THR puts the spotlight on the best films from the festival circuit that have yet to land a U.S. distribution deal.
La Cocina
Directed by Alonso Ruizpalacios
Sales WME Independent, Fifth Season
From Anthony Bourdain giving American readers an inside look at the rock ’n’ roll restaurant industry in Kitchen Confidential to Nancy Meyers’ citrus-dotted white marble countertops in enviable home kitchens, modern American audiences have had an infatuation with cookery. Though previously largely reserved for the nonfiction space with entries like Bourdain’s No Reservations and Netflix’s operatic Chef’s Table, the narrative possibilities of the dark underbelly of back-of-house restaurant staff have began to emerge lately. The Bear, the anxiety-inducing FX series about a Chicago Italian beef joint, swept the Emmys in January and is poised to do the same this go-around. Enter director Ruizpalacios’ La Cocina. “Think The Bear on cocaine with a Red Bull chaser...
La Cocina
Directed by Alonso Ruizpalacios
Sales WME Independent, Fifth Season
From Anthony Bourdain giving American readers an inside look at the rock ’n’ roll restaurant industry in Kitchen Confidential to Nancy Meyers’ citrus-dotted white marble countertops in enviable home kitchens, modern American audiences have had an infatuation with cookery. Though previously largely reserved for the nonfiction space with entries like Bourdain’s No Reservations and Netflix’s operatic Chef’s Table, the narrative possibilities of the dark underbelly of back-of-house restaurant staff have began to emerge lately. The Bear, the anxiety-inducing FX series about a Chicago Italian beef joint, swept the Emmys in January and is poised to do the same this go-around. Enter director Ruizpalacios’ La Cocina. “Think The Bear on cocaine with a Red Bull chaser...
- 5/19/2024
- by Scott Roxborough and Mia Galuppo
- The Hollywood Reporter - Movie News
Following a highly successful collaboration on Hulu’s Pam & Tommy, Sebastian Stan and Lily James are set to reteam on Let the Evil Go West, a psychological horror thriller from director Christian Tafdrup (Speak No Evil).
north.five.six. reps the film’s international rights and will introduce it to buyers at Cannes, while CAA Media Finance and UTA Independent Film Group arranged the financing and will handle the domestic sale.
Let the Evil Go West follows a railroad worker who stumbles upon a fortune under deeply disturbing circumstances. As horrifying visions and manifestations drive him toward madness, his wife becomes convinced that an evil presence has attached itself to their family.
Xc Vs penned the script. Tim and Trevor White are producing under their Star Thrower Entertainment banner, alongside Mark Fasano and Nathan Klingher for Gramercy Park Media, which is also financing the film, and Allan Mandelbaum.
north.five.six. reps the film’s international rights and will introduce it to buyers at Cannes, while CAA Media Finance and UTA Independent Film Group arranged the financing and will handle the domestic sale.
Let the Evil Go West follows a railroad worker who stumbles upon a fortune under deeply disturbing circumstances. As horrifying visions and manifestations drive him toward madness, his wife becomes convinced that an evil presence has attached itself to their family.
Xc Vs penned the script. Tim and Trevor White are producing under their Star Thrower Entertainment banner, alongside Mark Fasano and Nathan Klingher for Gramercy Park Media, which is also financing the film, and Allan Mandelbaum.
- 5/9/2024
- by Matt Grobar
- Deadline Film + TV
Fremantle has appointed new bosses for its Italian production subsidiaries The Apartment and Wildside but will continue to work with outgoing CEOs Lorenzo Mieli and Mario Gianani.
Fremantle on Thursday announced that Annamaria Morelli will be taking over as CEO of The Apartment and Sonia Rovai as CEO of Wildside. Fremantle said both companies will continue to have editorial autonomy while coordinating with Fremantle on an organizational basis, and will continue to work with the same talents, Italian and international, going forward.
“Annamaria Morelli and Sonia Rovai have vision, experience and passion. I am so happy to welcome them to The Apartment and Wildside, two labels that have attracted some of the best talent, both Italian and international,” said Andrea Scrosati, group COO and CEO, continental Europe at Fremantle. “We are and will continue to be the place creatives want to call home. A place where you can express your...
Fremantle on Thursday announced that Annamaria Morelli will be taking over as CEO of The Apartment and Sonia Rovai as CEO of Wildside. Fremantle said both companies will continue to have editorial autonomy while coordinating with Fremantle on an organizational basis, and will continue to work with the same talents, Italian and international, going forward.
“Annamaria Morelli and Sonia Rovai have vision, experience and passion. I am so happy to welcome them to The Apartment and Wildside, two labels that have attracted some of the best talent, both Italian and international,” said Andrea Scrosati, group COO and CEO, continental Europe at Fremantle. “We are and will continue to be the place creatives want to call home. A place where you can express your...
- 2/29/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Italy’s Rai Cinema has confirmed the launch of its own dedicated international film sales arm.
Rai Cinema International Distribution will officially launch at the European Film Market (EFM) at the Berlinale.
Rai Cinema, the film production division of state broadcaster Rai, has an annual budget of $85m and invests in a large slate of 50-70 films a year. It also handles distribution in Italy through its distribution division 01 Distribution. The launch of a dedicated sales arm marks a new departure.
Rai Cinema will handle international distribution of new films which will then continue to be managed by existing...
Rai Cinema International Distribution will officially launch at the European Film Market (EFM) at the Berlinale.
Rai Cinema, the film production division of state broadcaster Rai, has an annual budget of $85m and invests in a large slate of 50-70 films a year. It also handles distribution in Italy through its distribution division 01 Distribution. The launch of a dedicated sales arm marks a new departure.
Rai Cinema will handle international distribution of new films which will then continue to be managed by existing...
- 2/5/2024
- ScreenDaily
Prominent Italian producers Mario Gianani and Lorenzo Mieli are exiting their Fremantle-owned companies — Wildside and The Apartment, respectively — in an industry shakeup expected to lead them to jointly form a new independent scripted content outfit.
Gianani and Mieli co-founded Wildside in 2009 and turned it into the powerhouse behind major global dramas such as Rai/HBO’s “The Young Pope” and “My Brilliant Friend,” to name a few. Wildside was aquired by Fremantle in 2015.
Mieli subsequently went his own way and set up The Apartment in 2020 under the Fremantle umbrella. Recent The Apartment titles include Sofia Coppola’s “Priscilla” and Pablo Larrain’s upcoming Angelina-starrer “Maria” about iconic soprano Maria Callas, amid a rich international slate.
A Fremantle Italy spokesperson confirmed the ongoing exits of the two top producers, adding that the separations are not acrimonious and that Fremantle is discussing “the ways in which we will will continue to work together.
Gianani and Mieli co-founded Wildside in 2009 and turned it into the powerhouse behind major global dramas such as Rai/HBO’s “The Young Pope” and “My Brilliant Friend,” to name a few. Wildside was aquired by Fremantle in 2015.
Mieli subsequently went his own way and set up The Apartment in 2020 under the Fremantle umbrella. Recent The Apartment titles include Sofia Coppola’s “Priscilla” and Pablo Larrain’s upcoming Angelina-starrer “Maria” about iconic soprano Maria Callas, amid a rich international slate.
A Fremantle Italy spokesperson confirmed the ongoing exits of the two top producers, adding that the separations are not acrimonious and that Fremantle is discussing “the ways in which we will will continue to work together.
- 1/19/2024
- by Nick Vivarelli
- Variety Film + TV
Lorenzo Mieli and Mario Gianani are exiting their Fremantle-owned Italian production companies.
The pair are among Italy’s most well known TV and film producers, but their exits have been confirmed, with their next moves not yet official. They may team together to launch their own indie together, reports say.
A Fremantle spokesperson said the super-indie would look to work with Mieli and Gianani “in a different structure” in the future.
The Hollywood Reporter Italy, which revealed the news towards the end of 2023, reported the pair are planning their own production company, but neither could be contacted for comment before press time.
Fremantle confirmed it remains the 100% owner of both indies and new leadership to be announced in due course.
Gianani’s Wildside makes features such as There’s Still Tomorrow and Finally Dawn and TV shows including Disney+ original The Good Mothers, while Mieli’s company, The Apartment, made...
The pair are among Italy’s most well known TV and film producers, but their exits have been confirmed, with their next moves not yet official. They may team together to launch their own indie together, reports say.
A Fremantle spokesperson said the super-indie would look to work with Mieli and Gianani “in a different structure” in the future.
The Hollywood Reporter Italy, which revealed the news towards the end of 2023, reported the pair are planning their own production company, but neither could be contacted for comment before press time.
Fremantle confirmed it remains the 100% owner of both indies and new leadership to be announced in due course.
Gianani’s Wildside makes features such as There’s Still Tomorrow and Finally Dawn and TV shows including Disney+ original The Good Mothers, while Mieli’s company, The Apartment, made...
- 1/19/2024
- by Jesse Whittock
- Deadline Film + TV
Two of Italy’s top producers – The Apartment’s Lorenzo Mieli and Wildside’s Mario Gianani – are leaving their Fremantle-owned companies.
Between them, Mieli and Gianani’s companies have produced many of Italy’s most acclaimed features of recent years.
A Fremantle spokesperson confirmed their departures, describing the moves as amicable, and told Screen: “We are finalising a way to continue to work together in a different structure.”
Gianani’s Wildside is behind 2023 Italian box office smash There’s Still Tomorrow, as well as festival hits The Eight Mountains, Saverio Costanzo’s Finally Dawn and Disney+ series The Good Mothers.
Between them, Mieli and Gianani’s companies have produced many of Italy’s most acclaimed features of recent years.
A Fremantle spokesperson confirmed their departures, describing the moves as amicable, and told Screen: “We are finalising a way to continue to work together in a different structure.”
Gianani’s Wildside is behind 2023 Italian box office smash There’s Still Tomorrow, as well as festival hits The Eight Mountains, Saverio Costanzo’s Finally Dawn and Disney+ series The Good Mothers.
- 1/18/2024
- ScreenDaily
Two of Italy’s top producers – The Apartment’s Lorenzo Mieli and Wildside’s Mario Gianani – are leaving their Fremantle-backed companies.
Between them, Mieli and Gianani’s companies have produced many of Italy’s most acclaimed features of recent years.
A Fremantle spokesperson confirmed their departures, describing the moves as amicable, and told Screen: “We are finalising a way to continue to work together in a different structure.”
Gianani’s Wildside is behind 2023 Italian box office smash There’s Still Tomorrow, as well as festival hits The Eight Mountains, Saverio Costanzo’s Finally Dawn and Disney+ series The Good Mothers.
Between them, Mieli and Gianani’s companies have produced many of Italy’s most acclaimed features of recent years.
A Fremantle spokesperson confirmed their departures, describing the moves as amicable, and told Screen: “We are finalising a way to continue to work together in a different structure.”
Gianani’s Wildside is behind 2023 Italian box office smash There’s Still Tomorrow, as well as festival hits The Eight Mountains, Saverio Costanzo’s Finally Dawn and Disney+ series The Good Mothers.
- 1/18/2024
- ScreenDaily
After skipping Venice due to the actors’ strike, a busy Willem Dafoe is back on the festival trail, attending the 20th edition of the Marrakech Film Festival with his wife, filmmaker and actor Giada Colagrande. He spoke to Variety about his ties to Morocco, why he’s “happy to be promoting and starting to work again” now that the strike is over, and his role in Tim Burton’s upcoming “Beetlejuice 2.”
How does it feel to be back in Marrakech?
I’m happy to be back. Morocco for me is “The Last Temptation of Christ,” a film that was a beautiful experience. And I loved shooting it because it demanded a lot of me and it was really full on. And it was very in the nature of Morocco. And we were working with an incredible Moroccan crew. So that’s my association. I’ve always heard Marrakech was...
How does it feel to be back in Marrakech?
I’m happy to be back. Morocco for me is “The Last Temptation of Christ,” a film that was a beautiful experience. And I loved shooting it because it demanded a lot of me and it was really full on. And it was very in the nature of Morocco. And we were working with an incredible Moroccan crew. So that’s my association. I’ve always heard Marrakech was...
- 11/26/2023
- by Nick Vivarelli
- Variety Film + TV
Culture minister talks cuts after state funding for film soared to €800m in 2022
Italy is to cut the €800m of funding it currently earmarks for film production per year, according to Italian minister of culture Italian Gennaro Sangiuliano.
The move comes at a time when Italy is producing a high number of Italian and international films. However, Italian films are continuing to underperform at the box office compared to the pre-pandemic era.
“It’s time to intervene,” Sangiuliano said, noting that state funding for film soared from €400m in 2019 to €800m in 2022 according to data from the Investments in Cinema and Audiovisual Development Fund.
Italy is to cut the €800m of funding it currently earmarks for film production per year, according to Italian minister of culture Italian Gennaro Sangiuliano.
The move comes at a time when Italy is producing a high number of Italian and international films. However, Italian films are continuing to underperform at the box office compared to the pre-pandemic era.
“It’s time to intervene,” Sangiuliano said, noting that state funding for film soared from €400m in 2019 to €800m in 2022 according to data from the Investments in Cinema and Audiovisual Development Fund.
- 10/23/2023
- by Alina Trabattoni
- ScreenDaily
We came, we saw, we conquered. Our Nicholas Bell was in review overdrive assessing the entire competition and much more. We’ll still have film reviews to populate the site and this page in the near future, but for the time being here is a handy quick link to the wealth of richness (and some rubbish) selections that made up all sections of the Lido this year.
Competition:
Adagio – Stefano Sollima [Review]
La Bête – Bertrand Bonello [Review]
Comandante – Edoardo De Angelis [Review]
Dogman – Luc Besson [Review]
El Conde – Pablo Larraín [Review]
Enea – Pietro Castellitto [Review]
Evil Does Not Exist – Ryusuke Hamaguchi [Review]
Ferrari – Michael Mann [Review]
Finalmente l’alba – Saverio Costanzo [Review]
Green Border – Agnieszka Holland [Review]
Holly – Fien Troch [Review]
Io capitano – Matteo Garrone [Review]
The Killer – David Fincher [Review]
Lubo – Giorgio Diritti [Review]
Maestro – Bradley Cooper [Review]
Memory – Michel Franco [Review]
Origin – Ava DuVernay [Review]
Hors-saison – Stéphane Brizé [Review]
Poor Things – Yorgos Lanthimos [Review]
Priscilla – Sofia Coppola [Review]
The Promised Land – Nikolaj Arcel [Review]
The Theory of Everything – Timm Kröger [Review]
Woman Of…...
Competition:
Adagio – Stefano Sollima [Review]
La Bête – Bertrand Bonello [Review]
Comandante – Edoardo De Angelis [Review]
Dogman – Luc Besson [Review]
El Conde – Pablo Larraín [Review]
Enea – Pietro Castellitto [Review]
Evil Does Not Exist – Ryusuke Hamaguchi [Review]
Ferrari – Michael Mann [Review]
Finalmente l’alba – Saverio Costanzo [Review]
Green Border – Agnieszka Holland [Review]
Holly – Fien Troch [Review]
Io capitano – Matteo Garrone [Review]
The Killer – David Fincher [Review]
Lubo – Giorgio Diritti [Review]
Maestro – Bradley Cooper [Review]
Memory – Michel Franco [Review]
Origin – Ava DuVernay [Review]
Hors-saison – Stéphane Brizé [Review]
Poor Things – Yorgos Lanthimos [Review]
Priscilla – Sofia Coppola [Review]
The Promised Land – Nikolaj Arcel [Review]
The Theory of Everything – Timm Kröger [Review]
Woman Of…...
- 9/26/2023
- by Eric Lavallée
- IONCINEMA.com
Nicola Maccanico, a former Warner Bros. and Sky Italia senior exec, has been spearheading the radical overhaul of Rome’s Cinecittà Studios since June 2021, when the government-owned facilities secured a multi-million dollar loan provided by the European Union’s post-pandemic recovery fund to upgrade and expand the iconic facilities.
Under Maccanico’s watch, the studios – which now boast 20 state-of-the-art soundstages and one of Europe’s largest LED walls – have become a magnet for Hollywood productions, such as Netflix’s period soap “The Decameron” and Roland Emmerich’s gladiator series “Those About to Die,” which is still currently shooting.
But, of course, the SAG-AFTRA strike is starting to slow things down and could “become a big problem,” as Maccanico tells Variety below.
You were just at Venice where several films shot at Cinecittà launched, one being Saverio Costanzo’s “Finally Dawn.” How are the studios doing? Are you feeling the pain of the SAG-AFTRA strike?...
Under Maccanico’s watch, the studios – which now boast 20 state-of-the-art soundstages and one of Europe’s largest LED walls – have become a magnet for Hollywood productions, such as Netflix’s period soap “The Decameron” and Roland Emmerich’s gladiator series “Those About to Die,” which is still currently shooting.
But, of course, the SAG-AFTRA strike is starting to slow things down and could “become a big problem,” as Maccanico tells Variety below.
You were just at Venice where several films shot at Cinecittà launched, one being Saverio Costanzo’s “Finally Dawn.” How are the studios doing? Are you feeling the pain of the SAG-AFTRA strike?...
- 9/13/2023
- by Nick Vivarelli
- Variety Film + TV
Yorgos Lanthimos’ new film Poor Things has just been given the Golden Lion prize at the 80th Venice Film Festival. The dark fairy tale comedy beat out some pretty stiff competition this year, which included Michael Mann’s Ferrari, David Fincher’s The Killer and Bradley Cooper’s Maestro. The reactions to the film have been glowing and they’ve been doing their best to prepare audiences for what’s to come. Additionally, many see this as an Oscar-winning performance for star Emma Stone, as she takes on the most ambitious role in her career.
Stone’s co-star, Willem Dafoe, has not only Poor Things, but also Pet Shop Boys and Finally Dawn that played at the festival. With multiple films being featured at one of the most prestigious film events, it’s certainly a bummer to not be able to celebrate them. IndieWire reports that Dafoe spoke with Vanity Fair during this time.
Stone’s co-star, Willem Dafoe, has not only Poor Things, but also Pet Shop Boys and Finally Dawn that played at the festival. With multiple films being featured at one of the most prestigious film events, it’s certainly a bummer to not be able to celebrate them. IndieWire reports that Dafoe spoke with Vanity Fair during this time.
- 9/11/2023
- by EJ Tangonan
- JoBlo.com
As Hollywood actors and writers remain on strike, some headed east, all the way to Venice to join in the always glamorous Biennale Cinema 2023, also known as the Venice International Film Festival. Now in its 80th year, the festival is always a heady melange of fascinating movies making their world premieres, all mixed in with haute couture fashion, both on the red carpet and at annual fetes given by the world’s top labels.
And while many of the red-carpet moments are, sadly, happening without the A-list actors attending (as they honor their union’s strike), this year’s festival still brought its A game to the fashion scene, and independent productions that secured an interim agreement saw the likes of Adam Driver, Jessica Chastain and Cailee Spaeny able to celebrate the premieres of their films in Venice while still on strike.
Join us for a look at what’s...
And while many of the red-carpet moments are, sadly, happening without the A-list actors attending (as they honor their union’s strike), this year’s festival still brought its A game to the fashion scene, and independent productions that secured an interim agreement saw the likes of Adam Driver, Jessica Chastain and Cailee Spaeny able to celebrate the premieres of their films in Venice while still on strike.
Join us for a look at what’s...
- 9/11/2023
- by Jenny Peters
- The Wrap
Willem Dafoe had Fomo on the fall festival circuit.
The star of Venice’s Golden Lion winner “Poor Things” led four films between Venice, Telluride, and TIFF but TIFF-premiering “Gonzo Girl” is the only film with a SAG-AFTRA strike waiver that allows for Dafoe to promote it; hence, TIFF is the only festival the actor was in attendance for.
Dafoe told Vanity Fair that it “broke” his heart to not be present for the premieres of all the respective films, including “Poor Things,” “Pet Shop Days,” and “Finally Dawn.”
“To be in Venice with three films and not be able to go broke my heart,” Dafoe said. “But then I thought, ‘Is it just because you want to have a good time?’ I live in Italy and it’s exciting to see friends, it’s exciting to dress up. ‘Does the film fly or not in real time?’ That’s fun.
The star of Venice’s Golden Lion winner “Poor Things” led four films between Venice, Telluride, and TIFF but TIFF-premiering “Gonzo Girl” is the only film with a SAG-AFTRA strike waiver that allows for Dafoe to promote it; hence, TIFF is the only festival the actor was in attendance for.
Dafoe told Vanity Fair that it “broke” his heart to not be present for the premieres of all the respective films, including “Poor Things,” “Pet Shop Days,” and “Finally Dawn.”
“To be in Venice with three films and not be able to go broke my heart,” Dafoe said. “But then I thought, ‘Is it just because you want to have a good time?’ I live in Italy and it’s exciting to see friends, it’s exciting to dress up. ‘Does the film fly or not in real time?’ That’s fun.
- 9/11/2023
- by Samantha Bergeson
- Indiewire
The company has also unveiled an Israel-based €150m fund for film and scripted TV projects.
With five films playing in competition, European production and distribution group Fremantle is enjoying a strong presence at this year’s Venice Film Festival.
Fremantle’s Ireland-uk label Element Pictures is behind one of the hottest films on the Lido this year, Yorgos Lanthimos’ Poor Things, while Italian label Wildside produced Saverio Costanzo’s big budget Finally Dawn.
Another Fremantle Italian production label The Apartment, meanwhile, is involved in three films in competition – Sofia Coppola’s Priscilla , Stefano Sollima’s Adagio and Piero Castellito’s Enea.
With five films playing in competition, European production and distribution group Fremantle is enjoying a strong presence at this year’s Venice Film Festival.
Fremantle’s Ireland-uk label Element Pictures is behind one of the hottest films on the Lido this year, Yorgos Lanthimos’ Poor Things, while Italian label Wildside produced Saverio Costanzo’s big budget Finally Dawn.
Another Fremantle Italian production label The Apartment, meanwhile, is involved in three films in competition – Sofia Coppola’s Priscilla , Stefano Sollima’s Adagio and Piero Castellito’s Enea.
- 9/8/2023
- by Tim Dams
- ScreenDaily
The 2023 Venice Film Festival is underway, and while the Hollywood strikes have kept the bulk of the stars from attending the lauded fest, the red carpet isn’t entirely devoid of actors and has been host to a number of filmmakers from Wes Anderson to Michael Mann (directors are not on strike). Actors like “Ferrari” star Adam Driver were able to attend after receiving an Interim Agreement from SAG-AFTRA that allows for independent productions that adhere to SAG-AFTRA’s terms to move forward during the strike.
This gallery will be updated as the festival continues, but right now peruse red carpet photos featuring Driver, Mann, Anderson, Patrick Dempsey, Caleb Landry Jones, Jane Campion, Mads Mikkelsen, Anna Diop, David Fincher, Sofia Coppola and more.
Photo by Pascal Le Segretain/Getty Images
Leonie Hanne arrives on the red carpet ahead of the “Finalmente L’Alba” screening during the 80th Venice International Film Festival...
This gallery will be updated as the festival continues, but right now peruse red carpet photos featuring Driver, Mann, Anderson, Patrick Dempsey, Caleb Landry Jones, Jane Campion, Mads Mikkelsen, Anna Diop, David Fincher, Sofia Coppola and more.
Photo by Pascal Le Segretain/Getty Images
Leonie Hanne arrives on the red carpet ahead of the “Finalmente L’Alba” screening during the 80th Venice International Film Festival...
- 9/5/2023
- by Adam Chitwood
- The Wrap
Fremantle kicked off its presence at the Venice Film Festival with a bang this year with the announcement of its new €150M ($162.7M) Scripted Fund forged in partnership with Israel-based Ibi Investment House.
The fund is reserved exclusively for select projects being developed by Fremantle’s stable of scripted drama companies, which include UK’s Dancing Ledge and Element Pictures, Italy’s The Apartment, Wildside and Lux Vide, as well as The Immigrant, specialized in Latin America and Spanish content.
First projects backed by the fund include previously announced feature Maria, the high-profile Maria Callas biopic, starring Angelina Jolie and directed by Pablo Larraín, who is at Venice this year with Augusto Pinochet dark comedy/horror El Conde.
Two newly unveiled series will also benefit: the four-part thriller Generation Loss, written by Bridgerton’s Sarah Dollard, and six-part revenge thriller Shelter, to which Jeremy Webb is attached to direct.
Fremantle is not involved in Larrain’s Netflix-backed El Conde but is present instead with five other Golden Lion contenders, including Yorgos Lanthimos’ buzzed about Poor Things, Stefano Sollima’s well-reviewed Adagio, Sofia Coppola’s Priscilla, Salvatore Costanzo’s 1950s Cinecittà drama Finally Dawn, and Pietro Castellitto’s Enea
In a sign of a growing presence in the film world, the company is basing itself out of a vast beachfront villa just down the road from the festival’s main hub for the first time this year.
Deadline sat down with top Fremantle execs, Group COO and CEO Continental Europe Andrea Scrosati and CEO Global Drama Christian Vesper, in the peace of its lawned garden to discuss the genesis and implications of the new scripted fund.
Deadline: How did Fremantle connect with Ibi Investment House?
Scrosati: It came to us through our CEO in Israel Guy Hameiri, who is also going to be the CEO of the fund. He runs our company there [Abot Hameiri), which we initially invested in and then bought out two years ago.
He came to me around like nine months ago, saying that the leadership in Ibi was interested in finding a way to invest in scripted content. Together, we developed this model that I think is pretty new.
Deadline: What do you mean by new? There are other funds in existence investing in scripted content.
Andrea Scrosati: I think the interesting component here is that it’s a financial institution partnering with a content production company. The projects can only come from Fremantle. So that’s the intriguing component, for us. Then, this fund will fully finance those projects, which is also rare, especially for TV. To have a self-funded studio kind of model on drama is slightly rare. And then Fremantle will go out and sell.
Deadline: What encouraged you to go down this route?
Scrosati: It’s coherent with our strategic positioning. Talent has a lot of opportunity choices… but to super simplify, there are two key potential choices. One, talent signs a deal with a big direct-to-consumer operation. It’s an absolutely a fine choice. But obviously, what happens is that the talent then has to deliver results that are coherent with the platform that needs to sell the subscriptions.
Our approach to talent is different. We say, ‘We’re going to focus on your project, we’re going to support your project, we’re going to potentially finance or risk on your project, and then we’re going to find the right home for your project, because not every project is okay for every place.’ This new device helps us with this strategic positioning.
There is a tactical component because of where the market is today. Big traditional buyers didn’t stop buying but are for sure on a slower kind of pace. We strongly believe that good content has a future. I’m very positive about where the market is going to be in three or four years from today. In every market there’s growth, and then an adjustment.
The problem with where the market is today is that there are great opportunities, sometimes that involve great talent, but they have a time component and you risk not doing those projects if you’re waiting for the green light from Apple, Disney, Netflix, or Amazon.
Deadline: If the commissioning contraction hadn’t happened would you still have gone down this route?
Scrosati: Yes, for the strategic reason I mentioned.
Christian Vesper: Not Maria, because Maria is a film and starts very soon. And that was a different calculation. But for the two TV shows that we discuss in the [press] release, part of the consideration there was we believe in the projects. We know there’s a market for them but the talent attached has a discrete window, and so much of our business model has been based on how we bring in talent. How do we service our talent? Our job is to help them get their shows made and on the air. And this gives us one more powerful tool for doing that.
Deadline: Will the new fund change the way you deal with the broadcasters and streamers ?
Scrosati: The buyers are our partners. These shows will go to a client or a streamer. The fund is simply a way to accelerate the production time schedule. The buyer will be able to access a product when it is actually already in production or is already produced.
Vesper: One of our best clients in the UK is struggling now with some of their bigger shows. Even if they’ve greenlit them, they can’t find the financing for the rest of the budget. This is partly to step into that void. The networks, the linears and the public broadcasters, they’re struggling to fulfill all their programming needs with the resources they have and this provides yet one more avenue to do that.
Deadline: Can the fund be accessed by all the companies producing scripted content under the Fremantle umbrella?
Scrosati: Yes, as you can see with the first three projects. One of them is taking place in Israel, one in in UK, and one is a Chilean-Italian co-production, shot in Hungary. It’s going to be fantastically global.
Deadline: You have set yourselves the target of a €3B turnover by 2025. Do you think that’s realistic? And why have you set yourself this goal?
Scrosati: The goal was set by our shareholders… I’ve worked for a few different shareholders over the course of my career. The thing I’ve found incredibly strong is that Bertelsmann and Rtl have set a goal but have also given us all the support and instruments to reach that goal. It is a very ambitious goal because obviously the company was doing a very different number three years ago, but again they have given us all the support.
One thing, which is really important to say, is that the growth we have done in the last few years has been a been a mix of M&a and organic growth. This growth is not simply because we are acquiring companies, but rather because we are diversifying and creating a business portfolio. An example of this, is that five years ago, we were delivering two movies a year, and last year, we delivered 17, and with the exception of Element, which is an acquisition, all these movies come from companies that were already part of Fremantle.
Vesper: When I joined the company, Wildside was already a crucial part of the company, and I’ve been here six years now and the growth there is all organic and extraordinary.
Scrosati: The M&a we’ve done is all part of strategic plans. It’s been about acquiring companies that were best in class in a sector where we were not present. Element is a fantastic example of that. We did not have an English language, movie production company. Or, best in class in potentially growing regions where we were not present. We invested in Latin American company The Immigrant a few years ago when it was a start-up. It now has three productions on the go and its first movie Adolfo won the Generation 14 Plus prize in Berlin.
Vesper: One of our companies in England, Dancing Ledge, is hitting it out of the park in terms of the number of series they have on BBC and all the platforms. Like The Immigrant, we invested in them when they had done nothing. It’s not like we’re buying revenue. A lot of the M&a is investment in the future.
Deadline: Do you plan to keep up the pace of scripted company acquisitions of the last three years, or is that calming down?
Scrosati: In line with what we were just saying, If there is something that is coherent with our growth, in areas where we’re still not present, or there is a company or creative team that we really think has potential, we will still invest. The other component is the cultural element. We are a big company but we’re very lean. The scripted management team is basically in front of you. The only way it can work is if we see can see an element where it will work intellectually and culturally.
Deadline: Do you have further growth plans for scripted in the U.S.?
Scrosati: It’s our first territory. The company’s core business is still the entertainment and unscripted business and the U.S. is a massive territory for us for that. In addition, Dante di Loreto is leading the scripted team and has a lot going on.
Vesper: We have a show, Fellow Travellers, coming out on Paramount+ at the end of September. It’s a big mini-series with Matt Bomer, Jonathan Bailey and Allison Williams, that was developed with Showtime and that we produced for them. Six-part, gorgeous, about the gay panic in the CIA in the 50s. We also produced two seasons of Mosquito Coast for Apple.
We have a number of big shows that we’re about to announce. What’s interesting is that we have a couple of projects that the U.S. have set up to shoot here (Europe), and vice versa. We’re trying to make sure that our European producers have the resources in the U.S., and the other way round. We’re constantly strategizing about this, it’s important for us to continue to build that business in the U.S..
The fund is reserved exclusively for select projects being developed by Fremantle’s stable of scripted drama companies, which include UK’s Dancing Ledge and Element Pictures, Italy’s The Apartment, Wildside and Lux Vide, as well as The Immigrant, specialized in Latin America and Spanish content.
First projects backed by the fund include previously announced feature Maria, the high-profile Maria Callas biopic, starring Angelina Jolie and directed by Pablo Larraín, who is at Venice this year with Augusto Pinochet dark comedy/horror El Conde.
Two newly unveiled series will also benefit: the four-part thriller Generation Loss, written by Bridgerton’s Sarah Dollard, and six-part revenge thriller Shelter, to which Jeremy Webb is attached to direct.
Fremantle is not involved in Larrain’s Netflix-backed El Conde but is present instead with five other Golden Lion contenders, including Yorgos Lanthimos’ buzzed about Poor Things, Stefano Sollima’s well-reviewed Adagio, Sofia Coppola’s Priscilla, Salvatore Costanzo’s 1950s Cinecittà drama Finally Dawn, and Pietro Castellitto’s Enea
In a sign of a growing presence in the film world, the company is basing itself out of a vast beachfront villa just down the road from the festival’s main hub for the first time this year.
Deadline sat down with top Fremantle execs, Group COO and CEO Continental Europe Andrea Scrosati and CEO Global Drama Christian Vesper, in the peace of its lawned garden to discuss the genesis and implications of the new scripted fund.
Deadline: How did Fremantle connect with Ibi Investment House?
Scrosati: It came to us through our CEO in Israel Guy Hameiri, who is also going to be the CEO of the fund. He runs our company there [Abot Hameiri), which we initially invested in and then bought out two years ago.
He came to me around like nine months ago, saying that the leadership in Ibi was interested in finding a way to invest in scripted content. Together, we developed this model that I think is pretty new.
Deadline: What do you mean by new? There are other funds in existence investing in scripted content.
Andrea Scrosati: I think the interesting component here is that it’s a financial institution partnering with a content production company. The projects can only come from Fremantle. So that’s the intriguing component, for us. Then, this fund will fully finance those projects, which is also rare, especially for TV. To have a self-funded studio kind of model on drama is slightly rare. And then Fremantle will go out and sell.
Deadline: What encouraged you to go down this route?
Scrosati: It’s coherent with our strategic positioning. Talent has a lot of opportunity choices… but to super simplify, there are two key potential choices. One, talent signs a deal with a big direct-to-consumer operation. It’s an absolutely a fine choice. But obviously, what happens is that the talent then has to deliver results that are coherent with the platform that needs to sell the subscriptions.
Our approach to talent is different. We say, ‘We’re going to focus on your project, we’re going to support your project, we’re going to potentially finance or risk on your project, and then we’re going to find the right home for your project, because not every project is okay for every place.’ This new device helps us with this strategic positioning.
There is a tactical component because of where the market is today. Big traditional buyers didn’t stop buying but are for sure on a slower kind of pace. We strongly believe that good content has a future. I’m very positive about where the market is going to be in three or four years from today. In every market there’s growth, and then an adjustment.
The problem with where the market is today is that there are great opportunities, sometimes that involve great talent, but they have a time component and you risk not doing those projects if you’re waiting for the green light from Apple, Disney, Netflix, or Amazon.
Deadline: If the commissioning contraction hadn’t happened would you still have gone down this route?
Scrosati: Yes, for the strategic reason I mentioned.
Christian Vesper: Not Maria, because Maria is a film and starts very soon. And that was a different calculation. But for the two TV shows that we discuss in the [press] release, part of the consideration there was we believe in the projects. We know there’s a market for them but the talent attached has a discrete window, and so much of our business model has been based on how we bring in talent. How do we service our talent? Our job is to help them get their shows made and on the air. And this gives us one more powerful tool for doing that.
Deadline: Will the new fund change the way you deal with the broadcasters and streamers ?
Scrosati: The buyers are our partners. These shows will go to a client or a streamer. The fund is simply a way to accelerate the production time schedule. The buyer will be able to access a product when it is actually already in production or is already produced.
Vesper: One of our best clients in the UK is struggling now with some of their bigger shows. Even if they’ve greenlit them, they can’t find the financing for the rest of the budget. This is partly to step into that void. The networks, the linears and the public broadcasters, they’re struggling to fulfill all their programming needs with the resources they have and this provides yet one more avenue to do that.
Deadline: Can the fund be accessed by all the companies producing scripted content under the Fremantle umbrella?
Scrosati: Yes, as you can see with the first three projects. One of them is taking place in Israel, one in in UK, and one is a Chilean-Italian co-production, shot in Hungary. It’s going to be fantastically global.
Deadline: You have set yourselves the target of a €3B turnover by 2025. Do you think that’s realistic? And why have you set yourself this goal?
Scrosati: The goal was set by our shareholders… I’ve worked for a few different shareholders over the course of my career. The thing I’ve found incredibly strong is that Bertelsmann and Rtl have set a goal but have also given us all the support and instruments to reach that goal. It is a very ambitious goal because obviously the company was doing a very different number three years ago, but again they have given us all the support.
One thing, which is really important to say, is that the growth we have done in the last few years has been a been a mix of M&a and organic growth. This growth is not simply because we are acquiring companies, but rather because we are diversifying and creating a business portfolio. An example of this, is that five years ago, we were delivering two movies a year, and last year, we delivered 17, and with the exception of Element, which is an acquisition, all these movies come from companies that were already part of Fremantle.
Vesper: When I joined the company, Wildside was already a crucial part of the company, and I’ve been here six years now and the growth there is all organic and extraordinary.
Scrosati: The M&a we’ve done is all part of strategic plans. It’s been about acquiring companies that were best in class in a sector where we were not present. Element is a fantastic example of that. We did not have an English language, movie production company. Or, best in class in potentially growing regions where we were not present. We invested in Latin American company The Immigrant a few years ago when it was a start-up. It now has three productions on the go and its first movie Adolfo won the Generation 14 Plus prize in Berlin.
Vesper: One of our companies in England, Dancing Ledge, is hitting it out of the park in terms of the number of series they have on BBC and all the platforms. Like The Immigrant, we invested in them when they had done nothing. It’s not like we’re buying revenue. A lot of the M&a is investment in the future.
Deadline: Do you plan to keep up the pace of scripted company acquisitions of the last three years, or is that calming down?
Scrosati: In line with what we were just saying, If there is something that is coherent with our growth, in areas where we’re still not present, or there is a company or creative team that we really think has potential, we will still invest. The other component is the cultural element. We are a big company but we’re very lean. The scripted management team is basically in front of you. The only way it can work is if we see can see an element where it will work intellectually and culturally.
Deadline: Do you have further growth plans for scripted in the U.S.?
Scrosati: It’s our first territory. The company’s core business is still the entertainment and unscripted business and the U.S. is a massive territory for us for that. In addition, Dante di Loreto is leading the scripted team and has a lot going on.
Vesper: We have a show, Fellow Travellers, coming out on Paramount+ at the end of September. It’s a big mini-series with Matt Bomer, Jonathan Bailey and Allison Williams, that was developed with Showtime and that we produced for them. Six-part, gorgeous, about the gay panic in the CIA in the 50s. We also produced two seasons of Mosquito Coast for Apple.
We have a number of big shows that we’re about to announce. What’s interesting is that we have a couple of projects that the U.S. have set up to shoot here (Europe), and vice versa. We’re trying to make sure that our European producers have the resources in the U.S., and the other way round. We’re constantly strategizing about this, it’s important for us to continue to build that business in the U.S..
- 9/4/2023
- by Melanie Goodfellow
- Deadline Film + TV
Venice Film Festival artistic director Alberto Barbera is adamant about his decision to place six Italian movies in this year’s 23-title festival lineup. “Nobody accused the French of chauvinism because they had seven French films in competition in Cannes this year,” Barbera quipped to a snarky Italian reporter when the Venice lineup was announced in July, though he did concede, “It’s true that in the past I have not done this.” Indeed, Barbera’s previous limit on Italian movies in competition for the Golden Lion was five titles last year, which some local critics considered a stretch.
More importantly, the Venice chief pointed out that he presently sees Cinema Italiano at a particularly favorable juncture largely thanks to the fact that Italians are making movies with bigger budgets, “which means greater quality and the ability to compete in international markets, and to travel beyond our borders,” he said.
More importantly, the Venice chief pointed out that he presently sees Cinema Italiano at a particularly favorable juncture largely thanks to the fact that Italians are making movies with bigger budgets, “which means greater quality and the ability to compete in international markets, and to travel beyond our borders,” he said.
- 9/4/2023
- by Nick Vivarelli
- Variety Film + TV
The Italian film and television industry could step into the gap left by the dual Hollywood strikes, leading industry executives said at a panel, organized in collaboration with the Audiovisivo Italiae, at the Venice Film Festival on Saturday.
“If supply decreases with Hollywood on strike, we need to be ready with our products for the international market as well,” said Francesco Rutelli, president of the Italian national audiovisual association Anica, speaking at a panel moderated by THR Roma editor-in-chief Concita De Gregorio.
“We need to interpret market changes in real-time. And we need the government to issue certain rules with respect to these changes. It’s not a matter of changing the system’s regulations, but of adjusting them quickly to the changed and rapid changes taking place.”
Maria Pia Ammirati director of Rai Fiction, a division of Italy’s national public broadcaster, noted that since the beginning of...
“If supply decreases with Hollywood on strike, we need to be ready with our products for the international market as well,” said Francesco Rutelli, president of the Italian national audiovisual association Anica, speaking at a panel moderated by THR Roma editor-in-chief Concita De Gregorio.
“We need to interpret market changes in real-time. And we need the government to issue certain rules with respect to these changes. It’s not a matter of changing the system’s regulations, but of adjusting them quickly to the changed and rapid changes taking place.”
Maria Pia Ammirati director of Rai Fiction, a division of Italy’s national public broadcaster, noted that since the beginning of...
- 9/3/2023
- by Ilaria Ravarino
- The Hollywood Reporter - Movie News
The glory days of Cinecitta are evoked in Finally Dawn (Finalmente l’Alba), a sprawling story of uncertain tone – sometimes thrilled, sometimes appalled and sometimes as generally bewildered as nervous ingenue Mimosa (Rebecca Antonaci), an ordinary young woman of Rome who finds herself leading the way through this warren of a Wonderland. Cinecitta has recently revived its fortunes after a long slump, with a slow build of refurbishment and expansion, but director Saverio Costanzo leans heavily into nostalgia for times past, setting his story in the ‘50s when there were still legions of centurions marching around the studio lot and live animals awaiting their close-ups. A lion features here, roaring at passers-by. It may well be the film’s most sympathetic character.
Mimosa is not the least bit leonine. She is only at Cinecitta because her sister Iris (Sofia Panizzi) was approached at the local cinema by someone from the studio...
Mimosa is not the least bit leonine. She is only at Cinecitta because her sister Iris (Sofia Panizzi) was approached at the local cinema by someone from the studio...
- 9/2/2023
- by Stephanie Bunbury
- Deadline Film + TV
Cruel Intentions: Costanzo Pays Homage to the Demi-Monde of the Italian Film Industry
After adapting Elena Ferrante’s “My Brilliant Friend” for television, Saverio Costanzo returns to narrative film for the first time in almost a decade with the odd, sinister Finally Dawn (Finalmente L’Alba), which peers through a glass darkly into the underbelly of the cinematic It crowd. However it’s also a twenty-four-hour coming of age tale about not only the loss of innocence but the discovery of agency, as one young woman’s eyes are opened through far ranging formative experiences before she breaks the dawn. Much like Damien Chazelle’s ode to the transition of sound cinema with 2022’s Babylon, Costanzo returns to the empire of Rome’s Cinecitta in the 50s, nicknamed the Hollywood on the Tiber, and all its pulpy glory.…...
After adapting Elena Ferrante’s “My Brilliant Friend” for television, Saverio Costanzo returns to narrative film for the first time in almost a decade with the odd, sinister Finally Dawn (Finalmente L’Alba), which peers through a glass darkly into the underbelly of the cinematic It crowd. However it’s also a twenty-four-hour coming of age tale about not only the loss of innocence but the discovery of agency, as one young woman’s eyes are opened through far ranging formative experiences before she breaks the dawn. Much like Damien Chazelle’s ode to the transition of sound cinema with 2022’s Babylon, Costanzo returns to the empire of Rome’s Cinecitta in the 50s, nicknamed the Hollywood on the Tiber, and all its pulpy glory.…...
- 9/1/2023
- by Nicholas Bell
- IONCINEMA.com
Many native critics have bemoaned the invasion of English-speaking actors turning their hand to the Italian tongue at this year’s Venice Film Festival, easy to spot not, this time, by their proclivity for adding both onion and garlic to a sugo or cream to a carbonara. In this case, it’s Joe Keery, Willem Dafoe, and Lily James in the baffling competition title “Finalmente l’alba,” (“Finally Dawn”), which mixes Italian and American actors in Rome’s booming “Hollywood on the Tiber” era, during which the Cinecittà Studios was a breeding ground for large-scale productions of the 1950s and ’60s such as “Ben Hur” and “Cleopatra.”
Beginning as a “Babylon”-esque tale about the unmitigated heft and mania of epic filmmaking in Rome before becoming a quasi-murder mystery, and then, ultimately, a loss-of-innocence bildungsroman for one of cinema’s least memorable protagonists, Saverio Costanzo’s driverless feature seems to constantly...
Beginning as a “Babylon”-esque tale about the unmitigated heft and mania of epic filmmaking in Rome before becoming a quasi-murder mystery, and then, ultimately, a loss-of-innocence bildungsroman for one of cinema’s least memorable protagonists, Saverio Costanzo’s driverless feature seems to constantly...
- 9/1/2023
- by Steph Green
- Indiewire
The Telluride Film Festival, a key part of the fall festival circuit launching awards season and perhaps some major Academy Award contenders, announced the wide-ranging lineup of films for its landmark 50th edition. The fest kicks off Thursday and runs through Labor Day and will feature world premieres of Oscar winners Alexander Payne’s The Holdovers (Focus Features), Emerald Fennell’s Saltburn (Amazon) and Free Solo filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin’s narrative feature Nyad (Netflix).
50th Anniversary Telluride Film Festival poster designed by Luke Dorman/Meow Wolfe
Other world premieres in the lineup include Andrew Haigh’s All of Us Strangers (Searchlight) with Paul Mescal and Andrew Scott; George C. Wolfe’s Rustin (Netflix), starring Colman Domingo in the title role; Ethan Hawke’s Wildcat starring daughter Maya Hawke; Bhutan filmmaker Pawo Choyning Dorji’s follow-up to his Oscar-nominated international breakthrough Lunana: A Yak in the Classroom,...
50th Anniversary Telluride Film Festival poster designed by Luke Dorman/Meow Wolfe
Other world premieres in the lineup include Andrew Haigh’s All of Us Strangers (Searchlight) with Paul Mescal and Andrew Scott; George C. Wolfe’s Rustin (Netflix), starring Colman Domingo in the title role; Ethan Hawke’s Wildcat starring daughter Maya Hawke; Bhutan filmmaker Pawo Choyning Dorji’s follow-up to his Oscar-nominated international breakthrough Lunana: A Yak in the Classroom,...
- 8/30/2023
- by Pete Hammond
- Deadline Film + TV
There are compliments and there are compliments. For a young Italian actress making her big screen debut, being compared to Giulietta Masina — best known for her work in front of the camera of Federico Fellini (who also doubled up as her husband), most notably La Strada and Nights of Cabiria — it’s definitely one of the better ones to receive.
But it was this that, Rebecca Antonaci explains, led director Saverio Costanzo to cast her as the lead in his Venice-bowing drama Finally Dawn (Finalmente L’alba in Italian). “Saverio told me that I, in some way, reminded him of Messina,” the 18-year-old says, speaking from Rome.
If Costanzo was looking for someone who could capture Masina’s renowned youthful, wide-eyed innocence, he certainly found it with this newcomer.
Set in the mid 1950s, in the golden age of the Italian capital’s historic Cinecitta studio (and the period where Masina...
But it was this that, Rebecca Antonaci explains, led director Saverio Costanzo to cast her as the lead in his Venice-bowing drama Finally Dawn (Finalmente L’alba in Italian). “Saverio told me that I, in some way, reminded him of Messina,” the 18-year-old says, speaking from Rome.
If Costanzo was looking for someone who could capture Masina’s renowned youthful, wide-eyed innocence, he certainly found it with this newcomer.
Set in the mid 1950s, in the golden age of the Italian capital’s historic Cinecitta studio (and the period where Masina...
- 8/30/2023
- by Alex Ritman
- The Hollywood Reporter - Movie News
Exclusive: Lily James has signed with UTA for representation. James had signed with CAA last fall, but over the summer returned to her long-time agency.
James has a busy fall ahead that includes Finalmente L’alba, which will have its world premiere at the Venice Film Festival followed by a screening at the Telluride Film Festival. She also has the A24 drama The Iron Claw which also stars Zac Efron and Jeremy Allen White, with Sean Durkin directing.
She recently wrapped production on the David Mackenzie thriller Relay opposite Riz Ahmed and can be seen in October in the play Lyonesse in London, which will run through Christmas.
She is also repped by Tavistock Wood Management and Narrative PR, while Premier reps the actress in the UK.
James has a busy fall ahead that includes Finalmente L’alba, which will have its world premiere at the Venice Film Festival followed by a screening at the Telluride Film Festival. She also has the A24 drama The Iron Claw which also stars Zac Efron and Jeremy Allen White, with Sean Durkin directing.
She recently wrapped production on the David Mackenzie thriller Relay opposite Riz Ahmed and can be seen in October in the play Lyonesse in London, which will run through Christmas.
She is also repped by Tavistock Wood Management and Narrative PR, while Premier reps the actress in the UK.
- 8/29/2023
- by Justin Kroll
- Deadline Film + TV
La BêteCOMPETITIONComandante (Edoardo De Angelis)The Promised Land (Nikolaj Arcel)Dogman (Luc Besson) La Bête (Bertrand Bonello) Hors-Saison (Stéphane Brizé) Enea (Pietro Castellitto) Maestro (Bradley Cooper)Priscilla (Sofia Coppola)Finalmente L’Alba (Saverio Costanzo)Lubo (Giorgio Diritti) Origin (Ava DuVernay) The Killer (David Fincher)Memory (Michel Franco)Io capitano (Matteo Garrone)Evil Does Not Exist (Ryûsuke Hamaguchi)The Green Border (Agnieszka Holland)The Theory of Everything (Timm Kröger)Poor Things (Yorgos Lanthimos)El conde (Pablo Larrain)Ferrari (Michael Mann)Adagio (Stefano Sollima)Woman OfHolly (Fien Troch)Out Of COMPETITIONFictionSociety of the Snow (J.A. Bayona)Coup de Chance (Woody Allen)The Wonderful Story of Henry Sugar (Wes Anderson)The Penitent (Luca Barbareschi)L’Ordine Del Tempo (Liliana Cavani)Vivants (Alix Delaporte)Welcome to Paradise (Leonardo di Constanzo)Daaaaaali! (Quentin Dupieux)The Caine Mutiny Court-Martial (William Friedkin)Making of (Cedric Kahn)Aggro Dr1ft (Harmony Korine)Hitman (Richard Linklater)The Palace (Roman Polanski...
- 7/29/2023
- MUBI
Lido red carpets may be star-deprived this year, but that didn’t stop the Venice Film Festival from arranging a gorgeous constellation of new movies from supernova directors. (The full lineup is here.)
The SAG-AFTRA strike work stoppage means, of course, that competition directors like Yorgos Lanthimos (“Poor Things”), David Fincher (“The Killer”), Sofia Coppola (“Priscilla”), Ava DuVernay, Saverio Costanzo (“Finalmente L’Alba”), and Michel Franco (“Memory”) will have to do the talking at press conferences and attend step-and-repeats without their actors, if they’re willing. It’s tricky for multihyphenates like Bradley Cooper, who directs and stars as Leonard Bernstein in Netflix’s “Maestro;” IndieWire hears he will sit this festival out.
Among the Venice film stars who will not be waving to the paparazzi from water taxis are Emma Stone, Margaret Qualley, Carey Mulligan, Michael Fassbender, Tilda Swinton, Adam Driver, Penelope Cruz, Jacob Elordi, Aunjanue Ellis, Lily James, Joe Keery,...
The SAG-AFTRA strike work stoppage means, of course, that competition directors like Yorgos Lanthimos (“Poor Things”), David Fincher (“The Killer”), Sofia Coppola (“Priscilla”), Ava DuVernay, Saverio Costanzo (“Finalmente L’Alba”), and Michel Franco (“Memory”) will have to do the talking at press conferences and attend step-and-repeats without their actors, if they’re willing. It’s tricky for multihyphenates like Bradley Cooper, who directs and stars as Leonard Bernstein in Netflix’s “Maestro;” IndieWire hears he will sit this festival out.
Among the Venice film stars who will not be waving to the paparazzi from water taxis are Emma Stone, Margaret Qualley, Carey Mulligan, Michael Fassbender, Tilda Swinton, Adam Driver, Penelope Cruz, Jacob Elordi, Aunjanue Ellis, Lily James, Joe Keery,...
- 7/25/2023
- by Ryan Lattanzio
- Indiewire
Venice artistic director Alberto Barbera insists strikes will have “quite modest” impact on festival
Says that American movies that were invited have confirmed they will play in Competition.
Venice Film Festival artistic director Alberto Barbera has insisted the US actors and writers’ strikes will have a “quite modest” impact on this year’s festival.
At a press conference to announce the festival line-up today, Barbera admitted the past week of the selection process had been “quite troubled” as a result of the strike and that it was difficult to finalise the programme.
He added, however, that “luckily enough the consequences of this strike - which has very good motivations we can agree to -...
Venice Film Festival artistic director Alberto Barbera has insisted the US actors and writers’ strikes will have a “quite modest” impact on this year’s festival.
At a press conference to announce the festival line-up today, Barbera admitted the past week of the selection process had been “quite troubled” as a result of the strike and that it was difficult to finalise the programme.
He added, however, that “luckily enough the consequences of this strike - which has very good motivations we can agree to -...
- 7/25/2023
- by Tim Dams
- ScreenDaily
The Venice Film Festival sails on in Italy — even with much of Hollywood at a standstill.
The annual cinema celebration hosted by La Biennale di Venezia and directed by Alberto Barbera runs from August 30 through September 9. Despite already having lost Luca Guadagnino’s “Challengers” from its opening night slot due to its SAG-AFTRA talent including star Zendaya being unable to accompany the world premiere due to strike work stoppage orders, Venice has plenty of movie goodness in store for its 80th edition.
Competition highlights include Bradley Cooper’s “Maestro,” Sofia Coppola’s “Priscilla,” David Fincher’s “The Killer,” Michael Mann’s “Ferrari,” Yorgos Lanthimos’ “Poor Things,” Ava DuVernay’s “Origin,” Luc Besson’s “Dogman,” Michel Franco’s “Memory,” Pablo Larrain’s “El Conde,” and many more. Out of competition, Venice will screen new films from Harmony Korine, Richard Linklater, Woody Allen, Wes Anderson, Roman Polanski, and William Friedkin.
The annual cinema celebration hosted by La Biennale di Venezia and directed by Alberto Barbera runs from August 30 through September 9. Despite already having lost Luca Guadagnino’s “Challengers” from its opening night slot due to its SAG-AFTRA talent including star Zendaya being unable to accompany the world premiere due to strike work stoppage orders, Venice has plenty of movie goodness in store for its 80th edition.
Competition highlights include Bradley Cooper’s “Maestro,” Sofia Coppola’s “Priscilla,” David Fincher’s “The Killer,” Michael Mann’s “Ferrari,” Yorgos Lanthimos’ “Poor Things,” Ava DuVernay’s “Origin,” Luc Besson’s “Dogman,” Michel Franco’s “Memory,” Pablo Larrain’s “El Conde,” and many more. Out of competition, Venice will screen new films from Harmony Korine, Richard Linklater, Woody Allen, Wes Anderson, Roman Polanski, and William Friedkin.
- 7/25/2023
- by Ryan Lattanzio
- Indiewire
Two movies whose directors are likely to draw protests, Woody Allen’s French-language “Coup de Chance” and Roman Polanski’s “The Palace,” will make their world premieres at the 2023 Venice International Film Festival, Venice artistic director Alberto Barbera and La Biennale di Venezia president Roberto Cicutto announced at a Tuesday morning press conference.
Both films will screen out of competition, though they’ll likely draw an inordinate amount of attention at a festival that has assembled a robust lineup of major filmmakers even as it struggles with the effects of the SAG-AFTRA and WGA strikes.
Films booked for the Venice main competition include Bradley Cooper’s Leonard Bernstein biopic “Maestro”; Yorgos Lanthimos’ sci-fi drama “Poor Things”; Sofia Coppola’s Priscilla Presley film “Priscilla”; Michael Mann’s auto-racing film “Ferrari”; Ava DuVernay’s “Origin,” with Aunjanue Ellis-Taylor, Niecy Nash-Betts and Vera Farmiga; and David Fincher’s “The Killer,” with Michael Fassbender.
Both films will screen out of competition, though they’ll likely draw an inordinate amount of attention at a festival that has assembled a robust lineup of major filmmakers even as it struggles with the effects of the SAG-AFTRA and WGA strikes.
Films booked for the Venice main competition include Bradley Cooper’s Leonard Bernstein biopic “Maestro”; Yorgos Lanthimos’ sci-fi drama “Poor Things”; Sofia Coppola’s Priscilla Presley film “Priscilla”; Michael Mann’s auto-racing film “Ferrari”; Ava DuVernay’s “Origin,” with Aunjanue Ellis-Taylor, Niecy Nash-Betts and Vera Farmiga; and David Fincher’s “The Killer,” with Michael Fassbender.
- 7/25/2023
- by Steve Pond
- The Wrap
On the heels of yesterday’s TIFF announcement, the first major fall festival of the season––Venice International Film Festival––is unveiling its lineup. Taking place August 30-September 9, the competition jury this year is chaired by Damien Chazelle.
Highlights include new films from David Fincher, Michael Mann, Wes Anderson, Ryusuke Hamaguchi, Sofia Coppola, Bradley Cooper, Bertrand Bonello, Frederick Wiseman, Roman Polanski, William Friedkin, Ava DuVernay, Harmony Korine, Richard Linklater, Woody Allen, and more.
Competition
Adagio; dir. Stefano Sollima
The Beast; dir. Bertrand Bonello
Io Capitano; dir. Matteo Garrone
Comandante; dir. Edoardo de Angelis
El Conde; dir. Pablo Larraín
Die Theorie von Allem; dir. Timm Kröger
Dogman; dir. Luc Besson
Enea; dir. Pietro Castellitto
Evil Does Not Exist; dir. Ryusuke Hamaguchi
Ferrari; dir. Michael Mann
Finalmente L’Alba; dir. Saverio Costanzo
Green Border; dir. Agnieszka Holland
Holly; dir. Fien Troch
Hors-Saison; dir. Stéphane Brizé
The Killer; dir. David Fincher
Lubo; dir. Giorgio Diritti
The Promised Land; dir.
Highlights include new films from David Fincher, Michael Mann, Wes Anderson, Ryusuke Hamaguchi, Sofia Coppola, Bradley Cooper, Bertrand Bonello, Frederick Wiseman, Roman Polanski, William Friedkin, Ava DuVernay, Harmony Korine, Richard Linklater, Woody Allen, and more.
Competition
Adagio; dir. Stefano Sollima
The Beast; dir. Bertrand Bonello
Io Capitano; dir. Matteo Garrone
Comandante; dir. Edoardo de Angelis
El Conde; dir. Pablo Larraín
Die Theorie von Allem; dir. Timm Kröger
Dogman; dir. Luc Besson
Enea; dir. Pietro Castellitto
Evil Does Not Exist; dir. Ryusuke Hamaguchi
Ferrari; dir. Michael Mann
Finalmente L’Alba; dir. Saverio Costanzo
Green Border; dir. Agnieszka Holland
Holly; dir. Fien Troch
Hors-Saison; dir. Stéphane Brizé
The Killer; dir. David Fincher
Lubo; dir. Giorgio Diritti
The Promised Land; dir.
- 7/25/2023
- by Jordan Raup
- The Film Stage
New films by top U.S. directors including David Fincher, Sofia Coppola, Ava DuVernay, Michael Mann, Bradley Cooper and Wes Anderson will be launching from the Venice Film Festival alongside a robust roster of European, Latin American and Asian auteurs, in a clear sign that disruption caused by two ongoing labor strikes in Hollywood is less than some expected.
Though Venice was forced a few days ago to pull its originally planned opener, Zendaya-starrer “Challengers,” due to promotional complications from the SAG-AFTRA strike, the fest’s complete lineup, announced on Tuesday, has certainly not suffered a mass exodus of Hollywood titles. On the contrary, the Lido’s firepower as an awards season pistol seems to have outgunned the probable scarcity of stars that will be on the red carpet for U.S. films, though even this aspect remains to be seen.
“This past week has been a bit turbulent...
Though Venice was forced a few days ago to pull its originally planned opener, Zendaya-starrer “Challengers,” due to promotional complications from the SAG-AFTRA strike, the fest’s complete lineup, announced on Tuesday, has certainly not suffered a mass exodus of Hollywood titles. On the contrary, the Lido’s firepower as an awards season pistol seems to have outgunned the probable scarcity of stars that will be on the red carpet for U.S. films, though even this aspect remains to be seen.
“This past week has been a bit turbulent...
- 7/25/2023
- by Nick Vivarelli
- Variety Film + TV
“If there will be a festival with more European and more Italian films [as a consequence of the strike] I’m not happy with it”
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
- 7/21/2023
- by Tim Dams
- ScreenDaily
“If there will be a festival with more European and more Italian films [as a consequence of the strike] I’m not happy with it”
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
- 7/21/2023
- by Tim Dams
- ScreenDaily
“If there will be a festival with more European and more Italian films [as a consequence of the strike] I’m not happy with it”
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
Paolo Del Brocco, the CEO of Italy’s Rai Cinema, has said he hopes US films will still play at the Venice Film Festival even if he is not confident the US actors’ and writers’ strike will be resolved before the start of the festival on August 30.
“If the American movies do not have the possibility to be shown to people, I don’t like it for the prestige of the festival, nor for the public or for the industry,” Del...
- 7/21/2023
- by Tim Dams
- ScreenDaily
Exclusive: Kristin Scott Thomas and Lily James are joining forces to star in a scorching new play by Penelope Skinner, directed by Ian Rickson, that will open in London’s West End in the fall.
Pretty hot names to have atop a theater marquee, that’s for sure.
The drama, called Lyonesse, will open at the Harold Pinter Theatre in late September or early October. Official dates are being determined.
In this new work, Skinner — who won the George Devine Award for most promising playwright in 2011 for The Village Bike — focuses on Elaine (Scott Thomas), a reclusive and brilliant actress who disappeared from public view under mysterious circumstances.
Elaine summons Kate (James), a young film executive, to her remote Cornish estate to facilitate “her glorious comeback,” according to a production source who copped me a premise of the play.
“But who really controls the stories we tell and how we get to tell them?...
Pretty hot names to have atop a theater marquee, that’s for sure.
The drama, called Lyonesse, will open at the Harold Pinter Theatre in late September or early October. Official dates are being determined.
In this new work, Skinner — who won the George Devine Award for most promising playwright in 2011 for The Village Bike — focuses on Elaine (Scott Thomas), a reclusive and brilliant actress who disappeared from public view under mysterious circumstances.
Elaine summons Kate (James), a young film executive, to her remote Cornish estate to facilitate “her glorious comeback,” according to a production source who copped me a premise of the play.
“But who really controls the stories we tell and how we get to tell them?...
- 6/2/2023
- by Baz Bamigboye
- Deadline Film + TV
Italy’s Rai Cinema, which has four titles in this year’s Cannes selection, has closed a deal on Ron Howard’s next movie, “Origin of Species,” a hot project at the Cannes market starring Daisy Edgar-Jones, Ana de Armas, Jude Law and Alicia Vikander.
Rai Cinema chief Paolo Del Brocco said the company – which is the film arm of Italian state broadcaster Rai – has teamed up with Rome-based Lucisano Media Group to acquire Italian rights from CAA Media Finance on Howard’s survival thriller penned by Noah Pink (“Tetris”) about a a group of eclectics who turn their backs on civilization and head to the Galapagos.
In Cannes, Rai Cinema also picked up Italian rights from Gaumont on family movie “Moon The Panda,” by French filmmaker Gilles de Maistre, who is known for movies about human-animal relationships, such as “Mia and the White Lion” and “The Wolf and the Lion.
Rai Cinema chief Paolo Del Brocco said the company – which is the film arm of Italian state broadcaster Rai – has teamed up with Rome-based Lucisano Media Group to acquire Italian rights from CAA Media Finance on Howard’s survival thriller penned by Noah Pink (“Tetris”) about a a group of eclectics who turn their backs on civilization and head to the Galapagos.
In Cannes, Rai Cinema also picked up Italian rights from Gaumont on family movie “Moon The Panda,” by French filmmaker Gilles de Maistre, who is known for movies about human-animal relationships, such as “Mia and the White Lion” and “The Wolf and the Lion.
- 5/26/2023
- by Nick Vivarelli
- Variety Film + TV
Sofia Coppola, Emerald Fennell, Yorgos Lanthimos, Pablo Larrain, Michel Franco and Bradley Cooper could all be on the Lido.
Alberto Barbera is closing in on his Venice Film Festival selection, with buzz around Yorgos Lanthimos’ sci-fi Poor Things, starring Emma Stone, Matteo Garrone’s migrant drama Io Capitano and Pablo Larrain’s dark comedy El Conde about Augusto Pinochet for the Competition.
Also potentially Lido-bound are Michael Mann’s Ferrari with Adam Driver and Penélope Cruz, David Michod’s comedy Wizards! with Pete Davidson, Naomi Scott and Orlando Bloom, and Luca Guadagnino’s Challengers starring Zendaya and Josh O’Connor.
Michel Franco,...
Alberto Barbera is closing in on his Venice Film Festival selection, with buzz around Yorgos Lanthimos’ sci-fi Poor Things, starring Emma Stone, Matteo Garrone’s migrant drama Io Capitano and Pablo Larrain’s dark comedy El Conde about Augusto Pinochet for the Competition.
Also potentially Lido-bound are Michael Mann’s Ferrari with Adam Driver and Penélope Cruz, David Michod’s comedy Wizards! with Pete Davidson, Naomi Scott and Orlando Bloom, and Luca Guadagnino’s Challengers starring Zendaya and Josh O’Connor.
Michel Franco,...
- 5/23/2023
- by Jeremy Kay
- ScreenDaily
Exclusive: Prime Video’s Hitchcockian thriller Holland, Michigan continues to round out its cast with the addition of Rachel Sennott (Bodies Bodies Bodies), Lennon Parham (Minx), Isaac Krasner (Power Book III: Raising Kanan) and Jeff Pope (Interview with the Vampire).
The quartet joins an ensemble that also includes Nicole Kidman, Gael García Bernal, Matthew Macfadyen and Jude Hill, as we told you first.
The film helmed by Mimi Cave (Fresh) stems from a script by Andrew Sodroski which topped the Black List in 2013. It tells the story of a Midwestern housewife who uncovers a dark secret on the part of her husband, after coming to suspect that he’s having an affair.
Kidman and Per Saari are producing for Blossom Films, alongside 42’s Peter Dealbert, and Churchill Films’ Kate Churchill. The forthcoming film will stream on Prime Video in more than 240 countries and territories worldwide.
Sennott broke out with her...
The quartet joins an ensemble that also includes Nicole Kidman, Gael García Bernal, Matthew Macfadyen and Jude Hill, as we told you first.
The film helmed by Mimi Cave (Fresh) stems from a script by Andrew Sodroski which topped the Black List in 2013. It tells the story of a Midwestern housewife who uncovers a dark secret on the part of her husband, after coming to suspect that he’s having an affair.
Kidman and Per Saari are producing for Blossom Films, alongside 42’s Peter Dealbert, and Churchill Films’ Kate Churchill. The forthcoming film will stream on Prime Video in more than 240 countries and territories worldwide.
Sennott broke out with her...
- 2/16/2023
- by Matt Grobar
- Deadline Film + TV
After working together on “The Lighthouse” and “The Northman,” Willem Dafoe and Robert Eggers are looking to team up for a third time. Dafoe is in talks to join Eggers’ next film, his previously announced “Nosferatu,” sources have told IndieWire.
Inspired by the iconic 1922 German silent film from F.W. Murnau, which itself was based heavily on Bram Stoker’s definitive vampire novel “Dracula,” Eggers’ film sees Bill Skarsgård play the central role of Count Orlok, an 18th-century Transylvanian vampire, made famous in the original film by Max Schreck. The film follows Orlok as he obsessively stalks a young woman (Lily-Rose Depp) across Germany, bringing horror and bloodshed with him.
Dafoe’s potential role is being kept under wraps, but in addition to the two leads, he would also join the already-cast Nicholas Hoult. Notably, Dafoe played Schreck in “Shadow of the Vampire,” a 2000 horror comedy about the making of the original “Nosferatu.
Inspired by the iconic 1922 German silent film from F.W. Murnau, which itself was based heavily on Bram Stoker’s definitive vampire novel “Dracula,” Eggers’ film sees Bill Skarsgård play the central role of Count Orlok, an 18th-century Transylvanian vampire, made famous in the original film by Max Schreck. The film follows Orlok as he obsessively stalks a young woman (Lily-Rose Depp) across Germany, bringing horror and bloodshed with him.
Dafoe’s potential role is being kept under wraps, but in addition to the two leads, he would also join the already-cast Nicholas Hoult. Notably, Dafoe played Schreck in “Shadow of the Vampire,” a 2000 horror comedy about the making of the original “Nosferatu.
- 1/26/2023
- by Wilson Chapman
- Indiewire
Steven Spielberg’s “The Fabelmans,” Martin Scorsese’s “Killers of the Flower Moon,” Michael Mann’s “Ferrari,” Roman Polanski’s “The Palace,” “The Son” with Anthony Hopkins, and “Golda” with Helen Mirren are among the theatrical releases lined up for the rest of this year and next year for Italy’s 01 Distribution. Paolo Del Brocco, CEO of the distributor’s parent company, Rai Cinema, presented the lineup at the Torino Film Festival on Friday, and discussed an adjustment in his company’s production strategy in favor of bigger budget Italian films.
As well as the stellar international titles, there is also a strong Italian contingent on the 01 Distribution slate, including Marco Bellocchio’s “La Conversione,” Matteo Garrone’s “Io capitano,” “Il ritorno de Casanova,” starring Toni Servillo, and Saverio Costanzo’s “Finalmente l’alba,” starring Lily James.
“It is a luminous list because cinema in theaters illuminates cities, urban spaces,...
As well as the stellar international titles, there is also a strong Italian contingent on the 01 Distribution slate, including Marco Bellocchio’s “La Conversione,” Matteo Garrone’s “Io capitano,” “Il ritorno de Casanova,” starring Toni Servillo, and Saverio Costanzo’s “Finalmente l’alba,” starring Lily James.
“It is a luminous list because cinema in theaters illuminates cities, urban spaces,...
- 11/27/2022
- by Trinidad Barleycorn
- Variety Film + TV
Rome’s Cinecittà studios are hitting unprecedented levels of occupancy, as the historic site continues to upgrade and expand its facilities under a five-year industrial plan, Cinecitta SpA CEO Nicola Maccanico said on Wednesday.
“Cinecittà has never been so full,” he told a presentation at the Venice Film Festival, looking at the early results of the industrial plan, which runs until 2026 and will see €260m worth of investment put into the facility.
Maccanico said Cinecittà’s 18 studios were currently fully-booked and that this trend would continue into the first half of 2023. He added that 70 of the productions booked in for 2023 were international in nature, and increasingly larger and more ambitious in scale.
He cited a dozen productions that had recently shot or were gearing up to shoot at the studios including Nanni Moretti’s Il Sol Dell Avvenire; Bill Holderman’s Book Club 2, starring Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen,...
“Cinecittà has never been so full,” he told a presentation at the Venice Film Festival, looking at the early results of the industrial plan, which runs until 2026 and will see €260m worth of investment put into the facility.
Maccanico said Cinecittà’s 18 studios were currently fully-booked and that this trend would continue into the first half of 2023. He added that 70 of the productions booked in for 2023 were international in nature, and increasingly larger and more ambitious in scale.
He cited a dozen productions that had recently shot or were gearing up to shoot at the studios including Nanni Moretti’s Il Sol Dell Avvenire; Bill Holderman’s Book Club 2, starring Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen,...
- 9/7/2022
- by Melanie Goodfellow
- Deadline Film + TV
Production has just started at Rome’s Cinecittà Studios on “Finalmente L’alba” the new film by “My Brilliant Friend” director Saverio Costanzo. It is set during the 1950s when the famed filmmaking facilities were known as Hollywood on the Tiber.
This high-end costume drama – the title of which translates as “Finally, Dawn Has Come” – features a stellar cast comprising Lily James (“Pam & Tommy”), Joe Keery (“Stranger Things”), Rachel Sennott (“Shiva Baby”), Willem Dafoe, and Italian newcomer Rebecca Antonaci.
Saverio Costanzo
“Finally, Dawn” is the journey over the course of a long and intense night of an aspiring young Italian actress, played by Antonaci. In the Cinecittà studios of the 1950s, she experiences some memorable hours that will mark her transition to full blown womanhood.
Written and directed by Costanzo, whose previous films include “Private” and Adam Driver-starring “Hungry Hearts,” the picture is produced by Mario Gianani and Lorenzo Gangarossa for Wildside,...
This high-end costume drama – the title of which translates as “Finally, Dawn Has Come” – features a stellar cast comprising Lily James (“Pam & Tommy”), Joe Keery (“Stranger Things”), Rachel Sennott (“Shiva Baby”), Willem Dafoe, and Italian newcomer Rebecca Antonaci.
Saverio Costanzo
“Finally, Dawn” is the journey over the course of a long and intense night of an aspiring young Italian actress, played by Antonaci. In the Cinecittà studios of the 1950s, she experiences some memorable hours that will mark her transition to full blown womanhood.
Written and directed by Costanzo, whose previous films include “Private” and Adam Driver-starring “Hungry Hearts,” the picture is produced by Mario Gianani and Lorenzo Gangarossa for Wildside,...
- 8/29/2022
- by Nick Vivarelli
- Variety Film + TV
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