LOVING VINCENT ADDS MAJOR TERRITORY PRE – SALES
Edward Noeltner’s L A & Paris based Cinema Management Group (CMG) has added more key territories to the already fulsomely sold Loving Vincent, a portrait of Vincent Van Gogh, in the run up to the high profile animated feature’s world premiere on 13th Jun, 2017 at Annecy. In the most recent licensing pacts, Altitude Film Entertainment has acquired UK & Madman Entertainment rights to Australia & New Zealand. Latest territories to be sold on Loving Vincent also include Bulgaria, to A – Plus Films, Romania, to Ultraviolet, Turkey to Medyavizion & South Africa to AAA Entertainment. At Cannes, worldwide sales agent CMG closed US & English speaking Canada with Good Deed Entertainment along with Germany & Austria to Weltkino Filmverleih. Directed by Dorota Kobiela, one of Variety’s 10 Animators to Watch out in 2017 & Hugh Welchman, starring Douglas Booth, Jerome Flynn, Chris O’Dowd, Oscar nominee Saoirse Ronan & Eleanor Tomlinson & produced by Academy Award winners BreakThru Films & Trademark Films, Loving Vincent has to date closed over 30 pre – sales deals repping 90 plus countries. Deals take in all of the top sales territories in the world – including the aforementioned US & Canada, UK & Germany – China (Bright East Film), CIS / Russia (CD Land), France (TF1 Studio), Mexico / Spain (Fabrica de Cine), Scandinavia & the Baltics (NonStop Entertainment) & South Korea (First Run).
MICHEL & EMMANUELLE ALL SET FOR JURY DUTY
French director Michel Hazanavicius, whose latest film Redoutable competed at Cannes, is all set to preside over the jury of 43rd Deauville American Film Festival. Hazanavacius’ jury will hand out 2 awards, the Grand Prize & Jury Prize, to films playing in competition in Deauville. “I’m extremely moved & honored to preside over this year’s Jury of the Deauville American Film Festival,” said Hazanavicius, whose Oscar winning film The Artist has been described as a love letter to Hollywood’s silent era. “Like half the planet, I was in part raised on American cinema and I am looking forward to spending these 10 days of binge watching the latest output. In cinema we trust!” Helmed by artistic director Bruno Barde, the Deauville festival complimented Hazanavicius on showing “an iconoclastic yet appealing style, revealing a concern to reach audiences without abandoning his artistic rigor since his beginnings as a filmmaker.” Meanwhile, Emmanuelle Bercot, the critically acclaimed actress / screenwriter / director whose filmmaking credits include Standing Tall, has been tapped to preside over the Revelation jury, which will honor an up – & – coming director.
TELCO GROUP ALTICE INKS DEAL WITH NETFLIX
Altice, Patrick Drahi’s telco group, has inked a multi – year deal with Netflix to start distributing US streaming giant’s content in France, Portugal, Israel & Dominican Republic. Starting Tues in France, Altice subscribers will have access to original series, films, documentaries, stand – up shows & children programming. The Netflix offer will roll out in Portugal, Israel & Dominican Republic in the following months. Reed Hastings, Netflix CEO, said Netflix offered more than 1,000 hours of new original programming this year, all of which will become available to Altice’s clients everywhere & anytime on a single service. Michel Combes, Altice CEO, said the pact with Netflix marked Altice’s strategy, which is increasingly focused on content. Combes also said the partnership will benefit both brands, Netflix & Altice. The pact with Netflix underscores the content – driven strategy which Altice – whose client base boasts an estimated 50 million subs – has recently started implementing with the launch of Altice Studio, as well as the acquisitions of sports, series & films rights & varierd deals with right – holders.
SOUVENIR NABBED BY STRAND RELEASING
Strand Releasing will be distributing Bavo Defurne’s Souvenir, music – filled romantic drama boasting Oscar nominated actress Isabelle Huppert and an original soundtrack by Pink Martini, in North America. Souvenir stars Huppert as a one – time European singing contestant who won fame years ago only to disappear in a factory job and to be re – discovered by a co -worker named Jean. The 2 collaborate as friends by going back on the road touring for a comeback, but things develop for both her career & their romance. Repped in international markets by Pathe, Souvenir marks the sophomore feature of Defurne, who previously directed North Sea, Texas & several short films which have all been handled by Strand Releasing. Souvenir is the latest pic in a string of movies starring Huppert which Strand Releasing has been handling. The outfit has previously released Anne Fontaine’s My Worst Nightmare, Guillaume Nicloux’s Valley Of Love & Catherine Breillat’s Abuse Of Weakness. The deal was done between Jon Gerrans & Marcus Hu of Strand Releasing & Muriel Sauzay & Themba Bhebhe of Pathe International.
UK’S CHANNEL 4 TO TELL TRUMP: AN AMERICAN STORY
Donald Trump’s visit to UK may be in question, but US president will be on British TV screens in a new documentary series, Trump: An American Story. The 4 part program for Channel 4 follows Trump across 5 decades as a businessman, developer, media star & politician before he reached the White House. The broadcaster said the series “tells the story of modern America through one man, showing how he has embodied many of the movements that have shaped US society from 1960s to the present day, from turbo – capitalism & political disenfranchisement to celebrity, reality TV & social media.” British broadcasting’s fascination with Trump, his background & motivations, is seemingly unabated. They have greenlit or bought several projects since he became president. The BBC has had programs including Donald Trump: The People’s Billionaire, ITV has shown documentaries including Trump: The First 100 Days & Channel 5 has shown one – offs including Who Is Donald Trump? Channel 4 has also had several factual shows about the president, including an episode of its Dispatches current affairs show entitled President Trump’s Dirty Secrets.
LINDSAY LOHAN JOINS RUPERT GRINT’S SICK NOTE
Lindsay Lohan has come on board the 2nd season of Sick Note, the upcoming British comedy series that also stars Rupert Grint, Nick Frost & Don Johnson. The 1st season of the show goes out this fall on Sky in a 10 pm slot & on Sky’s Now TV streaming service, with Season 2 currently in production. The comedy follows Daniel Glass as a down – on – his – luck insurance rep who is wrongly told he has a terminal illness and decides to keep the misdiagnosis from his family & friends. Lohan will play Katerina West, the daughter of Glass’s boss in the 2nd season, which is expected to bow in 2018. “One lie leads to the next in this unsettlingly brilliant comedy that will hook viewers in and have them on the very edge of their seats,” said Sky Head of Comedy Jon Mountague. “Filming for series 2 is already under way and we’re delighted to confirm Lindsay Lohan will be joining Rupert & Nick in this stellar comedy cast.” David Walliams & Miranda Hart’s UK production company King Bert is making Sick Note for Sky. It is written by Nat Saunders & James Serafinowicz.
JOHNNY HEADS TO UK’S GLASTONBURY FESTIVAL
Johnny Depp will be at this year’s Glastonbury Festival in England to introduce 3 of his favorite movies and talk about his selections with filmmaker Julien Temple. Glastonbury, Britain’s premier music festival, is embracing cinema this year with a new Cineramageddon tent, curated by Temple. Depp, as guest of honor, will present The Libertine, Withnail & I Dead Man, and speak about what the films mean to him. Dead Man & The Libertine both star Depp. “This is one of those films that got lost in the shuffle,” he said of the latter. “It’s a film that a lot of people on which worked very hard, and one that I’m very proud of.” Speaking about Withnail & I, he said: “No film has ever made me laugh more, or filled me with me with so much joy… and dread! For me, this is perfect cinema. Genius.” Depp added that Jim Jarmusch’s The Dead Man is an “epic visual poem.” He said: “It’s unlike anything else. A film which means many different things to many different people.” Organizers of Glastonbury say that Cineramageddon will have the biggest screen in UK & accommodate 2,000 moviegoers. It will, Glastonbury said, offer “a unique post – apocalyptic & nocturnal ambience in which to watch an unforgettable program of films.”
UK COORDINATES ANNECY DRIVE
A 15 strong UK delegation will be looking for buying, selling & recruitment opportunities at Annecy under Animation UK banner, in the most coordinated ever push by the country’s animation sector at French festival. There are a plethora of opportunities & challenges facing UK companies as they look to capitalize on the hard won UK tax break for animation on one hand, and tackle the uncertainty created by Brexit on the other. Against that backdrop, the likes of Aardman, Blue Zoo, eOne, Lupus Films & Magic Light Pictures will be part of Animation UK drive at Annecy, which has not traditionally been attended en masse by British. “This year we are planting a flag,” said Helen Brunsdon, Animation UK director. “People have heard about the tax credit & inward investment into UK but want to know how to do business with key companies.” The agenda for UK delegation includes buying & selling, with a large number of broadcasters in attendance, to talking about coproduction & sourcing international talent.
TURNER UPS EUROPEAN INVESTMENT
Turner said it has ramped up investment in European production by 30% in the past year and has also taken its biggest international original, The Amazing World Of Gumball, in a new direction, with a puppet based episode of the show that it will reveal at Annecy. The puppet based installment of “Gumball” will go out during season 5 of the show and also be the inspiration for a series of shortform spin – offs. Recently minted UK producer Blink Industries is making The Puppets and the short form content, which will be directed by BAFTA nominated Simon Cartwright & Baker Terry. Annecy attendees will get an exclusive 1st look at The Puppets at Annecy during a session at the festival looking at “Gumball.” The series is a mix of 2D & 3D animation with live – action elements, allowing the producers to work with a range of other creative’s, such as Japan’s Studio 4°C, whom they teamed with on an anime episode entitled The Fury.
EUROPEAN ANIMATION AWARDS BOW 8TH DEC 2017
Deeply inspired by Annie Awards, the 1st ever European Animation Awards will take place on Fri, 8th Dec, 2017 at Le Nouveau Siècle congress center & theater in central Lille, Northern France. The date will allow companies, if obliged or interested to attend European Film Awards 1 night later in Berlin, said Jean – Paul Commin, EAA secretary general. Aiming to highlight & celebrate not just the Best Animation Fedatures & TV shows of the year but also the key collective crafts vital to the sector, the Emile Awards – as the plaudits are also known, after and – will offer prizes in 16 categories. Though statues will be handed out to “Best Feature Film” & “Best TV / Broadcast Production”, the kudos range wide & far to take in background & character design, character animation, storyboard, soundtrack & writing. European Animation Awards will also be given in both film & TV.
NETFLIX TO LAUNCH TO THE BONE IN EUROPE
Anorexia drama To the Bone, to which Netflix picked up worldwide rights at Sundance, will have its European Festival Premiere at Italy’s upcoming Ischia Global Film & Music fest, with Ted Sarandos & stars Lily Collins & Alex Sharp expected to make appearances. To The Bone, the 1st feature film by prominent US TV writer – director – producer Marti Noxon, follows a 20 year old anorexic (Collins) who tries to get the medical help she needs at a group home. Keanu Reeves plays an unconventional doctor. The indie pic mixing dramatic & comic elements is based on the director’s own experiences with eating disorders and is produced by Julie Lynn, Bonnie Curtis, Karina Miller & Andrea Lervolino & Monika Bacardi, founders & co – chiefs of Italy’s Ambi Group. Collins & Sharp, who plays a young British dancer also struggling with anorexia, will be feted with Ischia’s rising star nods. Netflix snapped up To The Bone for a reported $8 million in Jan, 2017.
FOLIVARI & STUDIOCANAL LINK ON SEQUEL
Didier Brunner’s Folivari & Studiocanal, 2 of Europe’s major animation forces, have signed a joint development deal for a sequel to the Academy Award nominated Ernest & Celestine, as Studiocanal has also boarded SamSam, The Smallest Of The Great Heroes, produced by Dandelooo & Folivari. Both deals would see the titles, when they move into production, being sold internationally & distributed domestically in France by Studiocanal, a Folivari – Studiocanal arrangement already in place for the anticipated The Big Bad Fox & Other Tales, an anticipated animated feature that world premieres at this year’s Annecy Festival. In a separate move for Brunner whose movies – which take in The Secret Of Kells, Michel Ocelot’s Kirikou trilogy & Belleville Rendez – Vous – have scored 5 Academy nominations – Wild Bunch has boarded The Summit Of The Gods, handling international sales & domestic distribution in France.
OCTONAUTS STUDIO MAKING ANIMATED ADAPTATION
Irish studio Brown Bag Films is making an animated special based on a story from Angela’s Ashes author Frank McCourt. Angela’s Christmas is an adaptation of McCourt’s only children’s book and Oscar nominated Ruth Negga will voice the character of Angela’s mother. Lucy O’Connell, who voiced Tomm Moore’s Oscar – nominated Song Of The Sea, will voice Angela. Octonauts studio Brown Bag was acquired by Canada based 9 Story Media Group in 2015, and 9 Story Distribution International will sell Angela’s Christmas internationally. The half – hour film was written by Will Collins & Damien O’Connor. Ellen McCourt, Frank’s widow, is an executive producer on the project & Irish – American actor, writer & politician, Malachy McCourt, Frank McCourt’s brother, narrates. McCourt’s 1996 novel Angela’s Ashes, based on his early life in Brooklyn & Limerick, was adapted for the big screen in Alan Parker’s 1990 feature of the same name.
DENIS TAPPED AS FUTURE FRAMES MENTOR
Canadian director Denis Côté has been picked to mentor the young filmmakers who will be participating in Future Frames program at this year’s Karlovy Vary Film Festival. The intensive 3 – day program, an initiative of European Film Promotion body, gives film school students & graduates the opportunity to make contacts within the industry, learn from an established director, and present their work at the festival. This year’s 10 participants hail from Finland, Czech Republic, Sweden, Slovenia & Latvia, amongst other countries. Côté, who has more than 2 dozen feature & short films to his credit, will give a masterclass titled “A Question of Independence.” “Over the years, I’ve noticed that young aspiring filmmakers play with extremes: Either they are paralyzed by fear, or they show a considerable amount of arrogance thinking they don’t need the “short film” formative years in order to make their 1st masterpiece at 25 years old. I try to guide them in between these attitudes,” Côté told.
ANKAMA SELLS MUTAFUKAZ
France’s Ankama, whose Mutafukaz, world premiered at Annecy on 13th Jun. 2017, has licensed Japanese rights to the sci – fi action movie to Parco, an upmarket Japanese department store which operates a genre movie distribution operation. Closed via Ankama’s Asia distribution subsidiary PlanetNemo, the deal is crucial for Mutafukaz which, produced in association with Japan’s 4ºC Studios, twins a California West Coast sensibility and upscale anime manga style. It is one of the 1st big deals to go down on Mutafukaz which – with its hip-hop vibes, fantasy version of LA, downbeat humor, deadbeat heroes, street gangs & messianic Mexican wrestlers – is shaping up as one of the highest profile new movies at France’s Annecy Animation Festival this year. Acquired by Celluloid Dreams for worldwide sales outside Asia, Mutafukaz also serves as a flagship for the ambitions of Ankama. Originally carving out a market for its MMORPGs (Massively Multiplayer Online Role – Playing Games,) & comic – books, the Roubaix based Ankama is continuing to raise its ambition in animation, diversifying from its original teen demography while aggressively courting digital platform distribution for new series.
GUILLAUME RUN RENARD TALKS INSPIRATION
At Annecy this year, if one is hoping to see a gritty, young adult, socially relevant & temporally accurate depiction of America, one should walk past Sony, Universal & Disney – Pixar and head to the world premiere of the French feature Mutafukaz. The Franco video game, comic book & animation producers of the film, Ankama, have brought to the big screen for the 1st time, the rich world of Dark Meat City, a Los Angeles allegory as 1st presented in 2003 Sundance nominated short turned comic book by the same name. Tasked with bringing the property to theaters, Ankama produced in association with Japan’s 4°C whose artistic input is clear when the film’s animation style is compared to their 2006 hit feature Tekkoninkreet. Ankama have been producing the Mutafukaz comics, amongst more than a dozen others, since 2006 in addition to their slate of video games like Wakfu & Dofus, both of which have also been adapted to animation.
UDI FOLLOWS JEAN – FRANÇOIS LAGUIONIE
Urban Distribution International (UDI) has boarded the animated project The Prince’s Voyage, Jean – François Laguionie’s follow – up to Louise By The Shore & The Painting. Featuring hand – drawn animation, The Prince’s Voyage follows an old monkey prince who finds himself lost & injured on an unknown shore, where he gets rescued by a young boy and sheltered by his parents, 2 scientists who have been exiled from their community for believing in the existence of other monkey civilizations. The animated fable tells the journey of this aging monkey who discovers a new civilization. The Prince’s Voyage is the latest in a string of auteur – driven animated features repped in international markets by UDI’s Urbanimation label, following Rémi Chayé’s Long Way North, Jan Bultheel’s Cafard and most recently Arthur de Pins & Alexis Ducord’s critically acclaimed Zombillenium, which premiered at Cannes in the special screenings section and is opening this year’s Annecy Film Festival.
AURÉLIEN READIES 1ST EVER ANIMATED FEATURE
One of Europe’s on – the – rise animation talents, France’s Aurélien Froment, also known as Aurel, is developing a 1st ever animated feature, Josep. Written by Froment & Jean – Louis Milesi, a director and regular scribe for Robert Guédiguian, Josep is produced by Serge Lalou & Anne -Marie Luccioni’s Les Films d’Ici Méditerranée, a production outfit founded in 2014 in Montpellier specialized in documentaries, with several animation projects in development. Les Films d’Ici, Paris based producer of Golden Globe winner Waltz With Bashir & La Fabrique Animation, which backed Jean – François Laguionie’s Louise En Hiver, will act as co – producers. A co – production with a Catalan company is under negotiations. Pitched at Cartoon Movie, Josep’s story is inspired by a true sketch artist born in Barcelona at the beginning of the last century. In a long life – spanning almost the whole century – Josep was a cartoonist, Republican soldier, a prisoner in a concentration camp, Frida Kahlo’s lover, an illustrator for US magazines & a Hollywood stage designer & painter.
BRISBANE INTERNATIONAL FILM FESTIVAL TO BE REVIVED
The Brisbane International Film Festival is to be revived 3 years after its closure. The new festival moves to a new season and will be held from Aug, 2017. The festival’s program is to be co – directed by film curator Richard Sowada & Maxine Williamson. In Apri, this year, it was announced that the Brisbane Asia – Pacific Film Festival was to close after 3 editions. The BAPFF had been set up in 2014 to replace the Brisbane International Film Festival, which ran for 22 editions from 1992. That earlier move was explained as connecting festival & awards ceremony, and supporting the Asia Pacific Screen Awards, which the city of Brisbane committed to back after the awards event relocated from Gold Coast. The new Brisbane IFF, billed as 23rd, will be held at Palace Cinemas in Brisbane from 17th Aug, 2017 to 3rd Sept, 2917 at Palace Barracks & Palace Centro. It will showcase some 60 international & Australian films, and include collaborations with existing Queensland screen culture organizations including APSAs, a short film competition, panel discussions & seminars. Previously film director of APSAs & Brisbane Asia Pacific Film Festival, Williamson is standing down from her role as artistic director at APSAs.
LACHLAN HALTS SUPPORT FOR TEN NETWORK
Lachlan Murdoch & entrepreneur Bruce Gordon have sent Australian commercial broadcaster Ten Network into a tailspin, withdrawing their credit support and prompting the company Tues to ask for trading of its shares to be halted for 48 hours. In a filing to the Australian Stock Exchange, Ten Network Holdings said that it had received letters from Illyria, Murdoch’s private investment company & Birketu, Gordon’s investment vehicle, withdrawing their backing. It is understood that the pair have provided $151 million (A$200 million) of guarantees. “That correspondence confirms that those guarantors do not intend to extend or increase their support for the company’s credit facilities beyond the term of the current facility which expires on 23rd Dec, 2017. TEN’s board is considering the position of the company in light of the position being taken by Illyria & Birketu and the range of restructuring & refinancing initiatives it has underway,” the company said.
SINGAPORE KURT RIEDER TO HEAD ASIA THEATRICAL
Veteran distribution & exhibition executive Kurt Rieder has been installed as 20th Century Fox International’s executive VP for theatrical in the Asia Pacific region. He will be based in Singapore and take charge from 19th Jun, 2017. The studio has not issued a public statement. But sources confirmed to Variety that an internal memo from Fox’s president of international theatrical, Andrew Cripps, has been circulated detailing Rieder’s appointment and a move by Fox’s regional theatrical office from Australia to Singapore. Rieder takes over from Sunder Kimatrai. The highly regarded Kimatrai had been with the studio since 1993, fulfilling roles in India, Singapore and later Sydney. He became the studio’s Asia – Pacific head in 2005. Moving the office to Singapore puts it closer to the center of Asian operations. In particular, it is closer to China, now the world’s 2nd largest theatrical market. The memo described Asia as “an incredibly important part of the world” and as “a key growth opportunity for us as a studio.”
GUSTAVO ON BRAZIL’S TITO AND THE BIRDS
Brazilian animated feature Tito And The Birds has recently reached its initial financing goal after winning one of the 2 prizes for animation from the Brazilian National Bank of Development (BNDES), with the other going to the Oscar nominated director of Boy And The World, Ale Abreu, & Luiz Bolognesi, co – director on Rio 2096: A Story Of Love And Fury. Featuring at this year’s Annecy Works in Progress after a productive campaign last month at Cannes, where it was showcased in Annecy Goes to Cannes, the film’s creators, Bits Productions, will look to keep the Brazilian cartoon mojo going, following in the footsteps of their fellow prize winners. For Bits, it will be its 1st ever animated project, making the move from live – action TV & cinema. Organizers of Brazil’s BIG Festival, the largest indie gaming fest in Latin America, there are also plans for a Tito And The Birds video game. Co – directing the film are screenwriter Gustavo Steignberg, Gabriel Bitar, & André Catoto.
CONFESSION OF MURDER TOPPLES BEAUTY AND THE BEAST
Confession Of Murder, a crime drama about a serial killer who comes out into the open after the statute of limitations on his crimes expire, toppled Beauty And The Beast, which had headed the Japanese Box Office turnstiles for the previous 7 weeks. Distributed by Warner Japan, with & Tatsuya Fujiwara as the killer & Hideaki Ito as the frustrated detective, the film opened on 329 screens and earned $2.92 million on 234,000 admissions. It is expected to end its run around the $15 million mark. Opening at number 2 was Hirugao: Love Affairs In The Afternoon. Based on a hit TV drama about a married woman (Aya Ueto) who has an affair with a married man (Tatsumi Saito), the film made $2.67 million for distributor Toho. The film is also forecast to finish near the USD15 million milestones. Disney’s “Beauty” slipped to number 3. It scored $2.61 million, lifting its cumulative total to $99.7 million. That puts it as the 25th highest earning film ever in Japan, local or foreign.
CYBERAGENT LAUNCHING ANIMATION FUND
CyberAgent, a Tokyo based company involved in Internet advertising, media & game production, has announced the creation of a $27 million (JPY1 billion) animation fund in conjunction with its Cygames subsidiary. Scheduled to launch at the end of Jun, 2017 the CA – Cygames Anime Fund will be used to buy rights for anime streaming, as well as for game production & original animation development. One of the investment targets for the fund is AbemaTV, a CyberAgent Internet TV station that streams nearly 20 channels with a variety of content, including 700 theatrical & TV anime titles, free of charge. Amongst games in Cygames current line – up are Rage Of Bahamut, which has topped the Google Play sales section & Granblue Fantasy, which claims 14 million registered players.
ANNECY FEST SURGES IN SIZE YET AGAIN
Illumination Mac Guff’s Despicable Me 3, China, Disney – Pixar’s Coco & The Big Bad Fox And Other Tales look set to figure among highlights at this week’s edition of France’s thriving Annecy International Animation Film Festival, a Mecca for animation companies & creatives from Hollywood and the world over, which just doesn’t stop growing. In just 1 sign, its International Animation Film Market (MIFA) will add an extra day, kicking in 13th Jun, 2017 and moving from 3 to 4 days. MIFA accredited delegate numbers were tracking at 2,900 by last Fri, already up on the final 2016 tally go 2,850, said MIFA head Mickael Marin, who added that he hoped final participation would pass 3,000 for the 1st time ever. Extending ever more towards Annecy’s lake, exhibition floor space is also up 16%, vs. 2016. Driven by the increase in animation output in most parts of the world, including Africa, Marin said, delegate numbers have now grown 13 years in a row, since 2005, casting MIFA as a metaphor for the international animation scene at large and one of the most robustly growing industry events in Europe. Patrick Eveno, CEO of the Annecy Festival’s Citia organization, added that he expected 5% to 10% growth in Annecy Festival accreditation.
THE MUMMY TAKES $52 MILLION OPENING
Tom Cruise & The Mummy comfortably headed the Chinese Box Office turnstiles with a $52 million opening – significantly greater than the film’s weak performance in North America. Playing some 105,000 screenings per day from Fri to Sun, the gross total for The Mummy accounted for more than half of China’s total Box Office turnstiles collections. It scored $17.5 million on Fri, followed by $19.1 million & $13.9 million on Sat & Sun, respectively, according to data from Ent Group. The $51.8 million total, topped up by $1 million of previews, marked the 7th highest opening of the year, narrowly ahead of Beauty And The Beast, Logan, Guardians Of The Galaxy Vol. 2 & Wonder Woman, in 2nd place, grabbed $13.5 million from close to 40,000 screenings per day. Its cumulative stands at $70.2 million after 10 days. Pirates Of The Caribbean: Dead Men Tell No Tales added $7.49 million in its 3rd week. After 17 days, “Pirates” has managed $162 million, which The Mummy & Wonder Woman are unlikely to match. India’s long – legged Dangal scored a further $5.05 million in its 6th week. After 38 days, its cumulative is $179 million, an unprecedented score for a non -Hollywood, foreign language film in China. Behind the Hollywood summer trio and the Indian juggernaut, the top Chinese film of the week was romance How Are You? With a performance that weakened over its opening weekend, it scraped up $4.3 million for 5th place. The latest film in the “Doraemon” Japanese animation franchise took 6th place with $1.87 million, albeit suffering a big slump. After 13 days it has a cumulative of $19.7 million. No other title managed $1 million over the weekend. China’s Haunted Graduation Photo opened with $310,000. Love Without Words opened with $280,000. Sci – fi, thriller Monster Mayhem opened with $240,000. Long running comedy Running Man reentered the chart with $170,000.
SHANGHAI FESTIVAL COMPLETES COMPETITION LINEUP
Bille August’s Chinese made The Chinese Widow has been set at the opening night movie of the Shanghai International Film Festival. It replaces the previously announced Our Time Will Come, by Hong Kong auteur Ann Hui. No explanation for the change was offered by the festival, or Bona Film Group, producer of “Our Time,” or its international sales agent, Hong Kong based Distribution Workshop. The film is a wartime drama focusing on a woman school teacher and other youths who led the resistance movement during Japan’s WWII occupation of Hong Kong. It stars Taiwan’s Eddie Peng & Wallace Huo & China’s Zhou Xun as the female lead. Hui has been reported as conceiving the film as a tribute to the 20th anniversary of the handover of Hong Kong from British colonial rule to China. It will open in China on the anniversary, 1st Jul, 2017 and in Hong Kong a few days later.
CONSTANTIN GOES INTO PRODUCTION
Constantin, Germany’s biggest movie company, has initiated production on S3D adventure film Dragon Rider, based on the bestselling novel by German writer Cornelia Funke & written by Johnny Smith, who penned the original screenplay & story for 2011’s Gnomeo & Juliet. One of the biggest independent cartoon movie breakouts from UK this decade, produced by Elton John’s Rocket Pictures, it earned $198 million worldwide & $100.0 million in US. Co – produced by Antwerp’s Cyborn 3D animation studio, and produced by Martin Moszkowicz & Oliver Berben, Dragon Rider is the next big animation play by Constantin Film, one of Germany’s foremost film & TV production – distribution forces. High – end by European standards, the 3D children’s fantasy adventure turns on Firedrake, a young silver dragon, Sorrel, a mountain brownie & Ben, a human orphan who search amongst the highest Himalayas for the Rim of Heaven, which can offer sanctuary for Firedrake’s kin, whose valley is made uninhabitable by a dam.
THE MUMMY’ BEATS THE VILLAINESS & WONDER WOMAN
The Mummy landed up top of the South Korean Box Office turnstiles, breaking Box Office turnstiles records Tues, when it opened in South Korean cinemas. It finished with $17.8 million after 6 days. With $6.57 million from 873,000 admissions on opening day, it beat opening records for local & foreign films previously held by Train To Busan & Captain America: Civil War. It accounted for 52% of total weekend Box Office revenue. Cannes Midnight screener, The Villainess debuted in 2nd. Opening on Thurs, the local action drama earned $3.36 million over 4 days. Wonder Woman slipped from top spot to 3rd, with a drop of 72%. The Warner Bros. release earned $1.77 million for a total of $13.4 million after 2 weekends. In 4th place, Pirates Of The Caribbean: Dead Men Tell No Tales also dropped 70%. The Disney release earned $1.11 million for a total of $21 million after 3 weekends. Political documentary, Our President took 5th. It earned $996,000 between Fri & Sun for a cumulative $11.0 million after 3 weekends. With a drop of 91%, Fox International Production’s Korean language war drama Warriors Of The Dawn” slipped to 6th in its 2nd weekend. It earned $246,000, for a total of $5.34 million after 2 weekends.
OKJA SHUT OUT OF HUNDREDS MORE SCREENS
Lotte Cinema & Megabox, South Korea’s 2nd & 3rd largest cinema chains will not screen Okja, the Netflix fantasy drama that controversially bowed in competition at the Cannes Film Festival last month. The decision follows a similar refusal this week by CJ CGV, South Korea’s No. 1 exhibition chain, and means that native son Bong Joon – Ho’s film will be shut out of 93% of the country’s screens. Lotte & Megabox followed CJ CGV’s denial of screens on the grounds that Netflix’s plan for a day – & – date cinematic & online release flouts the usual 3 week hold – back before a film becomes available for streaming. CJ CGV calls the delay “an important business practice in Korea.” The company also contends that Netflix’s simultaneous opening policy disturbs the distribution ecosystem in South Korea. Bong, who told Variety last month that directing a Netflix backed film did not make “much difference for me as a filmmaker,” has not responded to requests for comment.
