Rita Hollingsworth, the first-rate publicist and communications strategist who worked with the likes of Barbra Streisand, Robert Altman, Chen Kaige, the Carousel of Hope and St. Vincent Meals on Wheels over the years, has died. She was 61.
Hollingsworth died Nov. 16 of an intracerebral brain hemorrhage at Keck Hospital of USC, her husband of 37 years, Jeff Hollingsworth, told The Hollywood Reporter. The couple launched Rmh Media in 1996.
Hollingsworth cut her teeth with The Lee Solters Co., where clients included Streisand, Liza Minnelli, Michael Jackson, Neil Diamond, Barbara Davis’ Carousel of Hope and the Race to Erase Ms.
At Rmh Media, she helped bring major festival and market attention to such films as Alan Rudolph’s Afterglow (1997), Altman’s Cookie’s Fortune (1999), Michael Radford’s Dancing at the Blue Iguana (2000) and Chen’s Caught in the Web (2012) and Legend of the Demon Cat (2017).
Rmh also represented New York Times best-selling author Reyna Grande.
Hollingsworth died Nov. 16 of an intracerebral brain hemorrhage at Keck Hospital of USC, her husband of 37 years, Jeff Hollingsworth, told The Hollywood Reporter. The couple launched Rmh Media in 1996.
Hollingsworth cut her teeth with The Lee Solters Co., where clients included Streisand, Liza Minnelli, Michael Jackson, Neil Diamond, Barbara Davis’ Carousel of Hope and the Race to Erase Ms.
At Rmh Media, she helped bring major festival and market attention to such films as Alan Rudolph’s Afterglow (1997), Altman’s Cookie’s Fortune (1999), Michael Radford’s Dancing at the Blue Iguana (2000) and Chen’s Caught in the Web (2012) and Legend of the Demon Cat (2017).
Rmh also represented New York Times best-selling author Reyna Grande.
- 11/27/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Chinese director Bi Gan, whose 2018 film “Long Day’s Journey into Night” played at Cannes, will next direct “Resurrection.” The ambitious sci-fi detective movie is to be headlined by Chinese superstar Jackson Yee (“Better Days”) and actor Shu Qi (“The Assassin”) who sits on this year’s Venice jury.
Boasting Bi’s edgy aesthetic and narrative style, the film tells the story of a woman whose consciousness falls into the “eternal time zone” during a surgical procedure. Trapped in many dreams, she finds an android corpse and tries to wake it up by telling endless stories. The android then wanders within her stories and its senses gradually awaken.
Charles Gillibert’s CG Cinema will again co-produce the project. Bi is finishing the script and plans to shoot later this year.
“Resurrection” will be lensed by Dong Jingsong, whose credits include “Long Day’s Journey into Night” and “The Wild Goose Lake.”
The...
Boasting Bi’s edgy aesthetic and narrative style, the film tells the story of a woman whose consciousness falls into the “eternal time zone” during a surgical procedure. Trapped in many dreams, she finds an android corpse and tries to wake it up by telling endless stories. The android then wanders within her stories and its senses gradually awaken.
Charles Gillibert’s CG Cinema will again co-produce the project. Bi is finishing the script and plans to shoot later this year.
“Resurrection” will be lensed by Dong Jingsong, whose credits include “Long Day’s Journey into Night” and “The Wild Goose Lake.”
The...
- 9/6/2023
- by Elsa Keslassy
- Variety Film + TV
Yao Chen and Cao Yu forged very different paths on their way to success in the Chinese film industry, but after 20 years of work each, they sat down for a chat about where their careers were headed, and they came to the same conclusion.
“We’d reached a similar stage in life,” explains Yao. “We were reflecting on certain work, certain issues of our own. We decided when it comes to genres, we wanted to have a more diversified, more colorful palette. All our projects now center on the predicament that human beings face — we are interested in exploring the difficult choices that people face.”
Partners already in life, Yao and Cao became partners in film by establishing the Bad Rabbit Pictures production house, with Yao drawing on the experience gained from an acting career that has brought acclaim for her television roles that have arguably cemented her as China’s most popular star,...
“We’d reached a similar stage in life,” explains Yao. “We were reflecting on certain work, certain issues of our own. We decided when it comes to genres, we wanted to have a more diversified, more colorful palette. All our projects now center on the predicament that human beings face — we are interested in exploring the difficult choices that people face.”
Partners already in life, Yao and Cao became partners in film by establishing the Bad Rabbit Pictures production house, with Yao drawing on the experience gained from an acting career that has brought acclaim for her television roles that have arguably cemented her as China’s most popular star,...
- 5/18/2023
- by Mathew Scott
- The Hollywood Reporter - Movie News
This weekend pit the best of Hollywood’s action tentpole rolodex against China’s — and found that fresh local content has greater sway over local audiences in what is now the world’s largest film market.
“Wonder Woman 1984” grossed just $18.8 million in China, almost half the approximately $34 million haul of Chinese actioner “The Rescue.” Both films far underperformed against expectations, however, as the Chinese box office saw its lowest pre-Christmas weekend since 2014, despite the country’s low levels of coronavirus threat.
Dante Lam’s big budget spectacle “The Rescue” was one of the most hotly anticipated films of the late January Chinese New Year — and of 2020 — but saw its release indefinitely bumped after cinemas shut nationwide just before the holiday due to Covid-19 lockdown. It was initially planning a Chinese New Year 2021 release, but as that window has filled up with majorly competitive titles — including other strong holdovers from last year,...
“Wonder Woman 1984” grossed just $18.8 million in China, almost half the approximately $34 million haul of Chinese actioner “The Rescue.” Both films far underperformed against expectations, however, as the Chinese box office saw its lowest pre-Christmas weekend since 2014, despite the country’s low levels of coronavirus threat.
Dante Lam’s big budget spectacle “The Rescue” was one of the most hotly anticipated films of the late January Chinese New Year — and of 2020 — but saw its release indefinitely bumped after cinemas shut nationwide just before the holiday due to Covid-19 lockdown. It was initially planning a Chinese New Year 2021 release, but as that window has filled up with majorly competitive titles — including other strong holdovers from last year,...
- 12/21/2020
- by Rebecca Davis
- Variety Film + TV
Korean series “Kingdom,” and “The World of the Married” and China’s “The Bad Kids” were the most rewarded shows on Sunday at Busan’s Asian Contents Awards.
The event in its second year was live-streamed from the Busan International Film Festival where hosts and performers were the only ones physically present. Presenters and prize-winners joined remotely via video conference.
Singapore’s “Last Madame” was named as best Asian drama, jointly with Taiwan’s “When The Camelia Blooms.”
A Netflix original series, made with AStory, “Kingdom” earned three awards. Actor Ju Ji-hoon won the Korean actor award, while Kim Eunhee won the best writer award, one of the prize categories that was not divided by nationality. The show also won the technical achievement award for its special effects provided by Madman Post.
Romantic espionage drama, “The World of the Married,” produced and broadcast by Korea’s Jtbc, and also shown outside Korea by Netflix,...
The event in its second year was live-streamed from the Busan International Film Festival where hosts and performers were the only ones physically present. Presenters and prize-winners joined remotely via video conference.
Singapore’s “Last Madame” was named as best Asian drama, jointly with Taiwan’s “When The Camelia Blooms.”
A Netflix original series, made with AStory, “Kingdom” earned three awards. Actor Ju Ji-hoon won the Korean actor award, while Kim Eunhee won the best writer award, one of the prize categories that was not divided by nationality. The show also won the technical achievement award for its special effects provided by Madman Post.
Romantic espionage drama, “The World of the Married,” produced and broadcast by Korea’s Jtbc, and also shown outside Korea by Netflix,...
- 10/26/2020
- by Patrick Frater
- Variety Film + TV
Iqiyi’s drama series “The Bad Kids” has landed a slot on Japanese pay-tv platform Wowow, a first for a contemporary, mainland Chinese show. It is expected to play out from early 2021.
Where many Chinese dramas run for between 40 and 80 episodes, “The Bad Kids” comprises 12 50-minute episodes, structred as a suspense series that tells the story of three youngsters in a small coastal town. They accidentally witness a murder and then become involved in blackmail plot. Its starry cast includes Qin Hao and Wang Jingchun.
The series is presented by iQIYI and co-produced by Eternity Pictures, with Han Sanping, former head of China Film Group, as the lead producer. It was directed by Xin Shuang.
“The Bad Kids” played on iQIYI from June under its Mist Theater label and has earned a strong critical reception. On Chinese entertainment review site Douban, it attracted some 800,000 reviews, with an average score of 9.2 out of ten.
Where many Chinese dramas run for between 40 and 80 episodes, “The Bad Kids” comprises 12 50-minute episodes, structred as a suspense series that tells the story of three youngsters in a small coastal town. They accidentally witness a murder and then become involved in blackmail plot. Its starry cast includes Qin Hao and Wang Jingchun.
The series is presented by iQIYI and co-produced by Eternity Pictures, with Han Sanping, former head of China Film Group, as the lead producer. It was directed by Xin Shuang.
“The Bad Kids” played on iQIYI from June under its Mist Theater label and has earned a strong critical reception. On Chinese entertainment review site Douban, it attracted some 800,000 reviews, with an average score of 9.2 out of ten.
- 10/12/2020
- by Patrick Frater
- Variety Film + TV
The Beijing International Film Festival will run an online fest on streamer iQIYI over China’s May 1 Labor Day holiday, typically one of the busier times of year for cinemas, which are still struggling with coronavirus-imposed shutdowns.
Fifth Generation helmer Chen Kaige, actor Tong Dawei and actress Tan Zhuo will serve as specially invited curators.
The tenth edition of the annual Beijing International Film Festival was supposed to have taken place from April 19-26, but the event was postponed indefinitely due to the pandemic. It is now offering up the “Spring Online Film Festival” from May 1-5 as a stopgap measure for cinema fans thirsty for new content but unable to return to theaters just yet.
In an announcement, the festival said it remains “postponed,” without directly using the word “canceled.”
The move comes as film festivals worldwide are getting canceled due to the ongoing coronavirus epidemic. On Monday, YouTube...
Fifth Generation helmer Chen Kaige, actor Tong Dawei and actress Tan Zhuo will serve as specially invited curators.
The tenth edition of the annual Beijing International Film Festival was supposed to have taken place from April 19-26, but the event was postponed indefinitely due to the pandemic. It is now offering up the “Spring Online Film Festival” from May 1-5 as a stopgap measure for cinema fans thirsty for new content but unable to return to theaters just yet.
In an announcement, the festival said it remains “postponed,” without directly using the word “canceled.”
The move comes as film festivals worldwide are getting canceled due to the ongoing coronavirus epidemic. On Monday, YouTube...
- 4/28/2020
- by Rebecca Davis
- Variety Film + TV
Korean-Chinese director Zhang Lu has finished shooting “Yanagawa,” his first Chinese film in over a decade, which he filmed in Japan. The project is backed by China’s Huanxi Media and Midnight Blur Films, with both firms holding global rights.
The new title is now heading into post-production, though the coronavirus epidemic in China has complicated work flows. It is the first film to come out of the production arm of Midnight Blur Films.
The movie tells the story of two very different brothers who take a trip to Yanagawa, Japan, to find the woman they both loved in their youth. It stars Chinese actress Ni Ni, who appeared alongside Christian Bale in Zhang Yimou’s 2011 historical war drama “The Flowers of War,” as well as actors Zhang Luyi (“The Devotion of Suspect X”) and Xin Baiqing (Chen Kaige’s “Legend of the Demon Cat”) as the two brothers. The...
The new title is now heading into post-production, though the coronavirus epidemic in China has complicated work flows. It is the first film to come out of the production arm of Midnight Blur Films.
The movie tells the story of two very different brothers who take a trip to Yanagawa, Japan, to find the woman they both loved in their youth. It stars Chinese actress Ni Ni, who appeared alongside Christian Bale in Zhang Yimou’s 2011 historical war drama “The Flowers of War,” as well as actors Zhang Luyi (“The Devotion of Suspect X”) and Xin Baiqing (Chen Kaige’s “Legend of the Demon Cat”) as the two brothers. The...
- 2/20/2020
- by Rebecca Davis
- Variety Film + TV
China’s streaming and online games companies have received a boost from the cancelation of seven major film releases that were expected to have dominated the Chinese New Year holidays, and the enforced closure of the country’s cinemas.
Wuhan, the epicenter of the coronavirus outbreak, and a dozen other Chinese cities are under government-mandated lockdown, causing tens of millions of people to cancel their travel plans and stay at home instead. That has handed the initiative to streaming companies.
Social media postings suggest that millions of people are stuck at home – some in cities under lockdown, others simply benefiting from the extra three days holiday mandated by the Chinese government – playing games and watching movies online.
The New York-traded shares of games and online entertainment firms have defied the recent stock market downturns and made modest gains. Streamer iQIYI closed the Thursday trading session at $22.43 per Adr, compared with $20.80 on Friday.
Wuhan, the epicenter of the coronavirus outbreak, and a dozen other Chinese cities are under government-mandated lockdown, causing tens of millions of people to cancel their travel plans and stay at home instead. That has handed the initiative to streaming companies.
Social media postings suggest that millions of people are stuck at home – some in cities under lockdown, others simply benefiting from the extra three days holiday mandated by the Chinese government – playing games and watching movies online.
The New York-traded shares of games and online entertainment firms have defied the recent stock market downturns and made modest gains. Streamer iQIYI closed the Thursday trading session at $22.43 per Adr, compared with $20.80 on Friday.
- 1/31/2020
- by Patrick Frater
- Variety Film + TV
By Andrew Loh
Director Chen Kaige is one of China’s most prominent and influential directors. Born Chen Aige in Beijing, he was the son of noted director Chen Huaiai, who directed a number of popular films during the 1950s and 1960s. He is also one of the central figures of the China’s Fifth Generation of filmmakers. These are the bunch who have gone through some of the most tumultuous time in China’s modern history: the chaotic Cultural Revolution, Great Famine, and some even joined the notorious Red Guard, where Chen once publicly denounced his own father.
He debuted with “Yellow Earth”. A visually impressive propaganda film that not many wanted to watch, but captured the attention of producer Hsu Feng (a veteran Taiwanese actress herself). Hence, they collaborated their next effort, “Farewell to My Concubine” (霸王别姬 ,1992). Perhaps this is the Chinese film most well-known to the Western audience.
Director Chen Kaige is one of China’s most prominent and influential directors. Born Chen Aige in Beijing, he was the son of noted director Chen Huaiai, who directed a number of popular films during the 1950s and 1960s. He is also one of the central figures of the China’s Fifth Generation of filmmakers. These are the bunch who have gone through some of the most tumultuous time in China’s modern history: the chaotic Cultural Revolution, Great Famine, and some even joined the notorious Red Guard, where Chen once publicly denounced his own father.
He debuted with “Yellow Earth”. A visually impressive propaganda film that not many wanted to watch, but captured the attention of producer Hsu Feng (a veteran Taiwanese actress herself). Hence, they collaborated their next effort, “Farewell to My Concubine” (霸王别姬 ,1992). Perhaps this is the Chinese film most well-known to the Western audience.
- 1/29/2020
- by Guest Writer
- AsianMoviePulse
Big budget Chinese sci-fi The Wandering Earth took home the best picture prize at this year’s Golden Rooster Awards. Scroll down for the full list of winners.
The ceremony, which was held today in Xiamen, in China’s southeastern Fujian province, was preceded by an announcement earlier this week that the state-backed awards would begin to be held annually after this year, rather than the biennial slot it has had since 2005.
The move has been viewed as part of an effort to establish the Roosters as the primary awards ceremony of the Chinese-speaking movie world, ahead of Taiwan’s Golden Horse Awards, which have routinely been referred to as the ‘Chinese Oscars’ and were also held today, though there were no nominees from mainland China due to a government boycott.
The Wandering Earth has been a box office smash in its domestic market, grossing $691m. It has also taken $5.9m from its U.
The ceremony, which was held today in Xiamen, in China’s southeastern Fujian province, was preceded by an announcement earlier this week that the state-backed awards would begin to be held annually after this year, rather than the biennial slot it has had since 2005.
The move has been viewed as part of an effort to establish the Roosters as the primary awards ceremony of the Chinese-speaking movie world, ahead of Taiwan’s Golden Horse Awards, which have routinely been referred to as the ‘Chinese Oscars’ and were also held today, though there were no nominees from mainland China due to a government boycott.
The Wandering Earth has been a box office smash in its domestic market, grossing $691m. It has also taken $5.9m from its U.
- 11/23/2019
- by Tom Grater
- Deadline Film + TV
This weekend sees a showdown between two of the Chinese-speaking film world’s major awards events, with both the Golden Rooster Awards, held on the China mainland, and Taiwan’s Golden Horse Awards taking place on Saturday (November 23).
Ahead of the ceremonies, it was announced this week that the state-approved Golden Roosters will be held annually from this year, moving from the biannual schedule it has operated since 2005.
The move will be viewed as part of an effort to establish the Roosters as the primary awards ceremony of the Chinese-speaking movie world, ahead of the Golden Horses, which have routinely been referred to as the ‘Chinese Oscars.’
Earlier this year, China’s authorities put the blockers on Chinese actors, directors and producers submitting to this year’s Golden Horses, significantly restricting the ceremony’s nominations pool.
The decision was made after the political fallout from last year’s Golden Horses,...
Ahead of the ceremonies, it was announced this week that the state-approved Golden Roosters will be held annually from this year, moving from the biannual schedule it has operated since 2005.
The move will be viewed as part of an effort to establish the Roosters as the primary awards ceremony of the Chinese-speaking movie world, ahead of the Golden Horses, which have routinely been referred to as the ‘Chinese Oscars.’
Earlier this year, China’s authorities put the blockers on Chinese actors, directors and producers submitting to this year’s Golden Horses, significantly restricting the ceremony’s nominations pool.
The decision was made after the political fallout from last year’s Golden Horses,...
- 11/21/2019
- by Tom Grater
- Deadline Film + TV
‘The Takatsu River’ stars Masahiro Koumoto and ‘Meeting Myself’ stars Takahiro and Keiko Matsuzaka
Japan’s Free Stone Productions has picked up international rights to two dramas directed by Yoshinari Nishikori: The Takatsu River and Meeting Myself.
Starring Masahiro Koumoto and Naho Toda, The Takatsu River is set in a town that is struggling with population decline and the loss of its traditional arts, as young people move away to the big cities. Japanese release is scheduled for the first quarter of 2020.
Meeting Myself is the story of a fisherman suffering from amnesia following an accident, whose mother sees an...
Japan’s Free Stone Productions has picked up international rights to two dramas directed by Yoshinari Nishikori: The Takatsu River and Meeting Myself.
Starring Masahiro Koumoto and Naho Toda, The Takatsu River is set in a town that is struggling with population decline and the loss of its traditional arts, as young people move away to the big cities. Japanese release is scheduled for the first quarter of 2020.
Meeting Myself is the story of a fisherman suffering from amnesia following an accident, whose mother sees an...
- 10/6/2019
- by 89¦Liz Shackleton¦0¦
- ScreenDaily
Hong Kong’s Emperor Motion Pictures has picked up international sales rights to “Only Cloud Knows,” the new romantic film by Feng Xiaogang.
Now in post-production, the film is a New Zealand- and China-set romance starring Huang Xuan (“Legend of the Demon Cat”) and Yang Caiyu (from Feng’s hit “Youth”). Production is handled by Feng’s Dongyang Mayla company. A release date has not yet been settled.
“Cloud” is a trip down memory lane for a middle-aged Chinese man who returns to New Zealand after the death of his wife. There he retraces the footsteps of their courtship and meets old friends, before a trip to Beijing uncovers another side of his wife’s past.
Feng is arguably China’s most commercially successful and consistent director, with more than 15 years of hits including “Youth,” “I Am Not Madame Bovary,” “Assembly” and “Cell Phone.” He is also an in-demand actor.
Now in post-production, the film is a New Zealand- and China-set romance starring Huang Xuan (“Legend of the Demon Cat”) and Yang Caiyu (from Feng’s hit “Youth”). Production is handled by Feng’s Dongyang Mayla company. A release date has not yet been settled.
“Cloud” is a trip down memory lane for a middle-aged Chinese man who returns to New Zealand after the death of his wife. There he retraces the footsteps of their courtship and meets old friends, before a trip to Beijing uncovers another side of his wife’s past.
Feng is arguably China’s most commercially successful and consistent director, with more than 15 years of hits including “Youth,” “I Am Not Madame Bovary,” “Assembly” and “Cell Phone.” He is also an in-demand actor.
- 9/13/2019
- by Patrick Frater
- Variety Film + TV
Following up the stellar “Mojin: The Lost Legend,” explorer Hu Bayi and the Mojin six are brought back into a brand new action-packed adventure based on the bestselling novel series. Packed with new stars in the cast and bringing Fei Xing into the director’s chair, the film is released on Digital, DVD and Blu-Ray combo-pack on July 9th by WellGo USA.
Hearing of the mythical Ghost Eye curse, explorer Hu Bayi and his Mojin team, Professor Sun Shirley Yang, Fatty, Gold Tooth and Linglong (Chen Yusi from “Our Shining Days”) are told that the only possible cure for the condition rests in a mythical valley. As they set off to find the pieces required to end it, they find themselves in a mystical valley surrounded by various monsters and other threats that impede their progress and forces the team to work together in an effort to continue on their journey.
Hearing of the mythical Ghost Eye curse, explorer Hu Bayi and his Mojin team, Professor Sun Shirley Yang, Fatty, Gold Tooth and Linglong (Chen Yusi from “Our Shining Days”) are told that the only possible cure for the condition rests in a mythical valley. As they set off to find the pieces required to end it, they find themselves in a mystical valley surrounded by various monsters and other threats that impede their progress and forces the team to work together in an effort to continue on their journey.
- 7/6/2019
- by Don Anelli
- AsianMoviePulse
Tencent has acquired the online video streaming rights and Phoenix Hong Kong the TV rights to Taiwanese documentary “Love Talk,” which takes a deep dive into the topic of marriage. The film is currently working towards a mainland theatrical release.
Directed by Shen Ko-Shang (“A Rolling Stone”), it is produced by Cnex Studio and 7th Day Film. Following eight couples over the course of seven years and investigating the wedding photo industry, it attempts to answer the question of what makes a long-lasting marriage — and that of whether the institution is really necessary. It depicts intimate conversations between the wedded couples about sex, love, household problems and married life.
It is one of three films in the Taiwan Cinema Showcase, which kicked off Monday at the Shanghai International Film Festival. The other two are “A Decision” and “Stand By Me.”
The latter stars director Ang Lee’s actor son Mason Lee...
Directed by Shen Ko-Shang (“A Rolling Stone”), it is produced by Cnex Studio and 7th Day Film. Following eight couples over the course of seven years and investigating the wedding photo industry, it attempts to answer the question of what makes a long-lasting marriage — and that of whether the institution is really necessary. It depicts intimate conversations between the wedded couples about sex, love, household problems and married life.
It is one of three films in the Taiwan Cinema Showcase, which kicked off Monday at the Shanghai International Film Festival. The other two are “A Decision” and “Stand By Me.”
The latter stars director Ang Lee’s actor son Mason Lee...
- 6/17/2019
- by Rebecca Davis
- Variety Film + TV
China’s Huayi Bros. has locked in multiple overseas rights sales for its upcoming big-budget war film “The Eight Hundred” on the eve of the Cannes Film Festival and market.
The film is set for a release in North America, Australia and New Zealand through Cmc Pictures. Distributors in these territories typically coordinate their release dates closely with the film’s outing in mainland China, which is scheduled for July 5.
The film was also sold to First Run for South Korea; Koch for Germany; Trinity for the U.K.; Shaw for Singapore and Brunei; Gsc for Malaysia, Vietnam, Cambodia, Myanmar and Laos; and to Emphasis for worldwide airline distribution.
Guan Hu, the Chinese director who broke through to international and commercial success with 2015 gangster drama “Mr. Six,” directed “The Eight Hundred” on a budget of $80 million. Filmed over a period of eight months, it is the first Chinese feature to...
The film is set for a release in North America, Australia and New Zealand through Cmc Pictures. Distributors in these territories typically coordinate their release dates closely with the film’s outing in mainland China, which is scheduled for July 5.
The film was also sold to First Run for South Korea; Koch for Germany; Trinity for the U.K.; Shaw for Singapore and Brunei; Gsc for Malaysia, Vietnam, Cambodia, Myanmar and Laos; and to Emphasis for worldwide airline distribution.
Guan Hu, the Chinese director who broke through to international and commercial success with 2015 gangster drama “Mr. Six,” directed “The Eight Hundred” on a budget of $80 million. Filmed over a period of eight months, it is the first Chinese feature to...
- 5/13/2019
- by Patrick Frater
- Variety Film + TV
Exclusive: Nagra-kudelski’s myCinema digital content distribution system has announced its full slate of films a year after it’s launch, teed off by the James Franco feature Zeroville, which the actor both directed and headlines.
Originally, Alchemy took domestic rights at the 2015 Toronto International Film Festival to Zeroville months before the company capsized due to bankruptcy. Since its pick-up at Tiff, Zeroville unfortunately became entangled in Alchemy’s financial woes and was thrown into distribution limbo until the Us distribution rights were recently acquired by Nagra. The pic will hit cinemas in September. The comedy based on Steve Erickson’s novel about a young actor who arrives in Hollywood during a transitional time also stars Seth Rogen, Megan Fox, Joey King, Will Ferrell, Dave Franco, Danny McBride, and Jacki Weaver. myCinema delivers films over the internet which individual theaters can then licenses for any number of weeks of play.
Originally, Alchemy took domestic rights at the 2015 Toronto International Film Festival to Zeroville months before the company capsized due to bankruptcy. Since its pick-up at Tiff, Zeroville unfortunately became entangled in Alchemy’s financial woes and was thrown into distribution limbo until the Us distribution rights were recently acquired by Nagra. The pic will hit cinemas in September. The comedy based on Steve Erickson’s novel about a young actor who arrives in Hollywood during a transitional time also stars Seth Rogen, Megan Fox, Joey King, Will Ferrell, Dave Franco, Danny McBride, and Jacki Weaver. myCinema delivers films over the internet which individual theaters can then licenses for any number of weeks of play.
- 4/1/2019
- by Anthony D'Alessandro
- Deadline Film + TV
Leading Chinese film studio Huayi Bros. has begun sounding out international distributors in Berlin about director Guan Hu’s $80 million war film “800.” It will be completed by midsummer and is one of the most anticipated Chinese titles of the year.
Guan, who broke through to international and commercial success with 2015 gangster drama “Mr. Six,” is putting final touches on the film. Huayi’s pitch in Berlin focuses on the film’s fact-based narrative and the huge resources marshaled to deliver intense and realistic action. Filmed over eight months, it is the first Chinese feature to be shot with Imax digital cameras.
It’s one of just a handful of big-budget pictures generating buzz in China, where production has slowed in recent months. Dante Lam’s “Rescue,” about an intrepid Coast Guard team, is budgeted at $90 million.
The central narrative of “800” focuses on a group of Chinese soldiers and draft dodgers...
Guan, who broke through to international and commercial success with 2015 gangster drama “Mr. Six,” is putting final touches on the film. Huayi’s pitch in Berlin focuses on the film’s fact-based narrative and the huge resources marshaled to deliver intense and realistic action. Filmed over eight months, it is the first Chinese feature to be shot with Imax digital cameras.
It’s one of just a handful of big-budget pictures generating buzz in China, where production has slowed in recent months. Dante Lam’s “Rescue,” about an intrepid Coast Guard team, is budgeted at $90 million.
The central narrative of “800” focuses on a group of Chinese soldiers and draft dodgers...
- 2/10/2019
- by Patrick Frater
- Variety Film + TV
In today’s film news roundup, “Vice” wins in Capri, Ninet Tayeb is starring in “Tell Me Why I Don’t Like Mondays,” and Chen Kaige’s “Legend of the Demon Cat” gets U.S. distribution.
Capri Awards
“Vice” has won four awards at the Capri-Hollywood International Film Festival, including best picture, best supporting actress for Amy Adams, and the editing and makeup awards.
Alfonso Cuaron won best director for “Roma,” which also won best foreign language film and for best production design. “A Star Is Born” received awards for best sound editing, best sound mixing and best original song.
Two awards went to “The Wife”: best actress for Glenn Close and best supporting actor for Jonathan Pryce. “First Man” won for best visual effects and best original score. Writing awards went to “Green Book” for best original screenplay, and “BlacKkKlansman,” for best adapted screenplay. Marcello Fonte won the...
Capri Awards
“Vice” has won four awards at the Capri-Hollywood International Film Festival, including best picture, best supporting actress for Amy Adams, and the editing and makeup awards.
Alfonso Cuaron won best director for “Roma,” which also won best foreign language film and for best production design. “A Star Is Born” received awards for best sound editing, best sound mixing and best original song.
Two awards went to “The Wife”: best actress for Glenn Close and best supporting actor for Jonathan Pryce. “First Man” won for best visual effects and best original score. Writing awards went to “Green Book” for best original screenplay, and “BlacKkKlansman,” for best adapted screenplay. Marcello Fonte won the...
- 1/3/2019
- by Dave McNary
- Variety Film + TV
The official Japanese box office numbers for 2018 are not yet in –the Motion Picture Producers’ Association of Japan (Eiren) will announce them in late January – but preliminary figures don’t look great for the home team.
“Code Blue: The Movie,” a medical thriller based on a Fuji TV series, was the year’s highest-earning film at $83 million, according to the Private Life entertainment data and ranking site, but only three of the box office top ten were Japanese. The other two, “Detective Conan: Zero the Enforcer,” at $82 million, and “Doraemon the Movie: Nobita’s Treasure Island,” at $48 million, were entries in long-running anime series.
A total of 29 Japanese films made JPY1 billion ($9.0 million) or more. This compares with 38 that passed the same milestone in 2017.
Faced with the prospect of more decline at home, as Japan’s aging population continues to trend down, the Japanese film industry is increasingly looking abroad...
“Code Blue: The Movie,” a medical thriller based on a Fuji TV series, was the year’s highest-earning film at $83 million, according to the Private Life entertainment data and ranking site, but only three of the box office top ten were Japanese. The other two, “Detective Conan: Zero the Enforcer,” at $82 million, and “Doraemon the Movie: Nobita’s Treasure Island,” at $48 million, were entries in long-running anime series.
A total of 29 Japanese films made JPY1 billion ($9.0 million) or more. This compares with 38 that passed the same milestone in 2017.
Faced with the prospect of more decline at home, as Japan’s aging population continues to trend down, the Japanese film industry is increasingly looking abroad...
- 12/26/2018
- by Mark Schilling
- Variety Film + TV
With Venom still coursing through China, December is now heating up as a busy time at the Middle Kingdom box office — but, contrary to tradition, not necessarily for local films. Sony has just confirmed that sleeper hit Searching has secured a December 14 release, while anticipated animated family action adventure Spider-Man: Into The Spider-Verse will go on December 21.
Part of what’s seen as a push to keep turnstiles spinning in the face of a lackluster crop of homegrown titles, the above movies notably join Warner Bros’ Aquaman which releases December 7 — two weeks ahead of domestic and one week before the start of overseas rollout — and Universal/Illumination’s The Grinch (December 14). They will follow the upcoming releases of Disney’s Ralph Breaks The Internet (November 23) and WB’s Crazy Rich Asians (November 30).
It’s not unusual for China to pack Hollywood movies into the late fall ahead of a traditional December blackout,...
Part of what’s seen as a push to keep turnstiles spinning in the face of a lackluster crop of homegrown titles, the above movies notably join Warner Bros’ Aquaman which releases December 7 — two weeks ahead of domestic and one week before the start of overseas rollout — and Universal/Illumination’s The Grinch (December 14). They will follow the upcoming releases of Disney’s Ralph Breaks The Internet (November 23) and WB’s Crazy Rich Asians (November 30).
It’s not unusual for China to pack Hollywood movies into the late fall ahead of a traditional December blackout,...
- 11/21/2018
- by Nancy Tartaglione
- Deadline Film + TV
There's no doubting the stature of Chinese master directors Zhang Yimou and Chen Kaige. These two stalwarts of the Fifith Generation of Chinese filmmakers burst onto the cinematic landscape with 20th century-set films Red Sorghum and Farewell My Concubine respectively. But arguably they are best known in the West for their martial arts costume epics Hero and House of Flying Daggers (Zhang) and The Emperor and the Assassin and The Promise (Chen). Both men are back playing in the period piece sandbox with two films at Toronto -- Zhang's Shadow and the all new director's cut of Chen's Legend of the Demon Cat. It's great to see the masters back at it. But perhaps it's most notable that the films share both some remarkable differences -- and...
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[Read the whole post on screenanarchy.com...]...
- 9/9/2018
- Screen Anarchy
The Toronto International Film Festival has unveiled its second batch of titles premiering in its Gala and Special Presentations programs next month, including four new Gala titles and a whopping 22 new Special Presentations, plus their star-studded Masters and Contemporary World Cinema sections.
Joining previously announced titles like “A Star Is Born,” “If Beale Street Could Talk,” “High Life,” and “Widows,” are a number of other major awards season titles, including Jonah Hill’s directorial debut “Mid90s,” Joel Edgerton’s “Boy Erased,” Jeremy Saulnier’s “Hold the Dark,” Paul Greengrass’ fact-based “22 July,” and Naomi Kawase’s English-language debut “Vision.”
The festival also announced this morning that that event will open with David Mackenzie’s “Outlaw King” and close with Justin Kelly’s “Jeremiah Terminator LeRoy.”
“We’re rounding out the lineup of Galas and Special Presentations with some of the most exciting films of the year,” said Cameron Bailey, Artistic Director of Tiff,...
Joining previously announced titles like “A Star Is Born,” “If Beale Street Could Talk,” “High Life,” and “Widows,” are a number of other major awards season titles, including Jonah Hill’s directorial debut “Mid90s,” Joel Edgerton’s “Boy Erased,” Jeremy Saulnier’s “Hold the Dark,” Paul Greengrass’ fact-based “22 July,” and Naomi Kawase’s English-language debut “Vision.”
The festival also announced this morning that that event will open with David Mackenzie’s “Outlaw King” and close with Justin Kelly’s “Jeremiah Terminator LeRoy.”
“We’re rounding out the lineup of Galas and Special Presentations with some of the most exciting films of the year,” said Cameron Bailey, Artistic Director of Tiff,...
- 8/14/2018
- by Kate Erbland
- Indiewire
The Toronto International Film Festival has added a lineup of directors that range from Paul Greengrass to Jonah Hill and includes a large contingent of celebrated international auteurs.
The more than 100 additions to the Toronto lineup include Greengrass’ “22 July,” about 2011 terrorist attacks in Norway; Hill’s feature directorial debut, “Mid90s,” with Katherine Waterston and Lucas Hedges in a story of a Southern California teen who discovers skateboarding; “Green Book,” from “There’s Something About Mary” and “Dumb and Dumber” director Peter Farrelly; and Joel Edgerton’s “Boy Erased,” a coming-of-age drama written and directed by Edgerton and starring Nicole Kidman, Russell Crowe, and Lucas Hedges as a teen who is put in a gay conversion program.
The new films span five different sections of the festival: Galas, Special Presentations, Masters, Contemporary World Cinema and Wavelengths.
Also Read: 'Beautiful Boy,' 'A Star Is Born' Highlight Toronto Film...
The more than 100 additions to the Toronto lineup include Greengrass’ “22 July,” about 2011 terrorist attacks in Norway; Hill’s feature directorial debut, “Mid90s,” with Katherine Waterston and Lucas Hedges in a story of a Southern California teen who discovers skateboarding; “Green Book,” from “There’s Something About Mary” and “Dumb and Dumber” director Peter Farrelly; and Joel Edgerton’s “Boy Erased,” a coming-of-age drama written and directed by Edgerton and starring Nicole Kidman, Russell Crowe, and Lucas Hedges as a teen who is put in a gay conversion program.
The new films span five different sections of the festival: Galas, Special Presentations, Masters, Contemporary World Cinema and Wavelengths.
Also Read: 'Beautiful Boy,' 'A Star Is Born' Highlight Toronto Film...
- 8/14/2018
- by Steve Pond
- The Wrap
“Outlaw King,” a biopic about Scottish hero Robert the Bruce, and “Jeremiah Terminator LeRoy,” a look at an infamous literary fabulist, will both screen at this year’s Toronto International Film Festival.
The “Hell or High Water” team of director David MacKenzie and Chris Pine reunite for “Outlaw King,” which will be the opening night gala presentation. It’s being billed as a David-versus-Goliath story, one that chronicles the Bruce’s transformation from defeated nobleman to defiant freedom fighter.
“Jeremiah Terminator LeRoy,” stars Laura Dern as an author who adopts a fictitious persona of Jt LeRoy, a queer man. After her book tops the best-seller list and Jt LeRoy becomes an object of fixation among the literary set, she’s forced to come to terms with the consequences of her creative nom-de-plume. Kristen Stewart co-stars in the film. “Jeremiah Terminator LeRoy” will be the festival’s closing night offering.
In addition,...
The “Hell or High Water” team of director David MacKenzie and Chris Pine reunite for “Outlaw King,” which will be the opening night gala presentation. It’s being billed as a David-versus-Goliath story, one that chronicles the Bruce’s transformation from defeated nobleman to defiant freedom fighter.
“Jeremiah Terminator LeRoy,” stars Laura Dern as an author who adopts a fictitious persona of Jt LeRoy, a queer man. After her book tops the best-seller list and Jt LeRoy becomes an object of fixation among the literary set, she’s forced to come to terms with the consequences of her creative nom-de-plume. Kristen Stewart co-stars in the film. “Jeremiah Terminator LeRoy” will be the festival’s closing night offering.
In addition,...
- 8/14/2018
- by Brent Lang
- Variety Film + TV
Tencent Literature, the publishing subsidiary of Chinese e-commerce giant Tencent, has bought control of leading Chinese film and TV producer New Classics Media for up to $2.25 billion (RMB15.45 billion). The price includes an earnings component, reflecting profits to 2020.
New Classics Media has produced films “Never Say Die” and “Legend of the Demon Cat” and TV series “The First Half of My Life” and “Tiger Mom.”
The news was announced in a regulatory filing to the Hong Kong stock market, where Tencent Literature is listed.
Tencent says the acquisition of such a major TV production house will help it unlock the potential of its vast literary library. It notes that a third of the top 50 movies and a quarter of the top TV series in China are literary adaptations. The figure rises to more than 50% for web series.
Integrating New Classics Media will allow Tencent “to adapt more high-quality literary content into popular television series,...
New Classics Media has produced films “Never Say Die” and “Legend of the Demon Cat” and TV series “The First Half of My Life” and “Tiger Mom.”
The news was announced in a regulatory filing to the Hong Kong stock market, where Tencent Literature is listed.
Tencent says the acquisition of such a major TV production house will help it unlock the potential of its vast literary library. It notes that a third of the top 50 movies and a quarter of the top TV series in China are literary adaptations. The figure rises to more than 50% for web series.
Integrating New Classics Media will allow Tencent “to adapt more high-quality literary content into popular television series,...
- 8/14/2018
- by Patrick Frater
- Variety Film + TV
2018 is halfway over already, so now is a good moment to cast our eyes back over the last six months, and more specifically, the cinematic offerings that emerged from Asia. Traditionally the first half of the year tends to be weaker, and certainly most of the Chinese New Year offerings left plenty to be desired. Chen Kaige's Legend of the Demon Cat, Raman Hui's Monster Hunt 2, Soi Cheang's The Monkey King 3 and Chen Sicheng's Detective Chinatown 2 all managed to underwhelm, while the endless barrage of sub-par Japanese and Korean dramas and thrillers was as relentless as it was soul-crushing. That said, Korean offerings like Little Forest, Be With You and I Can Speak weren’t bad at all, while Colour...
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[Read the whole post on screenanarchy.com...]...
- 7/4/2018
- Screen Anarchy
Leading Chinese director, Chen Kaige has been set as president of the main competition jury for the International Film Festival and Awards Macao this year. The third edition of the festival will run 8-14 December, 2018.
“There are very few directors who can boast careers as rich and profound as Chen Kaige. With a 35 year filmography spanning ‘Yellow Earth’ to last year’s dizzyingly spectacular ‘Legend of the Demon Cat,’ he pioneered a new era in Chinese cinema in the 1980s and 1990s, yet continues to challenge himself today with the same energy, ambition and command of the medium across many different genres,” said Mike Goodridge, Iffam artistic director. Chen won the Palme d’Or at Cannes in 1993 for “Farewell My Concubine.”
The Macao festival’s main competition for first and second films rewards the best film with a first prize worth $60,000. In a new non-competitive slot, the festival will this...
“There are very few directors who can boast careers as rich and profound as Chen Kaige. With a 35 year filmography spanning ‘Yellow Earth’ to last year’s dizzyingly spectacular ‘Legend of the Demon Cat,’ he pioneered a new era in Chinese cinema in the 1980s and 1990s, yet continues to challenge himself today with the same energy, ambition and command of the medium across many different genres,” said Mike Goodridge, Iffam artistic director. Chen won the Palme d’Or at Cannes in 1993 for “Farewell My Concubine.”
The Macao festival’s main competition for first and second films rewards the best film with a first prize worth $60,000. In a new non-competitive slot, the festival will this...
- 4/25/2018
- by Patrick Frater
- Variety Film + TV
Asian neighbors and frequent rivals Japan and China are expected to sign a film co-production treaty next month.
The news was reported Wednesday by Japan’s Asahi newspaper, citing Foreign Ministry sources.
The treaty would be the first of its kind for Japan, whose film production and distribution industries have seen a lull in growth after pushing back Hollywood in the last decade. China has nearly 20 bilateral film and TV agreements. Its domestic industry is booming, but its film exports have not kept pace.
Final details of the accord have yet to be revealed, though the Asahi report points to films produced under the treaty as acquiring dual nationality. That would allow Chinese-Japanese co-produced films to escape China’s import quotas. Japan has no restrictions on foreign films, though very few Chinese titles have succeeded at the Japanese box office in recent years.
Japan’s “Your Name” earned $83 million at...
The news was reported Wednesday by Japan’s Asahi newspaper, citing Foreign Ministry sources.
The treaty would be the first of its kind for Japan, whose film production and distribution industries have seen a lull in growth after pushing back Hollywood in the last decade. China has nearly 20 bilateral film and TV agreements. Its domestic industry is booming, but its film exports have not kept pace.
Final details of the accord have yet to be revealed, though the Asahi report points to films produced under the treaty as acquiring dual nationality. That would allow Chinese-Japanese co-produced films to escape China’s import quotas. Japan has no restrictions on foreign films, though very few Chinese titles have succeeded at the Japanese box office in recent years.
Japan’s “Your Name” earned $83 million at...
- 4/4/2018
- by Patrick Frater
- Variety Film + TV
Chen Kaige’s Legend Of The Demon Cat took the most awards winning four prizes.
Chinese director Feng Xiaogang’s period drama Youth scooped best film at this year’s Asian Film Awards, which were held at the Venetian Macao on Saturday night (March 17).
Chen Kaige’s Legend Of The Demon Cat, a co-production between Hong Kong, China and Japan, took the most prizes overall winning four awards, including best supporting actress (Zhang Yuqi), best costume design (Chen Tongxun), best production design (Tu Nan, Lu Wei) and best visual effects (Ishii Norio).
Japanese filmmaker Ishii Yuya won best director for...
Chinese director Feng Xiaogang’s period drama Youth scooped best film at this year’s Asian Film Awards, which were held at the Venetian Macao on Saturday night (March 17).
Chen Kaige’s Legend Of The Demon Cat, a co-production between Hong Kong, China and Japan, took the most prizes overall winning four awards, including best supporting actress (Zhang Yuqi), best costume design (Chen Tongxun), best production design (Tu Nan, Lu Wei) and best visual effects (Ishii Norio).
Japanese filmmaker Ishii Yuya won best director for...
- 3/18/2018
- by Liz Shackleton
- ScreenDaily
The list includes films from Liu Jian, E J-yong and Arvin Chen.
Source: The Hong Kong Asia Film Financing Forum
Haf meeting
The Hong Kong Asia Film Financing Forum (Haf) has announced this year’s line-up of 25 projects, which includes new titles from Liu Jian, E J-yong and Arvin Chen.
Chinese filmmaker Liu Jian, whose Have A Nice Day premiered in competition at the Berlinale last year, is attending Haf with his third animated feature, Art College, revolving around two art students in the 1990s.
Critically-acclaimed Korean director E J-yong (Bacchus Lady) is bringing The Big Picture, about a lawyer who kills a man and steals his identity, while Taiwan’s Arvin Chen (Au Revoir Taipei) will present Naïve Melody about an introverted young man who falls into a relationship with a brothel’s mama-san.
The line-up also includes new projects from China’s Emily Tang, Japan’s Tomina Tetsuya and three Indonesian filmmakers – Loeloe Hendra, Edwin and [link...
Source: The Hong Kong Asia Film Financing Forum
Haf meeting
The Hong Kong Asia Film Financing Forum (Haf) has announced this year’s line-up of 25 projects, which includes new titles from Liu Jian, E J-yong and Arvin Chen.
Chinese filmmaker Liu Jian, whose Have A Nice Day premiered in competition at the Berlinale last year, is attending Haf with his third animated feature, Art College, revolving around two art students in the 1990s.
Critically-acclaimed Korean director E J-yong (Bacchus Lady) is bringing The Big Picture, about a lawyer who kills a man and steals his identity, while Taiwan’s Arvin Chen (Au Revoir Taipei) will present Naïve Melody about an introverted young man who falls into a relationship with a brothel’s mama-san.
The line-up also includes new projects from China’s Emily Tang, Japan’s Tomina Tetsuya and three Indonesian filmmakers – Loeloe Hendra, Edwin and [link...
- 1/17/2018
- by Liz Shackleton
- ScreenDaily
The Ex-File: The Return Of The Exes stays top of the chart.
Now nearing $300m, The Ex-File: The Return Of The Exes continued to top the Chinese box office in the second week of 2018 (Jan 8-14), while Jumanji: Welcome To The Jungle won the weekend.
Source: Sony / Disney
Jumanji: Welcome To The Jungle / Star Wars: The Last Jedi
Local romance comedy Ex-File 3 (The Return Of The Exes) has further consolidated itself as the year’s first megahit, adding $76.3m for a 17-day total of $293.3m. It has surpassed two 2017 Chinese New Year blockbusters, Kung Fu Yoga and Journey To The West: The Demons Strike Back, to become the fifth highest grossing local film of all time and the eighth highest grossing film overall.
Jumanji: Welcome To The Jungle debuted with $42.9m from its three-day opening weekend, ending Ex-File 3’s reign as the No.1 film for 13 straight days. Sony’s adventure sequel was the undisputed top performer for the weekend...
Now nearing $300m, The Ex-File: The Return Of The Exes continued to top the Chinese box office in the second week of 2018 (Jan 8-14), while Jumanji: Welcome To The Jungle won the weekend.
Source: Sony / Disney
Jumanji: Welcome To The Jungle / Star Wars: The Last Jedi
Local romance comedy Ex-File 3 (The Return Of The Exes) has further consolidated itself as the year’s first megahit, adding $76.3m for a 17-day total of $293.3m. It has surpassed two 2017 Chinese New Year blockbusters, Kung Fu Yoga and Journey To The West: The Demons Strike Back, to become the fifth highest grossing local film of all time and the eighth highest grossing film overall.
Jumanji: Welcome To The Jungle debuted with $42.9m from its three-day opening weekend, ending Ex-File 3’s reign as the No.1 film for 13 straight days. Sony’s adventure sequel was the undisputed top performer for the weekend...
- 1/15/2018
- by Silvia Wong
- ScreenDaily
by Nathaniel R
Legend of the Demon Cat
It's difficult to keep track of the cream of the crop of Asian cinema because there are so many different bodies handing out prizes and so many of the major international awards bodies ignore that region altogether. One of the youngest of the Asian awards bodies is the bluntly titled "Asian Film Awards" which have only been operating since 2007. Their nomination leader this year is a film called Legend of the Demon Cat from Chen Kaige (who is most famous stateside for his 1993 arthouse smash and Oscar nominee Farewell My Concubine from 1993) but his latest isn't actually up for the top category, instead heavily dominating the tech fields. The film has not yet been released in the States. Since these awards are based out of Hong Kong their nominees skew heavily towards Chinese productions...
Legend of the Demon Cat
It's difficult to keep track of the cream of the crop of Asian cinema because there are so many different bodies handing out prizes and so many of the major international awards bodies ignore that region altogether. One of the youngest of the Asian awards bodies is the bluntly titled "Asian Film Awards" which have only been operating since 2007. Their nomination leader this year is a film called Legend of the Demon Cat from Chen Kaige (who is most famous stateside for his 1993 arthouse smash and Oscar nominee Farewell My Concubine from 1993) but his latest isn't actually up for the top category, instead heavily dominating the tech fields. The film has not yet been released in the States. Since these awards are based out of Hong Kong their nominees skew heavily towards Chinese productions...
- 1/11/2018
- by NATHANIEL R
- FilmExperience
The Asian Film Awards (Afa) appear to have a relatively level playing field this year.
Fantasy mystery Legend of the Demon Cat leads the way with six nominations, followed by three films with five noms each out of a total 89 in 17 categories. All four frontrunners are from China or are Chinese co-productions. Youth, Angels Wear White and Love Education garner nominations in five categories.
The nominations for Chen Kaige's Legend of the Demon Cat are mostly in technical categories, including best visual effects, production design, costume design and cinematography. Chen is nominated for best director, and Kitty Zhang's performance in...
Fantasy mystery Legend of the Demon Cat leads the way with six nominations, followed by three films with five noms each out of a total 89 in 17 categories. All four frontrunners are from China or are Chinese co-productions. Youth, Angels Wear White and Love Education garner nominations in five categories.
The nominations for Chen Kaige's Legend of the Demon Cat are mostly in technical categories, including best visual effects, production design, costume design and cinematography. Chen is nominated for best director, and Kitty Zhang's performance in...
- 1/11/2018
- by Karen Chu
- The Hollywood Reporter - Movie News
Angels Wear White, Youth and The Third Murder also score multiple nods.
Source: 21st Century Shengkai Film
‘Legend Of The Demon Cat’
Chen Kaige’s lavish period drama Legend Of The Demon Cat racked up the most nominations for this year’s Asian Film Awards, with six nods in all, including best director.
The co-production between Hong Kong, China and Japan was also nominated for best supporting actress (Kitty Zhang Yuqi), cinematography, costume design, production design and visual effects. However, the film wasn’t nominated in the best film category.
Three films scored five nods apiece and were all nominated for best film – Vivian Qu’s Angels Wear White and Feng Xiaogang’s Youth, both from mainland China, and Japanese filmmaker Hirokazu Kore-eda’s The Third Murder.
Rounding out the best film category are Newton from Indian filmmaker Amit V. Masurkar and The Day After from South Korea’s Hong Sangsoo, which both racked...
Source: 21st Century Shengkai Film
‘Legend Of The Demon Cat’
Chen Kaige’s lavish period drama Legend Of The Demon Cat racked up the most nominations for this year’s Asian Film Awards, with six nods in all, including best director.
The co-production between Hong Kong, China and Japan was also nominated for best supporting actress (Kitty Zhang Yuqi), cinematography, costume design, production design and visual effects. However, the film wasn’t nominated in the best film category.
Three films scored five nods apiece and were all nominated for best film – Vivian Qu’s Angels Wear White and Feng Xiaogang’s Youth, both from mainland China, and Japanese filmmaker Hirokazu Kore-eda’s The Third Murder.
Rounding out the best film category are Newton from Indian filmmaker Amit V. Masurkar and The Day After from South Korea’s Hong Sangsoo, which both racked...
- 1/11/2018
- by Liz Shackleton
- ScreenDaily
China kicked off the New Year with a massive $200m hit delivered by The Ex-File: The Return Of The Exes, but Star Wars: The Last Jedi opened soft.
Disney’s Star Wars: The Last Jedi was the first Hollywood blockbuster to arrive in 2018, but it was easily defeated by a large margin. Despite its worldwide success ($1.2bn worldwide so far), it took $30.9 from its three-day opening weekend, half of Star Wars: The Force Awakens and about 70% of Rogue One: A Star War Story which was released almost exactly one year ago.
Star Wars: The Last Jedi was the only new entry in the top 10 chart.
Instead The Ex-File 3 has become the first runaway success of 2018, garnering $167m in the first week (Jan 1-7). It’s almost on par with the second week earnings of last October’s National...
Disney’s Star Wars: The Last Jedi was the first Hollywood blockbuster to arrive in 2018, but it was easily defeated by a large margin. Despite its worldwide success ($1.2bn worldwide so far), it took $30.9 from its three-day opening weekend, half of Star Wars: The Force Awakens and about 70% of Rogue One: A Star War Story which was released almost exactly one year ago.
Star Wars: The Last Jedi was the only new entry in the top 10 chart.
Instead The Ex-File 3 has become the first runaway success of 2018, garnering $167m in the first week (Jan 1-7). It’s almost on par with the second week earnings of last October’s National...
- 1/8/2018
- by Silvia Wong
- ScreenDaily
Feng Xiaogang’s local hit fends off comedy The Ex-File: The Return Of The Exes.
Source: Im Global
‘Youth’
As 2017 drew to a close, a wide variety of Chinese tentpoles led the last week of the year (Dec 25-31). Feng Xiaogang’s Youth, already in its third week, retained the overall No.1 position, while new release The Ex-File: The Return Of The Exes ruled the weekend.
With almost overwhelming praise from Chinese audiences, Youth delivered a hat trick and added $51.3m. The bittersweet coming-of-age drama was exceptionally resilient as it bounced back to the second place on Sunday after dropping to the fifth on Friday. After 17 days, it has amassed $169.5m, making it the eighth highest grossing film in 2017. It has also overtaken 2013’s Personal Tailor to become Feng’s top grossing film.
Local romantic comedy The Ex-File: The Return Of The Exes took the weekend but came in only...
Source: Im Global
‘Youth’
As 2017 drew to a close, a wide variety of Chinese tentpoles led the last week of the year (Dec 25-31). Feng Xiaogang’s Youth, already in its third week, retained the overall No.1 position, while new release The Ex-File: The Return Of The Exes ruled the weekend.
With almost overwhelming praise from Chinese audiences, Youth delivered a hat trick and added $51.3m. The bittersweet coming-of-age drama was exceptionally resilient as it bounced back to the second place on Sunday after dropping to the fifth on Friday. After 17 days, it has amassed $169.5m, making it the eighth highest grossing film in 2017. It has also overtaken 2013’s Personal Tailor to become Feng’s top grossing film.
Local romantic comedy The Ex-File: The Return Of The Exes took the weekend but came in only...
- 1/2/2018
- by Silvia Wong
- Screen Daily Test
Feng Xiaogang’s local hit fends off comedy The Ex-File: The Return Of The Exes.
Source: Im Global
‘Youth’
As 2017 drew to a close, a wide variety of Chinese tentpoles led the last week of the year (Dec 25-31). Feng Xiaogang’s Youth, already in its third week, retained the overall No.1 position, while new release The Ex-File: The Return Of The Exes ruled the weekend.
With almost overwhelming praise from Chinese audiences, Youth delivered a hat trick and added $51.3m. The bittersweet coming-of-age drama was exceptionally resilient as it bounced back to the second place on Sunday after dropping to the fifth on Friday. After 17 days, it has amassed $169.5m, making it the eighth highest grossing film in 2017. It has also overtaken 2013’s Personal Tailor to become Feng’s top grossing film.
Local romantic comedy The Ex-File: The Return Of The Exes took the weekend but came in only second overall with $42m from its first three...
Source: Im Global
‘Youth’
As 2017 drew to a close, a wide variety of Chinese tentpoles led the last week of the year (Dec 25-31). Feng Xiaogang’s Youth, already in its third week, retained the overall No.1 position, while new release The Ex-File: The Return Of The Exes ruled the weekend.
With almost overwhelming praise from Chinese audiences, Youth delivered a hat trick and added $51.3m. The bittersweet coming-of-age drama was exceptionally resilient as it bounced back to the second place on Sunday after dropping to the fifth on Friday. After 17 days, it has amassed $169.5m, making it the eighth highest grossing film in 2017. It has also overtaken 2013’s Personal Tailor to become Feng’s top grossing film.
Local romantic comedy The Ex-File: The Return Of The Exes took the weekend but came in only second overall with $42m from its first three...
- 1/2/2018
- by Silvia Wong
- ScreenDaily
While a much more technically adroit vehicle than his misshapen, CG-laden martial-arts fantasy The Promise (2005), Chen Kaige's Legend of the Demon Cat prioritizes sprawling spectacle over involving storytelling and falls far short of the historical and social allegories with which he made his name — like The Yellow Earth, Sacrifice or Caught in the Web.
And yet the film could have had much more resonance. The story revolves around two scholars who investigate paranormal occurrences in the imperial court and struggle to solve a riddle in a world of illusion. From the emperor and his trusted eunuch all the...
And yet the film could have had much more resonance. The story revolves around two scholars who investigate paranormal occurrences in the imperial court and struggle to solve a riddle in a world of illusion. From the emperor and his trusted eunuch all the...
- 12/21/2017
- by Clarence Tsui
- The Hollywood Reporter - Movie News
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