TEDDY BEAR was nominated as one of the five nominees for European Discovery 2012! The winner will be announced at the 25th European Film Awards on December 1st in Malta. We are looking forward to it.
Don’t miss Ali Samadi Ahadi’s powerful documentary, THE GREEN WAVE, now playing in theaters in LA and NYC. ‘Stories this emotional and passionate are in many ways timeless,’ said Film Critic Kenneth Turan from the Los Angeles Times. Click here to read the full review|http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-green-wave-iran-movie-review-20120810,0,3859142.story
FIRST POSITION is being released on DVD in the fall, and in theaters internationally this fall/winter, but for anyone living in the U.S. who wants to watch it at home on Video On Demand (via Comcast, Cablevision, AT&T, Verizon, Time Warner, Bright House, Cox, RCN, Metrocast, Midcontinent, Service Electric or Uverse), IT’S ONLY AVAILABLE UNTIL AUGUST 2nd SO DON’T WAIT!!
The Deadline Team reports on the latest domestic sales news for our title, DON’T STOP BELIEVIN’: EVERYMAN’S JOURNEY…
Cinedigm Entertainment Group has acquired U.S. distribution rights to the film which is planned for release across theatrical, on-demand and premium digital in Spring 2013. Don’t Stop Believin’: Everyman’s Journey is the real-life rock-n-roll story of Filipino singer Arnel Pineda, a formerly homeless teen who was plucked from YouTube by lead guitarist and founding Journey member Neal Schon to become the front man for the iconic American rock band and a real-life celebrity. The film follows Arnel on this personal odyssey, including a worldwide tour with core band members Neal Schon, Jonathan Cain, Ross Valory and Deen Castronovo, and a homecoming performance in Manila for 25,000 people. Don’t Stop Believin’: Everyman’s Journey premiered at the 2012 Tribeca Film Festival. It was directed and written by Ramona S. Diaz. Diaz also co-produced the film with Cappella Fahoome Brogden. John Baruck and Joshua Green served as executive producers. Cinedigm Entertainment Group is a division of Cinedigm Digital Cinema Corp.
Click here to read the article on Deadline|http://www.deadline.com/2012/07/cinedigm-acquires-music-doc-dont-stop-believin-everymans-journey/?fb_action_ids=446771565344071&fb_action_types=og.likes&fb_source=timeline_og&action_object_map=%7B%22446771565344071%22:10151112432745132%7D&action_type_map=%7B%22446771565344071%22:%22og.likes%22%7D&action_ref_map=%5B%5D
Sundance award winner TEDDY BEAR is to be released in NY next week at the Film Forum! Don’t miss this sweet and beautiful drama from the Visit Films 2012 slate. Click here|http://www.filmforum.org/movies/more/teddy_bear for showtimes and tickets.
See it here – Berlin Eiszeit, FSK, Central, Tilsiter, München Neues Arena & Monopol, Nürnberg Filmhaus, Karlsruhe Kurbel, Leipzig Schaubühne, Stuttgart Corso & EM, Düsseldorf Metropol, Dortmund Sweet Sixteen, Köln Filmhaus, Hannover Kinos am Raschplatz, Hamburg 3001, Frankfurt Mal Sehn, Bamberg Lichtspiel, Dresden Casablanca, KIF & Programmkino Ost, Bremen Schauburg, Münster Cinema, Seefeld & Starnberg Breitwand
We are pleased to announce our slate for the 2012 Sundance Film Festival. Mads Matthiesen’s directorial debut TEDDY BEAR|http://filmguide.sundance.org/film/120125/teddy_bear will compete in the World Dramatic Competition and Marshall Lewy’s CALIFORNIA SOLO|http://filmguide.sundance.org/film/120217/california_solo, starring Robert Carlyle will screen in Premieres. You should see both of them if you will be in Park City! We will also be presenting both films at the EFM in Berlin.
Screen Daily’s Jeremy Kay reports on our latest acquisitions, soon premiering at TIFF. Read on for the good stuff….
7 September, 2011 | By Jeremy Kay
Ryan Kampe’s New York-based sales company has boarded international rights to teen murder mystery The Odds from writer-director Simon Davidson and drama Fable Of The Fish from Adolfo Borinaga Alix Jr. Both films will receive their world premieres at Toronto, which kicks off on Thursday (8) and Kampe will begin sales.
The Odds (pictured) is set against the world of underground teenage gambling as a high school student must find his best friend’s killer before the game is exposed. Tyler Johnston, Jaren Brandt-Bartlett, Calum Worthy and Julia Maxwell star. Davidson makes his feature directorial debut feature and Kirsten Newlands and Oliver Linsley produced.
Fable Of The Fish is about an aging woman whose dreams of becoming a mother are answered, albeit in a bizarre way when she gives birth to a fish. Cherry Pie Picache, Bembol Roco, Anita Linda, Rosanna Roces and Evelyn Vargas star. Alix Jr, Jonas Antonio Gaffud and Elizabeth Juan produced the surreal drama.
‘We are happy to team up with Adolfo for a third feature,’ Kampe said. ‘Fable Of The Fish is his strongest film yet working with both fantasy and allegory. Additionally, Simon has made a film that will appeal to buyers looking for an accessible title that has great elements of murder intrigue, mystery and the adrenaline of a high stakes card game. We hope that this will be the beginning of a long term partnership with this strong writer-director as well.’
The Odds producer Newlands added: ‘We are thrilled to be working with Visit Films. Their commitment to support the creative and to represent films that we all want to see is unparalleled. We look forward to this new partnership.’
Visit’s sales slate includes Bellflower, Cave Of Forgotten Dreams, The Myth Of The American Sleepover,The Green Wave, and Après Le Sud (Heat Wave).
Just added to the Visit Films slate is the Sundance and SXSW hit Bellflower by filmmaker Evan Glodell. His first feature, Bellflower tells the tale of two friends who spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang ‘Mother Medusa’.
Acquired by Oscilloscope for the US, Visit will represent the film for international sales, starting at the Marche du Film in Cannes next month.
The Sundance breakout hit ‘The Taqwacores’ is soon coming out on DVD. Add it to your Netflix|http://movies.netflix.com/WiMovie/The_Taqwacores/70129450?trkid=2361637#height1049 queue today or purchase through Amazon|http://www.amazon.com/Taqwacores-Bobby-Naderi/dp/B004K7M6U6/ref=sr_1_2?ie=UTF8&qid=1299258210&sr=8-2. Get on it!
Ryan Kampe of New York’s Visit Films has closed a deal with Ascot Elite for German-speaking territories on Werner Herzog’s Cave Of Forgotten Dreams.
Kampe also licensed rights for the former Yugoslavia to Discovery after presenting the film to buyers at the EFM in Berlin, where he announced a French deal with Metropolitan.
Cave Of Forgotten Dreams played as a special screening at the Berlinale and premiered in Toronto last year. It chronicles the discovery of wall paintings dating back approximately 30,000 years in a cave in central France.
The film previously sold to IFC for the US and will open through Picture House in the UK, Star Sands in Japan and Against Gravity in Poland.
Visit Films has started talks with buyers on Werner Herzog’s 3D documentary Cave Of Forgotten Dreams after acquiring international sales excluding the UK, Japan and select television rights.
Company president Ryan Kampe has licensed French rights to Metropolitan. The film premiered at Toronto and recounts the discovery of wall paintings in the Chauvet Cave in central France dating back some 30,000 years.
Cave Of Forgotten Dreams will play in special presentation here and previously sold to IFC for the US, Picture House for the UK, Against Gravity for Poland and Star Sands for Japan.
‘We have been in love with the film since its Toronto premiere and are so pleased to be working with Werner and his team,’ Kampe said. ‘Werner’s singular vision has allowed him to craft a film which uses 3D to its full effect and helps bring the medium away from popcorn movies and into films of true substance and beauty.’
Visit’s EFM slate include the Sundance pair Jess + Moss from Clay Jeter which screens in Generation here, as well as Ali Samadi Ahadi’s German-Iranian documentary and Lola entry The Green Wave.
An Indie Gumshoe in Oregon’s Gloom
COLD WEATHER, the third feature by young filmmaker Aaron Katz, begins in the modestly introspective vein of many a low-budget American indie. On an indefinite break from college, Doug has returned home to Portland, Ore., where he’s staying with his sister, Gail. The film appears poised to explore their shared history and private uncertainty, the simultaneous distance and closeness that sometimes defines adult sibling dynamics.
But with little warning, odd elements start creeping in, as if from another movie. Clues to shadowy goings-on are discovered in motel rooms and amid library stacks. The mopey protagonist turns intrepid gumshoe. There is a missing suitcase of money, and there are occasions for stakeouts and chases — just like in the movies.
Kimjongilia has been selected as a Documentary Channel 2010 top premiere! Of the 31 ‘Best of Doc’ films, the Documentary of the Year will be selected by an online public vote as part of a sweepstakes. Vote for Kimjongilia if you know what’s good for you!
IndieWire featured the full list of Independent Spirit Award nominations today so congratulations to Adele Romanski for receiving a nomination in the Piaget Producers category for her work on The Myth of the American Sleepover!
TILVA ROSH has just been awarded the grand-prix award for Best Story at the IFF ‘2-in-1’ in Moscow!!
Here is a photo of actor, Marco Todorovic, accepting the prize (with his skateboard) at the festival. Congrats!
Check out this review of The Taqwacores by all things hip magazine, NYLON – and don’t forget to go see it this weekend if you are in NYC. It’s in theatres today!!!
Fresh off premiering his film at the Sundance Film Festival earlier this year, Eyad Zahra’s directorial debut ‘The Taqwacores’ hits theaters in New York this Friday, October 22. In anticipation of the film’s release, Zahra shared an exclusive clip of his film with indieWIRE.
The good folks at Hammer to Nail have given Helen their highest viewing recommendation on this month’s new releases VOD report.
Check out your cable system to see where you can watch Helen now!
IndieWire names the top, upcoming releases for at-home platforms. Our excellent doc, Kimjongilia was named in the list of their top 5. Make sure to get your DVD copy or purchase to view via Amazon today!
Indie Wire report on the latest sales news for our title, The Myth of the American Sleepover…
A scene from David Robert Mitchell’s ‘The Myth of the American Sleepover.’ Image courtesy of IFC Films.
North American and select international rights to David Robert Mitchell’s award-winning drama, ‘The Myth of the American Sleepover’ have been picked up by IFC Films.
Starring a cast of young newcomers in their feature film debuts and produced by Adele Romanski (‘The Freebie’), ‘Sleepover’ had its U.S. debut at the SXSW Film Festival in March and its international premiere at the 2010 Cannes Film Festival in the International Critics’ Week section, the first American film in five years to be selected for this honor. IFC Films will release the film next year.
Jeff Deutchman, Manager of Acquisitions & Productions for IFC Films negotiated the pact with George Rush of the Law Office of George M. Rush. Deutchman also negotiated with Ryan Kampe of Visit Films for select international rights.
Sara Ziff was interviewed on FOX 5 this morning. Her film PICTURE ME, co-directed with Ole Schell, opens today in New York. Click here to see the video|http://www.myfoxny.com/dpp/good_day_ny/model-sara-ziff-20100917
In lead up to it’s US theatrical release today, Picture Me is featured in an article on gawker.com. Since appearing on the site yesterday, the story has been read by more than 45,000 people. Keep spreading the word!
Another great article on The Myth of The American Sleepover.
IFC Films today announced the acquisition of two popular female-helmed titles from last year’s SXSW Film Festival, Judith Krant’s ‘Made in China’ and Dia Sokol’s ‘Sorry, Thanks.’ The fish-out-of-water comedy ‘China’ won SXSW’s Grand Jury Prize as well as the Chicken & Egg Award for Emerging Female Director. Relationship comedy ‘Sorry’ is Sokol’s feature directorial debut, after producing the acclaimed ‘Beeswax’ and ‘Nights and Weekends.’ Both films will be released on VOD in June. IFC’s Jeff Deutchman brokered both deals – with the Film Collaborative’s Orly Ravid for ‘China’ deal, and with Visit Films’ Ryan Kampe for ‘Sorry.’ [Basil Tsiokos]
by Brian Brooks (Updated 5 hours, 25 minutes ago)
David Robert Mitchell made a tender and sweet coming-of-age story that has given the young writer/director some nice attention. His first feature, ‘The Myth of the American Sleepover’, had its world debut at the SXSW Film Festival in March where it received a special jury prize for Best Ensemble Cast, and has made its way to Cannes this week, screening in Critics Week.
Not unlike ‘Sleepover,’ Mitchell is a charming and engaging person who’s pursued a particular aesthetic and feel for his film, which was about eight years in the making. And like most filmmakers getting their start, he took chances. The result was one of the more innovative teen dramas in recent memory.
‘I definitely felt a certain amount of weight in wanting to do a good job,’ Mitchell told indieWIRE on a sunny afternoon at the American Pavilion in Cannes this week. ‘There were a lot of things I wanted to accomplish with it and going into production was frightening, but I decided I had to just focus on the things I had control over. I wrote the script and I believed in it and I kept faithful to the story.’
‘The Myth of the American Sleepover’ follows four young people on the last night of summer. The teens, all played by first-time actors, cross paths one long night as they seek out love and adventure.
Mitchell sought out ‘real kids with screen presence’ to fill the roles, most of them hailing from the suburban Detroit neighborhood where he grew up, and he developed the story via a combination of his own experiences and his own creative input.
‘I wanted the audience to see these characters and not recognize them from elsewhere – just see them as people,’ Mitchell said. ‘I thought people who don’t have a lot of experience [with acting] would bring something more natural to it… We wanted to find people who were a little bit different than what youd find in a Hollywood film.’ The tone and feel of ‘Sleepover’ is reminiscent of teen dramas before that heyday of high school films in the ’80s as embodied by John Hughes, though Mitchell said that those classics do mean a lot to him.
‘I used the spine of ‘American Graffiti’ to tell a story that is a bit more gentle, natural and intimate,’ Mitchell observed. ‘There are small moments that may not seem important but are actually very important. Sitting with a girl on the slide and wanting to kiss her. Inching a bit closer to someone. Hanging out on a summer evening with your friends in the backyard. There are the bigger moments too, of course, but there are also those quiet and gentle moments that are important.’
After finishing undergrad in Michigan, Mitchell decided to enroll in Florida State’s graduate film program after he decided to go into filmmaking – something he said he had wanted to do since junior high school. He had also started making shorts a few years later in high school.
‘I had this deep desire to be surrounded by people who wanted to make movies as much as I did. I wanted something really intense. It’s everything to me.’
While at Florida State, he was already formulating the idea for ‘Sleepover’ in addition to other projects. After completing his program in 2002, he moved to Los Angeles along with some classmates who ended up working on the film with him. He’s currently working on a script about a boy pursuing a girl that he says is ‘tonally similar to ‘Sleepover,’ in addition to a story about an L.A. woman in her 20s, which he described as a ‘simple character story.’ ‘I also have other stories from when I was younger that I’d like to go back to, but maybe not right away,’ he said.
‘I like horror films and science fiction, but at the core, what I want to do are [stories] like ‘Sleepover.’ Maybe not always about teenagers, but something that is honest, personal and gentle at its core.’
Dir: David Robert Mitchell. US. 2009. 93mins
Few US indie films since Michael Lehmann’s Heathers (1988) have shown the originality of The Myth of the American Sleepover, David Robert Mitchell’s poignant debut feature. Unlike Heathers, it’s not satirical, and the director does not adhere to the conventional linear story arc, with alternating high and low dramatic points.
The movie has the potential to catch on with both younger and older audiences, the latter finding the truth of teen angst and delight in their memory banks.
Mitchell loosely structures the film like interlocked concentric circles (he has said his idea of narrative is more European than American), which pivot on four high school and college age teens in a cocooned suburban milieu who pass through what might seem like minor ups and downs to an adult viewer, but in fact are major to the youths, caught as they are between the conflicting urges of sex, belonging, and achieving.
Though lacking recognisable names, the actors deliver excellent and credible performances — an achievement recognised when The Myth won Best Ensemble at the South by Southwest festival, where it had its world premiere in March. It screens in Critics Week in Cannes.
Coupled with Mitchell’s confident, stylish but unobtrusive direction, the movie has the potential to catch on with both younger and older audiences, the latter finding the truth of teen angst and delight in their memory banks. It should do well for an American independent film in foreign territories, especially in English-language markets, infatuated as many foreigners are with stateside suburbia. Once it finds a distributor, and with the help of critics, it should find a decent audience in the home market.
The action takes place at the end of summer, just before the school year begins. Several sleepovers are held, mostly in students’ homes, and, except for some unexpected visits — some welcome, some not — are segregated by gender. Pretty Maggie (Sloma, the discovery here and a strong candidate for future stardom), younger than most and therefore of low rank in the hierarchy based on school level, is one of the only students to pass on the overnights.
She is preoccupied with flirting with Steven, a cynical poolboy (Diedrich), biking with her friend Beth (DeNoyer), and dancing, both in a school marching group and, in party mode before it gets rained out.
Handsome Rob (Morton) attends the ‘guy’ sleepover, but he is too obsessed with a pretty blonde he eyed that afternoon at the supermarket to enjoy himself. As self-absorbed as most teens are, he is completely oblivious to the crush his friend Marcus (McCallum) has on him. Attractive Claudia (Bauer) is the newcomer, invited at the last minute to the cool girls’ sleepover, who discovers the jealousy and spite not only of the others (she has a sexy boyfriend) but also within herself.
The fourth principal character is Scott (Jacobsen), a college junior who returns to the safety of this world, in part to recover some sort of relationship he had several years before with a set of twins, Ady and Anna Abbey (Nikita and Jade Ramsey), who enjoy teasing him. Not without its good moments, this section is the weakest of the four, perhaps because Scott is so removed from this insular universe that the viewer is pulled out of it. Altogether, though, the back-and-forth cutting between the youngsters is excellent — not surprising, since Mitchell is an experienced editor.
Production company: Roman Spring Pictures
International sale: Visit Films, +1 718 312-8210
Executive producer: Michael Ferris Gibson
Producer: Adele Romanski
Screenplay: David Robert Mitchell
Cinematography: James Laxton
Editor: Julio C. Perez IV
Production designer: Jeanine A. Nicholas
Music: Kyle Newmaster
Main cast: Claire Sloma, Marlon Morton, Amanda Bauer, Brett Jacobsen, Nikita Ramsey, Jade Ramsey, Annette DeNoyer, Wyatt McCallum, Mary Wardell, Doug Diedrich, Dane Jones
The Immaculate Conception of Little Dizzle’ is like ‘Clerks’ reimagined by William S. Burroughs. Looking as if it were devised on acid and executed on mushrooms, this imaginative debut feature from the Seattle artist and filmmaker David Russo finds meaning in cleaning and life in dead ends.
In the name of the Human Rights and Democracy Network (HRDN), the One World Film Festival have awarded NC Heikin’s Kimjongilia the award for Best Film 2010.
In honor of this achievement, the HRDN will hold a special screening and ceremony soon in Brussels, followed by a debate on the state of North Korea.
Oliver Hermanus’ directorial debut, Shirley Adams, has been nominated for Best Feature film as part of the 2009 South African Film & Television Awards. Equivalent to the Oscars,the SAFTAs are among South Africa’s most prestigious creative honors.
In addition to Best Feature, Shirley Adams has also been nominated for additional awards including Best Director for Hermanus, Best Actress for Denise Newman, as well as Best Editing, Best Writing, Best Production and Best Costume Design. Winners will be awarded at a glittering ceremony on February 7th, 2010 at the State Theatre in Pretoria.
Sometimes it takes another couple of viewings to recognise just how great a quiet original can be. Written and directed by Christine Molloy and Joe Lawler, Helen is the mesmerising tale of an orphan girl who probes her own identity when she is used as a stand-in during a police reconstruction of a murder, and it is nothing less than one of the best films of the year.
Ryan Kampe and Sylvain Tron’s Visit Films has acquired international sales rights to Toronto entry Shirley Adams and Dear Lemon Lima.
The five nominated films for the Nordic Council Film Prize 2009 have been announced today. The prestigious film award worth DKK 350.000 [€47.000] is shared between the director, the scriptwriter and the producer. The winner of The Nordic Council Film Prize 2009 will be announced October 21.
This year’s nominees are:
Denmark – Antichrist, director Lars Von Trier
Finland – Sauna, director AJ Annila
Iceland – The Amazing Truth about Queen Raquela, director Olaf de Fleur Johannesson
Norway – North (Original Title – Nord), director Rune Denstad Langlo
Sweden – Light Year (Original Title – Ljusår), director Mikael Kristersson
The Immaculate Conception of Little Dizzle,’ directed by David Russo and produced by Peggy Case, was named best feature at the 2009 Downtown Film Festival-L.A., which concluded during the weekend.
Visit Films has acquired international sales rights to Ole Schell and Sara Ziff’s documentary Picture Me and will commence sales at Toronto.
The film premiered at the 2009 Genart Film Festival Film Festival and was named best documentary at the Milan International Film Festival.
The Montreal-based Fantasia Film Festival ends today after welcoming 90,000 fans with 40% of its 195 screenings sold out since the event started July 9th.
The 13th edition of the genre film festival gave its jury prize for best feature to Yang Ik-june’s Breathless and the jury prize for best first feature went to Dominic Murphy’s White Lightnin’. David Russo won best director for The Immaculate Conception Of Little Dizzle.
Ryan Kampe and Sylvain Tron’s New York-based sales company Visit Films will premiere three new titles in Cannes next week including two Directors’ Fortnight screenings and one out-of-competition entry.
The roster features Denis Cote’s Canadian entry Carcasses about an eclectic junk car collector in the woods of Quebec and fellow Directors’ Fortnight entry Ho Tzu Nyen’s Singapore-Canada film Here, which focuses on a controversial video therapy in a mental institution.
He’s a long shot to win. It’s pretty clear the late Heath Ledger’s going to win. But Michael Shannon—former longtime Chicagoan and current Brooklynite, as is his partner, actress Kate Arrington, and their daughter, Sylvie—woke up Thursday to the news he’d been nominated for a supporting actor Academy Award, for his performance as the excoriating, electroshocked mathematician in ‘Revolutionary Road.’
‘I couldn’t be happier,’ Shannon said Thursday, speaking by phone from a hotel in Park City, Utah. The actor’s attending the Sundance Film Festival this year. He is there with two pictures. One was screened in competition: ‘The Greatest,’ starring Pierce Brosnan and Susan Sarandon, with Shannon in a supporting role. The other, ‘The Missing Person,’ filled an out-of-competition slot and showcases Shannon in a leading part, that of an alcoholic private eye. He was surprised, he said.
Ryan Kampe and Sylvain Tron’s Visit Films has boarded worldwide rights to Noah Buschel’s The Missing Person, set to premiere at Sundance and receive its market premiere in Berlin.
Michael Shannon, red hot following his stand-out turn in Revolutionary Road, stars alongside Amy Ryan, and Tony Award winner Frank Wood as an alcoholic private eye hired to follow a man presumed missing after the 9/11 attacks.
Visit Films has announced the worldwide acquisition of Toronto International Film Festival’s Contemporary World Cinema selection Adela from prolific Filipino director Adolfo Alix Jr. The film tells the story of Adela, a former radio personality, who is celebrating her 80th birthday in the slums of Manila. Alone and without support, she longs for the family and stability of years gone by. Mundane events take on a heightened meaning as Adela gauges her life against those of the sea of humanity.
Visit Films has acquired worldwide rights to Tariq Tapa’s feature directorial debut Zero Bridge ahead of its world premiere in Venice.
Zero Bridge was shot entirely in the Indian-occupied city of Srinagar, Kashmir, with a cast of local, non-professional actors and recounts the story of a teenage pickpocket who forms a bond with one of his victims. Josee Lajoie and Hilal Ah Langoo produced and Hunter Gray and Paul Mezey served as executive producers.
A glance at the multi-tasking names in the credits is enough to show just how homemade New York film-maker Josh Safdie’s debut film is. And at just 68 minutes, it challenges the definition of full-length feature. But it would be a shame to hold either limitation against it, as The Pleasure Of Being Robbed is a charming indie title, suffused with the spirit of the French New Wave of the early sixties and possessed of a quirky likeability that has as much to do with co-writer Eleonore Hendricks’ delicate performance as an urban vagabond who likes to steal things just for the hell of it, as with Safdie’s sure command of tone.
We are so happy to announce the acquisition of Josh Safdie’s Director’s Fortnight bound film The Pleasure of Being Robbed. More details to come soon..
Visit Films has acquired international rights to Azazel Jacob’s new film Momma’s Man. The Company’s partners Ryan Kampe & Sylvain Tron announced the deal following negotiations with the film’s producers. Visit Films will premiere Momma’s Man at the Marché du Film during the upcoming Cannes Film Festival for international buyers. Momma’s Man has recently screened at the Sundance Film Festival, Rotterdam Film Festival, and New Directors/New Films program and is scheduled to screen at many more festivals throughout the world in the upcoming months. THINKFilm acquired domestic rights earlier in the year.
Visit Films is excited to announce that they have acquired international sales rights to two amazing American films.
The Big Bad Swim has begun its theatrical rollout with director Ishai Setton following up the screenings with Q&A sessions.