these films not with a sigh and a shrug, but with panache, style, and humor: bright neon colors, guerrilla marketing tactics, and in the case of James Franco’s Britney Spears-loving gangster character from Spring Breakers, an actual Oscar campaign. The company, improbably, was based in New York, not Los Angeles. Its trio of founders—Daniel Katz, David Fenkel, and John Hodges, who’d known each other through years of work in New York’s indie movie circuit—rarely granted interviews. If you were paying attention, you had to wonder: Who were these strange upstart New Yorkers who were making Hollywood a little bit great again?

That was 2013. Four short years later, the company’s first original production, Barry Jenkins’s Moonlight, won the Academy Award for Best Picture. In between, A24 went from being a tiny, disorganized room of eight or so people to being the place where big stars like Robert Pattinson and Scarlett Johansson go to make small, strange movies, and auteurs like Jonathan Glazer and Denis Villeneuve go to make deeply personal films unmolested by studio notes or clueless executives. We spoke with the company’s friends, collaborators, and employees to make sense of how A24 became the most interesting, creative, and reliable film company of the 21st century.

Robert Pattinson (actor, ‘The Rover,’ ‘Good Time’): It’s crazy that there is an article about a distribution company. That’s completely nuts.

Harmony Korine (director, ‘Spring Breakers’): They have balls.

Barry Jenkins (director, ‘Moonlight’): A24’s the kind of company where they say, “Yeah, they don’t need to know what it’s about. They just need to know how it feels.”

James Franco (actor, ‘Spring Breakers,’ ‘The Adderall Diaries’): This is one of the things they’re great at: taking something small and delicate and giving it the kind of support that other people can’t.

Sofia Coppola (director, ‘The Bling Ring’): I really like those guys. They don’t have the personality of movie executives.

Asif Kapadia (director, ‘Amy’): I suppose most filmmakers have had bad experiences in the past where you do all the hard work, and then these guys in slick suits come along and they’re like, “We know what we’re doing now! We’ll handle it!” And if it works, it’s them; if it doesn’t work, it’s all your fault anyway. And I felt with these guys it was a dialogue. I felt like we were all on the same team.

James Ponsoldt (director, ‘The Spectacular Now,’ ‘The End of the Tour’): I’ve heard people refer to Miramax. There’s music labels I can think of as well. Where it’s like: I’m in. I just trust, you know, Drag City or Merge or SST or Dischord. There’s aesthetic and political values to the people behind the company. It’s super inspiring.

Denis Villeneuve (director, ‘Enemy’): I never saw them as businessmen.

Colin Farrell (actor, ‘The Lobster,’ ‘The Killing of a Sacred Deer’): They have such a great eye for these small little films and rich and unique stories that may have not found it to the big screen if it wasn’t for them.

Sasha Lane (actress, ‘American Honey’): They were like, “You guys are who you are and we’re not going to change that.” No one had to be perfected for anything. No one cared about our language or our clothes.

Daniel Radcliffe (actor, ‘Swiss Army Man’): I’ve had experiences on films in the past where they get bought by somebody who sees something in it that they like, which is nice, but it also happens to be not—and is sometimes antithetical to—what the people who made the film wanted it to be. When you can get a distribution company that likes the film for the same reasons that people that made it like the film—I’ve found that rare. They’re one of the few companies that have shown that indie films can still be viable.

Alex Garland (director, ‘Ex Machina’): They make things work that according to standard procedures really shouldn’t work. And I’m not saying they’re magicians. I think what they’ve understood is there’s a sufficient number of people out there who want more challenging or different material. And they’re aiming at them.

Brie Larson (actress, ‘Room,’ ‘The Spectacular Now’): A24 has the unique ability to find and champion authentic narratives that cut to the core in a raw and honest way.

Patrick Stewart (actor, ‘Green Room’): [The premiere of ‘Green Room’] was at the Toronto Film Festival’s Midnight Madness. And although it describes itself as Midnight Madness, the film didn’t start until close to one o’clock in the morning. And, I mean, there was one moment in the movie when my character was booed and hissed so vociferously, I felt as though I was in a Roman arena and my life was at stake. And I was ready to say: “It was me! It was me! And I was just acting! That was just acting!” It was not like being in a cinema. It was like being in some kind of arena. So, um, well done, A24!

Noah Sacco (head of acquisitions and production, A24): I think some of our biggest movies had no stars in them at the time of release—Ex Machina, Moonlight, The Witch, Room, The Spectacular Now.

David Fenkel (co-founder, A24): We find movies [for which] our perspective, our system, our people, can act to make it something special. If it’s gonna be released the same way by another company, we usually don’t go after it.

Daniel Katz (co-founder, A24): We used to always talk about “Oh, there’s gotta be a better way.”

John Hodges (co-founder and co-head of TV, A24): It was one of those conversations where it was always like, “How would we do it differently?” And it was usually fueled by beer and things scribbled down on napkins and a lot of bravado.

Katz: Some of it was probably misplaced, don’t you agree?

Fenkel: Ignorance.

Katz: Yeah. Exactly.

Fenkel: That’s a big theme.

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(Excerpted from

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Fenkel: That’s a big theme.

GKIDS Acquires Distribution Rights to Spanish Feature ‘Birdboy: The Forgotten Children’

Posted by Larry Gleeson

Goya Award-winning film directed by Alberto Vázquez and Pedro Rivero to hit North American theaters Fall 2017.

by Jennifer Wolfe

NEW YORK — Independent animation distributor GKIDS has acquired the North American distribution rights for the animated feature Birdboy: The Forgotten Children. The film, known internationally by its original Spanish title Psiconautas, los niños olvidados, is directed by Alberto Vázquez and Pedro Rivero, and is based on Vázquez’s graphic novel and award-winning short film, Birdboy.

The film, a darkly comic dystopian fantasy featuring adorable anthropomorphic critters, has been a hit on the festival circuit, with official selections including Annecy, BFI London, Fantasia (where it won the Satoshi Kon Award), and San Sebastian, among others. The film took home Best Animated Feature at the 2016 Goya Awards, Spain’s equivalent of the Oscars (where Vázquez separately won Best Animated Short for his film Decorado), and was one of three nominees for Best Animated Feature at the 2016 European Film Awards. Variety called the film “Remarkable… you’d be hard-pressed to find anything as original or poignant,” while Screen Anarchy called it “A magnificent achievement in animation.”

GKIDS will release the film theatrically in Fall 2017, in both its original Spanish and a new English language version.

“From the first moment we screened the film we knew we had to be involved,” said GKIDS president Dave Jesteadt. “With iconic characters and a storyline that explores universal themes of hope, despair, salvation, and loss with humor and grace, Birdboy pushes the boundaries of animated storytelling in exciting new directions.”

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Here’s the official synopsis:
There is light and beauty, even in the darkest of worlds. Stranded on an island in a post-apocalyptic world, teenager Dinky and her friends hatch a dangerous plan to escape in the hope of finding a better life. Meanwhile, her old friend Birdboy has shut himself off from the world, pursued by the police and haunted by demon tormentors. But unbeknownst to anyone, he contains a secret inside him that could change the world forever.

Based on his own graphic novel, Alberto Vázquez’s Birdboy: The Forgotten Children is a darkly comic, mind-bending fantasy. Gorgeous graphic imagery brings to life a surreal and discordant world populated by adorable (and adorably disturbed) animated critters, searching for hope and love amid the ruin.

The film was produced by Farruco Castromán, Carlos Juárez and Luis Tosar.

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(Source:, GKIDS)

Bona Film Group Makes Significant IMAX Commitment With 30-Theatre Agreement In China

Posted by Larry Gleeson

SHANGHAI, Feb. 26, 2017 /PRNewswire/ — IMAX Corp. (NYSE: IMAX) and IMAX China Holding, Inc. (HKSE: 1970) today announced an agreement with Bona Film Group, a leading film distributor and vertically integrated film production company in China, for 30 new IMAX® theatres to be located in new complexes throughout China. The Companies plan to open five theatres annually beginning this year through 2022. Today’s agreement significantly increases Bona Film Group’s IMAX footprint to 35 from five and positions the Company among the top five IMAX exhibitor partners in China.

“As one of the most influential film studios in China and a growing force in the nation’s exhibition market, today’s substantial sales agreement with Bona Film Group underscores the confidence China’s leading industry players have in IMAX to deliver long-term strategic value,” said IMAX CEO Richard L. Gelfond. “Our partnership with Bona reflects our diverse and multifaceted approach to our business in China, which, following our record signings activity in 2016, has recently surpassed the U.S. as our largest market.”

In 2012, Bona opened its first IMAX theatre in Tianjin followed by installations in Beijing, Taiyuan and Wuhan with a fifth theatre slated to open in Dalian. Bona Film Group first partnered with IMAX on the release of the martial arts epic Flying Swords of Dragon Gate in 2011, which marked the first IMAX® 3D presentation of a Chinese-language movie. The film became second-highest grossing IMAX film of 2011 in China. Released in 2014, White-Haired Witch was the second Bona Film Group title presented in IMAX.

“Today’s agreement is a direct result of the tremendous success of our existing IMAX theatres and IMAX film releases,” said Yu Dong, Founder and Chairman of Bona Film Group. “As we aggressively expand our cinema circuit, IMAX will serve as a key entertainment attraction in our new locations that we believe will strengthen their overall performance. IMAX has become one of the strongest entertainment brands in China and we are proud to associate ourselves with the premium IMAX brand and the superior cinematic experience it offers.”

About Bona Film Group Limited
Bona Film Group Limited was the first Chinese film company listed in Nasdaq and now has completed the privatization and raised series A funding, which makes the company’s evaluation at 15 billion yuan. As a leading private film company in China, Bona Film Group has “large-scale production, forward-looking layout, deep-plowing business” as its business model and boasts outstanding performance in the Chinese film market in the past 17 years. Bona’s business includes film & television production and distribution, cinema investment and management, advertising and marketing, talent representation, location-based entertainment and showcase city investment, construction and operation. As of January 2017, Bona has 41 theaters in operation with 336 screens.

For more information about Bona, please visit

About IMAX China
IMAX China is a subsidiary of IMAX Corporation, and is incorporated under the laws of Cayman Islands. IMAX China was established by IMAX Corporation specifically to oversee the expansion of IMAX’s business throughout Greater China. IMAX China trades on the Hong Kong Stock Exchange under the stock code “HK.1970.”

About IMAX Corporation
IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you’ve never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX’s network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing. As of Dec. 31, 2016, there were 1,215 IMAX theatres (1,107 commercial multiplexes, 16 commercial destinations and 92 institutions) in 75 countries. On Oct. 8, 2015, shares of IMAX China, a subsidiary of IMAX Corp., began trading on the Hong Kong Stock Exchange under the stock code “HK.1970.”

IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience®, The IMAX Experience®, IMAX Is Believing® and IMAX nXos® are trademarks of IMAX Corporation. More information about the Company can be found at

(News provided by Imax Corporation)

Amazon’s Success With ‘Manchester’ Points to Changes in Movie Business

Posted by Larry Gleeson.

By Leon Lazaroff

After Amazon showed it can make a film that wins over critics and the public, the movie industry may need to compromise on when films become available for streaming.

The way people watch video has changed dramatically over the past 10 years — even the past two — as streaming services such as Amazon (AMZN) , Netflix (NFLX) and Hulu have made subscription video on demand and binge-watching as customary as Sunday viewing of the NFL.

Yet as TV viewing has been transformed by technology, the film industry has mostly stayed the same.

In winning two Oscars on Sunday for its Manchester by the Sea, Amazon followed Hollywood’s conventional rules for film distribution, opening the family drama starring Casey Affleck in theaters while keeping it away from streaming services, including its own.

But movie theater attendance was flat in 2016, and video-on-demand and DVD sales have fallen by 50% over the past 10 years. Further highlighting the disconnect between consumer demand for mobile video and a movie industry huddled in Los Angeles, the audience for Sunday’s Academy Awards ceremony on Disney‘s (DIS) ABC was the lowest in nine years for the industry’s marquee event, according to Nielsen.

To reverse worrisome trends, Hollywood is being forced to consider making some films available at home near or when they open in theaters, a practice known in the industry as a day-and-date release.

Amazon’s impressive wins on Sunday for best actor and best original screenplay could accelerate a demand for streaming first-run films, said Jason Krikorian, a co-founder of Sling Media and a general partner at early-stage venture capita firm DCM Ventures.

“As companies like Amazon and others remain quite focused on delivering top-notch content to devices in your home, then consumers will also get used to consuming top-notch two-hour-type content, movies, just as they have very good television,” Krikorian said from Menlo Park, Calif. “Once more new films are available in a home setting, that will create a consumer expectation, a level of enjoyment that will further add to that momentum.”

In recent months, the heads of Hollywood’s major studios have been meeting with theater owners to talk about making some films available for streaming near or on the same day they open at the local cinema. Thus far, nothing definitive has emerged from these conversations, though conversations are ongoing, said Stacey Snider, chairman and CEO of 21st Century Fox (FOXA) unit 20th Century Fox Film, earlier this month at Recode’s Code Media conference.

“Most films, even the blockbusters, have done 90% to 95% of their business within three or four weeks [of opening],” Snider said. “So who is this helping to not offer much earlier, and who is it hurting?”

Snider herself was circumspect, proclaiming that there are pluses and minuses to narrowing or shutting the window between the day that a film debuts in a theater to the day when it is available for streaming.

“Sooner seems to make sense,” she said. “But if whatever corner of the market that we have is creating a huge, global, big and beautiful cinematic experience, then the last thing we want to do is commoditize it, make it so that it’s interchangeable with the home entertainment center.”

The solution, Snider added, isn’t to be found in “smashing the window but in tightening it.”

So far, theater owners have resisted such moves, declaring that so-called day-and-date releases are ultimately bad for the studios. Theater owners often site the disappointing numbers for the films Margin Call (2011) and Arbitrage (2012), both released by Roadside Attractions, the independent distribution company that’s 43% owned by Lions Gate Entertainment (LGF.A) .

“They got out of that business because it doesn’t work,” said Patrick Corcoran, a Los Angeles-based spokesman for the National Association of Theatre Owners. “Customers have a sense that it’s maybe not worth the same thing because it’s simultaneously available in the home.”

Offering first-run films in the home, Corcoran said, is a race to the bottom. The proliferation of high-quality television serials has produced a glut in the home market. Adding new films to the mix would undercut pricing for the studios and the theaters.

Nonetheless, Corcoran acknowledged that studios are eager to offset declines in VOD and DVD sales and that the industry is willing to work with them to accomplish that goal.

A compromise may be in order.

One popular option is that some films would be available for a given period of time at a higher price, $50 for example, and that theater owners would share in a portion of the digital revenue. While the studios and theater owners aren’t likely to make their blockbuster films immediately available online, it’s possible smaller-budget films such as Fences, the drama starring Denzel Washington and Oscar-winner Viola Davis and produced by Viacom‘s (VIAB) Paramount Pictures, might be. Finding a price point to entice customers and keep studios and theater owners happy, though, will be tricky.

Still, as Amazon seeks to be a bigger player in Hollywood, at least for small-to-medium-budget films that play well with adult audiences, it’s increasingly likely that the world’s largest retailer with a burgeoning Prime membership business will push for a shorter release window.

And when it does, it’s possible that more people will want to stay up late to watch the Academy Awards. Especially if Warren Beatty and Faye Dunaway make a return




Netflix Takes Over Distribution for Martin Scorsese’s ‘The Irishman’

Posted by Larry Gleeson

By Rachel Lutack

The world of film distribution is truly changing with the news that the streaming service Netflix will be taking worldwide rights to Martin Scorceses’s gangster film The Irishman. Typically a studio big-hitter, the Scorsese-Robert De Niro $100 million re-team was under the umbrella of Paramount Picture – the company has an overall feature deal with the director running through 2019. Indiewire reports that the studio was not prepared to take the huge risk that this film would require, however.

The Irishman will star De Niro as Frank “The Irishman” Sheeran, a hitman for the mob who was rumored to be involved in the death of Jimmy Hoffa. The screenplay was adapted by Steve Zaillian from Charles Brandt’s book I Heard You Paint Houses. Part of the risk of Scorsese’s film (aside from the $100 million budget) is that he plans to use special effects to turn De Niro back into a 30-year-old man. Al Pacino may also be going through the treatment for the film, although his involvement is still in negotiations.

Paramount was originally handling North American distribution with STX Entertainment with taking over foreign rights after a $50 million deal at Cannes last year. Despite the great ambition of the project, Scorsese is known for turning out massive numbers at the box office, with The Wolf of Wall Street bringing in $392 million globally.

Now that Netflix has taken over, that will likely mean STX is out as well. The newly minted distributors plan to release the film in 2019, with a limited theatrical release prior to that for an Oscar push. When all is said and done, the freedom of a platform like Netflix may be just what Scorsese needs to make his vision a reality.


Film Review, Marketing & Distribution

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