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Oscar Week Activities 2020

27 Jan

In the week leading up to the 92nd Oscars, the Academy of Motion Picture Arts and Sciences will present a series of public programs celebrating this year’s nominees in the Animated Feature Film, Documentary Feature, Documentary Short Subject, International Feature Film, Makeup and Hairstyling, and Animated and Live Action Short Film categories. All events will be held at the Academy’s Samuel Goldwyn Theater in Beverly Hills.

The schedule is as follows:

OSCAR WEEK: DOCUMENTARIES
Tuesday, February 4, 7:30 p.m.
Samuel Goldwyn Theater

Hosted by Academy Documentary Branch Governors Kate Amend, Rory Kennedy andRoger Ross Williams

The Academy showcases the nominated films and filmmakers in the Documentary Short Subject and Documentary Feature categories. The evening will include a presentation of clips from this year’s nominated films. Nominees from all ten documentaries will participate (schedules permitting).

OSCAR WEEK: SHORTS
Wednesday, February 5, 7:00 p.m.
Samuel Goldwyn Theater

Hosted by director Vicky Jenson

The Academy celebrates the nominated films and filmmakers in the Animated Short Film and Live Action Short Film categories. The evening will include a screening of all ten nominated shorts in their entirety, as well as discussions with all the nominated filmmakers (schedules permitting).

OSCAR WEEK: INTERNATIONAL FEATURE FILM
Thursday, February 6, 7:30 p.m.
Samuel Goldwyn Theater

Hosted by International Feature Film Award Executive Committee co-chairs Larry Karaszewski and Diane Weyermann

The Academy will spotlight this year’s nominees for Best International Feature Film, formerly known as Foreign Language Film. The night will feature clips from each nominated film, as well as a panel discussion with the directors (schedules permitting).

OSCAR WEEK: ANIMATED FEATURES
Saturday, February 8, 10:00 a.m.
Samuel Goldwyn Theater

Hosted by last year’s Animated Feature Film Oscar winners, Phil Lord and Christopher Miller

The Academy presents this year’s event celebrating the films and filmmakers nominated for Best Animated Feature Film. The program will feature clips from each film, with an onstage discussion with each group of nominated filmmakers (schedules permitting).

OSCAR WEEK: MAKEUP AND HAIRSTYLING SYMPOSIUM
Saturday, February 8, 3:00 p.m.
Samuel Goldwyn Theater

Hosted by Academy Makeup Artists and Hairstylists Branch Governors Kathryn L. Blondell, Lois Burwell and Howard Berger

The Academy will celebrate the artists nominated for the Makeup and Hairstyling award in our 14th annual event spotlighting this category. The event will include a screening of the “bake-off” reels that Academy branch members viewed before voting on the nominated films. Each will be followed by a discussion panel with the nominees (schedules permitting).

Tickets went on sale online on Thursday, 16 January at Oscars.org. Tickets are $5 for the general public and $3 for Academy members and students with a valid ID (Shorts and Foreign Language Films tickets limited to four per person). Doors open one hour prior to each event. All ticketed seating is unreserved. For more information, visit Oscars.org or call (310) 247-3600.

Public programming for 2020 Oscar Week is made possible in part by the Ruderman Family Foundation, which promotes authentic representation in the entertainment industry and full inclusion of people with disabilities throughout all sectors of society.

92nd Academy Awards Nominations

13 Jan

Nominations for the 92nd Academy Awards were announced on Monday, 13 January 2020 in Los Angeles.

The 92nd Oscars will be held on Sunday, February 9, 2020, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live on the ABC Television Network.  The Oscars also will be televised live in more than 225 countries and territories worldwide.

Best motion picture of the year

  • “Ford v Ferrari” Peter Chernin, Jenno Topping and James Mangold, Producers
  • “The Irishman” Martin Scorsese, Robert De Niro, Jane Rosenthal and Emma Tillinger Koskoff, Producers
  • “Jojo Rabbit” Carthew Neal and Taika Waititi, Producers
  • “Joker” Todd Phillips, Bradley Cooper and Emma Tillinger Koskoff, Producers
  • “Little Women” Amy Pascal, Producer
  • “Marriage Story” Noah Baumbach and David Heyman, Producers
  • “1917” Sam Mendes, Pippa Harris, Jayne-Ann Tenggren and Callum McDougall, Producers
  • “Once upon a Time…in Hollywood” David Heyman, Shannon McIntosh and Quentin Tarantino, Producers
  • “Parasite” Kwak Sin Ae and Bong Joon Ho, Producers

Achievement in directing

  • “The Irishman” Martin Scorsese
  • “Joker” Todd Phillips
  • “1917” Sam Mendes
  • “Once upon a Time…in Hollywood” Quentin Tarantino
  • “Parasite” Bong Joon Ho

Performance by an actor in a leading role

  • Antonio Banderas in “Pain and Glory”
  • Leonardo DiCaprio in “Once upon a Time…in Hollywood”
  • Adam Driver in “Marriage Story”
  • Joaquin Phoenix in “Joker”
  • Jonathan Pryce in “The Two Popes

Performance by an actor in a supporting role

  • Tom Hanks in “A Beautiful Day in the Neighborhood”
  • Anthony Hopkins in “The Two Popes”
  • Al Pacino in “The Irishman”
  • Joe Pesci in “The Irishman”
  • Brad Pitt in “Once upon a Time…in Hollywood”

Performance by an actress in a leading role

  • Cynthia Erivo in “Harriet”
  • Scarlett Johansson in “Marriage Story”
  • Saoirse Ronan in “Little Women”
  • Charlize Theron in “Bombshell”
  • Renée Zellweger in “Judy”

Performance by an actress in a supporting role

  • Kathy Bates in “Richard Jewell”
  • Laura Dern in “Marriage Story”
  • Scarlett Johansson in “Jojo Rabbit”
  • Florence Pugh in “Little Women”
  • Margot Robbie in “Bombshell”

Best animated feature film of the year

  • “How to Train Your Dragon: The Hidden World” Dean DeBlois, Bradford Lewis and Bonnie Arnold
  • “I Lost My Body” Jérémy Clapin and Marc du Pontavice
  • “Klaus” Sergio Pablos, Jinko Gotoh and Marisa Román
  • “Missing Link” Chris Butler, Arianne Sutner and Travis Knight
  • “Toy Story 4” Josh Cooley, Mark Nielsen and Jonas Rivera

Achievement in cinematography

  • “The Irishman” Rodrigo Prieto
  • “Joker” Lawrence Sher
  • “The Lighthouse” Jarin Blaschke
  • “1917” Roger Deakins
  • “Once upon a Time…in Hollywood” Robert Richardson

Achievement in costume design

  • “The Irishman” Sandy Powell and Christopher Peterson
  • “Jojo Rabbit” Mayes C. Rubeo
  • “Joker” Mark Bridges
  • “Little Women” Jacqueline Durran
  • “Once upon a Time…in Hollywood” Arianne Phillips

Best documentary feature

  • “American Factory” Steven Bognar, Julia Reichert and Jeff Reichert
  • “The Cave” Feras Fayyad, Kirstine Barfod and Sigrid Dyekjær
  • “The Edge of Democracy” Petra Costa, Joanna Natasegara, Shane Boris and Tiago Pavan
  • “For Sama” Waad al-Kateab and Edward Watts
  • “Honeyland” Ljubo Stefanov, Tamara Kotevska and Atanas Georgiev

Best documentary short subject

  • “In the Absence” Yi Seung-Jun and Gary Byung-Seok Kam
  • “Learning to Skateboard in a Warzone (If You’re a Girl)” Carol Dysinger and Elena Andreicheva
  • “Life Overtakes Me” John Haptas and Kristine Samuelson
  • “St. Louis Superman” Smriti Mundhra and Sami Khan
  • “Walk Run Cha-Cha” Laura Nix and Colette Sandstedt

Achievement in film editing

  • “Ford v Ferrari” Michael McCusker and Andrew Buckland
  • “The Irishman” Thelma Schoonmaker
  • “Jojo Rabbit” Tom Eagles
  • “Joker” Jeff Groth
  • “Parasite” Yang Jinmo

Best international feature film of the year

  • “Corpus Christi” Poland
  • “Honeyland” North Macedonia
  • “Les Misérables” France
  • “Pain and Glory” Spain
  • “Parasite” South Korea

Achievement in makeup and hairstyling

  • “Bombshell” Kazu Hiro, Anne Morgan and Vivian Baker
  • “Joker” Nicki Ledermann and Kay Georgiou
  • “Judy” Jeremy Woodhead
  • “Maleficent: Mistress of Evil” Paul Gooch, Arjen Tuiten and David White
  • “1917” Naomi Donne, Tristan Versluis and Rebecca Cole

Achievement in music written for motion pictures (Original score)

  • “Joker” Hildur Guðnadóttir
  • “Little Women” Alexandre Desplat
  • “Marriage Story” Randy Newman
  • “1917” Thomas Newman
  • “Star Wars: The Rise of Skywalker” John Williams

Achievement in music written for motion pictures (Original song)

  • “I Can’t Let You Throw Yourself Away” from “Toy Story 4”
    Music and Lyric by Randy Newman
  • “(I’m Gonna) Love Me Again” from “Rocketman”
    Music by Elton John; Lyric by Bernie Taupin
  • “I’m Standing With You” from “Breakthrough”
    Music and Lyric by Diane Warren
  • “Into The Unknown” from “Frozen II”
    Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
  • “Stand Up” from “Harriet”
    Music and Lyric by Joshuah Brian Campbell and Cynthia Erivo

Achievement in production design

  • “The Irishman” Production Design: Bob Shaw; Set Decoration: Regina Graves
  • “Jojo Rabbit” Production Design: Ra Vincent; Set Decoration: Nora Sopková
  • “1917” Production Design: Dennis Gassner; Set Decoration: Lee Sandales
  • “Once upon a Time…in Hollywood” Production Design: Barbara Ling; Set Decoration: Nancy Haigh
  • “Parasite” Production Design: Lee Ha Jun; Set Decoration: Cho Won Woo

Best animated short film

  • “Dcera (Daughter)” Daria Kashcheeva
  • “Hair Love” Matthew A. Cherry and Karen Rupert Toliver
  • “Kitbull” Rosana Sullivan and Kathryn Hendrickson
  • “Memorable” Bruno Collet and Jean-François Le Corre
  • “Sister” Siqi Song

Best live action short film

  • “Brotherhood” Meryam Joobeur and Maria Gracia Turgeon
  • “Nefta Football Club” Yves Piat and Damien Megherbi
  • “The Neighbors’ Window” Marshall Curry
  • “Saria” Bryan Buckley and Matt Lefebvre
  • “A Sister” Delphine Girard

Achievement in sound editing

  • “Ford v Ferrari” Donald Sylvester
  • “Joker” Alan Robert Murray
  • “1917” Oliver Tarney and Rachael Tate
  • “Once upon a Time…in Hollywood” Wylie Stateman
  • “Star Wars: The Rise of Skywalker” Matthew Wood and David Acord

Achievement in sound mixing

  • “Ad Astra” Gary Rydstrom, Tom Johnson and Mark Ulano
  • “Ford v Ferrari” Paul Massey, David Giammarco and Steven A. Morrow
  • “Joker” Tom Ozanich, Dean Zupancic and Tod Maitland
  • “1917” Mark Taylor and Stuart Wilson
  • “Once upon a Time…in Hollywood” Michael Minkler, Christian P. Minkler and Mark Ulano

Achievement in visual effects

  • “Avengers: Endgame” Dan DeLeeuw, Russell Earl, Matt Aitken and Dan Sudick
  • “The Irishman” Pablo Helman, Leandro Estebecorena, Nelson Sepulveda-Fauser and Stephane Grabli
  • “The Lion King” Robert Legato, Adam Valdez, Andrew R. Jones and Elliot Newman
  • “1917” Guillaume Rocheron, Greg Butler and Dominic Tuohy
  • “Star Wars: The Rise of Skywalker” Roger Guyett, Neal Scanlan, Patrick Tubach and Dominic Tuohy

Adapted screenplay

  • “The Irishman” Screenplay by Steven Zaillian
  • “Jojo Rabbit” Screenplay by Taika Waititi
  • “Joker” Written by Todd Phillips & Scott Silver
  • “Little Women” Written for the screen by Greta Gerwig
  • “The Two Popes” Written by Anthony McCarten

Original screenplay

  • “Knives Out” Written by Rian Johnson
  • “Marriage Story” Written by Noah Baumbach
  • “1917” Written by Sam Mendes & Krysty Wilson-Cairns
  • “Once upon a Time…in Hollywood” Written by Quentin Tarantino
  • “Parasite” Screenplay by Bong Joon Ho, Han Jin Won; Story by Bong Joon Ho

Brazilian Film Box Office in 2019

12 Jan

Back in November 2018 panellists at Festival do Rio’s RioMarket were unanimously optimistic about the state of the Brazilian theatrical film market for 2019, after what all agreed had been a difficult year in 2018 for distribution, exhibition and getting “bums on seats”.

It turns out those panelists had a right to be optimistic. Ticket sales increased from 163.4 million in 2018 to 172.2 million in 2019, with 19.7 million of those being for “Avengers: Endgame”. Revenues in reais (the Brazilian currency) hit the historic high of R$2.74 billion in 2019, up 13% from 2.42 billion in 2018 and beating the previous high of R$2.7 billion in 2017. The year also saw the opening of another 174 screens, taking the total to 3,505. Another record.

Domestic Brazilian titles were responsible for 11.5% of that revenue in 2019, or R$315m, up 13% from R$279m in 2018, but actual ticket sales for Brazilian films were down 1.2% from 22.9m tickets in 2018 to 22.6m in 2019, with 2.5 million of those, or nearly 10%, sold in the final week of 2019 thanks to the comedy “Minha Mãe É Uma Peça 3” (My Mom is a Character 3). 327 Brazilian titles were released in 2019, down 11% from 367 in 2018, while international titles released in 2019 were 560, down 1.7% from 570 in 2018.

For nearly a decade, up to 2017, Brazil’s theatrical market had experienced growth. It had to stop at some point, so after eight consecutive years of increased ticket sales and revenues, 2017 became the year of no growth in Brazil, but the numbers were still very strong. 2018 was to see a further decline in ticket sales, and the first decline in 12 years in box office revenues in the local currency. But head offices in the US were still not complaining about the results they were seeing from Brazil, still one of the world’s largest cinema going markets.

Cinema admissions in Brazil had now gone from 89.1 million in 2008 to 112.7m in 2009; 134.9m in 2010; 143.2m in 2011; 146.6m in 2012, the year Brazil hosted the World Cup; 149.5m in 2013; 155.6m in 2014; 173m in 2015, to the record breaking 184.3 million in 2016, surprisingly the year of the Rio Olympics. In 2017, no record, but still the very respectable sales of 181 million ticket were achieved, a drop of just 1.5%, compared with 2016, but still the second best year on record, before the drop of 10.1% to 163.4m in 2018, but now an increase of 7.6% to 172.2m ticket sales in 2019.

The strength and volatility of the US dollar against the Brazilian real has meant dollar values were down in 2019. 2017’s gross had represented US$749.7 million at the time, up from US$726m in 2016 and just US$486m in 2015, while 2018’s dollar revenues were down to US$630m, and 2019’s box office is estimated to have been worth around US$594 million. But if exchange rates worked against them, the studios should still be happy with the number of “bums on seats”.

In 2018 factors contributing to what was seen as a disappointing year for ticket sales and revenues for the big screen in Brazil included the World Cup, the Brazilian Presidential Elections, and a truckers strike that almost brought Brazil to a halt for two weeks. Panellists at Rio Market also mentioned a disappointing line up of both domestic and international titles that had failed to find or excite an audience in Brazil. In fact 2018 was generally very sluggish in Brazil with only 127 million tickets having been sold up until the end of September, mainly thanks to the April release of “Avengers: Infinity War”, before the market showed signs of recovery in October and early November thanks to “A Star is Born”, “Venom”, “Bohemian Rhapsody” and “Fantastic Beasts: The Crimes of Grindelwald”, and in December “Aquaman”.

Panellists at RioMarket were particularly encouraged by “A Star is Born” and “Bohemian Rhapsody” because these two films did not fill the normal blockbuster form of an established franchise or action character. All panellists, however, noted that both for international and domestic Brazilian releases, it was around the top ten to 15 releases that did really well, with the other 400+ titles struggling and offering a lot of room for improvement.

2019’s box office, however, was firmly dominated again by established franchises or action characters with “Avengers: Endgame” becoming the most watched film of all time in Brazil with sales of 19.2 million tickets, and Disney’s “The Lion King” selling 15.8 million to make it the third most watched of all time after “Titanic” in 1998. “Avengers: Infinity War” is fourth on the list

The average occupancy rates of the 3,500 screens in Brazil, the majority in multiplexes and over 30% of them in the state of São Paulo and 11% in Rio, has been running at around 18-19%, yet capacity is a problem in Brazil whenever a major blockbuster, like “Avengers” is released. There is no question that Brazil is under screened with just one screen for every 62,293 people, compared with 8,123 in the US or 15,253 for the UK.

The expansion of screens in Brazil, now back to the levels of the 1970s, also slowed in 2018 and 2019 and this has been put down to the economic climate in Brazil that saw a slowing in the expansion of shopping centres where new screens would be located. Shopping Centre screens are also the most successful in Brazil in terms of revenues and tickets sales. Having said that, 174 screen did open in 2019 (44 closed), taking the total of screens past the 3,500 mark. Since 2017 it is estimated that 434 new screens have come online, with 350 of those in the interior of the country and just 84 in the main cities.

In 2019 six cinema complexes in Brazil sold more than one million tickets in the year, those being UCI NYCC (Rio de Janeiro); Cinemark Guarulhos (São Paulo); UCI Kinoplex Norte Shopping (Rio de Janeiro); Kinoplex Dom Pedro (Campinas); Cinemark Aricanduva (São Paulo); and UCI Kinoplex Shopping Iguatemi (Fortaleza). Rio de Janeiro remains the state with the highest market share for domestic Brazilian releases.

Top 20 grossing films of the year in Brazil in 2019

  1. Avengers: Endgame (US$85.7 million from tickets sales of 19.2 million)
  2. The Lion King (US$69.5m / 15.8m)
  3. Captain Marvel (US$38.1m / 8.8m)
  4. Joker (US$38.1m / 9.4m)
  5. Toy Story 4 (US$32.7m / 7.8m)
  6. Spider Man: Far From Home (US$28.3 / 6.4m)
  7. Maleficent: Mistress of Evil (US$22.3m/ 5.6m)
  8. Aladdin (US$19.9m / 4.7m)
  9. Minha Vida em Marte (US$17.5m / 4.3m) *
  10. Ralph Breaks the Internet (US$17.3m / 4.3m)
  11. How To Train Your Dragon: The Hidden World (US$14.4m / 3.8m)
  12. Nada a Perder 2(Nothing To Lose 2 – US$13.7m / 5.2m) *
  13. Aquaman (US$12.4m 2.9m)
  14. Shazam! (US$12m / 2.9m)
  15. Fast & Furious Presents: Hobbs & Shaw (US$10.2 / 2.7m)
  16. Minha Mãe É Uma Peça 3 (My Mom is a Character 2 – US$7.6m / 2.6m) *
  17. Dumbo (US$7.6m / 1.8m)
  18. Turma da Monica: Laços (Monica’s Gang – US$7.5m / 2m) *
  19. De Pernas Pro Ar 3 (Head Over Heels 3 – US$7m / 1.8m) *
  20. The Secret Life of Pets (US$7m / 1.9m)

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2018

  1. Avengers: Infinity War (US$66.7million from tickets sales of 14.5 million)
  2. Incredibles 2 (US$37.5m / 9.8m)
  3. Black Panther (US$35.8m / 7.4m)
  4. Nada a Perder (Nothing To Lose – US$33m / 12.2m) *
  5. Aquaman ($23.2m / 5.6m)
  6. Jumanji: Welcome to the Jungle (US$21.8m / 4.8m)
  7. Jurassic World: Fallen Kingdom (US$20.8m / 5.2m)
  8. The Nun (US$20m / 5.3m)
  9. Fifty Shades Freed (US$19.7m / 4.3m)
  10. Hotel Transylvania 3: Summer Vacation (US$19.5m / 5.4m)
  11. Venom (US$19m / 4.6m)
  12. Deadpool 2 (US$18.8m / 4.6m)
  13. Ferdinand (US$14.4m / 3.4m)
  14. Fantastic Beasts: The Crimes of Grindelwald (US$14.2m / 3.5m)
  15. Bohemian Rhapsody (US$13.3m / 2.9m)
  16. Ant Man and the Wasp (US$13m / 3.2m)
  17. Mission Impossible – Fallout (US$11.8m / 2.5m)
  18. Os Farofeiros (The Beachnickers – US$9.8m / 2.6 m) *
  19. Coco (US$9.4m / 2.6m)
  20. Fala Serio Mãe ( US$9m /  2.4m) *

* Domestic Brazilian Release

Top 20 grossing films of the year in Brazil in 2017

  1. Fast & Furious 8: The Fate of the Furious ( US$41.8m from tickets sales of 8.5 million)
  2. Beauty and the Beast (US$41.5m / 8.3m);
  3. Despicable Me 3 (US$35.9m / 8.89m, the highest ticket sales of the year);
  4. Justice League (US$35.9m / 8.4m);
  5. Wonder Woman (US$ 33m / 7m);
  6. Spider-Man: Homecoming ($32m /6.7m);
  7. Thor: Ragnarok (US$30.4m / 6.4m)
  8. Logan (US$29.2m / 6.4m);
  9. Minha Mãe É Uma Peça 2 (My Mom is a Character 2 – US$27.9m / 6.5m) *
  10. The Shack (US$23.6m / 5.1m)
  11. Moana (US$22.9m / 5.1m)
  12. Guardians of the Galaxy 2 (US$21m / 4.2m)
  13. Fifty Shades Darker (US$20.3m / 4.6m)
  14. It (US$19.9m / 4.4m)
  15. Pirates of the Caribbean: Dead Men Tell No Tales (US$16.7m /  3.6m)
  16. Star Wars: Episode VIII – The Last Jedi (US$16.1m / 3.1m)
  17. Wonder (US$16.1 / 4.1)
  18. The Boss Baby (US$13.9m / 3.3m)
  19. War of the Planet of the Apes (US$13.4m / 2.7m)
  20. The Mummy (US$13.3m / 3m)

* Domestic Brazilian Release

The Division (A Divisão): A film by Vicente Amorim

11 Feb

One of the most highly anticipated Brazilian films of 2019, Vicente Amorim’s The Division (A Divisão), has been introduced to international buyers during the 2019 Berlin Film Festival.

Based and inspired by disturbing and shocking events that took place during the 1990s in Rio de Janeiro, The Division (A Divisão) is a dark, modern, violent, action-crime-thriller from the acclaimed Brazilian filmmaker, Vicente Amorim, and producer José Junior, Rio’s leading expert on urban violence and head of the NGO (and now production company) AfroReggae Audiovisual. The Division will receive a wide mid-2019 theatrical release in Brazil through Downtown Filmes and Paris Filmes, the companies behind the largest and most successful box-office releases in Brazil in recent years, and is being handled internationally by WTFilms that has introduced the film to the international buyers and distributors at the EFM during the Berlin Film Festival.

“The film is really about redemption, their redemption,” says Amorim, “ and what it is that sets our protagonists apart from the people around them. Although set in the 1990s, The Division is the genesis of what we are living through in Brazil today, with a President who defined his election campaign around violence. It is this need to move forward ­– regardless of the consequences and without measuring the risks – that represents a portrait of modern Brazil. The film reveals the inside of a machine that may start turning again at any moment.”

In the late 1990s, kidnapping became the crime of choice in Rio de Janeiro, with ten or more high profile cases each month. The population, at least those with money, were scared, and the authorities appeared paralysed as large ransoms were paid and some of the kidnapped were held for months or never returned. As corrupt police and officials looked the other way, justice was neither done or seen to be done, as the machine, and those linked to it, were funded by the money being generated from the kidnappings.

To stop the rot, and as a last resort, two police officers – one an incorruptible killing machine with over 100 kills to his name (played by Silvio Guindane); the other a dirty cop known for extorting money from the criminals (Erom Cordeiro) – were brought together and put in charge of Rio’s Anti-Kidnapping Division by the city’s Secretary for Public Safety & Security, a hard line general from the days of the military dictatorship, and his head of police, a socialist lawyer. The Division is their story and how by using very good intelligence and some questionable methods to solve the kidnappings, the two policemen come close to victory as the ends do seem to justify their means. But can too much intelligence be a dangerous thing? The film is based on the real events and the real people.

Amorim’s previous films have screened at, among others, the Toronto, Rotterdam, Karlovy Vary, Montreal, San Sebastian and Rio de Janeiro film festivals. They include the thriller Motorrad, selected for Toronto in 2017; the Brazil-Japanese co-production Dirty Hearts (Corações Sujos); the ethical thriller Good, with Academy Award nominee Viggo Mortensen, a film considered one of the ten best movies of 2008 by The Hollywood Reporter and Rex Reed (The New York Observer); and The Middle of the World (O Caminho das Nuvens) with Wagner Moura; as well as five successful television series.

Despite his work with Brazilian TV, Amorim has deliberately chosen not to cast well-known Brazilian television actors in The Division, as he wants the characters to be credible and real.

Working with the screenwriting team, and as a consultant on the film, is José Luiz Magalhães, a Rio police officer for over 30 years who led the actual team that ended the kidnapping wave in Rio de Janeiro. In The Division, his first work as a screenwriter, he tells his own story, and helps add essential context and the truth of what happened and who was involved.

“He is a brave man,” says Amorim. “As are all the people involved in this project. We have had to change names to keep people alive.”

Amorim was also helped on The Division by José Junior, Creative Director and CEO of AfroReggae Audiovisual (the film’s production company), who has created and produced several television series for channels in Brazil such as Multishow and GNT, including Urban Connections (Conexões Urbanas). He was also the producer of the multi-award winning documentary Favela Rising. The Division is AfroReggae Audiovisual’s first feature, and in Brazil it will also be expanded into a multi-part TV series for Globosat.

“José gave us the access to people and places, and opened doors to locations where the real action took place,” adds Amorim. “He also made sure that the weaponry and other details used in the film are correct.”

Junior has mediated in a number of armed conflicts in Rio in a search for peace, and he is considered a pioneer for his work in helping free people in the favelas from a life of drugs and trafficking while helping to re-socialize them. His extraordinarily brave work at AfroReggae has been recognised internationally.

The film reunites Amorim and WTFilms, the Paris based sales company successfully sold the director’s Motorrad.  “Vicente’s style is immediately recognizable. He has a strong visual signature and the grittiness that buyers expect on Brazilian genre and action films,” explain WTFilms executives Dimitri Stephanides and Gregory Chambet.

Other partners in The Division include the co-producers Hungry Man, an international production company with offices in Los Angeles, New York, London, São Paulo and Rio de Janeiro, and one of the world’s top production companies for commercials. Its short film Asad, was nominated for an Academy Award in 2013, and the company was nominated for an International Emmy this year for its five-part Words In Series (Palavras Em Série).

Co-producers include the successful Brazilian companies TV Globo, GloboFilmes, Globosat, GloboPlay, and the film’s Brazilian distributors, Downtown Filmes and Paris Filmes.

 

Brazil’s Film Industry Optimistic for 2019

9 Dec

Critical Divide learnt that panellists at Festival do Rio’s RioMarket  were unanimously optimistic for 2019 after what all agreed had been a difficult year in 2018 for distribution, exhibition and getting “bums on seats”.

Factors contributing to what is expected as being a disappointing year for ticket sales and revenues for theatrical releases included the World Cup, the Presidential Elections, and a truckers strike that almost brought Brazil to a halt for two weeks. Panellists also mentioned a disappointing line up of both domestic and international titles that failed to find or excite an audience in Brazil.

For nearly a decade Brazil had seen growth for theatrical releases. It had to stop at some point, so after eight consecutive years of increased ticket sales and revenues in Brazil, 2017 became the year of no growth, but the numbers were still very strong. As panellist Patricia Kamitsuji of Fox-Warner noted, head offices in the US were not complaining about the results they were seeing from Brazil.

Cinema admissions in Brazil had gone from 89.1 million in 2008 to 112.7m in 2009; 134.9m in 2010; 141.7m in 2011; 148.9m in 2012, the year Brazil hosted the FIFA World Cup; 151.2m in 2013; 157.2m in 2014; 170.7 million in 2015, to the record breaking 185 million in 2016, the year of the Rio Olympics. In 2017, no record, but still the very respectable sales of 183 million tickets were achieved, a drop of just 1.5%, compared with 2016, but still the second best year on record.

The decline, for the reasons already mentioned, is likely to be more marked in 2018 with only 127 million tickets having been sold up until the end of September, but the market is already showing signs of recovery in October and early November. Kamitsuji mentioned both “A Star is Born”, which has sold over one million admissions in four weeks, and “Bohemian Rhapsody”, which sold 500,000 tickets over its first weekend and has since passed one million admissions and grossed close to US$12 million.

Panellists noticed that what was more encouraging is that these two films did not fill the normal blockbuster form of an established franchise or action character. All panellists, however, noted that both for international and domestic Brazilian releases, it was the top ten releases that did really well, with the other 400 titles struggling and offering room for improvement.

The average occupancy rates of the 3,316 screens in Brazil, the majority in multiplexes, has been around 19%, and this is likely to have fallen to 18 or 17 percent in 2018. But capacity is a problem whenever a major blockbuster is released. The expansion of screens in Brazil, now back to the levels of 1975, has also slowed in 2018 and this was put down to the current economic climate in Brazil that saw a slowing in the expansion of shopping centres where new screens would be located. Shopping Centre screens are also the most successful in Brazil in terms of revenues and tickets sales.

2016 was also a record year for Brazilian productions with 30.1 million tickets sold during the year, grossing some R$354.8 million, or approximately US$112 million. Seven Brazilian films sold over one million tickets in 2016, with 15 productions selling between 100,000 and a million tickets.

In 2017 Brazilian films sold just 18.5 million tickets, a fall of 38.5%, grossing R$253 million, or approximately US$79 million, from the release of 154 domestic productions. Only four Brazilian films sold over one million tickets in 2017 lead by Cesar Rodrigues’ “Minha Mãe É Uma Peça 2” (My Mom Is A Character 2), starring TV and theatre comedian Paulo Gustavo, which grossed R$89.2 million (US$27.8m) in 2017, which when added to its year end revenue from 2016 saw the film’s total rises to R$124.2m (US$38.8m). Other Brazilian films to pass the one million admission mark in 2017 were “Polícia Federal – A Lei É Para Todos” (1.38 million), “Os Parças” (1.3 million) and “DPA – Detetives do Prédio Azul” (1.2 million). Brazilian films had a market share of 16.4% of admissions and 18.9% of revenues.

2018 is looking better for Brazilian films at the box office with a 37.7% increase in sales up to the end of September, a period in which tickets to international releases fell 14.1%. Rio de Janeiro remains the state with the highest market share for domestic Brazilian releases.

Overall the top grossing film of the year in Brazil in 2017 was “Fast & Furious 8: The Fate of the Furious” that grossed US$41.7m from tickets sales of 8.5 million. The rest of the top ten was made up of “Justice League” (US$41m / 8.4m); “Beauty and the Beast” (US$40.6m / 8.3m); “Despicable Me 3”  (US$39.3m / 8.89m, the highest ticket sales of the year); “Wonder Woma” (US$ 34.2m / 7m); “Spider-Man: Homecoming” ($32m /6.7m); “Thor: Ragnarok” (US$31.2m / 6.4m) “Logan” (US$28.5m / 6.4m); “Minha Mãe É Uma Peça 2” (US$27.8m / 6.5m in 2017 and 9.3m in total) and The “Shack” (US$22.4m / 5.1m).

So far in 2018 the ten top grossing film through 2 December are “Avengers: Infinity War”, that has grossed US$66.7m; “Incredibles 2” (US$37.6m); “Black Panther” (US$37m); Brazil’s “Nada a Perder” (Nothing To Lose – US$33m); “Jumanji: Welcome to the Jungle” (US$24m); “Jurassic World: Fallen Kingdom” (US$21.3); “The Nun” (US$20.5); “Fifty Shades Freed” (US$19.7m); Hotel Transylvania 3: Summer Vacation” (US$19.5); and “Venom” (US$19.0).”

The Brazilian comedy “Os Farofeiros”, by Roberto Santucci, is 17th in the year’s overall box office having grossed approximately US$9.8m and sold 2.6 million tickets.

Optimism for 2019 comes from an extremely strong expected slate of releases, both international and domestic, that have a proven track record of getting the fans in Brazil through the door and in to the seats. Panellists also saw a boost of national optimism when the new Brazilian President takes power at the start of January, a “feel good” factor that should last at least six months. There is also no World Cup or Olympic distractions in 2019, although Brazil will host the Copa America from 14 June to 7 July.

Among RioMarket’s optimistic panellists, spread across two panels, were Marcos Oliveira of Universal Pictures Brasil, Patricia Kamitsuji of Fox-Warner, Paulo Pereira of Cinépolis, Marcelo Bertini of Cinemark, Bruno Wainer of Downtown Filmes, Silvia Cruz of Vitrine Filmes, Luiz Severiano Ribeiro Neto of Kinoplex, Edson Pimental of Globo Filmes, Leonardo Eddie of Urca Filmes, and Luana Rufino of ANCINE. The moderators were Caio Silva of ABRAPLEX and Mariza Leão of Morena Filmes.

 

Variety reports on Critical Divide’s activities at Festival do Rio

18 Oct

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RIO DE JANEIRO — Critical Divide’s Chris Pickard, a veteran not only of Brazil but also of the Rio Fest and RioMarket, has unveiled a bevy of Brazil-based projects under the banner of The Sound of Brazil.

Pickard, who was responsible for the original idea and for co-producing Julien Temple’s “Rio 50 Degrees,” which has screened at the Festival, told Variety he aimed to have most of the slate ready to air in 2016, the year of the Rio Olympics and Paralympic Games. He is hopeful some may even be ready for 2015, when Rio celebrates its 450th anniversary.

The season of music documentaries and performance films is being developed with the BBC in the U.K., and other international broadcast partners. Films look to build on the growing cultural partnership that started to develop between Brazil and the U.K., and especially Rio and London, during the 2012 London Olympics.

With the ever-closer cultures of Brazil, the U.K. and Europe in mind, a first project comprises a three-part series looking at the evolution of musical culture – and dance- in Brazil from the arrival of the first missionaries to the very latest sounds and musical talent. For the U.K. and certain international markets the programs will be presented by Katie Derham, the face of classical music at the BBC as well for the BBC Proms. Derham, like Pickard, has long-standing family ties with Brazil.

Partnering Derham and Pickard in developing the season are James Joseph of Creedence Productions , a highly respected and well-connected music and entertainment lawyer whose management company, with offices in London and Los Angeles, looks after Nina Simone, Cleveland Watkiss, Cassandra Wilson and Julian Joseph, amongst others, and Mark Barrett, ex-head of Classical Music at BBC Worldwide Music and previously Classical Manager Europe at Sony Music Entertainment.

A number of Joseph’s clients have toured Brazil and worked with Brazilian artists in Brazil as well as in the U.S. and Europe. He has also filmed programs and projects in Brazil with Fernando Meirelles and O2 Filmes.

One of those larger projects, which Joseph expects to have wide international appeal, is a special “homecoming” concert in Rio de Janeiro for musician Sergio Mendes. It would include many leading international and Brazilian names that have collaborated with him over the years, including talent featured on the soundtracks of Fox’s animated films “Rio”. There will also be a full standalone documentary about Mendes who was the artist who took Brazilian music global in the 1960s, and is often better known internationally than in his own country and city.

“We hope to stage the concert in 2015 as part of Rio’s 450th anniversary celebrations and then have the programe and documentary ready to broadcast in 2016 which will be the 50th anniversary of the launch of Sergio Mendes, plus Brasil’ 66 by Herb Alpert,” Pickard explained.

Also on the slate is a program about Brazilian baroque music with Harry Christophers and a Brazil Sixteen; a look at the club scene in Rio, São Paulo and Salvador its sounds in “Brazil: Shaken and Stirred…with a Twist of Hackney”; and a docu exploring how musical talent is fostered in Brazil: “From Tin Cans to Strings.”

The most ambitious part of the slate turns, however, on a program series is a series that will introduce and showcase Rio’s Carnival parade by parachuting six major international names into the city’s iconic event to mirror certain elements of the parade.

Pickard first developed the project with the late Gus Dudgeon, Elton John’s producer for many years, who realized there was no accessible TV title to capture a larger audience and explain what actually happens in artistic terms with the parade. As Dudgeon noted, Carnival is more spectacular than any rock show he had seen, even Elton’s.

“I have been involved with carnival for over 30 years – so I have form in this department,” Pickard says.

“It is now a question of getting our final ducks in a row before more details can be unveiled as it requires a somewhat complex relationship of working not only with the Mayor’s office in Rio, but also the League of Samba Schools and TV Globo that so brilliantly film the parade to broadcast live over two nights to Brazil.

He added: “This program, I can promise, will help open the eyes of the world to what an astonishing and creative event the parade is. Our stars are also going to have a lot of fun along the way and they will be the catalyst to build a large global TV audience.”

If Pickard and the team can get everything to align, they will look to film during carnival 2016 and have the edited shows ready for broadcast prior to the Rio Olympics that open on Aug 5 2016.

Pickard held meetings related to the project while at the Rio Festival.

Key dates for the 87th Academy Awards season

17 Apr

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The Academy of Motion Picture Arts and Sciences and the ABC Television Network hads announced the dates for the 87th Oscars.  The Academy Awards presentation will air live on ABC on Oscar Sunday, February 22, 2015.

Key dates for the Awards season are:

Saturday, November 8, 2014 – The Governors Awards
Wednesday, December 3, 2014 – Official Screen Credits and music submissions due
Monday, December 29, 2014 – Nominations voting begins 8 a.m. PT
Thursday, January 8, 2015 – Nominations voting ends 5 p.m. PT
Thursday, January 15, 2015 – Oscar nominations announced
Monday, February 2, 2015 – Oscar Nominees Luncheon
Friday, February 6, 2015 – Final voting begins 8 a.m. PT
Saturday, February 7, 2015 – Scientific and Technical Awards
Tuesday, February 17, 2015 – Final voting ends 5 p.m. PT
Oscar Sunday, February 22, 2015 – 87th Academy Awards begins 7 p.m. ET/ 4 p.m. PT

The Oscars will be held at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live by the ABC Television Network.  The Oscar presentation will be televised live in more than 225 countries and territories worldwide.