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When Carolle Brabant set out to fill the gender gap in Canadian filmmaking, she was prepared for a challenge. The executive director of Telefilm Canada wasn’t prepared for how fast change would come.
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When Carolle Brabant set out to fill the gender gap in Canadian filmmaking, she was prepared for a challenge. The executive director of Telefilm Canada wasn’t prepared for how fast change would come.
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One year ago, the federal funding agency announced an ambitious plan to achieve gender equity in terms of the number of films being directed and written by women by the year 2020.
For reference, a 2015 On Screen study by Women in View found that women made up just 17 per cent of directors and 22 per cent of scriptwriters for films made in Canada in 2013-14. The ratio of female directors dropped to just four per cent for budgets over $1 million.
Last November, Telefilm stated that beginning this year, for projects of equal merit, submissions with female writers and/or directors would be prioritized. Six months later, the results are resoundingly positive.
On Wednesday, Telefilm will announce that of the more than 60 films the agency has committed to funding so far this year, 44 per cent are directed by women, 46 per cent have a female screenwriter and 51 per cent have a female producer.
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Article content
That’s particularly good news for Quebec cinema, which counts for more than one-third of the total number of feature-length projects approved annually by Telefilm. Quebec funding agency SODEC announced similar gender parity goals at the beginning of this year, which can only further contribute to the changing climate.
Reached in her Montreal office on Monday, Brabant was in high spirits.
“To be honest, I wasn’t expecting these kinds of results so quickly,” she said. “We’re midway through the 2017-18 (funding year) and we’re already seeing big changes in the way projects are coming into Telefilm.”
A year ago, perhaps the greatest impediment to gender parity was the low number of projects submitted with female screenwriters or directors attached. That has changed dramatically in the interim.
Advertisement 4
Article content
“In the projects we received, it used to be, as an example, 25 per cent of projects had a woman director and 30 per cent had a woman screenwriter,” Brabant said. “Now it’s way above 40 per cent.”
Brabant credits the Canadian film industry for getting on board. Last fall, Telefilm met and brainstormed with representatives from various film organizations including the Directors Guild of Canada, Réalisatrices équitables, the Writers Guild of Canada, Women in View and the Association des réalisateurs et réalisatrices du Québec.
“It was a big challenge,” Brabant said of getting everyone on board and convincing them that gender parity was within reach. “I think people were skeptical a year ago. I was personally very confident that if we were to make it an industry goal, an industry objective, that we would succeed; and that’s exactly what happened.”
Advertisement 5
Article content
It’s too early to claim victory, according to Brabant. Of particular concern is the gender ratio when it comes to big-budget films. For projects that ring in at more than $2.5 million, change is coming more slowly.
Those projects take longer to green-light, and so Telefilm doesn’t yet have firm numbers to offer; but Brabant affirmed that it is an area requiring additional efforts. Fewer projects are submitted in that budget range, she explained, and Telefilm funds fewer such projects overall. It may also be a question of time, as the gender gap dissipates and more women see their projects approved, for women to set their sights on such bigger budget productions.
Change is most visible in Telefilm’s micro-budget program, for projects under $250,000, where gender equity is fast becoming a reality.
Advertisement 6
Article content
Whatever the budget range, one thing is certain: change is coming to Canadian cinema. (Telefilm has also announced a separate commitment to funding more projects by Indigenous filmmakers, and in August announced $4.7 million in funding for 11 new Indigenous productions, seven of them directed by women.) That change will have a direct impact on the variety of people making movies, the kinds of movies being made and the kinds of stories being told.
Brabant couldn’t be happier.
“It’s reaffirming the right for women, for their place in the industry,” she said. “It’s important. They don’t need to do more than men; they just need to take their place.”
tdunlevy@postmedia.com
We would like to thank the writer of this article for this awesome web content
Ambitious Telefilm Canada plan for gender parity produces excellent early results
When Carolle Brabant set out to fill the gender gap in Canadian filmmaking, she was prepared for a challenge. The executive director of Telefilm Canada wasn’t prepared for how fast change would come.
Postmedia may earn an affiliate commission from purchases made through our links on this page.
Article content
When Carolle Brabant set out to fill the gender gap in Canadian filmmaking, she was prepared for a challenge. The executive director of Telefilm Canada wasn’t prepared for how fast change would come.
Advertisement 2
Article content
One year ago, the federal funding agency announced an ambitious plan to achieve gender equity in terms of the number of films being directed and written by women by the year 2020.
For reference, a 2015 On Screen study by Women in View found that women made up just 17 per cent of directors and 22 per cent of scriptwriters for films made in Canada in 2013-14. The ratio of female directors dropped to just four per cent for budgets over $1 million.
Last November, Telefilm stated that beginning this year, for projects of equal merit, submissions with female writers and/or directors would be prioritized. Six months later, the results are resoundingly positive.
On Wednesday, Telefilm will announce that of the more than 60 films the agency has committed to funding so far this year, 44 per cent are directed by women, 46 per cent have a female screenwriter and 51 per cent have a female producer.
Advertisement 3
Article content
That’s particularly good news for Quebec cinema, which counts for more than one-third of the total number of feature-length projects approved annually by Telefilm. Quebec funding agency SODEC announced similar gender parity goals at the beginning of this year, which can only further contribute to the changing climate.
Reached in her Montreal office on Monday, Brabant was in high spirits.
“To be honest, I wasn’t expecting these kinds of results so quickly,” she said. “We’re midway through the 2017-18 (funding year) and we’re already seeing big changes in the way projects are coming into Telefilm.”
A year ago, perhaps the greatest impediment to gender parity was the low number of projects submitted with female screenwriters or directors attached. That has changed dramatically in the interim.
Advertisement 4
Article content
“In the projects we received, it used to be, as an example, 25 per cent of projects had a woman director and 30 per cent had a woman screenwriter,” Brabant said. “Now it’s way above 40 per cent.”
Brabant credits the Canadian film industry for getting on board. Last fall, Telefilm met and brainstormed with representatives from various film organizations including the Directors Guild of Canada, Réalisatrices équitables, the Writers Guild of Canada, Women in View and the Association des réalisateurs et réalisatrices du Québec.
“It was a big challenge,” Brabant said of getting everyone on board and convincing them that gender parity was within reach. “I think people were skeptical a year ago. I was personally very confident that if we were to make it an industry goal, an industry objective, that we would succeed; and that’s exactly what happened.”
Advertisement 5
Article content
It’s too early to claim victory, according to Brabant. Of particular concern is the gender ratio when it comes to big-budget films. For projects that ring in at more than $2.5 million, change is coming more slowly.
Those projects take longer to green-light, and so Telefilm doesn’t yet have firm numbers to offer; but Brabant affirmed that it is an area requiring additional efforts. Fewer projects are submitted in that budget range, she explained, and Telefilm funds fewer such projects overall. It may also be a question of time, as the gender gap dissipates and more women see their projects approved, for women to set their sights on such bigger budget productions.
Change is most visible in Telefilm’s micro-budget program, for projects under $250,000, where gender equity is fast becoming a reality.
Advertisement 6
Article content
Whatever the budget range, one thing is certain: change is coming to Canadian cinema. (Telefilm has also announced a separate commitment to funding more projects by Indigenous filmmakers, and in August announced $4.7 million in funding for 11 new Indigenous productions, seven of them directed by women.) That change will have a direct impact on the variety of people making movies, the kinds of movies being made and the kinds of stories being told.
Brabant couldn’t be happier.
“It’s reaffirming the right for women, for their place in the industry,” she said. “It’s important. They don’t need to do more than men; they just need to take their place.”
tdunlevy@postmedia.com
We would like to thank the writer of this article for this awesome web content
Ambitious Telefilm Canada plan for gender parity produces excellent early results
The U.K.’s Film4 backs 10 to 12 features a year, meaning that its eight-strong lineup of world premieres at Toronto Intl. Film Festival see the curtain raised on a hefty chunk of its slate.
That’s fine by Film4 boss Daniel Battsek. “Toronto was elevated for me during my American experience; it was only once I was living there and working at Miramax that for me it became this legendary launching pad,” he says.
“Three Billboards Outside Ebbing, Missouri” had its world premiere at Toronto and that picture marked a change of tack by Film4, the film arm of British pubcaster Channel 4, whereby it took a larger stake in a select number of bigger-budget movies. These sit along more modestly-budgeted fare and films from first-timers, which Film4 is also mandated to support.
“What we are trying to do all the time is support diverse filmmakers, women filmmakers, and to encourage debut filmmakers,” Battsek says. “At the same time we need to have the economic environment where we are taking some bigger risks with bigger rewards on some other movies so the whole financial equation makes sense as a whole.”
“Three Billboards” had a box-office haul of $159 million. “The Favourite,” like “Three Billboards” backed by Film4 with Fox Searchlight, raked in $96 million.
Being a more sizable partner changes the conversation with producers, according to Ollie Madden, head of creative at Film4. “It’s appealing for producers knowing that we can put more money in,” he says. “We can make their case more effectively and support their creative vision more forcefully when we have a bigger seat at the table.”
For Madden, the TIFF roster represents the balance of what Film4 is trying to achieve. “You’ve got two bigger-budget studio co-financed pics in ‘The Personal History of David Copperfield’ [with Filmnation] and ‘Greed’ [with Sony], and two exciting debuts in ‘Saint Maud’ and ‘Calm With Horses,’” he says. “Three of the films are directed by women. And then there is some really good BAME [black, Asian, minority ethnic] representation in ‘Copperfield’ and ‘Rocks.’”
“Copperfield,” which will open the London Film Festival, comes from “The Death of Stalin” co-writer and director Armando Iannucci, marking his first project with Film4.
“There are filmmakers that are not on our books – and Armando was one of them – that we are desperate to work with,” Battsek says. “It doesn’t feel like in any way shape or form like a traditional adaptation of a classic,” he says of the “Veep” creator’s Dickens adaptation. “It feels very much of its time.”
“Greed,” meanwhile, strikes a topical note. It reunites regular collaborators Steve Coogan and Michael Winterbottom. “They have a special chemistry as creative partners that is very much in evidence in the film,” Madden says. “It is about the inequality of wealth and fast fashion – something people the world over are aware of and thinking about.”
The U.K. is outperforming in terms of female-led projects, which land well at Toronto. “How to Build a Girl,” about an aspiring female rock writer and starring Beanie Feldstein, soon to be seen as Monica Lewinsky in FX’s “American Crime Story,” is a standout example. Another is “Rocks,” created from workshops with non-actors, and about a group of multicultural London schoolgirls.
“It’s an extraordinary piece of filmmaking,” Battsek says of “Rocks,” helmed by Sarah Gavron and written by Theresa Ikoko and Claire Wilson. “It doesn’t feel in any way conditioned on a particular format, but like it has grown from within the lives and experiences of the characters that are then playing themselves. It has a realness and a spontaneity to it.”
Channel 4, Film4’s parent, is undergoing huge change. A sizable chunk of its operations – about 300 of 800 positions at the pubcaster – are to be located outside of the current London base. Battsek and his team will remain in the U.K. capital. The Film4 chief cites “Everybody’s Talking About Jamie” shooting in the northern cities of Sheffield and Doncaster, “Dream Horse,” which lensed in Wales, and films going back to Scotland-set “Trainspotting,” as examples of Film4’s out-of-London credentials.
On home turf there is also renewed competition with BBC Films. “We’re very competitive with the BBC – and everybody else,” Battsek says. Linking the question on domestic competition with the raft TIFF launches, he adds: “We have a pretty good track record of fulfilling the ambitions of the filmmakers who come to work with us. Part of that is that their films get made, and that they get launched at important film festivals.”
Film4 Movies at Toronto
“Calm With Horses”
Director: Nick Rowland
Producer: Daniel Emmerson
Key cast: Cosmo Jarvis, Barry Keoghan, Niamh Algar
Description: When a father and enforcer for a crime family is asked to kill for the first time his attempt to do the right thing endangers everyone he holds dear.
Section: Discovery
“Dirt Music”
Director: Gregor Jordan
Producers: Finola Dwyer, Amanda Posey, Angie Fielder, Polly Staniford
Key cast: Kelly Macdonald, Garrett Hedlund, David Wenham
Description: A woman living in a remote Australian town, who has lost her way in life, has an intense affair with an enigmatic loner.
Section: Special Presentation
“Greed”
Director: Michael Winterbottom
Producers: Damian Jones, Melissa Parmenter
Key cast: Steve Coogan, David Mitchell, Isla Fisher
Description: A retail billionaire prepares for a lavish birthday party in Mykonos, Greece.
Section: Special Presentation
“How to Build a Girl”
Director: Coky Giedroyc
Producers: Alison Owen, Debra Hayward
Key cast: Beanie Feldstein, Alfie Allen, Paddy Considine, Chris O’Dowd, Emma Thompson
Description: A working-class teenager moves to London and reinvents herself as swashbuckling rock journalist.
Section: Special Presentation
“The Personal History of David Copperfield”
Director: Armando Iannucci
Producers: Kevin Loader, Armando Iannucci
Cast: Dev Patel, Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw
Description: A fresh take on Charles Dickens’ semi-autobiographical masterpiece.
Section: Special Presentation
“Rocks”
Director: Sarah Gavron
Producers: Faye Ward, Ameenah Ayub Allen
Cast: Bukky Bakray, Kosar Ali, D’angelou Osei Kissiedu
Description: A British-Nigerian girl abandons her home and hides around her London neighborhood to keep her and her brother from being taken into care.
Section: Platform
“Saint Maud”
Director: Rose Glass
Producers: Andrea Cornwell, Oliver Kassman
Key cast: Morfydd Clark, Jennifer Ehle
Description: A religious young carer becomes fixated with saving the soul of her glamorous patient.
Section: Midnight Madness
“True History of the Kelly Gang”
Director: Justin Kurzel
Producers: Hal Vogel, Liz Watts, Paul Ranford, Justin Kurzel
Key cast: George MacKay, Essie Davis, Nicholas Hoult, Charlie Hunnam, Russell Crowe
Description: A defiant rebel swears to wreak vengeance and havoc on the British Empire.
Section: Gala Presentation
We would like to say thanks to the author of this write-up for this awesome content
Film4 Uses Toronto as Springboard to Launch Standout Titles
The U.K.’s Film4 backs 10 to 12 features a year, meaning that its eight-strong lineup of world premieres at Toronto Intl. Film Festival see the curtain raised on a hefty chunk of its slate.
That’s fine by Film4 boss Daniel Battsek. “Toronto was elevated for me during my American experience; it was only once I was living there and working at Miramax that for me it became this legendary launching pad,” he says.
“Three Billboards Outside Ebbing, Missouri” had its world premiere at Toronto and that picture marked a change of tack by Film4, the film arm of British pubcaster Channel 4, whereby it took a larger stake in a select number of bigger-budget movies. These sit along more modestly-budgeted fare and films from first-timers, which Film4 is also mandated to support.
“What we are trying to do all the time is support diverse filmmakers, women filmmakers, and to encourage debut filmmakers,” Battsek says. “At the same time we need to have the economic environment where we are taking some bigger risks with bigger rewards on some other movies so the whole financial equation makes sense as a whole.”
“Three Billboards” had a box-office haul of $159 million. “The Favourite,” like “Three Billboards” backed by Film4 with Fox Searchlight, raked in $96 million.
Being a more sizable partner changes the conversation with producers, according to Ollie Madden, head of creative at Film4. “It’s appealing for producers knowing that we can put more money in,” he says. “We can make their case more effectively and support their creative vision more forcefully when we have a bigger seat at the table.”
For Madden, the TIFF roster represents the balance of what Film4 is trying to achieve. “You’ve got two bigger-budget studio co-financed pics in ‘The Personal History of David Copperfield’ [with Filmnation] and ‘Greed’ [with Sony], and two exciting debuts in ‘Saint Maud’ and ‘Calm With Horses,’” he says. “Three of the films are directed by women. And then there is some really good BAME [black, Asian, minority ethnic] representation in ‘Copperfield’ and ‘Rocks.’”
“Copperfield,” which will open the London Film Festival, comes from “The Death of Stalin” co-writer and director Armando Iannucci, marking his first project with Film4.
“There are filmmakers that are not on our books – and Armando was one of them – that we are desperate to work with,” Battsek says. “It doesn’t feel like in any way shape or form like a traditional adaptation of a classic,” he says of the “Veep” creator’s Dickens adaptation. “It feels very much of its time.”
“Greed,” meanwhile, strikes a topical note. It reunites regular collaborators Steve Coogan and Michael Winterbottom. “They have a special chemistry as creative partners that is very much in evidence in the film,” Madden says. “It is about the inequality of wealth and fast fashion – something people the world over are aware of and thinking about.”
The U.K. is outperforming in terms of female-led projects, which land well at Toronto. “How to Build a Girl,” about an aspiring female rock writer and starring Beanie Feldstein, soon to be seen as Monica Lewinsky in FX’s “American Crime Story,” is a standout example. Another is “Rocks,” created from workshops with non-actors, and about a group of multicultural London schoolgirls.
“It’s an extraordinary piece of filmmaking,” Battsek says of “Rocks,” helmed by Sarah Gavron and written by Theresa Ikoko and Claire Wilson. “It doesn’t feel in any way conditioned on a particular format, but like it has grown from within the lives and experiences of the characters that are then playing themselves. It has a realness and a spontaneity to it.”
Channel 4, Film4’s parent, is undergoing huge change. A sizable chunk of its operations – about 300 of 800 positions at the pubcaster – are to be located outside of the current London base. Battsek and his team will remain in the U.K. capital. The Film4 chief cites “Everybody’s Talking About Jamie” shooting in the northern cities of Sheffield and Doncaster, “Dream Horse,” which lensed in Wales, and films going back to Scotland-set “Trainspotting,” as examples of Film4’s out-of-London credentials.
On home turf there is also renewed competition with BBC Films. “We’re very competitive with the BBC – and everybody else,” Battsek says. Linking the question on domestic competition with the raft TIFF launches, he adds: “We have a pretty good track record of fulfilling the ambitions of the filmmakers who come to work with us. Part of that is that their films get made, and that they get launched at important film festivals.”
Film4 Movies at Toronto
“Calm With Horses”
Director: Nick Rowland
Producer: Daniel Emmerson
Key cast: Cosmo Jarvis, Barry Keoghan, Niamh Algar
Description: When a father and enforcer for a crime family is asked to kill for the first time his attempt to do the right thing endangers everyone he holds dear.
Section: Discovery
“Dirt Music”
Director: Gregor Jordan
Producers: Finola Dwyer, Amanda Posey, Angie Fielder, Polly Staniford
Key cast: Kelly Macdonald, Garrett Hedlund, David Wenham
Description: A woman living in a remote Australian town, who has lost her way in life, has an intense affair with an enigmatic loner.
Section: Special Presentation
“Greed”
Director: Michael Winterbottom
Producers: Damian Jones, Melissa Parmenter
Key cast: Steve Coogan, David Mitchell, Isla Fisher
Description: A retail billionaire prepares for a lavish birthday party in Mykonos, Greece.
Section: Special Presentation
“How to Build a Girl”
Director: Coky Giedroyc
Producers: Alison Owen, Debra Hayward
Key cast: Beanie Feldstein, Alfie Allen, Paddy Considine, Chris O’Dowd, Emma Thompson
Description: A working-class teenager moves to London and reinvents herself as swashbuckling rock journalist.
Section: Special Presentation
“The Personal History of David Copperfield”
Director: Armando Iannucci
Producers: Kevin Loader, Armando Iannucci
Cast: Dev Patel, Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw
Description: A fresh take on Charles Dickens’ semi-autobiographical masterpiece.
Section: Special Presentation
“Rocks”
Director: Sarah Gavron
Producers: Faye Ward, Ameenah Ayub Allen
Cast: Bukky Bakray, Kosar Ali, D’angelou Osei Kissiedu
Description: A British-Nigerian girl abandons her home and hides around her London neighborhood to keep her and her brother from being taken into care.
Section: Platform
“Saint Maud”
Director: Rose Glass
Producers: Andrea Cornwell, Oliver Kassman
Key cast: Morfydd Clark, Jennifer Ehle
Description: A religious young carer becomes fixated with saving the soul of her glamorous patient.
Section: Midnight Madness
“True History of the Kelly Gang”
Director: Justin Kurzel
Producers: Hal Vogel, Liz Watts, Paul Ranford, Justin Kurzel
Key cast: George MacKay, Essie Davis, Nicholas Hoult, Charlie Hunnam, Russell Crowe
Description: A defiant rebel swears to wreak vengeance and havoc on the British Empire.
Section: Gala Presentation
We would like to say thanks to the author of this write-up for this awesome content
Film4 Uses Toronto as Springboard to Launch Standout Titles
New Jersey, United States – Verified Market Research provides an encyclopedic study of the Movies And Entertainment Market with holistic insights into important factors and aspects impacting the future growth of the market. The Movies And Entertainment Market has been analyzed for the forecast period 2022-2029 and the historical period 2015-2021. To help players gain a thorough understanding of the Movies And Entertainment Market and its critical dynamics, the research study provides detailed qualitative and quantitative analysis. Additionally, readers are offered comprehensive and in-depth research of various regions and segments of the Movies And Entertainment Market. Almost all industry-specific, microeconomic and macroeconomic factors affecting the growth of the global market have been analyzed in the report.
With a comprehensive analysis of the competitive landscape, the authors of the Movies And Entertainment Market report have made a brilliant attempt to study the key developments, pricing and business tactics, and future plans of the leading companies. Along with Players Movies And Entertainment Market performance in terms of revenue and revenue, the analysts throw light on their production, served areas, gross margin, and other important factors. Additionally, the Movies And Entertainment report helps players to gain an upper hand in the market competition by thoroughly analyzing its competitors’ market positioning, market growth, and product portfolio.
Get Full PDF Sample Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketresearch.com/download-sample/?rid=59280
Key Players Mentioned in the Movies And Entertainment Market Research Report:
Viacom Inc., 21st Century Fox, Time Warner, Comcast (NBCUNIVERSAL MEDIA, LLC. & DreamWorks Animation LLC.), Sony Corporation, Disney, and CBS Corporation, and CBS Broadcasting Inc.
Movies And Entertainment Market Segmentation:
Movies and Entertainment Market, By Application
• Residential
• Commercial
Movies and Entertainment Market, By Type
• Movies
• Music and Video
The report is the best compilation of different types of segmental analysis of the Movies And Entertainment Market done from different points of view. The analysts’ pragmatic approach to studying different segments of the market and the top-down and bottom-up approaches in forecasting the size of their markets make the Movies And Entertainment research study unique and accurate. Reliable primary sources such as CTOs, MDs, VPs, CEOs, and industry experts on the supply and demand side were consulted to validate and revalidate market numbers and other insights. Secondary sources such as Bloomberg, databases, white papers, press releases, and company reports were used to collect market information and data.
This research study can be used by all participants in the Movies And Entertainment Market as it covers all major and minor aspects of the current and future market competition. It can also prove very beneficial for stakeholders in view of the range of courses on offer and a detailed analysis of the expected growth strategies of the players in the coming years. Newcomers or players who want to make a foray into the Movies And Entertainment Market can gain useful insights and effective guides from the report. On the other hand, established companies can use the Movies And Entertainment report to keep themselves informed about current and future market scenarios and to plan their future business movements.
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Movies And Entertainment Market Report Scope
Determining the pulse of the market becomes easy through this in-detail Movies And Entertainment market analysis. Key players can find all competitive data and market size of major regions like North America, Europe, Latin America, Asia-Pacific and Middle East. As part of the competitive analysis, certain strategies are profiled which are pursued by key players such as mergers, collaborations, acquisitions and new product launches. These strategies will greatly help industry players to strengthen their market position and grow their business.
Key questions answered in the report:
1. Which are the five top players of the Movies And Entertainment market?
2. How will the Movies And Entertainment market change in the next five years?
3. Which product and application will take a lion’s share of the Movies And Entertainment market?
4. What are the drivers and restraints of the Movies And Entertainment market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the Movies And Entertainment market throughout the forecast period?
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We would love to thank the author of this short article for this awesome content
Movies And Entertainment Market Size, Trends And Forecast | Viacom Inc., 21st Century Fox, Time Warner, Comcast (NBCUNIVERSAL MEDIA, LLC. & DreamWorks Animation LLC.), Sony Corporation, Disney, and CBS Corporation, and CBS Broadcasting Inc. – Bloomingprairieonline
New Jersey, United States – Verified Market Research provides an encyclopedic study of the Movies And Entertainment Market with holistic insights into important factors and aspects impacting the future growth of the market. The Movies And Entertainment Market has been analyzed for the forecast period 2022-2029 and the historical period 2015-2021. To help players gain a thorough understanding of the Movies And Entertainment Market and its critical dynamics, the research study provides detailed qualitative and quantitative analysis. Additionally, readers are offered comprehensive and in-depth research of various regions and segments of the Movies And Entertainment Market. Almost all industry-specific, microeconomic and macroeconomic factors affecting the growth of the global market have been analyzed in the report.
With a comprehensive analysis of the competitive landscape, the authors of the Movies And Entertainment Market report have made a brilliant attempt to study the key developments, pricing and business tactics, and future plans of the leading companies. Along with Players Movies And Entertainment Market performance in terms of revenue and revenue, the analysts throw light on their production, served areas, gross margin, and other important factors. Additionally, the Movies And Entertainment report helps players to gain an upper hand in the market competition by thoroughly analyzing its competitors’ market positioning, market growth, and product portfolio.
Get Full PDF Sample Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketresearch.com/download-sample/?rid=59280
Key Players Mentioned in the Movies And Entertainment Market Research Report:
Viacom Inc., 21st Century Fox, Time Warner, Comcast (NBCUNIVERSAL MEDIA, LLC. & DreamWorks Animation LLC.), Sony Corporation, Disney, and CBS Corporation, and CBS Broadcasting Inc.
Movies And Entertainment Market Segmentation:
Movies and Entertainment Market, By Application
• Residential
• Commercial
Movies and Entertainment Market, By Type
• Movies
• Music and Video
The report is the best compilation of different types of segmental analysis of the Movies And Entertainment Market done from different points of view. The analysts’ pragmatic approach to studying different segments of the market and the top-down and bottom-up approaches in forecasting the size of their markets make the Movies And Entertainment research study unique and accurate. Reliable primary sources such as CTOs, MDs, VPs, CEOs, and industry experts on the supply and demand side were consulted to validate and revalidate market numbers and other insights. Secondary sources such as Bloomberg, databases, white papers, press releases, and company reports were used to collect market information and data.
This research study can be used by all participants in the Movies And Entertainment Market as it covers all major and minor aspects of the current and future market competition. It can also prove very beneficial for stakeholders in view of the range of courses on offer and a detailed analysis of the expected growth strategies of the players in the coming years. Newcomers or players who want to make a foray into the Movies And Entertainment Market can gain useful insights and effective guides from the report. On the other hand, established companies can use the Movies And Entertainment report to keep themselves informed about current and future market scenarios and to plan their future business movements.
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Movies And Entertainment Market Report Scope
Determining the pulse of the market becomes easy through this in-detail Movies And Entertainment market analysis. Key players can find all competitive data and market size of major regions like North America, Europe, Latin America, Asia-Pacific and Middle East. As part of the competitive analysis, certain strategies are profiled which are pursued by key players such as mergers, collaborations, acquisitions and new product launches. These strategies will greatly help industry players to strengthen their market position and grow their business.
Key questions answered in the report:
1. Which are the five top players of the Movies And Entertainment market?
2. How will the Movies And Entertainment market change in the next five years?
3. Which product and application will take a lion’s share of the Movies And Entertainment market?
4. What are the drivers and restraints of the Movies And Entertainment market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the Movies And Entertainment market throughout the forecast period?
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Movies And Entertainment Market Size, Trends And Forecast | Viacom Inc., 21st Century Fox, Time Warner, Comcast (NBCUNIVERSAL MEDIA, LLC. & DreamWorks Animation LLC.), Sony Corporation, Disney, and CBS Corporation, and CBS Broadcasting Inc. – Bloomingprairieonline
BBC Films and Film4 heads Rose Garnett and Daniel Battsek provided an intriguing insight into the inner workings of their organisations at the ’Behind the Scenes with the Broadcasters’ panel hosted by Ben Roberts, deputy CEO of the British Film Institute at the UK Film Centre in Cannes this Saturday (May 18).
What happens to an emailed script that turns up unsolicited in the in-boxes of the broadcasters’ film arms?
“Everything gets read,” Garnett told an audience that included many independent producers. At the same time, she reminded the panel, “We are commissioners… we work for a broadcaster that is licence fee-funded but that doesn’t mean we are an open door.”
Generally, BBC Films will only consider projects that have an agent or producer attached. (BBC Writersroom has an open submission forum called ‘Script Room.’)
Battsek, director of Film4, talked up his “energetic, well-connected” commissioners, who are “out and about, meeting as many aspiring filmmakers as they possibly can, wherever they might find them”.
BBC Films, which has a team of 15 executives, spends around £11 million a year on between 15 and 17 films.
Film4 has a team of 20. Battsek described the company as “a little bit like an island state” within broadcaster Channel 4 and as a “full-service operation,” with production finance, business affairs, marketing and publicity sitting alongside creative. This enables Battsek and his team to follow a project’s progress all the way from development to release.
The companies have been involved in Oscar -winning films including Three Billboards Outside Ebbing, Missouri and The Favourite. These generate positive publicity and welcome profits but Battsek made it clear that chasing “big commercial winners” is a perilous business. “Yes, there is the opportunity for the most reward but there is also the downside that if they don’t work, then you can find you create a bit of a hole in your budget.”
Both companies said they focus predominantly on first and second-time filmmakers. Battsek said: “If we are not going to do it, those films are not going to get made… if we are not going to do it, all of us, then those movies are not going to get made. I do feel that is a major responsibility – to be the support that first or second time filmmakers need.”
Both also insisted they were “very keen to work with great filmmaking voices” whether or not they are British. BBC Films is one of the backers of New York-based Eliza Hittman’s Never Rarely Sometimes Always, produced by the team behind Moonlight.
“It’s a fascinating project from a brilliant young filmmaker… who happens to be American. It is not very British but it is very universal,” the BBC Films chief said of the film, about a woman struggling with an unintended pregnancy.
“It began in the UK, the story. Eliza’s initial idea, which we developed with her, was to do the story set in the Republic of Ireland. Then the referendum [on abortion] happened and, at the same time, people were changing in the US – so we migrated the story across [to the US].”
Garnett added Hittman “is probably the furthest we will ever go in terms of where we put our money” but also pointed out the BBC is a “global brand.”
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BBC Films, Film4 chiefs reveal their approach to commissioning
BBC Films and Film4 heads Rose Garnett and Daniel Battsek provided an intriguing insight into the inner workings of their organisations at the ’Behind the Scenes with the Broadcasters’ panel hosted by Ben Roberts, deputy CEO of the British Film Institute at the UK Film Centre in Cannes this Saturday (May 18).
What happens to an emailed script that turns up unsolicited in the in-boxes of the broadcasters’ film arms?
“Everything gets read,” Garnett told an audience that included many independent producers. At the same time, she reminded the panel, “We are commissioners… we work for a broadcaster that is licence fee-funded but that doesn’t mean we are an open door.”
Generally, BBC Films will only consider projects that have an agent or producer attached. (BBC Writersroom has an open submission forum called ‘Script Room.’)
Battsek, director of Film4, talked up his “energetic, well-connected” commissioners, who are “out and about, meeting as many aspiring filmmakers as they possibly can, wherever they might find them”.
BBC Films, which has a team of 15 executives, spends around £11 million a year on between 15 and 17 films.
Film4 has a team of 20. Battsek described the company as “a little bit like an island state” within broadcaster Channel 4 and as a “full-service operation,” with production finance, business affairs, marketing and publicity sitting alongside creative. This enables Battsek and his team to follow a project’s progress all the way from development to release.
The companies have been involved in Oscar -winning films including Three Billboards Outside Ebbing, Missouri and The Favourite. These generate positive publicity and welcome profits but Battsek made it clear that chasing “big commercial winners” is a perilous business. “Yes, there is the opportunity for the most reward but there is also the downside that if they don’t work, then you can find you create a bit of a hole in your budget.”
Both companies said they focus predominantly on first and second-time filmmakers. Battsek said: “If we are not going to do it, those films are not going to get made… if we are not going to do it, all of us, then those movies are not going to get made. I do feel that is a major responsibility – to be the support that first or second time filmmakers need.”
Both also insisted they were “very keen to work with great filmmaking voices” whether or not they are British. BBC Films is one of the backers of New York-based Eliza Hittman’s Never Rarely Sometimes Always, produced by the team behind Moonlight.
“It’s a fascinating project from a brilliant young filmmaker… who happens to be American. It is not very British but it is very universal,” the BBC Films chief said of the film, about a woman struggling with an unintended pregnancy.
“It began in the UK, the story. Eliza’s initial idea, which we developed with her, was to do the story set in the Republic of Ireland. Then the referendum [on abortion] happened and, at the same time, people were changing in the US – so we migrated the story across [to the US].”
Garnett added Hittman “is probably the furthest we will ever go in terms of where we put our money” but also pointed out the BBC is a “global brand.”
We wish to thank the writer of this post for this remarkable material
BBC Films, Film4 chiefs reveal their approach to commissioning
Samuel Goldwyn Films has announced that the company has acquired the North American rights to Martha Stephens’ Oklahoma-made feature film “To the Stars.”
As previously reported, the period drama premiered at the 2019 Sundance Film Festival in U.S. Dramatic Competition. It has played other festivals worldwide, including the Karlovy Vary International Film Festival, where the film had its international premiere, according to a news release.
“We were taken with the tender relationship between Liana Liberato and Kara Hayward’s characters, as well as the delightful supporting cast of teens and adults that make this a memorable and heartfelt coming-of-age story. Martha Stephens is a visionary director that balances the comedy, drama, and growing pains of growing up,” said Meg Longo of Samuel Goldwyn Films in a statement.
The movie stars Kara Hayward (“Manchester By The Sea”), Liana Liberato (“The Best of Me”), Tony Hale (HBO’s “Veep”), Jordana Spiro (Netflix’s “Ozark”), Malin Akerman (Showtime’s “Billions”), Shea Whigham (Amazon’s “Homecoming”), Lucas Jade Zumann (TV’s “Anne with an E”), and Adelaide Clemens (SundanceTV’s “Rectify”).
In a small town in 1960s Oklahoma, bespectacled and reclusive teen Iris (Hayward) endures the booze-induced antics of her mother and daily doses of bullying from her classmates. She finds solace in Maggie (Liberato), the charismatic and enigmatic new girl at school, who hones in on Iris’s untapped potential and coaxes her out of her shell. When Maggie’s mysterious past can no longer be suppressed, the tiny community is thrown into a state of panic, leaving Maggie to take potentially drastic measures and inciting Iris to stand up for her friend and herself.
“Fifteen years ago while I was in film school, the last thing I’d see before shutting my eyes for the night was a poster of David Lynch’s ‘Wild at Heart’ tacked onto my pockmarked wall. The iconic Samuel Goldwyn logo stamped at the poster’s bottom represented a sort of success that I could only long for at that time. How cool is it to come full circle?” said Stephens in a statement.
As previously reported, Stephens’ previous film, “Land Ho!” premiered at the 2014 Sundance Film Festival and won the John Cassavetes Award at the 2015 Film Independent Spirit Awards.
Directed by Stephens, “To the Stars” was written by Shannon Bradley-Colleary. The film was produced by Kristin Mann, Laura D. Smith, and Erik Rommesmo and executive produced by Carlos Enrique Cuscó, Emerson Machtus. Natalia Busquets, Kevin Christianson, Joe Christianson, Karen Schlossman, Jeff Schlossman, Bill Wallwork, Kerri Elder and Blake Elder. The film was financed by Northern Lights Films, Foton Pictures and Rockhill Studios, and produced in association with Prowess Pictures, according to the news release.
Also as previously reported, “To the Stars” began production in early March 2018 in Enid and filmed throughout the community and surrounding region for 18 days, followed by three days in the Bartlesville area this June. Additional filming took place in the Oklahoma cities of Wakita, Kremlin, Hennessey, Pond Creek, Perry and Bartlesville.
The film used the Oklahoma Film Enhancement Rebate Program administered by Oklahoma Film + Music Office.
The deal was negotiated by Peter Goldwyn and Meg Longo on behalf of Samuel Goldwyn Films and CAA on behalf of the filmmakers. International rights to the film are represented by International Film Trust.
A representative for Samuel Goldwyn Films tells me that a release date for the film has yet to be announced, but it will be in 2020.
-BAM
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Samuel Goldwyn Films acquires North American rights to Oklahoma-made film ‘To the Stars’
Samuel Goldwyn Films has announced that the company has acquired the North American rights to Martha Stephens’ Oklahoma-made feature film “To the Stars.”
As previously reported, the period drama premiered at the 2019 Sundance Film Festival in U.S. Dramatic Competition. It has played other festivals worldwide, including the Karlovy Vary International Film Festival, where the film had its international premiere, according to a news release.
“We were taken with the tender relationship between Liana Liberato and Kara Hayward’s characters, as well as the delightful supporting cast of teens and adults that make this a memorable and heartfelt coming-of-age story. Martha Stephens is a visionary director that balances the comedy, drama, and growing pains of growing up,” said Meg Longo of Samuel Goldwyn Films in a statement.
The movie stars Kara Hayward (“Manchester By The Sea”), Liana Liberato (“The Best of Me”), Tony Hale (HBO’s “Veep”), Jordana Spiro (Netflix’s “Ozark”), Malin Akerman (Showtime’s “Billions”), Shea Whigham (Amazon’s “Homecoming”), Lucas Jade Zumann (TV’s “Anne with an E”), and Adelaide Clemens (SundanceTV’s “Rectify”).
In a small town in 1960s Oklahoma, bespectacled and reclusive teen Iris (Hayward) endures the booze-induced antics of her mother and daily doses of bullying from her classmates. She finds solace in Maggie (Liberato), the charismatic and enigmatic new girl at school, who hones in on Iris’s untapped potential and coaxes her out of her shell. When Maggie’s mysterious past can no longer be suppressed, the tiny community is thrown into a state of panic, leaving Maggie to take potentially drastic measures and inciting Iris to stand up for her friend and herself.
“Fifteen years ago while I was in film school, the last thing I’d see before shutting my eyes for the night was a poster of David Lynch’s ‘Wild at Heart’ tacked onto my pockmarked wall. The iconic Samuel Goldwyn logo stamped at the poster’s bottom represented a sort of success that I could only long for at that time. How cool is it to come full circle?” said Stephens in a statement.
As previously reported, Stephens’ previous film, “Land Ho!” premiered at the 2014 Sundance Film Festival and won the John Cassavetes Award at the 2015 Film Independent Spirit Awards.
Directed by Stephens, “To the Stars” was written by Shannon Bradley-Colleary. The film was produced by Kristin Mann, Laura D. Smith, and Erik Rommesmo and executive produced by Carlos Enrique Cuscó, Emerson Machtus. Natalia Busquets, Kevin Christianson, Joe Christianson, Karen Schlossman, Jeff Schlossman, Bill Wallwork, Kerri Elder and Blake Elder. The film was financed by Northern Lights Films, Foton Pictures and Rockhill Studios, and produced in association with Prowess Pictures, according to the news release.
Also as previously reported, “To the Stars” began production in early March 2018 in Enid and filmed throughout the community and surrounding region for 18 days, followed by three days in the Bartlesville area this June. Additional filming took place in the Oklahoma cities of Wakita, Kremlin, Hennessey, Pond Creek, Perry and Bartlesville.
The film used the Oklahoma Film Enhancement Rebate Program administered by Oklahoma Film + Music Office.
The deal was negotiated by Peter Goldwyn and Meg Longo on behalf of Samuel Goldwyn Films and CAA on behalf of the filmmakers. International rights to the film are represented by International Film Trust.
A representative for Samuel Goldwyn Films tells me that a release date for the film has yet to be announced, but it will be in 2020.
-BAM
We would love to say thanks to the writer of this article for this outstanding web content
Samuel Goldwyn Films acquires North American rights to Oklahoma-made film ‘To the Stars’
It’s unreal to think that A24 has only been around for close to one measly decade. The indie studio has already managed to leave a significant imprint on movie-making, largely through exploring diverse perspectives and empowering its filmmakers to take significant risks. The two genres for which the studio is probably the best known for are horror and coming-of-age, with these categorizations often overlapping in synergistic and engrossing ways (think the struggles of a young girl against her Puritanical upbringing in The Witch and Dani’s ultimate acceptance of her grief in Midsommar).
Because A24’s horror entries have already been explored extensively, this list will focus only on the films whose primary function is to examine pivotal moments during the transition into different stages of adulthood. The films on this list, like adolescence itself, are a wonderful mix of funny, painful, sad, and thrilling. To a last one, they are all refreshingly honest and unique, too. Whether the entries below represent an experience you can closely identify with, or perhaps a story far different from your own, each one presents a beautifully crafted view into the trials and triumphs of finding your place in the world.
16. Barely Lethal (2015)
Think A24 does Disney Channel Original Movie, with a slight dash of Samuel L. Jackson (possibly in an unofficial Nick Fury origin story). Hailee Steinfeld stars as Agent 83, an orphaned teen assassin who flees her sinister organization (led by Jackson) and enrolls in an American high school in search of a normal adolescence. It’s a deeply goofy film, complete with a startlingly unexpected Steve-O cameo in which the Jackass alum sparks electrical wires menacingly before both talking about Sbarro Pizza and explaining the emotional volatility of female adolescence. Though there are some entertaining performances from Jackson training his prepubescent killers and the occasional chuckle Rob Huebel and Rachel Harris, the film never finds a consistent tone and is ultimately forgettable.
15. The Spectacular Now (2013)
One of the earliest entries in A24’s catalog, James Ponsoldt’s The Spectacular Now follows popular party boy Sutter (Miles Teller) as he begins a romance with the quiet, introverted Amy (Shailene Woodley) during his senior year of high school. While the cast is absolutely stacked (smaller roles feature the likes of Brie Larson, Mary Elizabeth Winstead, Bob Odenkirk, Andre Royo and Jennifer Jason Leigh), the strong performances don’t make up for a fairly predictable narrative and largely uninteresting dialogue. Woodley’s character is written particularly flat – in making her a stereotypical “good girl” type, the only real view provided into her personality is that she likes comics and doesn’t like dancing. The film does explore some themes often ignored in the classic teen romance drama: Sutter’s “gotta loosen up” philosophy is critically examined both for its tendency towards arrested development and reliance on bouts of alcoholism. However, compared to other entries on this list that prove realistic can still be wildly creative, the film is underwhelming and feels very paint-by-numbers.
14. Hot Summer Nights (2017)
Though Elijah Bynum’s Hot Summer Nights is set in 1991 Cape Cod, there’s something very 1950s Greaser about the whole thing (apart from all the cocaine of course). The film features a refreshingly awkward Timothee Chalamet as an 18-year-old who has just lost his father and is sent to live on the coast for the summer, where he gets involved with the infamous local drug dealer (Alex Roe) while simultaneously falling for his off-limits sister (Maika Monroe). It’s a fun period piece – Risky Business meets Blow – though the way it sets up Monroe’s character is equally dated: a trophy for the taking, merely an indicator that the boy has finally come into his own and somehow miraculously willed away his asthma. That said, it’s an interesting enough take on a lonely and bored kid getting in way over his head featuring some beautiful shots, great performances and a fun soundtrack. The scenes between Monroe and Roe are especially intriguing, and it would have been nice to explore that dynamic a bit more. While it’s hard to put a finger on exactly what’s missing from this one, it does suggest a lot of promise from Bynum in his first film as writer and director. His next project, a story following a black bodybuilder struggling to navigate a shallow and violent world starring Jonathan Majors, should be an interesting trip.
13. Mid90s (2018)
Lucas Hedges is all over this list. In one of his more sinister turns, he plays the physically abusive older brother, Ian, to our main protagonist 13-year-old Stevie (Sunny Suljic) in Jonah Hill’s directorial debut Mid90s. The film follows Stevie as he falls in line with a group of foul-mouthed skateboarders in 90s LA, and begins rebelling against the confines of his current existence. The crew is played convincingly by a cast of mostly newcomers, including a number of real LA-based skateboarders like Olan Prenatt and Odd Future’s Na-Kel Smith. As we watch Stevie’s struggle to find his voice and fit in, the film approaches some interesting commentary about the relationship between insecurity and masculinity. Stevie is so little, still so very much on the child side of adolescence, that it’s hard to watch some of the very adult experiences he starts to experiment with – one scene in particular with a much older Alexa Demie could do with significantly more contextualizing. That last point is endemic of a film that includes some interesting experiences and gratifying nostalgia, but doesn’t quite know what it wants to say with them.
12. Ginger & Rosa (2012)
Set in 1960s London, Sally Potter’s Ginger & Rosa follows two inseparable teenage girls (Elle Fanning and Alice Englert) as their friendship is tested by familial drama, sexual awakening, and the ever-present threat of “the bomb.” Even as her own personal world begins to crumble, Ginger remains preoccupied with the fate of larger humanity, and you feel terribly for her as the two anxieties finally collide. The film sets up the complex dynamics between the characters with a beautiful efficiency, employing a series of artistic shots, some lovely era-appropriate jazz, and minimal dialogue that almost feels more like watching home videos than a carefully crafted movie. Alessandro Nicole plays Ginger’s activist, bourgeois-hating professor father very well, masterfully embodying both his predatory narcissism and self-indulgent immaturity. Though not as memorable as many of A24’s other entries, this film also gets bonus points for including a far too rare Christina Hendricks, and finding a way to work in her enchanting accordion skills.
11. Morris from America (2016)
Morris from America centers around a 13-year-old American boy, Morris (played by Markees Christmas) and his father (Craig Robinson) living in Heidelberg, Germany and struggling to find their place in the local community. The film is largely interested in exploring identity and connection, and it’s easy to feel for Morris on both accounts – adolescence is hard enough without having to face the situation of being, as Robinson’s character succinctly describes it, one of “the only two brothers in Heidelberg.” Robinson is brilliant and easily the best part of this film in a rare dramatic turn as Curtis, a recent widower who cares deeply for his son and whose loneliness and isolation is palpable, even as he does his best to stay positive. In spite of his own state of mourning, Curtis still recognizes the significance of this time in Morris’ life and how important it is for him to establish his identity in a way that is true to himself. When he finds some shockingly explicit rap lyrics his son has written, he’s not angry that they’re filthy, he’s pissed that they’re inauthentic to Morris’ own experience. The film takes on a lot – grief, German racism, sexuality – and does not always hit the mark on all points, but the most compelling moments are in between father and son, two lonely souls finding a way to feel at home and move forward together.
10. The Souvenir (2019)
Joanna Hogg’s The Souvenir is undeniably a well-made movie. It follows a young film student (Honor Swindon Byrne) who begins a troubled relationship with a complicated older man (Tom Burke), while at the same time starting to come out of her shell as an artist. It’s beautifully shot, well-acted, well-scored and features some unique, thoughtful dialogue. That said, the coming-of-age films that really stand out on this list are able to accomplish two main things: 1) a relatable experience, regardless of the character’s background or surroundings and 2) a small set of main protagonists that you find yourself deeply invested in, or at least engrossed by. On these two points, The Souvenir falls a bit short. The layers of privilege are so deep and the British, waspy-esque emotional repression is so intense, that it’s often difficult to connect with the story in any meaningful way. In spite of these points, however, it is powerfully effective in its depiction of an emotionally manipulative and tragic relationship that though at times is incredibly subtle, feels vividly lived in and real.
9. Lean on Pete (2017)
The best part about Andrew Haigh’s Lean on Pete is the idiosyncratic combination of vibes and genres that it mixes together. The high level beats of the first half of the story feel like it could easily be a feel-good family film about a boy and a horse, but it’s got some “R rated” grit and edge to it. It almost feels like a 90’s Disney flick, except that people keep dropping f-bombs and the stakes become mercilessly high. Charlie Plummer stars as Charley Thompson, a 15-year-old boy who befriends an aging racehorse with whom he embarks on a journey across the American West. The film also features fantastic supporting performances from Chloë Sevigny as a jockey, Steve Buscemi as a jaded racehorse owner, and Steve Zahn as one half of a couple he meets at a soup kitchen. Though at times it’s hard not to wonder who exactly this movie is for, that’s the beauty of it: it’s dark without being gratuitous, interesting but not sensationalized. The result is something that feels very fleshed out and real, and adds something wholly new to the genre.
8. Share (2019)
Share covers a crucial and often avoided topic that is an unfortunate part of coming-of-age for far too many young people. Rhianne Barreto is powerfully effective as Mandy, a 16-year-old girl who wakes up on her front lawn after a night of drinking and partying with her friends with no recollection of how she got there. When a disturbing video surfaces indicating she may have been sexually assaulted, she tries to piece together what happened while doing her best to survive the fallout. Pippa Bianca’s film appropriately feels like a horror movie at times, with tense, building music and a claustrophobic dread. It presents a more realistic, though still cinematically engaging approach to exploring the aftermath of sexual assault – the extreme isolation, the treacherous “nice guy” myth, the futility, frustration, and humiliation of having to re-watch the video over and over again with her parents – in a far more understated and potentially more impactful way than a more heightened film like Promising Young Woman. It’s hard for a story like this to ever have a satisfying ending because in real life there isn’t one. However, Share explores the topic with utmost care and concern for the survivor at the center of it all, thoughtfully navigating the many conflicting emotions an individual might feel in this situation, and leaving room for hope and healing amidst all the pain.
7. Waves (2019)
Trey Edward Shults’ Waves is a uniquely hypnotic experience. The way it uses music, color, and dynamic and flowing cinematography to fully immerse you into initial protagonist Tyler Williams’ (Kelvin Harrison Jr.) world right from frame one is memorably beautiful and highly effective. Though we’re initially introduced to a sunny dream world of beaches and young love, it’s not long before we see that the mounting pressures piling up on Tyler’s shoulders are too much for any one person to bear alone – especially not at 18 and especially not when the stakes presented to him are a society looking to throw him away at the first sign of weakness. When the perfection he has worked so hard to cultivate starts showing cracks, it’s no surprise everything comes crumbling down. The film is equally mesmerizing as it switches to his younger sister Emily’s (Taylor Russell) perspective, making the transition with some thoughtful shots and tonal cues as we begin to explore the aftermath through her eyes. Visual and auditory achievements aside, some topics covered in this film would have really benefited from a black filmmaker’s perspective (the exploration around the pressures of “black excellence” in particular), and Emily’s portion becomes far too centered around her new boyfriend Luke (Lucas Hedges), rather than offering her additional development. Those shortcomings acknowledged, the gripping performances from the two young leads bolster what is ultimately an effective exploration of a family navigating tragedy, loss, and, finally, healing.
6. Never Goin’ Back (2018)
Not your average stoner comedy, Augustine Frizzell’s Never Goin’ Back opens with more questions than answers. Why are these two girls living on their own? Where are their parents? Are we really supposed to believe that Maia Mitchell and Camila Morrone are 16? That said, both actresses are fantastic in this refreshingly unique exploration of a close female friendship and coming-of-age without any parental guidance. They’re not stressing about getting into Harvard or losing their virginity – thank goodness – they’re just trying to make it to Galveston for the weekend. With an authentically Texan voice and willingness to explore the more mundane and challenging parts of surviving on your own at such a young age, this film manages to breathe fresh life into the oft-tired teen party flick.
5. 20th Century Women (2016)
Though Mike Mills’ 1970s period piece technically centers around 15-year-old Jamie (Lucas Jade Zumann), it’s really a coming-of-age film for almost every character in the story: 17-year-old Julie (Elle Fanning), who relies on Jamie for comfort in the absence of a strong familial connection, 24-year-old Abbie (Greta Gerwig), who’s coping with a cervical cancer diagnosis and returning home after years of living an artistic life in New York City, and 55-year-old Dorothea (Annette Benning), Jamie’s single mother who is feeling more and more incapable of connecting sufficiently with her teenage son. The transition into adulthood continues for much longer than we often acknowledge, and there’s no point in time for most people when we suddenly feel successfully “grown up.” All the characters in 20th Century Women are required to learn and evolve throughout the film in order to adapt to a new phase in life, contributing to a thoughtful and uniquely ensemble take on personal growth led by a notably brilliant turn from Benning.
4. American Honey (2016)
The chemistry between the strong cast buzzes all the way through Andrea Arnold’s American Honey, making the epic 2 hour and 43 minute runtime fly by surprisingly quickly. Sasha Lane is especially memorable as Star, a young woman who escapes a desperately rough existence by joining a roving band of young people who sell magazines door to door across the US. Lane’s Star is so charming and brave and kind and foolish all at the same time, and weaves her way through a world that has been very unfair to her with an admirable amount of persistent hope and curiosity (even if it gets her into situations that leave you watching through parted fingers). Shia LaBeouf puts forth what is probably a career-best in this film as the group’s top salesman and love interest to Star, capturing the exactly right type of oddly off-putting charisma that allows you to understand how she is initially drawn in by his love-bombing and strategically timed gifts, even with all the reddest of red flags. Riley Keough rounds out the ensemble of leads with a characteristically brilliant turn as the crew boss with vibes ranging somewhere between cult leader, maniacal capitalist and tired madam. Though it is a far from perfect film (most notably, the cast is inexplicably, predominantly white), Arnold’s film explores both the thrilling uncertainty of youth and the many different realities of modern America in a thoroughly entertaining way.
3. Eighth Grade (2018)
Even though it may be the least dramatic film on this list, Eighth Grade is extremely hard to watch at times. It is just so gut-wrenchingly real, and viscerally transports you back to the raw awkwardness of being 13 years old. Bo Burnham’s directorial and screenwriting debut rightfully film won him a number of awards and accolades in both categories, but where his touch really set this film apart is in the casting. Burnham insisted on working with normal, age-appropriate eighth graders, including lead Elsie Fisher who he has said was selected because “She was the only one who felt like a shy kid pretending to be confident – everyone else felt like a confident kid pretending to be shy.” The result is a wonderfully unpolished and refreshingly honest (and somehow still funny) exploration of what it’s like to be a teenager in the era of social media, in all its mortifying, agonizing glory.
2. Lady Bird (2017)
While Saoirse Ronan shines in this film about a strong-willed young woman’s senior year of high school in an early aughts Sacramento, what really makes Greta Gerwig’s film, so special is everything on the edges: the complexity that permeates the loving, but conflict-filled relationship between teenage girls and their mothers, the messy way in which parents try to absorb and shelter kids from financial strain, and the hidden, personal pain at this pivotal time in life for those who are not straight, rich and thin (and who are less comfortable being openly dramatic than the titular Ladybird). Laurie Metcalf is especially convincing as the loving, yet perpetually overworked and frustrated mother who is doing everything she can to keep her family afloat and ensure her daughter has the brightest future possible. Balancing funny and feels admirably, Lady Bird is a beautiful love letter to the appreciation for family and home that really only surfaces when we are finally forced to say goodbye.
1. Moonlight (2016)
Barry Jenkin’s Moonlight isn’t just A24’s best, it’s also one of the most beautifully crafted coming-of-age films of all time. The film is split up into three major segments, each chronicling a different pivotal moment in the life of a young black man in Miami as he struggles with abuse, identity and coming to terms with his sexuality. One of Jenkins’ most impressive achievements in Moonlight is how tangibly he makes you feel Chiron’s loneliness, capturing the yearning for basic physical intimacy in a heartbreakingly effective way. The film also features incredible performances from all three actors who play Chiron (Alex Hibbert, Ashton Sanders, and Trevante Rhodes), as well as Mahershala Ali as a father-figure to young Chiron and Naomie Harris as Chiron’s abusive mother. With the various struggles the main character faces, the film could easily and justifiably be bleak. However, possibly the most remarkable aspect of Moonlight is its ability to remain hopeful, resulting in a film that is memorable, thought-provoking, and a joy to watch all at the same time.
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We would love to thank the author of this short article for this remarkable material
Every A24 Coming-Of-Age Film Ranked
It’s unreal to think that A24 has only been around for close to one measly decade. The indie studio has already managed to leave a significant imprint on movie-making, largely through exploring diverse perspectives and empowering its filmmakers to take significant risks. The two genres for which the studio is probably the best known for are horror and coming-of-age, with these categorizations often overlapping in synergistic and engrossing ways (think the struggles of a young girl against her Puritanical upbringing in The Witch and Dani’s ultimate acceptance of her grief in Midsommar).
Because A24’s horror entries have already been explored extensively, this list will focus only on the films whose primary function is to examine pivotal moments during the transition into different stages of adulthood. The films on this list, like adolescence itself, are a wonderful mix of funny, painful, sad, and thrilling. To a last one, they are all refreshingly honest and unique, too. Whether the entries below represent an experience you can closely identify with, or perhaps a story far different from your own, each one presents a beautifully crafted view into the trials and triumphs of finding your place in the world.
16. Barely Lethal (2015)
Think A24 does Disney Channel Original Movie, with a slight dash of Samuel L. Jackson (possibly in an unofficial Nick Fury origin story). Hailee Steinfeld stars as Agent 83, an orphaned teen assassin who flees her sinister organization (led by Jackson) and enrolls in an American high school in search of a normal adolescence. It’s a deeply goofy film, complete with a startlingly unexpected Steve-O cameo in which the Jackass alum sparks electrical wires menacingly before both talking about Sbarro Pizza and explaining the emotional volatility of female adolescence. Though there are some entertaining performances from Jackson training his prepubescent killers and the occasional chuckle Rob Huebel and Rachel Harris, the film never finds a consistent tone and is ultimately forgettable.
15. The Spectacular Now (2013)
One of the earliest entries in A24’s catalog, James Ponsoldt’s The Spectacular Now follows popular party boy Sutter (Miles Teller) as he begins a romance with the quiet, introverted Amy (Shailene Woodley) during his senior year of high school. While the cast is absolutely stacked (smaller roles feature the likes of Brie Larson, Mary Elizabeth Winstead, Bob Odenkirk, Andre Royo and Jennifer Jason Leigh), the strong performances don’t make up for a fairly predictable narrative and largely uninteresting dialogue. Woodley’s character is written particularly flat – in making her a stereotypical “good girl” type, the only real view provided into her personality is that she likes comics and doesn’t like dancing. The film does explore some themes often ignored in the classic teen romance drama: Sutter’s “gotta loosen up” philosophy is critically examined both for its tendency towards arrested development and reliance on bouts of alcoholism. However, compared to other entries on this list that prove realistic can still be wildly creative, the film is underwhelming and feels very paint-by-numbers.
14. Hot Summer Nights (2017)
Though Elijah Bynum’s Hot Summer Nights is set in 1991 Cape Cod, there’s something very 1950s Greaser about the whole thing (apart from all the cocaine of course). The film features a refreshingly awkward Timothee Chalamet as an 18-year-old who has just lost his father and is sent to live on the coast for the summer, where he gets involved with the infamous local drug dealer (Alex Roe) while simultaneously falling for his off-limits sister (Maika Monroe). It’s a fun period piece – Risky Business meets Blow – though the way it sets up Monroe’s character is equally dated: a trophy for the taking, merely an indicator that the boy has finally come into his own and somehow miraculously willed away his asthma. That said, it’s an interesting enough take on a lonely and bored kid getting in way over his head featuring some beautiful shots, great performances and a fun soundtrack. The scenes between Monroe and Roe are especially intriguing, and it would have been nice to explore that dynamic a bit more. While it’s hard to put a finger on exactly what’s missing from this one, it does suggest a lot of promise from Bynum in his first film as writer and director. His next project, a story following a black bodybuilder struggling to navigate a shallow and violent world starring Jonathan Majors, should be an interesting trip.
13. Mid90s (2018)
Lucas Hedges is all over this list. In one of his more sinister turns, he plays the physically abusive older brother, Ian, to our main protagonist 13-year-old Stevie (Sunny Suljic) in Jonah Hill’s directorial debut Mid90s. The film follows Stevie as he falls in line with a group of foul-mouthed skateboarders in 90s LA, and begins rebelling against the confines of his current existence. The crew is played convincingly by a cast of mostly newcomers, including a number of real LA-based skateboarders like Olan Prenatt and Odd Future’s Na-Kel Smith. As we watch Stevie’s struggle to find his voice and fit in, the film approaches some interesting commentary about the relationship between insecurity and masculinity. Stevie is so little, still so very much on the child side of adolescence, that it’s hard to watch some of the very adult experiences he starts to experiment with – one scene in particular with a much older Alexa Demie could do with significantly more contextualizing. That last point is endemic of a film that includes some interesting experiences and gratifying nostalgia, but doesn’t quite know what it wants to say with them.
12. Ginger & Rosa (2012)
Set in 1960s London, Sally Potter’s Ginger & Rosa follows two inseparable teenage girls (Elle Fanning and Alice Englert) as their friendship is tested by familial drama, sexual awakening, and the ever-present threat of “the bomb.” Even as her own personal world begins to crumble, Ginger remains preoccupied with the fate of larger humanity, and you feel terribly for her as the two anxieties finally collide. The film sets up the complex dynamics between the characters with a beautiful efficiency, employing a series of artistic shots, some lovely era-appropriate jazz, and minimal dialogue that almost feels more like watching home videos than a carefully crafted movie. Alessandro Nicole plays Ginger’s activist, bourgeois-hating professor father very well, masterfully embodying both his predatory narcissism and self-indulgent immaturity. Though not as memorable as many of A24’s other entries, this film also gets bonus points for including a far too rare Christina Hendricks, and finding a way to work in her enchanting accordion skills.
11. Morris from America (2016)
Morris from America centers around a 13-year-old American boy, Morris (played by Markees Christmas) and his father (Craig Robinson) living in Heidelberg, Germany and struggling to find their place in the local community. The film is largely interested in exploring identity and connection, and it’s easy to feel for Morris on both accounts – adolescence is hard enough without having to face the situation of being, as Robinson’s character succinctly describes it, one of “the only two brothers in Heidelberg.” Robinson is brilliant and easily the best part of this film in a rare dramatic turn as Curtis, a recent widower who cares deeply for his son and whose loneliness and isolation is palpable, even as he does his best to stay positive. In spite of his own state of mourning, Curtis still recognizes the significance of this time in Morris’ life and how important it is for him to establish his identity in a way that is true to himself. When he finds some shockingly explicit rap lyrics his son has written, he’s not angry that they’re filthy, he’s pissed that they’re inauthentic to Morris’ own experience. The film takes on a lot – grief, German racism, sexuality – and does not always hit the mark on all points, but the most compelling moments are in between father and son, two lonely souls finding a way to feel at home and move forward together.
10. The Souvenir (2019)
Joanna Hogg’s The Souvenir is undeniably a well-made movie. It follows a young film student (Honor Swindon Byrne) who begins a troubled relationship with a complicated older man (Tom Burke), while at the same time starting to come out of her shell as an artist. It’s beautifully shot, well-acted, well-scored and features some unique, thoughtful dialogue. That said, the coming-of-age films that really stand out on this list are able to accomplish two main things: 1) a relatable experience, regardless of the character’s background or surroundings and 2) a small set of main protagonists that you find yourself deeply invested in, or at least engrossed by. On these two points, The Souvenir falls a bit short. The layers of privilege are so deep and the British, waspy-esque emotional repression is so intense, that it’s often difficult to connect with the story in any meaningful way. In spite of these points, however, it is powerfully effective in its depiction of an emotionally manipulative and tragic relationship that though at times is incredibly subtle, feels vividly lived in and real.
9. Lean on Pete (2017)
The best part about Andrew Haigh’s Lean on Pete is the idiosyncratic combination of vibes and genres that it mixes together. The high level beats of the first half of the story feel like it could easily be a feel-good family film about a boy and a horse, but it’s got some “R rated” grit and edge to it. It almost feels like a 90’s Disney flick, except that people keep dropping f-bombs and the stakes become mercilessly high. Charlie Plummer stars as Charley Thompson, a 15-year-old boy who befriends an aging racehorse with whom he embarks on a journey across the American West. The film also features fantastic supporting performances from Chloë Sevigny as a jockey, Steve Buscemi as a jaded racehorse owner, and Steve Zahn as one half of a couple he meets at a soup kitchen. Though at times it’s hard not to wonder who exactly this movie is for, that’s the beauty of it: it’s dark without being gratuitous, interesting but not sensationalized. The result is something that feels very fleshed out and real, and adds something wholly new to the genre.
8. Share (2019)
Share covers a crucial and often avoided topic that is an unfortunate part of coming-of-age for far too many young people. Rhianne Barreto is powerfully effective as Mandy, a 16-year-old girl who wakes up on her front lawn after a night of drinking and partying with her friends with no recollection of how she got there. When a disturbing video surfaces indicating she may have been sexually assaulted, she tries to piece together what happened while doing her best to survive the fallout. Pippa Bianca’s film appropriately feels like a horror movie at times, with tense, building music and a claustrophobic dread. It presents a more realistic, though still cinematically engaging approach to exploring the aftermath of sexual assault – the extreme isolation, the treacherous “nice guy” myth, the futility, frustration, and humiliation of having to re-watch the video over and over again with her parents – in a far more understated and potentially more impactful way than a more heightened film like Promising Young Woman. It’s hard for a story like this to ever have a satisfying ending because in real life there isn’t one. However, Share explores the topic with utmost care and concern for the survivor at the center of it all, thoughtfully navigating the many conflicting emotions an individual might feel in this situation, and leaving room for hope and healing amidst all the pain.
7. Waves (2019)
Trey Edward Shults’ Waves is a uniquely hypnotic experience. The way it uses music, color, and dynamic and flowing cinematography to fully immerse you into initial protagonist Tyler Williams’ (Kelvin Harrison Jr.) world right from frame one is memorably beautiful and highly effective. Though we’re initially introduced to a sunny dream world of beaches and young love, it’s not long before we see that the mounting pressures piling up on Tyler’s shoulders are too much for any one person to bear alone – especially not at 18 and especially not when the stakes presented to him are a society looking to throw him away at the first sign of weakness. When the perfection he has worked so hard to cultivate starts showing cracks, it’s no surprise everything comes crumbling down. The film is equally mesmerizing as it switches to his younger sister Emily’s (Taylor Russell) perspective, making the transition with some thoughtful shots and tonal cues as we begin to explore the aftermath through her eyes. Visual and auditory achievements aside, some topics covered in this film would have really benefited from a black filmmaker’s perspective (the exploration around the pressures of “black excellence” in particular), and Emily’s portion becomes far too centered around her new boyfriend Luke (Lucas Hedges), rather than offering her additional development. Those shortcomings acknowledged, the gripping performances from the two young leads bolster what is ultimately an effective exploration of a family navigating tragedy, loss, and, finally, healing.
6. Never Goin’ Back (2018)
Not your average stoner comedy, Augustine Frizzell’s Never Goin’ Back opens with more questions than answers. Why are these two girls living on their own? Where are their parents? Are we really supposed to believe that Maia Mitchell and Camila Morrone are 16? That said, both actresses are fantastic in this refreshingly unique exploration of a close female friendship and coming-of-age without any parental guidance. They’re not stressing about getting into Harvard or losing their virginity – thank goodness – they’re just trying to make it to Galveston for the weekend. With an authentically Texan voice and willingness to explore the more mundane and challenging parts of surviving on your own at such a young age, this film manages to breathe fresh life into the oft-tired teen party flick.
5. 20th Century Women (2016)
Though Mike Mills’ 1970s period piece technically centers around 15-year-old Jamie (Lucas Jade Zumann), it’s really a coming-of-age film for almost every character in the story: 17-year-old Julie (Elle Fanning), who relies on Jamie for comfort in the absence of a strong familial connection, 24-year-old Abbie (Greta Gerwig), who’s coping with a cervical cancer diagnosis and returning home after years of living an artistic life in New York City, and 55-year-old Dorothea (Annette Benning), Jamie’s single mother who is feeling more and more incapable of connecting sufficiently with her teenage son. The transition into adulthood continues for much longer than we often acknowledge, and there’s no point in time for most people when we suddenly feel successfully “grown up.” All the characters in 20th Century Women are required to learn and evolve throughout the film in order to adapt to a new phase in life, contributing to a thoughtful and uniquely ensemble take on personal growth led by a notably brilliant turn from Benning.
4. American Honey (2016)
The chemistry between the strong cast buzzes all the way through Andrea Arnold’s American Honey, making the epic 2 hour and 43 minute runtime fly by surprisingly quickly. Sasha Lane is especially memorable as Star, a young woman who escapes a desperately rough existence by joining a roving band of young people who sell magazines door to door across the US. Lane’s Star is so charming and brave and kind and foolish all at the same time, and weaves her way through a world that has been very unfair to her with an admirable amount of persistent hope and curiosity (even if it gets her into situations that leave you watching through parted fingers). Shia LaBeouf puts forth what is probably a career-best in this film as the group’s top salesman and love interest to Star, capturing the exactly right type of oddly off-putting charisma that allows you to understand how she is initially drawn in by his love-bombing and strategically timed gifts, even with all the reddest of red flags. Riley Keough rounds out the ensemble of leads with a characteristically brilliant turn as the crew boss with vibes ranging somewhere between cult leader, maniacal capitalist and tired madam. Though it is a far from perfect film (most notably, the cast is inexplicably, predominantly white), Arnold’s film explores both the thrilling uncertainty of youth and the many different realities of modern America in a thoroughly entertaining way.
3. Eighth Grade (2018)
Even though it may be the least dramatic film on this list, Eighth Grade is extremely hard to watch at times. It is just so gut-wrenchingly real, and viscerally transports you back to the raw awkwardness of being 13 years old. Bo Burnham’s directorial and screenwriting debut rightfully film won him a number of awards and accolades in both categories, but where his touch really set this film apart is in the casting. Burnham insisted on working with normal, age-appropriate eighth graders, including lead Elsie Fisher who he has said was selected because “She was the only one who felt like a shy kid pretending to be confident – everyone else felt like a confident kid pretending to be shy.” The result is a wonderfully unpolished and refreshingly honest (and somehow still funny) exploration of what it’s like to be a teenager in the era of social media, in all its mortifying, agonizing glory.
2. Lady Bird (2017)
While Saoirse Ronan shines in this film about a strong-willed young woman’s senior year of high school in an early aughts Sacramento, what really makes Greta Gerwig’s film, so special is everything on the edges: the complexity that permeates the loving, but conflict-filled relationship between teenage girls and their mothers, the messy way in which parents try to absorb and shelter kids from financial strain, and the hidden, personal pain at this pivotal time in life for those who are not straight, rich and thin (and who are less comfortable being openly dramatic than the titular Ladybird). Laurie Metcalf is especially convincing as the loving, yet perpetually overworked and frustrated mother who is doing everything she can to keep her family afloat and ensure her daughter has the brightest future possible. Balancing funny and feels admirably, Lady Bird is a beautiful love letter to the appreciation for family and home that really only surfaces when we are finally forced to say goodbye.
1. Moonlight (2016)
Barry Jenkin’s Moonlight isn’t just A24’s best, it’s also one of the most beautifully crafted coming-of-age films of all time. The film is split up into three major segments, each chronicling a different pivotal moment in the life of a young black man in Miami as he struggles with abuse, identity and coming to terms with his sexuality. One of Jenkins’ most impressive achievements in Moonlight is how tangibly he makes you feel Chiron’s loneliness, capturing the yearning for basic physical intimacy in a heartbreakingly effective way. The film also features incredible performances from all three actors who play Chiron (Alex Hibbert, Ashton Sanders, and Trevante Rhodes), as well as Mahershala Ali as a father-figure to young Chiron and Naomie Harris as Chiron’s abusive mother. With the various struggles the main character faces, the film could easily and justifiably be bleak. However, possibly the most remarkable aspect of Moonlight is its ability to remain hopeful, resulting in a film that is memorable, thought-provoking, and a joy to watch all at the same time.
Read Next
About The Author
We would love to thank the author of this short article for this remarkable material
Every A24 Coming-Of-Age Film Ranked
New Jersey, United States – This CNC Machining Center (5-axis) Market report provides a comprehensive overview of important aspects that will drive market growth such as market drivers, restraints, prospects, opportunities, restraints, current trends, and technical and industrial advancements. The detailed study of the industry, industrial sector development and improvement, and new product launches outlined in this CNC Machining Center (5-axis) Market report is an extraordinary help for the new key commercial market players to enter the market. This CNC Machining Center (5-axis) Market report performs a careful assessment of the market and provides an expert analysis of the market considering the trajectory of the market considering the current situation of the market and future projections. This CNC Machining Center (5-axis) Market report study further highlights the market driving factors, market overview, industry volume, and market share. Since this CNC Machining Center (5-axis) Market report provides an effective market strategy, key players can reap huge profits by making the right investments in the market. As this CNC Machining Center (5-axis) Market report depicts the ever-changing needs of consumers, sellers, and buyers across different regions, it becomes easy to target specific products and attain significant revenue in the global market.
Get Full PDF Sample Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketreports.com/download-sample/?rid=554327
This CNC Machining Center (5-axis) Market report sheds light on a few key sources that can be applied in the business for the best results and revenue. It also covers some essential ways to manage the global freedoms on the prowl survey and grow the business. With the help of this well-founded market research, key players can easily gain a visible place on the prowl. It also captures the global impact of COVID-19 on various industries and nations. This Exploration report gives a fair picture of future development drivers, restraints, fierce scene, section survey, and insightful market size of country and district surveys for the 2022-2029 definition period. This market report also provides information on industry patterns, slices of the pie, development openings, and difficulties. It additionally performs the market review to indicate the progression patterns, strategies, and procedures followed by the key participants.
Key Players Mentioned in the CNC Machining Center (5-axis) Market Research Report:
GFMS, Hermle, Alzmetall, Chiron, Mazak, Haas
CNC Machining Center (5-axis) Market Segmentation:
By the product type, the market is primarily split into:
• Vertical Machining Centers
• Horizontal Machining Centers
By the application, this report covers the following segments:
• Aerospace
• Automotive
• Petroleum
• Others
The strategic analysis performed in this CNC Machining Center (5-axis) Market analysis includes aggregated information about the market environment, pricing structure, customer buying behavior, and micro and macro trends. Additionally, it aims to cover geographic analysis for major regions such as Asia Pacific, North America, Europe, Latin America, Middle East, and Africa. Some of the major players are mentioned in this CNC Machining Center (5-axis) Market Report along with their strengths, weaknesses, and the strategies they are adopting. It further talks about main segments, market shares, market size, and secondary drivers. Extended data on current market developments and the overall market scenario are presented here.
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CNC Machining Center (5-axis) Market Report Scope
Geographic Segment Covered in the Report:
The CNC Machining Center (5-axis) report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country, and sub-region during the estimated period.
• North America (USA and Canada)
• Europe (UK, Germany, France and the rest of Europe)
• Asia Pacific (China, Japan, India, and the rest of the Asia Pacific region)
• Latin America (Brazil, Mexico, and the rest of Latin America)
• Middle East and Africa (GCC and rest of the Middle East and Africa)
Key questions answered in the report:
1. Which are the five top players in the CNC Machining Center (5-axis) market?
2. How will the CNC Machining Center (5-axis) market change in the next five years?
3. Which product and application will take a lion’s share of the CNC Machining Center (5-axis) market?
4. What are the drivers and restraints of the CNC Machining Center (5-axis) market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the CNC Machining Center (5-axis) market throughout the forecast period?
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CNC Machining Center (5-axis) Market Size, Scope And Forecast | Leading Players – GFMS, Hermle, Alzmetall, Chiron, Mazak, Haas – Bloomingprairieonline
New Jersey, United States – This CNC Machining Center (5-axis) Market report provides a comprehensive overview of important aspects that will drive market growth such as market drivers, restraints, prospects, opportunities, restraints, current trends, and technical and industrial advancements. The detailed study of the industry, industrial sector development and improvement, and new product launches outlined in this CNC Machining Center (5-axis) Market report is an extraordinary help for the new key commercial market players to enter the market. This CNC Machining Center (5-axis) Market report performs a careful assessment of the market and provides an expert analysis of the market considering the trajectory of the market considering the current situation of the market and future projections. This CNC Machining Center (5-axis) Market report study further highlights the market driving factors, market overview, industry volume, and market share. Since this CNC Machining Center (5-axis) Market report provides an effective market strategy, key players can reap huge profits by making the right investments in the market. As this CNC Machining Center (5-axis) Market report depicts the ever-changing needs of consumers, sellers, and buyers across different regions, it becomes easy to target specific products and attain significant revenue in the global market.
Get Full PDF Sample Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketreports.com/download-sample/?rid=554327
This CNC Machining Center (5-axis) Market report sheds light on a few key sources that can be applied in the business for the best results and revenue. It also covers some essential ways to manage the global freedoms on the prowl survey and grow the business. With the help of this well-founded market research, key players can easily gain a visible place on the prowl. It also captures the global impact of COVID-19 on various industries and nations. This Exploration report gives a fair picture of future development drivers, restraints, fierce scene, section survey, and insightful market size of country and district surveys for the 2022-2029 definition period. This market report also provides information on industry patterns, slices of the pie, development openings, and difficulties. It additionally performs the market review to indicate the progression patterns, strategies, and procedures followed by the key participants.
Key Players Mentioned in the CNC Machining Center (5-axis) Market Research Report:
GFMS, Hermle, Alzmetall, Chiron, Mazak, Haas
CNC Machining Center (5-axis) Market Segmentation:
By the product type, the market is primarily split into:
• Vertical Machining Centers
• Horizontal Machining Centers
By the application, this report covers the following segments:
• Aerospace
• Automotive
• Petroleum
• Others
The strategic analysis performed in this CNC Machining Center (5-axis) Market analysis includes aggregated information about the market environment, pricing structure, customer buying behavior, and micro and macro trends. Additionally, it aims to cover geographic analysis for major regions such as Asia Pacific, North America, Europe, Latin America, Middle East, and Africa. Some of the major players are mentioned in this CNC Machining Center (5-axis) Market Report along with their strengths, weaknesses, and the strategies they are adopting. It further talks about main segments, market shares, market size, and secondary drivers. Extended data on current market developments and the overall market scenario are presented here.
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CNC Machining Center (5-axis) Market Report Scope
Geographic Segment Covered in the Report:
The CNC Machining Center (5-axis) report provides information about the market area, which is further subdivided into sub-regions and countries/regions. In addition to the market share in each country and sub-region, this chapter of this report also contains information on profit opportunities. This chapter of the report mentions the market share and growth rate of each region, country, and sub-region during the estimated period.
• North America (USA and Canada)
• Europe (UK, Germany, France and the rest of Europe)
• Asia Pacific (China, Japan, India, and the rest of the Asia Pacific region)
• Latin America (Brazil, Mexico, and the rest of Latin America)
• Middle East and Africa (GCC and rest of the Middle East and Africa)
Key questions answered in the report:
1. Which are the five top players in the CNC Machining Center (5-axis) market?
2. How will the CNC Machining Center (5-axis) market change in the next five years?
3. Which product and application will take a lion’s share of the CNC Machining Center (5-axis) market?
4. What are the drivers and restraints of the CNC Machining Center (5-axis) market?
5. Which regional market will show the highest growth?
6. What will be the CAGR and size of the CNC Machining Center (5-axis) market throughout the forecast period?
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CNC Machining Center (5-axis) Market Size, Scope And Forecast | Leading Players – GFMS, Hermle, Alzmetall, Chiron, Mazak, Haas – Bloomingprairieonline
Amazon Studios today announced a two-season order of an animated comedy series from Emmy-nominated actor, director, and comedian Ramy Youssef and A24. Additionally, Amazon Studios inked a first-look deal with Youssef’s production imprint Cairo Cowboy, co-led by Andy Campagna, who was previously senior vice president of television for Esmail Corp. Youssef, through his Cairo Cowboy banner, will create and produce content that, along with the animated series, will exclusively stream on Prime Video in more than 240 countries and territories worldwide.
The animated comedy series will explore the experiences of a Muslim-American family that must learn how to code-switch as they navigate the early 2000s: A time of fear, war, and the rapid expansion of the boy-band industrial complex.
Said Youssef, “Amazon Studios has committed to making a show with me that I never could have dreamed of getting made, let alone explore for two seasons. Anchored by Pam Brady and Mona Chalabi, we’ve brought together a special group of experienced and first-time writers to make something that I hope will be a genuine contribution to the animated space, and television. I’m excited and grateful to explore making more weird shit with Amazon Studios through this partnership, inshallah.”
“Ramy has only scratched the surface of his incredible creative gifts. With perfectly measured and heartfelt comedic candor, his work penetrates culture, and we are so fortunate to be working with him and his team,” said Vernon Sanders, head of global television, Amazon Studios. “Family comedies have long tackled some of the most uncomfortable and difficult societal topics, but through animation and Ramy’s creative voice, we are so excited to bring this one to audiences.”
The untitled adult animated series is co-created by Youssef and Pam Brady (South Park, Lady Dynamite), who also serve as executive producers along with journalist and illustrator Mona Chalabi, whose work has appeared in The Guardian, The New Yorker, and The New York Times, among others.
About Amazon Studios
Amazon Studios is the home for talent, creating and producing Original films and television series for a global audience. Original series premiere exclusively on Prime Video, which is available in more than 240 countries and territories worldwide. Amazon Studios also produces and acquires Original movies for theatrical release and exclusively for Prime Video, in addition to producing Original content for IMDb TV, Amazon’s premium free streaming service.
About A24
Based in NY and LA, A24 is the Academy Award-winning film and TV studio behind feature films such as Minari, Moonlight, Ex Machina, Midsommar, Uncut Gems and The Tragedy of Macbeth. Upcoming films include Ti West’s Xstarring Mia Goth, Kid Cudi, Jenna Ortega, Brittany Snow and Daniel Kwan and Daniel Scheinert’s Everything Everywhere All at Once starring Michelle Yeoh. A24 TV productions include the Emmy-winning series Euphoria for HBO starring Zendaya, Hulu series Ramy from Golden Globe-winner Ramy Youssef, the eponymous variety series from viral comedy sensation Ziwe for Showtime, the forthcoming Netflix series Beef starring Oscar nominee Steven Yeun and Mohammed “Mo” Amer’s Netflix stand-up special and upcoming untitled scripted comedy series co-created by Ramy Youssef.
‘Phat Tuesdays’: Guy Torry’s Docuseries Premiers on Amazon Prime
We would like to give thanks to the writer of this short article for this awesome content
Amazon Studios Signs First-Look Deal With Ramy Youssef’s Cairo Cowboy
Amazon Studios today announced a two-season order of an animated comedy series from Emmy-nominated actor, director, and comedian Ramy Youssef and A24. Additionally, Amazon Studios inked a first-look deal with Youssef’s production imprint Cairo Cowboy, co-led by Andy Campagna, who was previously senior vice president of television for Esmail Corp. Youssef, through his Cairo Cowboy banner, will create and produce content that, along with the animated series, will exclusively stream on Prime Video in more than 240 countries and territories worldwide.
The animated comedy series will explore the experiences of a Muslim-American family that must learn how to code-switch as they navigate the early 2000s: A time of fear, war, and the rapid expansion of the boy-band industrial complex.
Said Youssef, “Amazon Studios has committed to making a show with me that I never could have dreamed of getting made, let alone explore for two seasons. Anchored by Pam Brady and Mona Chalabi, we’ve brought together a special group of experienced and first-time writers to make something that I hope will be a genuine contribution to the animated space, and television. I’m excited and grateful to explore making more weird shit with Amazon Studios through this partnership, inshallah.”
“Ramy has only scratched the surface of his incredible creative gifts. With perfectly measured and heartfelt comedic candor, his work penetrates culture, and we are so fortunate to be working with him and his team,” said Vernon Sanders, head of global television, Amazon Studios. “Family comedies have long tackled some of the most uncomfortable and difficult societal topics, but through animation and Ramy’s creative voice, we are so excited to bring this one to audiences.”
The untitled adult animated series is co-created by Youssef and Pam Brady (South Park, Lady Dynamite), who also serve as executive producers along with journalist and illustrator Mona Chalabi, whose work has appeared in The Guardian, The New Yorker, and The New York Times, among others.
About Amazon Studios
Amazon Studios is the home for talent, creating and producing Original films and television series for a global audience. Original series premiere exclusively on Prime Video, which is available in more than 240 countries and territories worldwide. Amazon Studios also produces and acquires Original movies for theatrical release and exclusively for Prime Video, in addition to producing Original content for IMDb TV, Amazon’s premium free streaming service.
About A24
Based in NY and LA, A24 is the Academy Award-winning film and TV studio behind feature films such as Minari, Moonlight, Ex Machina, Midsommar, Uncut Gems and The Tragedy of Macbeth. Upcoming films include Ti West’s Xstarring Mia Goth, Kid Cudi, Jenna Ortega, Brittany Snow and Daniel Kwan and Daniel Scheinert’s Everything Everywhere All at Once starring Michelle Yeoh. A24 TV productions include the Emmy-winning series Euphoria for HBO starring Zendaya, Hulu series Ramy from Golden Globe-winner Ramy Youssef, the eponymous variety series from viral comedy sensation Ziwe for Showtime, the forthcoming Netflix series Beef starring Oscar nominee Steven Yeun and Mohammed “Mo” Amer’s Netflix stand-up special and upcoming untitled scripted comedy series co-created by Ramy Youssef.
‘Phat Tuesdays’: Guy Torry’s Docuseries Premiers on Amazon Prime
We would like to give thanks to the writer of this short article for this awesome content
Amazon Studios Signs First-Look Deal With Ramy Youssef’s Cairo Cowboy
Focus Features, Peacock and Jordan Peele’s Monkeypaw Productions Acquire Sundance Breakout Comedy Honk For Jesus. Save Your Soul.
Regina Hall and Sterling K. Brown star in feature film debut from twin sister filmmaking duo Adamma and Adanne Ebo. Peacock will stream the film day-and-date with Focus’ theatrical release later this year.
Focus Features, Peacock, and Monkeypaw Productions announced today the acquisition of all worldwide rights to the hit comedy Honk For Jesus. Save Your Soul., which was a breakout hit at the 2022 Sundance film festival and will premiere in theaters and on Peacock later this year. Filmmaking sibling duo the Ebo twins, writer-director Adamma Ebo and producer Adanne Ebo, make their feature film debut with production company Pinky Promise in this adaptation of their previous short film of the same name. This comedic satire features stellar performances from Regina Hall (Support the Girls, Girls Trip) and Sterling K. Brown (“This Is Us”, “American Crime Story: The People v. O.J. Simpson”).
“Adamma and Adanne’s fresh, unique voices deliver such an authentic, hilarious and searing experience. Their vision coupled with the talents of Regina and Sterling deserved all the acclaim Sundance audiences gave it,” said Focus Features chairman Peter Kujawski. “I am so thrilled that we get to bring the film to worldwide audiences with Peacock and Monkeypaw.”
Honk For Jesus. Save Your Soul. is produced by Academy Award® winner Daniel Kaluuya through his production company 59% with Rowan Riley and Amandla Crichlow, alongside Adamma Ebo, Adanne Ebo, Kara Durrett, Pinky Promise’s Jessamine Burgum and Matthew Cooper, and Regina Hall and Sterling K. Brown.
“We are excited to partner with Focus Features and Monkeypaw to bring Honk For Jesus. Save Your Soul. to Peacock customers day-and-date with its theatrical release,” said Val Boreland, Executive Vice President, Content Acquisition, NBCUniversal Entertainment, Television and Streaming. “We continue to expand the Peacock catalog with fresh stories from new creators like the Ebo twins, whose feature film debut already has Sundance audiences buzzing and is certain to delight viewers everywhere with its magnetic mix of satirical humor and drama.”
Monkeypaw’s president Win Rosenfeld said, “Central to Monkeypaw’s mission is working with emerging filmmakers who are telling fresh and disruptive stories in mischievous new ways. We are so fortunate that the brilliant Adamma and Adanne Ebo have chosen to partner with us on the release of their hilarious Honk For Jesus. Save Your Soul. They’re master satirists and have found both humor and heart in this fierce and provocative critique of hypocrisy.”
In Honk For Jesus. Save Your Soul., proud first lady of a Southern Baptist megachurch, Trinitie Childs (Regina Hall) carries immense responsibility on her shoulders. After a scandal involving her husband, Pastor Lee-Curtis Childs (Sterling K. Brown), the church is forced to close temporarily, leaving Trinitie struggling to manage the aftermath. Now Trinitie and Lee-Curtis must rebuild their congregation and reconcile their faith by all means necessary to make the biggest comeback that commodified religion has ever seen.
Writer/Director Adamma Ebo and Producer Adanne Ebo state, “We’re so unbelievably blessed and hyped to be partners with Focus and Monkeypaw on our first feature film. Their commitment to our vision as filmmakers and bolstering the film as a whole is amazing and we cannot wait to bring it to the world with this team.”
Pinky Promise founder and CEO, Jessamine Burgum also expressed, “I am thrilled to collaborate alongside Adamma and Adanne Ebo and see that their creative vision has been realized. Focus Features and Monkeypaw Productions have an eye for incredible storytelling and for them to appreciate the nuances of Honk For Jesus, truly makes for the best partnership I could have ever imagined. Regina Hall and Sterling K. Brown delivered unforgettable performances that I can’t wait for audiences to witness; I’m giddy just thinking about it!”
The deal for the film was negotiated by UTA Independent Film Group who represents the Ebo Twins and Pinky Promise, and brokered the deal with CAA and ICM. Monkeypaw is represented by CAA and Jared Levine.
Sign up for the all-new Focus Insider program to unlock access to exclusive rewards, sweepstakes, once-in-a-lifetime movie experiences, and so much more!
We would like to say thanks to the writer of this short article for this remarkable material
Focus Features, Peacock and Jordan Peele’s Monkeypaw Productions Acquire Sundance Breakout Comedy Honk For Jesus. Save Your Soul.
Focus Features, Peacock and Jordan Peele’s Monkeypaw Productions Acquire Sundance Breakout Comedy Honk For Jesus. Save Your Soul.
Regina Hall and Sterling K. Brown star in feature film debut from twin sister filmmaking duo Adamma and Adanne Ebo. Peacock will stream the film day-and-date with Focus’ theatrical release later this year.
Focus Features, Peacock, and Monkeypaw Productions announced today the acquisition of all worldwide rights to the hit comedy Honk For Jesus. Save Your Soul., which was a breakout hit at the 2022 Sundance film festival and will premiere in theaters and on Peacock later this year. Filmmaking sibling duo the Ebo twins, writer-director Adamma Ebo and producer Adanne Ebo, make their feature film debut with production company Pinky Promise in this adaptation of their previous short film of the same name. This comedic satire features stellar performances from Regina Hall (Support the Girls, Girls Trip) and Sterling K. Brown (“This Is Us”, “American Crime Story: The People v. O.J. Simpson”).
“Adamma and Adanne’s fresh, unique voices deliver such an authentic, hilarious and searing experience. Their vision coupled with the talents of Regina and Sterling deserved all the acclaim Sundance audiences gave it,” said Focus Features chairman Peter Kujawski. “I am so thrilled that we get to bring the film to worldwide audiences with Peacock and Monkeypaw.”
Honk For Jesus. Save Your Soul. is produced by Academy Award® winner Daniel Kaluuya through his production company 59% with Rowan Riley and Amandla Crichlow, alongside Adamma Ebo, Adanne Ebo, Kara Durrett, Pinky Promise’s Jessamine Burgum and Matthew Cooper, and Regina Hall and Sterling K. Brown.
“We are excited to partner with Focus Features and Monkeypaw to bring Honk For Jesus. Save Your Soul. to Peacock customers day-and-date with its theatrical release,” said Val Boreland, Executive Vice President, Content Acquisition, NBCUniversal Entertainment, Television and Streaming. “We continue to expand the Peacock catalog with fresh stories from new creators like the Ebo twins, whose feature film debut already has Sundance audiences buzzing and is certain to delight viewers everywhere with its magnetic mix of satirical humor and drama.”
Monkeypaw’s president Win Rosenfeld said, “Central to Monkeypaw’s mission is working with emerging filmmakers who are telling fresh and disruptive stories in mischievous new ways. We are so fortunate that the brilliant Adamma and Adanne Ebo have chosen to partner with us on the release of their hilarious Honk For Jesus. Save Your Soul. They’re master satirists and have found both humor and heart in this fierce and provocative critique of hypocrisy.”
In Honk For Jesus. Save Your Soul., proud first lady of a Southern Baptist megachurch, Trinitie Childs (Regina Hall) carries immense responsibility on her shoulders. After a scandal involving her husband, Pastor Lee-Curtis Childs (Sterling K. Brown), the church is forced to close temporarily, leaving Trinitie struggling to manage the aftermath. Now Trinitie and Lee-Curtis must rebuild their congregation and reconcile their faith by all means necessary to make the biggest comeback that commodified religion has ever seen.
Writer/Director Adamma Ebo and Producer Adanne Ebo state, “We’re so unbelievably blessed and hyped to be partners with Focus and Monkeypaw on our first feature film. Their commitment to our vision as filmmakers and bolstering the film as a whole is amazing and we cannot wait to bring it to the world with this team.”
Pinky Promise founder and CEO, Jessamine Burgum also expressed, “I am thrilled to collaborate alongside Adamma and Adanne Ebo and see that their creative vision has been realized. Focus Features and Monkeypaw Productions have an eye for incredible storytelling and for them to appreciate the nuances of Honk For Jesus, truly makes for the best partnership I could have ever imagined. Regina Hall and Sterling K. Brown delivered unforgettable performances that I can’t wait for audiences to witness; I’m giddy just thinking about it!”
The deal for the film was negotiated by UTA Independent Film Group who represents the Ebo Twins and Pinky Promise, and brokered the deal with CAA and ICM. Monkeypaw is represented by CAA and Jared Levine.
Sign up for the all-new Focus Insider program to unlock access to exclusive rewards, sweepstakes, once-in-a-lifetime movie experiences, and so much more!
We would like to say thanks to the writer of this short article for this remarkable material
Focus Features, Peacock and Jordan Peele’s Monkeypaw Productions Acquire Sundance Breakout Comedy Honk For Jesus. Save Your Soul.
This year, the Odesa International Film Festival (OIFF) has hosted its week of industry events online; an interesting challenge for festival general producer Julia Sinkevych and her team. “Of course, we had to re-shape the programme,” Sinkevych says of the experience of putting together the virtual Cinema Backstage programme during the pandemic.
The approach has been to divide the industry events into three main strands. One has been devoted to discussing what opportunities Ukraine will now have as a new member of the Council of Europe’s film fund Eurimages, which it joined earlier this year. “Our producers are not yet experienced and aware of how Eurimages functions,” Sinkevych says of the practical advice about working with the fund offered during the session.
Curating the Cinema Backstage conference was the highly respected Tamara Tatishvili, who was head of the Georgian National Film Center at the time Georgia joined Eurimages in 2011. She was joined by speakers including producer and EAVE graduate Vladimir Yatsenko, Ukrainian National representative to Eurimages. Last year, Yatsenko produced Evge, the debut feature by Nariman Aliyev, which premiered in Un Certain Regard in Cannes. His most recent film, Atlantis, directed by Valentyn Vasyanovych, won the top prize in Venice’s Horizons earlier in September.
“He has several projects in development and [for] coproduction of emerging and very talented directors in Ukraine,” Sinkevych says of the producer, who knows the local market well and also has extensive international contacts.
Sinkevych points out that discussions about Ukraine joining Eurimages originally began way back in 2004. “But with constant changes in government, politics, the economic situation etc, this [joining] was delayed. The hope now is that membership will not only provide local producers with an extra source of funding but will provide “opportunities to co-operate with European countries.”
International appeal
Ukraine’s status as an increasingly attractive location for international production was underlined earlier this summer when Netflix announced it will be shooting its first film in the country, Jean-Claude Van Damme action thriller The Last Mercenary. They were tempted by the fact that Ukraine offers a 25% clash rebate for foreign production, plus 5% for productions which pass a cultural test.
For obvious reasons (namely the ongoing war with Russia), Ukraine is looking to strengthen ties with European partners. Before the war started in 2014, Ukrainian and Russian film industries were very intimately intertwined. “Going back to the very first editions of the festival, there was a lot of co-operation,” recalls Sinkevych. “There was a programme dedicated to Russian films. Ukraine provided lots of service productions for Russia. Russian actors and directors were super known in Ukraine and were bigger stars than Ukrainian ones.”
That has changed completely. The cultural and political gap between Ukraine and Russia is “getting bigger and bigger.” Russian films are banned in Ukrainian cinemas. “It’s a really complex and difficult subject,” Sinkevych acknowledges of a process she likens to a divorce. One result is that the Ukrainian film industry is looking for markets and partnerships elsewhere, and the new international focus is reflected across the Cinema Backstage activities.
Reflecting the current uncertainty that the pandemic has wrought on the industry, another of OIFF’s industry sessions was titled Creativity & mental stability – safe companions on the winding road of 2020.
“Of course, there were lots of discussions and debates on trends and on the future of the film industry, how production will change due to the pandemic crisis, how festivals will change,” Sinkevych says of the main talking points at myriad industry events since Covid struck. “But we never really talk about the human side of it, what do people feel, especially in such an interesting and intense sector as the film industry is. This concerns producers, this concerns artists, film directors and actors, who are sensitive. Basically, for a period of time, they lost their instruments [during the lockdown] and what they can do on a daily basis.”
The session was therefore focused on how the filmmakers have been coping and what might help them deal with their new predicament. “Some people got depressed. Some people got excited. Some people could maybe relax and not run all the time. Some spent time with their families,” Sinkevych says of the very varying reactions. “I can compare it to post traumatic syndrome in a way. We all are going to face it one way or another and we wanted to talk about it.”
Finally, the third strand of Cinema Backstage looked at Gender Stereotyping. “This is not the first time we’ve raised the subject,” Sinkevych points out, noting that the festival had a full conference on gender equality two years ago, This time, though, the focus was on gender stereotyping in storytelling. “Sometimes, directors, especially in the male-dominated world, are not even aware of the stereotyping they are using when it comes to female characters.”
Sinkevych acknowledges that, while it has been frustrating to have to move industry events online there have been upsides too. “We have more attendees than normal because you don’t have to travel. You can just click the button and watch or join the event,” she says.”It’s a new experience for sure. Of course, we all like to meet and have this human and festival energy which you do not feel online. But it (going online) opens up opportunities!”
We would love to say thanks to the author of this write-up for this remarkable material
Eurimages, international production and gender in focus at Odesa’s industry strand
This year, the Odesa International Film Festival (OIFF) has hosted its week of industry events online; an interesting challenge for festival general producer Julia Sinkevych and her team. “Of course, we had to re-shape the programme,” Sinkevych says of the experience of putting together the virtual Cinema Backstage programme during the pandemic.
The approach has been to divide the industry events into three main strands. One has been devoted to discussing what opportunities Ukraine will now have as a new member of the Council of Europe’s film fund Eurimages, which it joined earlier this year. “Our producers are not yet experienced and aware of how Eurimages functions,” Sinkevych says of the practical advice about working with the fund offered during the session.
Curating the Cinema Backstage conference was the highly respected Tamara Tatishvili, who was head of the Georgian National Film Center at the time Georgia joined Eurimages in 2011. She was joined by speakers including producer and EAVE graduate Vladimir Yatsenko, Ukrainian National representative to Eurimages. Last year, Yatsenko produced Evge, the debut feature by Nariman Aliyev, which premiered in Un Certain Regard in Cannes. His most recent film, Atlantis, directed by Valentyn Vasyanovych, won the top prize in Venice’s Horizons earlier in September.
“He has several projects in development and [for] coproduction of emerging and very talented directors in Ukraine,” Sinkevych says of the producer, who knows the local market well and also has extensive international contacts.
Sinkevych points out that discussions about Ukraine joining Eurimages originally began way back in 2004. “But with constant changes in government, politics, the economic situation etc, this [joining] was delayed. The hope now is that membership will not only provide local producers with an extra source of funding but will provide “opportunities to co-operate with European countries.”
International appeal
Ukraine’s status as an increasingly attractive location for international production was underlined earlier this summer when Netflix announced it will be shooting its first film in the country, Jean-Claude Van Damme action thriller The Last Mercenary. They were tempted by the fact that Ukraine offers a 25% clash rebate for foreign production, plus 5% for productions which pass a cultural test.
For obvious reasons (namely the ongoing war with Russia), Ukraine is looking to strengthen ties with European partners. Before the war started in 2014, Ukrainian and Russian film industries were very intimately intertwined. “Going back to the very first editions of the festival, there was a lot of co-operation,” recalls Sinkevych. “There was a programme dedicated to Russian films. Ukraine provided lots of service productions for Russia. Russian actors and directors were super known in Ukraine and were bigger stars than Ukrainian ones.”
That has changed completely. The cultural and political gap between Ukraine and Russia is “getting bigger and bigger.” Russian films are banned in Ukrainian cinemas. “It’s a really complex and difficult subject,” Sinkevych acknowledges of a process she likens to a divorce. One result is that the Ukrainian film industry is looking for markets and partnerships elsewhere, and the new international focus is reflected across the Cinema Backstage activities.
Reflecting the current uncertainty that the pandemic has wrought on the industry, another of OIFF’s industry sessions was titled Creativity & mental stability – safe companions on the winding road of 2020.
“Of course, there were lots of discussions and debates on trends and on the future of the film industry, how production will change due to the pandemic crisis, how festivals will change,” Sinkevych says of the main talking points at myriad industry events since Covid struck. “But we never really talk about the human side of it, what do people feel, especially in such an interesting and intense sector as the film industry is. This concerns producers, this concerns artists, film directors and actors, who are sensitive. Basically, for a period of time, they lost their instruments [during the lockdown] and what they can do on a daily basis.”
The session was therefore focused on how the filmmakers have been coping and what might help them deal with their new predicament. “Some people got depressed. Some people got excited. Some people could maybe relax and not run all the time. Some spent time with their families,” Sinkevych says of the very varying reactions. “I can compare it to post traumatic syndrome in a way. We all are going to face it one way or another and we wanted to talk about it.”
Finally, the third strand of Cinema Backstage looked at Gender Stereotyping. “This is not the first time we’ve raised the subject,” Sinkevych points out, noting that the festival had a full conference on gender equality two years ago, This time, though, the focus was on gender stereotyping in storytelling. “Sometimes, directors, especially in the male-dominated world, are not even aware of the stereotyping they are using when it comes to female characters.”
Sinkevych acknowledges that, while it has been frustrating to have to move industry events online there have been upsides too. “We have more attendees than normal because you don’t have to travel. You can just click the button and watch or join the event,” she says.”It’s a new experience for sure. Of course, we all like to meet and have this human and festival energy which you do not feel online. But it (going online) opens up opportunities!”
We would love to say thanks to the author of this write-up for this remarkable material
Eurimages, international production and gender in focus at Odesa’s industry strand