Upping The Ante
France’s Canal+ Group said that it has increased its stake in multi-territory Asian streaming platform Viu to 30%.
“This additional investment underlines the confidence that Canal+ has in Viu and its teams. It also highlights the determination of Canal+ to make Asia its next growth vector, through its strategic partnership with Pccw, and through an acceleration of growth at Viu, a premium streaming service present in Asia, the Middle East and South Asfrica,” the French group said in a statement. Additionally, it said that its investment in Viu now amounted to some $300 million and that it retains an option to increase its stake to 50%.
In June last year, Canal+ announced that it was to pay $200 million for an initial 26.1% stake in Viu and that it would make a total staggered investment of $300 million.
In results published on Friday, Pccw said: “Viu saw 27% growth in revenue in2023 […] propelled...
France’s Canal+ Group said that it has increased its stake in multi-territory Asian streaming platform Viu to 30%.
“This additional investment underlines the confidence that Canal+ has in Viu and its teams. It also highlights the determination of Canal+ to make Asia its next growth vector, through its strategic partnership with Pccw, and through an acceleration of growth at Viu, a premium streaming service present in Asia, the Middle East and South Asfrica,” the French group said in a statement. Additionally, it said that its investment in Viu now amounted to some $300 million and that it retains an option to increase its stake to 50%.
In June last year, Canal+ announced that it was to pay $200 million for an initial 26.1% stake in Viu and that it would make a total staggered investment of $300 million.
In results published on Friday, Pccw said: “Viu saw 27% growth in revenue in2023 […] propelled...
- 2/26/2024
- by Patrick Frater
- Variety Film + TV
Elaine Crombie delivered the second annual Naidoc Week Lecture at Nida this week, drawing attention to training programs and her own experience as a First Nations creative.
Crombie, a Pitjantjatjara, Warrigmal, South Sea and German-descended actor, singer, songwriter and writer from South Australia, discussed the importance of First Nations people standing together in the arts.
A self-described “older woman in this game”, Crombie has noticed upcoming comedic talent “blitzing past”. But she emphasised there is nothing helpful about looking at newcomers with “side eyes and head tilts”.
“Being black and in the arts, we can’t do that. We have to always lead with love and celebrate each other,” she said.
“I purposely love everybody, and champion everybody.”
Crombie acknowledged the work Nida is doing as an educational institution, but also questioned if there is enough Indigenous-controlled spaces to nurture new talent. She particularly highlighted the effect Naisda Dance College...
Crombie, a Pitjantjatjara, Warrigmal, South Sea and German-descended actor, singer, songwriter and writer from South Australia, discussed the importance of First Nations people standing together in the arts.
A self-described “older woman in this game”, Crombie has noticed upcoming comedic talent “blitzing past”. But she emphasised there is nothing helpful about looking at newcomers with “side eyes and head tilts”.
“Being black and in the arts, we can’t do that. We have to always lead with love and celebrate each other,” she said.
“I purposely love everybody, and champion everybody.”
Crombie acknowledged the work Nida is doing as an educational institution, but also questioned if there is enough Indigenous-controlled spaces to nurture new talent. She particularly highlighted the effect Naisda Dance College...
- 7/9/2021
- by Matthew Kappos
- IF.com.au
Two distinctly Australian stories have taken out the top prizes at the inaugural Aidc Awards, with Daniel Gordon’s The Australian Dream and Southern Pictures’ Miriam Margolyes: Almost Australian awarded Best Feature Documentary and Best Documentary/Factual Series, respectively.
Held as a conclusion to this year’s Aidc, the awards ceremony crowned winners across six categories and distributed more than $200,000 of development funding and prizes.
The event was was broadcast live from Acmi in Melbourne to six cities around Australia.
It caps of this year’s online conference, which comprised more than 40 sessions across four days, and came with contributions from a diverse range of speakers and decision-makers.
The winners of the inaugural Aidc Awards are:
Best Feature Documentary
The Australian Dream
Daniel Gordon, Good Thing Productions & Passion Pictures.
Jury Statement: “In collaboration with Stan Grant, what Gordon finds in the story of Adam Goodes’ disgraceful public discrimination is potent,...
Held as a conclusion to this year’s Aidc, the awards ceremony crowned winners across six categories and distributed more than $200,000 of development funding and prizes.
The event was was broadcast live from Acmi in Melbourne to six cities around Australia.
It caps of this year’s online conference, which comprised more than 40 sessions across four days, and came with contributions from a diverse range of speakers and decision-makers.
The winners of the inaugural Aidc Awards are:
Best Feature Documentary
The Australian Dream
Daniel Gordon, Good Thing Productions & Passion Pictures.
Jury Statement: “In collaboration with Stan Grant, what Gordon finds in the story of Adam Goodes’ disgraceful public discrimination is potent,...
- 3/3/2021
- by Sean Slatter
- IF.com.au
Pursekey Productions director and principal producer Michaela Perske is the Australian International Documentary Conference (Aidc) Stanley Hawes Award recipient for 2021.
Perske’s recognition was announced today alongside the 20 nominees for the inaugural Aidc awards.
Designed to recognise the “outstanding completed works of new Australian documentary and factual content”, the awards will be presented in person across eight cities, as well as livestreamed to Aidc delegates.
Originally trained as a journalist, Perske has over 20 years of media experience across radio, print and TV.
Since turning her hand to factual content, she has produced films including Girls Can’t Surf, Black Divaz, After the Apology, and Destination Arnold.
In announcing the award, the Aidc said it wanted to acknowledge “her outstanding contribution to the Australian documentary and factual sector”.
Australian practitioners had the opportunity to submit across six categories for the Aidc Awards: Best Feature Documentary, with a $5,000 cash prize presented by Doc...
Perske’s recognition was announced today alongside the 20 nominees for the inaugural Aidc awards.
Designed to recognise the “outstanding completed works of new Australian documentary and factual content”, the awards will be presented in person across eight cities, as well as livestreamed to Aidc delegates.
Originally trained as a journalist, Perske has over 20 years of media experience across radio, print and TV.
Since turning her hand to factual content, she has produced films including Girls Can’t Surf, Black Divaz, After the Apology, and Destination Arnold.
In announcing the award, the Aidc said it wanted to acknowledge “her outstanding contribution to the Australian documentary and factual sector”.
Australian practitioners had the opportunity to submit across six categories for the Aidc Awards: Best Feature Documentary, with a $5,000 cash prize presented by Doc...
- 2/10/2021
- by Sean Slatter
- IF.com.au
Steven Oliver in ‘Looky Looky Here Comes Cooky’.
Local films from directors Jo-Anne Brechin and Steven McGregor are among the 12 world premieres to feature on the line-up for Miff 68½ – Melbourne International Film Festival’s upcoming digital-only iteration.
To run August 6-23, the event will encompass some 69 features and 44 shorts from 56 countries – an impressive number given the rights complications inherent in putting together an online showcase. Forty-nine per cent of films are from a female director, and all films are available to stream across Australia.
Miff artistic director Al Cossar said: “I’m delighted to say that, despite the extraordinary circumstances of 2020, Miff’s ‘radical act’ is to keep going and continue on our mission to bring you the world through unforgettable screen experiences. At Miff, we are driven by a deep understanding that film has the ability to entertain, inspire, illuminate and empower audiences in a way that few other...
Local films from directors Jo-Anne Brechin and Steven McGregor are among the 12 world premieres to feature on the line-up for Miff 68½ – Melbourne International Film Festival’s upcoming digital-only iteration.
To run August 6-23, the event will encompass some 69 features and 44 shorts from 56 countries – an impressive number given the rights complications inherent in putting together an online showcase. Forty-nine per cent of films are from a female director, and all films are available to stream across Australia.
Miff artistic director Al Cossar said: “I’m delighted to say that, despite the extraordinary circumstances of 2020, Miff’s ‘radical act’ is to keep going and continue on our mission to bring you the world through unforgettable screen experiences. At Miff, we are driven by a deep understanding that film has the ability to entertain, inspire, illuminate and empower audiences in a way that few other...
- 7/15/2020
- by jkeast
- IF.com.au
(L-r) Jack Steele, Warwick Thornton and Mitchell Stanley (Photo credit: John Paille).
The Indigenous creative teams in Australia and New Zealand were developing the anthology feature Cook 2020: Our Right of Reply when they decided the basic premise wasn’t right.
When Screen Australia’s Indigenous department and the New Zealand Film Commission (Nzfc) agreed to fund the project last year the intention was for each of the eight teams to provide an Indigenous perspective on the 250th anniversary of James Cook’s maiden voyage to the Pacific.
“We have scrapped that idea. The film will touch on survival and colonisation but it doesn’t refer directly back to Cook,” says Mitchell Stanley, who is co-producing with his No Coincidence Media partner Toni Stowers and Mia Henry-Tierney (Baby Mama’s Club).
“The consensus from all the writing teams was that we want to tell stories about us, we don’t...
The Indigenous creative teams in Australia and New Zealand were developing the anthology feature Cook 2020: Our Right of Reply when they decided the basic premise wasn’t right.
When Screen Australia’s Indigenous department and the New Zealand Film Commission (Nzfc) agreed to fund the project last year the intention was for each of the eight teams to provide an Indigenous perspective on the 250th anniversary of James Cook’s maiden voyage to the Pacific.
“We have scrapped that idea. The film will touch on survival and colonisation but it doesn’t refer directly back to Cook,” says Mitchell Stanley, who is co-producing with his No Coincidence Media partner Toni Stowers and Mia Henry-Tierney (Baby Mama’s Club).
“The consensus from all the writing teams was that we want to tell stories about us, we don’t...
- 6/4/2020
- by The IF Team
- IF.com.au
Prince Albert II with Alick Tipoti (© Monaco Expeditions/Ariel Fuchs).
Screen Australia’s Indigenous department is contributing $745,000 in production funding to four documentary projects including two for Nitv and one for the ABC.
Co-funded by Stan, Freshwater Pictures’ Alick and Albert looks at the unlikely friendship between art activist Alick Tipoti and Prince Albert of Monaco.
Commissioned by Nitv, Tamarind Tree Pictures and Roar Film’s Looky Looky Here Comes Cooky is billed as a fresh, funny and provocative look at Captain Cook’s arrival from a First Nations’ perspective.
Also for Nitv, Kalori Productions and Jotz Productions’ feature documentary Kindred explores friendship, adoption and belonging through the relationship between filmmakers Gillian Moody and Adrian Russell Wills.
Commissioned by the ABC, Blackfella Films’ Maralinga Tjarutja will chronicle the history of the Maralinga Tjarutja people and the impact the British nuclear testing in the 1950s and 1960s had on their land and community.
Screen Australia’s Indigenous department is contributing $745,000 in production funding to four documentary projects including two for Nitv and one for the ABC.
Co-funded by Stan, Freshwater Pictures’ Alick and Albert looks at the unlikely friendship between art activist Alick Tipoti and Prince Albert of Monaco.
Commissioned by Nitv, Tamarind Tree Pictures and Roar Film’s Looky Looky Here Comes Cooky is billed as a fresh, funny and provocative look at Captain Cook’s arrival from a First Nations’ perspective.
Also for Nitv, Kalori Productions and Jotz Productions’ feature documentary Kindred explores friendship, adoption and belonging through the relationship between filmmakers Gillian Moody and Adrian Russell Wills.
Commissioned by the ABC, Blackfella Films’ Maralinga Tjarutja will chronicle the history of the Maralinga Tjarutja people and the impact the British nuclear testing in the 1950s and 1960s had on their land and community.
- 3/25/2020
- by The IF Team
- IF.com.au
Jub Clerc and Kodie Bedford.
Capitalising on the significant gains made by Indigenous screen storytellers over the past few years, Kodie Bedford wants to see more Indigenous writers emerging this year – and more respect accorded to Indigenous writers.
Fellow Indigenous filmmaker Jub Clerc suggests film schools should implement further Indigenous content protocols as part of their classes so graduates can make informed, inclusive and creative choices when they enter the industry.
“Indigenous voices have enjoyed a bumper few years as our stories have reached far and wide and the amount of exciting emerging Indigenous talent coming through is remarkable,” says Bedford, whose screenwriting credits include Mystery Road, Grace Beside Me, Robbie Hood and the horror short Scout commissioned by Screen Australia and the ABC, which was her directing debut.
“Of course I would love to see more of it, especially diversity across Indigenous voices, sexual orientation, gender identity, people with disability and new voices.
Capitalising on the significant gains made by Indigenous screen storytellers over the past few years, Kodie Bedford wants to see more Indigenous writers emerging this year – and more respect accorded to Indigenous writers.
Fellow Indigenous filmmaker Jub Clerc suggests film schools should implement further Indigenous content protocols as part of their classes so graduates can make informed, inclusive and creative choices when they enter the industry.
“Indigenous voices have enjoyed a bumper few years as our stories have reached far and wide and the amount of exciting emerging Indigenous talent coming through is remarkable,” says Bedford, whose screenwriting credits include Mystery Road, Grace Beside Me, Robbie Hood and the horror short Scout commissioned by Screen Australia and the ABC, which was her directing debut.
“Of course I would love to see more of it, especially diversity across Indigenous voices, sexual orientation, gender identity, people with disability and new voices.
- 1/9/2020
- by The IF Team
- IF.com.au
‘Faboriginal’. (Photo: Kelly Gardner)
Art, camp and Indigenous culture collide in the Nitv/Sbs-commissioned quiz show Faboriginal, produced by Noble Savage Pictures.
Hosted and co-created by actor and comedian Steven Oliver, the 8 x 30 serial trivia show features an all Indigenous cast and guest panellists who are challenged by the quizmaster on Indigenous art and culture. Production has recently wrapped, to air early 2020 on Nitv followed by Sbs On Demand.
“We’ve built a show that is wickedly funny, entertaining, smart and political. Faboriginal is unapologetically black, unapologetically camp and unapologetically art focused,” says Noble Savage Pictures producer Majhid Heath.
Heath saw taking on the light entertainment format space as natural new ground to break. It was a way of engaging audiences with Indigenous art and culture with levity and comedy, while celebrating established and emerging Indigenous actors, writers, musicians and artists.
“After all the recent success Indigenous filmmakers have had in documentary,...
Art, camp and Indigenous culture collide in the Nitv/Sbs-commissioned quiz show Faboriginal, produced by Noble Savage Pictures.
Hosted and co-created by actor and comedian Steven Oliver, the 8 x 30 serial trivia show features an all Indigenous cast and guest panellists who are challenged by the quizmaster on Indigenous art and culture. Production has recently wrapped, to air early 2020 on Nitv followed by Sbs On Demand.
“We’ve built a show that is wickedly funny, entertaining, smart and political. Faboriginal is unapologetically black, unapologetically camp and unapologetically art focused,” says Noble Savage Pictures producer Majhid Heath.
Heath saw taking on the light entertainment format space as natural new ground to break. It was a way of engaging audiences with Indigenous art and culture with levity and comedy, while celebrating established and emerging Indigenous actors, writers, musicians and artists.
“After all the recent success Indigenous filmmakers have had in documentary,...
- 9/26/2019
- by jkeast
- IF.com.au
The ABC’s Libbie Doherty (L) and Dena Curtis.
When Dena Curtis turned to writing and directing a dozen years ago after years as a film editor, she was confronted by a recurring problem.
“The challenge was convincing people, mostly broadcasters, to commission Indigenous stories when they said no one would watch them,” Curtis tells If.
Since then, as she acknowledges, there has been a “huge shift,” which she credits in part to the support and advocacy by ABC head of scripted production Sally Riley and Screen Australia’s Indigenous department headed by Penny Smallacombe.
Curtis, who founded Inkey Media in 2015, is in a sweet spot in her career. Currently she is crafting ideas for her segment of the anthology feature Cook 2020: Our Right of Reply, co-funded by Screen Australia and the New Zealand Film Commission.
The shorts from eight Indigenous teams from Australia and New Zealand will each...
When Dena Curtis turned to writing and directing a dozen years ago after years as a film editor, she was confronted by a recurring problem.
“The challenge was convincing people, mostly broadcasters, to commission Indigenous stories when they said no one would watch them,” Curtis tells If.
Since then, as she acknowledges, there has been a “huge shift,” which she credits in part to the support and advocacy by ABC head of scripted production Sally Riley and Screen Australia’s Indigenous department headed by Penny Smallacombe.
Curtis, who founded Inkey Media in 2015, is in a sweet spot in her career. Currently she is crafting ideas for her segment of the anthology feature Cook 2020: Our Right of Reply, co-funded by Screen Australia and the New Zealand Film Commission.
The shorts from eight Indigenous teams from Australia and New Zealand will each...
- 6/6/2019
- by The IF Team
- IF.com.au
Tracey Rigney (Photo credit: Michelle Grace Hunder).
Growing up in western Victoria, Tracey Rigney, a member of the Wotjobaluk and Ngarrindjeri peoples, rarely saw black faces on television apart from David Gulpilil and Ernie Dingo.
Today the writer-director, who started out as a playwright with Belonging and How Blak R U? in 2002, is among the screen industry’s fast-rising Indigenous storytellers.
Currently she is crafting ideas for one of eight shorts which will comprise the anthology feature Cook 2020: Our Right of Reply, jointly commissioned by Screen Australia and the New Zealand Film Commission.
When there was a call-out for applications initially she decided not to apply, given the demands on her time and energy as the mother of a two-and-a-half year-old girl.
A producer friend told her she had some good ideas and encouraged her to give it a go. “I applied not thinking I would get anywhere,” she tells If.
Growing up in western Victoria, Tracey Rigney, a member of the Wotjobaluk and Ngarrindjeri peoples, rarely saw black faces on television apart from David Gulpilil and Ernie Dingo.
Today the writer-director, who started out as a playwright with Belonging and How Blak R U? in 2002, is among the screen industry’s fast-rising Indigenous storytellers.
Currently she is crafting ideas for one of eight shorts which will comprise the anthology feature Cook 2020: Our Right of Reply, jointly commissioned by Screen Australia and the New Zealand Film Commission.
When there was a call-out for applications initially she decided not to apply, given the demands on her time and energy as the mother of a two-and-a-half year-old girl.
A producer friend told her she had some good ideas and encouraged her to give it a go. “I applied not thinking I would get anywhere,” she tells If.
- 5/26/2019
- by The IF Team
- IF.com.au
Imogen Banks and Asher Keddie, who will produce ‘The Sisters Antipodes’.
Screen Australia has announced more than $600,000 of story development funding for seven feature films, four television dramas and five online series.
The slate includes a currently untitled feature film from Little Monsters‘ Abe Forsythe, Jodi Matterson and Bruna Papandrea, based on a real missing person case in a remote Northern Territory town; TV series The Sisters Antipodes, produced by Asher Keddie and Imogen Banks, about estranged families who are pushed to opposite sides of the world; and an online series from writer/director Kauthar Abdulalim, Salma and the City, about a mother who sets her sights on winning the Australian Open
Screen Australia’s head of development Nerida Moore said: “It’s fantastic to see such strong applications coming through, and in this round we’ve noticed an increase in series as well as a lot of female writers attached to projects.
Screen Australia has announced more than $600,000 of story development funding for seven feature films, four television dramas and five online series.
The slate includes a currently untitled feature film from Little Monsters‘ Abe Forsythe, Jodi Matterson and Bruna Papandrea, based on a real missing person case in a remote Northern Territory town; TV series The Sisters Antipodes, produced by Asher Keddie and Imogen Banks, about estranged families who are pushed to opposite sides of the world; and an online series from writer/director Kauthar Abdulalim, Salma and the City, about a mother who sets her sights on winning the Australian Open
Screen Australia’s head of development Nerida Moore said: “It’s fantastic to see such strong applications coming through, and in this round we’ve noticed an increase in series as well as a lot of female writers attached to projects.
- 4/10/2019
- by jkeast
- IF.com.au
Your Worst Nightmare on Investigation Discovery features the kidnapping of 13-year-old Jessyca Mullenberg by Steven Oliver. Oliver was a friend of the family and had known Mullenberg since she was 8. He also worked at her school as a school aide. He was secretly obsessed with the 13-year-old and would follow her and her family each time they would move to a different location in Wisconsin. On September 16, 1995, Oliver was supposed to meet Mullenberg at the library to help her with a school project. Instead, he kidnapped Mellenberg from her father Dale Mullenberg’s mobile home in Seymour. Oliver […]
The post Kidnapping of Jessyca Mullenberg by Steven Oliver featured on Your Worst Nightmare appeared first on Monsters and Critics.
The post Kidnapping of Jessyca Mullenberg by Steven Oliver featured on Your Worst Nightmare appeared first on Monsters and Critics.
- 3/3/2019
- by Angelica N. Sumter
- Monsters and Critics
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