Directors’ Fortnight Selection 2022

  • L’ENVOL (Scarlet) by Pietro Marcello Opening film (France-Italy)
  • 1976 by Manuela Martelli * (Chile – Italy)
  • THE DAM (Al-Sadd, السّد , Le Barrage) by Ali Cherri * (France – Sudan – Qatar – Germany)
  • LES ANNÉES SUPER 8 (The Super 8 Years) by Annie Ernaux & David Ernaux-Briot (France)
  • ASHKAL by Youssef Chebbi * (Tunisia – France)
  • LES CINQ DIABLES (The Five Devils) by Léa Mysius (France)
  • DE HUMANI CORPORIS FABRICA by Véréna Paravel & Lucien Castaing-Taylor (France – US)
  • LA DÉRIVE DES CONTINENTS (AU SUD) (Continental Drift (South)) by Lionel Baier (Switzerland)
  • EL AGUA (The Water) by Elena López Riera * (Spain)
  • ENYS MEN  by Mark Jenkin (UK)
  • FALCON LAKE by Charlotte Le Bon * (Canada – France)
  • FOGO-FÁTUO (Will-o’-the-Wisp, Feu follet) by João Pedro Rodrigues (Portugal)
  • FUNNY PAGES  by Owen Kline * (US)
  • GOD’S CREATURES by Anna Rose Holmer & Saela Davis (Ireland – UK)
  • LES HARKIS (Harkis) by Philippe Faucon (France)
  • MEN by Alex Garland Special screnning (US – UK)
  • LA MONTAGNE (The Mountain) by Thomas Salvador (France)
  • PAMFIR by Dmytro Sukholytkyy-Sobchuk * (Ukraine – France)
  • REVOIR PARIS (Paris Memories) by Alice Winocour (France)
  • TAHT ALSHAJRA  (تحت الشجرة , Under the Fig Trees, Sous les figues) by Erige Sehiri (Tunisia – France – Switzerland)
  • UN BEAU MATIN (One Fine Morning) by Mia Hansen-Løve (France)
  • UN VARÓN (A Male) by Fabian Hernández * (Colombia – France – Netherlands – Germany)
  • LE PARFUM VERT (The Green Perfume) by Nicolas Pariser Closing film (France)

* first feature film

“Cannes Uncut”… 75 years of the Cannes Film Festival in a new documentary

With 2022 marking the 75th anniversary of the world’s best known film festival, the feature documentary Cannes Uncut will delve behind the scenes of the gloriously glamorous and glitzy event that has come to represent the best in cinema and the business of showbusiness.

The creative and production team behind Cannes Uncut – Colin Burrows, Richard Blanshard and Critical Divide’s Mark Adams and Chris Pickard – will be filming and conducting interviews at Cannes 2021, the 74th festival, to sit alongside archive material, with the film being ready for the 2022 festival to coincide with diamond jubilee celebrations. Sales agents negotiations are being finalised.

The Cannes Film Festival is famous as an event brimming with stories and characters as outlandish and dramatic as the films that have premiered there, and Cannes Uncut will celebrate the great films as well as the wild parties; the spectacular promotional stunts as well as the iconic talents; the glorious successes and the infamous failures.

This is the documentary that dares to detail all the glamour, red carpets, craziness, deals, parties, movies, and personalities that saw the business of show business implant itself at the Cannes Film Festival. It offers an exciting high-adrenaline, roller-coaster experience of what has played out over the years.

In the decades following its launch in 1946 this initially modest French event established itself as the world’s pre-eminent film festival, and grew to define sophisticated film glamour as the world came to love the images and stories of the stars and starlets as they romped the sunny Cannes beaches by day, looked resplendent in sparkling jewellery and the finest of fashions on the red carpet and partied hard and late into the night.

Some 75 years on, the glorious excesses, triumphs and failures of Cannes is a story that is ready to be told. A story brought together by a band of brothers and sisters who have spent far too many decades pounding the Croisette, sweeping up the red carpet, hiding in the sales bunker, and drinking and carousing late into the night at the Petit Carlton and glamorous parties.

The “Cannes Uncut” team:

  • Colin Burrows is an independent producer, publicity consultant and CEO of the Special Treats Production Company, Europe’s leading production house for audio-visual coverage of the film industry. Clients include all the Hollywood majors, the Bond films for over 25 years, the Harry Potter films, and the The Lord of the Rings/The Hobbit films.
  • Richard Blanshard is an award-winning photographer producer, director and director of photography. His career began with special still photography on feature films and television and he was the official photographer to the US and UK film industries at the Cannes film Festival for more than 20 years.
  • Chris Pickard has covered the global film and television industries as a journalist, commentator and critic for more than three decades. He was editor-in-chief of Moving Pictures International, and edited and produced publications at the Cannes, Berlin, Rio de Janeiro, Sundance, Rotterdam and Karlovy Vary film festivals. He has attended and covered Cannes for more than 20 years.
  • Mark Adams is a critic, writer and film festival consultant. He was most recently Artistic Director of the Edinburgh International Film Festival, joining the festival in 2015. He was Chief Film Critic and Reviews Editor for film trade paper Screen International for four years, and has also been a film critic for VarietyThe Hollywood Reporter and Moving Pictures International.

Cannes Film Festival selection 2021

The Cannes Film Festival has announced its official selection of films for the 74th Festival de Cannes that is scheduled to take place from 6 to 17 July 2021. The selection covers films screening in competition, hors concours, Un Certain Regard, as well as special and midnight screenings. The full list can be found at Critical Divide’s site Cannes the Guide.

The festival will open with a screening of Leos Carax’s Annette, his first feature in English, on Tuesday, 6 July, when the director, actress and American producer, Jodie Foster, will be the guest of honour and receive the Festival’s Honorary Palme d’Or in recognition of her “brilliant artistic journey, and a unique personality with a modest yet strong commitment to some of the major issues of our time.”

Nominations for the 93rd Academy Awards

The nominations for the 93rd Academy Awards were announced from London on 15 March 2021 by Actor-producer Priyanka Chopra Jonas and singer, songwriter and actor Nick Jonas.

For a full list of the nominations and Oscar news, visit our site www.oscarstheguide.com

The 93rd Academy Awards is now scheduled to take place on Sunday, 25 April 2021 at Union Station Los Angeles and at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will televised live in the US on the ABC Television Network.  The Oscars will also be televised live in more than 225 countries and territories worldwide. Prior to the COVID-19 pandemic it had been scheduled for 28 February 2021.

 

 

 

 

 

 

Oscar Week Activities 2020

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

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

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

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.