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<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>Celluloid Junkie</title> <atom:link href="https://celluloidjunkie.com/feed/" rel="self" type="application/rss+xml" /> <link>https://celluloidjunkie.com/</link> <description></description> <lastBuildDate>Wed, 03 Apr 2024 19:15:24 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.4.4</generator> <image> <url>https://cdn.celluloidjunkie.com/wp-content/uploads/2021/12/20014402/celluloidjunkie-mark.svg</url> <title>Celluloid Junkie</title> <link>https://celluloidjunkie.com/</link> <width>32</width> <height>32</height></image> <item> <title>Industry Execs Express Cautious Optimism for 2024 at UKCA Conference</title> <link>https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/?utm_source=rss&utm_medium=rss&utm_campaign=industry-execs-express-cautious-optimism-for-2024-at-ukca-conference</link> <comments>https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/#respond</comments> <dc:creator><![CDATA[J. Sperling Reich]]></dc:creator> <pubDate>Fri, 15 Mar 2024 12:58:40 +0000</pubDate> <category><![CDATA[Conferences & Trade Shows]]></category> <category><![CDATA[Organizations]]></category> <category><![CDATA[Nick Rush]]></category> <category><![CDATA[Stuart Crane]]></category> <category><![CDATA[Phil Clapp]]></category> <category><![CDATA[UK Cinema Association]]></category> <category><![CDATA[Shona Gold]]></category> <category><![CDATA[Sharon Reid]]></category> <category><![CDATA[Toby Tennant]]></category> <category><![CDATA[James Collington]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=97533</guid> <description><![CDATA[<p>One of the more informative sessions at the UK Cinema Association’s annual conference held in London at the BFI Southbank, March 5-6th, was an executive roundtable moderated by Sharon Reid of Cinema First, an industry body that promotes cinema going in the United Kingdom. It left everyone present with a feeling of “cautious optimism” about<a class="moretag" href="https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/">Industry Execs Express Cautious Optimism for 2024 at UKCA Conference</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>One of the more informative sessions at the <a href="https://www.cinemauk.org.uk/uk-cinema-association-2024-conference/">UK Cinema Association’s annual conference</a> held in London at the BFI Southbank, March 5-6th, was an executive roundtable moderated by Sharon Reid of Cinema First, an industry body that promotes cinema going in the United Kingdom. It left everyone present with a feeling of “cautious optimism” about the cinema business for the remainder of 2024 and into 2025.</p> <p>Joining Reid was a panel that consisted of Stuart Crane (Vice President of Film, Cineworld Group), James Collington (Savoy Cinemas), Shona Gold (Executive Director of Brand, Marketing & Communication, Vue International), Nick Rush (Head of Theatrical Distribution – Europe and the Middle East, Walt Disney Company), and Toby Tennant (Vice President of EMEA – Regional Distribution, Warner Bros. Pictures).</p> <p>The UKCA kindly asked us not to attribute quotes from the session to any particular panelist. This is mentioned not to call out the organization. Actually, the UKCA was rightly being forward-thinking; given the egg shells, thin ice, etc. executives from public companies in our industry so often walk these days, they wanted to allow participants to comment freely without fearing the wrath of corporate or government overlords. They needn’t have been worried, however, since everyone on stage was exceedingly professional and provided thoughtful, in-depth answers to some of the pointed questions asked by Reid and conference attendees.</p> <p>The one item we will attribute to one of the panelists was actually a message being relayed by Rush from Disney. A day earlier Disney CE, Bob Iger, made some comments during the annual Morgan Stanley Technology, Media & Telecom Conference about “<a href="https://www.indiewire.com/news/breaking-news/disney-quietly-killed-a-few-projects-1234960294/" target="_blank" rel="noreferrer noopener">killing projects</a>” at the studio which were clearly aimed at Wall Street. Rush wanted to make clear that Iger was not referencing abandoning films or titles that were already on the theatrical release schedule, but rather those that were in various stages of development. It wasn’t the first time Iger has made such statements, all of which have been designed to assure investors that someone responsible was minding the store back in Hollywood.</p> <p>In introducing the panel Phil Clapp, the Chief Executive of the UKCA, mentioned that certain issues, such as release windows, would not be raised during the session, which almost guarantees that one of the panelists will inevitably raise such a topic themselves. That’s exactly what happened when one of the studio executives stated that, though their company had been playing up their streaming service during the pandemic, a clear “change of strategy” had occured over the past 18 months. “We are only really interested in making theatrical quality movies for a theatrical exhibition,” he said. “I think that’s an important change and I think it’s been a consistently projected one; the importance of a robust theatrical window. That’s the main message I would want to convey is that there is absolutely no value in us doing anything to jeopardize that first window, because it is a crucial driver of value. For us, it’s an essential means of delivering that sort of cut through commercially and authentically in every sense for the benefit of the downstream media.”</p> <p>Both studio executives reported that distribution strategies, especially when it comes to release windows, aren’t made without the input of the theatrical teams. “Where we are right now and for the last 15 months, we’ve been clearly committed to theatrical windows,” said the other distributor on the panel. “Windows are discussed very closely with our downstream content partners. It’s an open discussion. We have a seat at the table and drive that conversation from a theatrical perspective, we do have an exclusive approach to theatrical.”</p> <p>That those quotes could have been said by either of the studio executives at the roundtable discussion is telling about the state of the industry. Both distributors agreed that audiences have come to believe that theatrical releases are on streaming services within 30 to 45 days when, in a post-pandemic market, that is not true. “I guess we need to do more to double down on the messaging that whilst the streaming service will come at some point, it’s not that immediate,” said one studio exec.</p> <p>From an exhibition point of view, one executive said of windows, “It’s definitely not a one size fits all. But the fact is that movies will make more money with a larger window. That’s just a fact. And we’re obviously working with our partners in distribution to make sure that we get to a point where we’re all happy with what that ends up being. I think the conversations are happening now, rather than in the past where maybe they weren’t. We’re getting to a better place.”</p> <p>Another key subject that came up several times during the UKCA conference and definitely during the executive roundtable was that of slate awareness. Exhibitors are reportedly having a difficult time making moviegoers aware of which films are opening in cinemas and when. The theatre operators on the panel were quick to point out that digital marketing is now an integral part of their marketing mix to drive awareness. They highlighted how partnering with distributors on social media posts has helped drive engagement on their campaigns. However, they warned about filling up audiences’ feeds with only posters and trailers. “I think Netflix is actually really good at doing this,” said one exhibitor. “Particularly on social media, they release a lot of behind the scenes footage, early access footage, and memes and GIFs. And it just gets people super, super excited.”</p> <p>One theatre operator suggested customizing marketing campaigns to specific geographic locations. “Over the last year, local marketing has played a much larger role for us, going out into the local communities and trying to get more involved,” they said. “With foreign language [titles], distributors work with us to go into the local communities, and define certain catchment areas, to make sure we are hitting everyone in the right area.”</p> <p>For their part studios wanted everyone to know that they are indeed heavily marketing upcoming releases, despite rumours and anecdotal evidence to the contrary. “I think it’s a lot of this is a question of perception versus reality,” said a distributor about not seeing advertising for a specific title. “Where are you looking? Because I think it does entirely depend on the audience, often you will find that if it’s not a bus shelter on their way to work, then that’s sort of indicative of the campaign we’re seeking to run. But we are spending as much, if not more than ever, given the inflation.”</p> <p>One studio executive underscored the challenge of marketing via television given that ad rates for air-time have nearly doubled since the pandemic. “TV is somewhere where we do exist, but it is becoming increasingly ineffective and inefficient, not least because the audience just simply isn’t there anymore,” they said. “So we have to be much more nimble and much more selective about the means by which we reach the different audience sectors. And that’s a lot more work, a lot more resource. You have to create bespoke materials, bespoke assets, and deliver them to a very specific audience on a very specific platform, and there are a lot of them. So that sort of composite picture is actually quite complicated.”</p> <p>With last year’s actors and writers strikes over, talent can begin promoting releases again which while, “eye wateringly expensive” the studio executives said such efforts deliver “a level of cut through to a company and augments their marketing and media campaigns that is absolutely priceless.”</p> <figure class="wp-block-image size-full"><img fetchpriority="high" decoding="async" width="1200" height="999" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association.jpg" alt="Phil Clapp, CEO of UK Cinema Association" class="wp-image-97569" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association.jpg 1200w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association-300x250.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association-1024x852.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association-768x639.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/03121010/UKCA-2024-Phil-Clapp-CEO-of-UK-Cinema-Association-400x333.jpg 400w" sizes="(max-width: 1200px) 100vw, 1200px" /><figcaption class="wp-element-caption">Phil Clapp, CEO of the UK Cinema Association, during the organization’s 2024 annual conference held in London in March. <em>(Photo: Julie Edwards – UK Cinema Association)</em></figcaption></figure> <p>There were the usual motions for exhibitors and distributors to share data to help with marketing. One of the exhibitors shared good news on that front about how a data sharing scheme with one of the studios had helped to raise attendance for that company’s titles. Meanwhile, the exhibitors on the panel stressed that, beyond marketing the awareness of exclusive movies, increasing the frequency a moviegoer returns to the cinema is now one of their main focuses. </p> <p>One exhibitor explained how their marketing goals have shifted over the last two years, from reactivating customers, to increasing frequency of attendance. “We are really about forming habits now, not just a one-off moment in time,” they said. “To form a habit, you have to be accessible. We need to make sure that cinema is accessible to everybody because you cannot form a habit if it’s not accessible to people, they can’t afford it or it’s not near them. And once you’ve done that you need the breadth of content for all age groups. I think as an industry, if our goal could shift from just being about slate awareness to being about how to drive habits, then we can win together.”</p> <p>To augment programming during slow periods, some cinema operators have been successful in holding one day events to celebrate anniversaries of beloved movies or running an ‘awards season’ series. All of the exhibitors disclosed how foreign language titles have been key to their post-pandemic recovery. “Foreign language is an ever growing part of UK exhibition,” said one. “I think that last year we did GBP £31 million (USD $39.1 million) across the entire industry. Back in 2019, foreign language was doing about GBP £18 million (USD $22.7 million). So it has grown substantially.”</p> <p>Exhibitors on the panel also emphasized the need to showcase how watching movies at a cinema is better than doing so via streaming. Not just with better sound and brighter images, but by enhancing the entire moviegoing experience. “We pulled out 1050 tilt seats and put in half as many recliners,” said an exhibitor of how they upgraded one of their cinemas. “I had a lot of sleepless nights before I did that. When we did it, the box office went up by 25% and now we’re working our way through the whole circuit. I think it’s now up 34% across that circuit. We’ve changed the experience to a much higher quality experience and that’s been the biggest driver of increasing attendance for us.”</p> <p>Knowing that capital is hard to come by right now, this same cinema operator also suggested that reseating only a portion of each auditorium to recliners is another option as a way to begin improving facilities. “To get the customer out of the home, you have to provide them with an experience that they’re going to want to come back to,” they said. “If they are going to choose to spend their money to come to us, we have to give them that experience.”</p> <p>All of this effort, be it in marketing or upgraded experiences, seems to be paying off, despite the slow start to 2024. All of the panel participants were upbeat about how the remainder of the year would play out. “We are very bullish about the long term,” said an exhibitor in pushing back against any negative sentiment. “I would say we’re cautiously optimistic, but against a really, really cautious expectation for the year.”</p> <p>Acknowledging the industry’s perennial pessimism, another exhibitor joked, “I like that we’ve adopted 2024 as ‘cautiously optimistic.’ Of course, 2022 was ‘it is what it is,’ and 2023 was the very famous ‘next year is going to be our year.’ So I’m very excited to see what the theme for 2025 is going to be.”</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/">Industry Execs Express Cautious Optimism for 2024 at UKCA Conference</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2024/03/15/industry-execs-express-cautious-optimism-for-2024-at-ukca-conference/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Berlinale 2024 Highlights the Divide Between Art and Commerce at International Film Festivals</title> <link>https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/?utm_source=rss&utm_medium=rss&utm_campaign=berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals</link> <comments>https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/#respond</comments> <dc:creator><![CDATA[Christer Emanuelsson]]></dc:creator> <pubDate>Wed, 06 Mar 2024 01:18:01 +0000</pubDate> <category><![CDATA[Film Festivals]]></category> <category><![CDATA[Bruno Dumont]]></category> <category><![CDATA[The Traveler’s Need]]></category> <category><![CDATA[Lupita Nyong'o]]></category> <category><![CDATA[Fabian Lemercier]]></category> <category><![CDATA[Carlo Chatrian]]></category> <category><![CDATA[Mariëtte Rissenbeek]]></category> <category><![CDATA[Dieter Kosslick]]></category> <category><![CDATA[Tricia Tuttle]]></category> <category><![CDATA[Pepe]]></category> <category><![CDATA[L'Empire]]></category> <category><![CDATA[Berlin Film Festival]]></category> <category><![CDATA[Dahomey]]></category> <category><![CDATA[Mati Diop]]></category> <category><![CDATA[Berlinale]]></category> <category><![CDATA[Hong Sang-Soo]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=97194</guid> <description><![CDATA[<p>The 74th Berlinale ended last month, and what remains is to look back and ruminate about what the future might bring. It is the first significant European festival of 2024, but this edition was the last one led by its Artistic Director, Carlo Chatrian, and Executive Director, Mariëtte Rissenbeek, the latter announcing in March that<a class="moretag" href="https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/">Berlinale 2024 Highlights the Divide Between Art and Commerce at International Film Festivals</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>The 74th <a href="https://www.berlinale.de/" target="_blank" rel="noreferrer noopener">Berlinale</a> ended last month, and what remains is to look back and ruminate about what the future might bring. It is the first significant European festival of 2024, but this edition was the last one led by its Artistic Director, Carlo Chatrian, and Executive Director, Mariëtte Rissenbeek, the latter announcing in March that she would step down after this year’s festival. Chatrian’s exit was somewhat more dramatic. According to several sources, he was never accepted either by the <a href="https://www.kbb.eu/" target="_blank" rel="noreferrer noopener">Kulturveranstaltungen des Bundes (KBB)</a> or the German Culture Ministry. When the minister of culture, Claudia Roth, announced that “a new structure was necessary” and stated that the dual leadership would end, that was practically a cue for Chatrian to leave. Politics loom large over the Berlin Film Festival, as opposed to its Anglo-Saxon counterparts. After all, that’s where a substantial part of the funding comes from.</p> <p>Chatrian’s exit prompted a petition, signed by more than 200 directors, including Martin Scorsese and Paul Schrader, asking for Chatrian’s reinstatement. Nevertheless, it was announced in December that Tricia Tuttle would take over as the sole director of the Berlinale, like Dieter Kosslick was for 18 editions from 2002-2019. The American-born Tuttle has spent most of her life in the United Kingdom and might be known mostly for heading the London Film Festival.</p> <figure class="wp-block-image size-full"><img decoding="async" width="1000" height="562" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173302/Tricia-Tuttle-Berlinale-Berlin-Film-Festival.jpg" alt="Tricia Tuttle - Berlin Film Festival - Berlinale" class="wp-image-97203" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173302/Tricia-Tuttle-Berlinale-Berlin-Film-Festival.jpg 1000w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173302/Tricia-Tuttle-Berlinale-Berlin-Film-Festival-300x169.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173302/Tricia-Tuttle-Berlinale-Berlin-Film-Festival-768x432.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173302/Tricia-Tuttle-Berlinale-Berlin-Film-Festival-400x225.jpg 400w" sizes="(max-width: 1000px) 100vw, 1000px" /><figcaption class="wp-element-caption">Tricia Tuttle will take over as the head of the Berlin Film Festival in 2025 <em>(Photo: Berlinale)</em></figcaption></figure> <p>The fact that the petition came from filmmakers is an indicator of the division between art and commerce in the festival community. During Kosslick’s reign, the emphasis seemed to be on politics and movie stars, and from 2007, his particular interest in cooking resulted in a section of the festival being named Culinary Cinema. This section was swiftly removed when Chatrian took over. That wasn’t the only aspect that changed. Since the new artistic director came from Locarno, well-known for its emphasis on arthouse cinema, it was evident that the programming would change, as well. The changes were not that obvious in the primary competition section, but Chatrian immediately added a second competitive strand, called Encounters, where he stated that “Every film should be unique.” Already from his first edition in 2020, that came true with highlights such as Cristi Puiu’s “Malmkrog” and Sandra Wollner’s “The Trouble With Being Born,” but also less challenging fare like Josephine Decker’s “Shirley.”</p> <p>Two weeks after that year’s edition closed, so did society due to COVID-19. The 2021 edition became a virtual event, and the following year, one a minor affair with compulsory masks. Thus, when judging Chatrian and Rissenbeek’s achievements, one should take into account that they entered during a difficult period and only had three proper editions to make a mark. For a cinephile like myself, Chatrian’s entrance was a major revitalization of the Berlinale. Aided by head programmer Mark Peranson (who was with Chatrian in Locarno as well), he managed to shape a diverse and stimulating programme. Meanwhile, the competition was still relatively mainstream, though not on the level that Cannes delivered in more recent years.</p> <p>Cineuropa critic, Fabian Lemercier, commented that Chatrian is a very good artistic director, but he’s a very artsy one. He added, “That is good for film lovers, but for the big stars coming, it’s not so great.” One of the issues with Berlinale is that it has always been too large. During Kosslick’s last year in 2019, around 400 features were screened. One of Chatrian’s main goals was to reduce the numbers, and in 2023, there were 281 films, and in 2024, the numbers were reduced to 237 films. Still, twice as many as at the Cannes Film Festival.</p> <p>While Kosslick had deep ties with German politicians and knew the ropes, Chatrian was an outsider. The German government was not too happy with some changes the pair undertook and seemed to wish for more stars and films that would stand out for their public success rather than their inherent artistic qualities. In such a large festival as the Berlinale, it shouldn’t be impossible to host different kinds of films. The Berlinale Special remained with gala screenings of more mainstream movies. One specific target pointed out in some quarters is the lack of Oscar-nominated films. In 2017, Ildikó Enyedi’s Golden Bear winner “On Body and Soul” made it to the shortlist in the International Films category, but typically, there has not been much Oscar fare at the Berlinale. One of the reasons is the timing. FiIms that have their first screenings in February are not prone to be rewarded a year later.</p> <p>Another factor concerning the Oscars is that since the Academy Awards ceremony was moved to early March, movie stars became busy promoting their nominated films and had less time to add star power to the Berlinale red carpet. Thus, several factors were beyond the organizer’s control. Yet another obstacle is the logistical problem concerning the number of screens around Potsdamer Platz. Not far from the Berlinale Palast, where the major premieres take place, there used to be a CinemaxX and a huge Cinestar venue. The latter was connected to the Arsenal cinema, where many Forum section screenings take place.</p> <p>The Cinestar theatre closed at the end of 2019. Meanwhile, CinemaxX installed new reclining seats, further reducing the venue’s capacity. Now, only press and market screenings are held there. Furthermore, Arsenal will soon move to Silent Green Kulturquartier in Wedding in the northern part of the city. To add insult to injury, the contract for the Berlinale Palast expires in 2027. However, there are hopes that the lease could be renewed until 2030.</p> <p>It’s difficult to pinpoint the specific problem with the Berlinale since different people will tell disparate stories depending on their interests and perspectives. The distributors and publicists blame the lack of commercial films; the German filmmakers were unhappy when the Perspektive Deutsches Kino section was cut, as were the TV companies when the TV section was disbanded this year.</p> <figure class="wp-block-image size-large"><img decoding="async" width="1024" height="684" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium-1024x684.jpeg" alt="European Film Market - Gropius Bau" class="wp-image-97200" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium-1024x684.jpeg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium-300x200.jpeg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium-768x513.jpeg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium-400x267.jpeg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173251/European-Film-Market-Gropius-Bau-Atrium.jpeg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">The atrium of the Gropius Bau at the European Film Market <em>(Photo: European Film Market)</em></figcaption></figure> <p>Like many festivals, the Berlinale has a market section, in this case, called the <a href="https://www.efm-berlinale.de/" target="_blank" rel="noreferrer noopener">European Film Market</a>, and according to their press release, this year’s <a href="https://www.efm-berlinale.de/en/global/press/press-releases/press-release-detail_45633.html">EFM set a new record</a> with 12,000 visitors from 143 countries. One source claims that if one digs deeper, one would find a <a href="https://deadline.com/2024/02/berlinale-new-era-tricia-tuttle-carlo-chatrian-mariette-rissenbeek-1235831563/" target="_blank" rel="noreferrer noopener">14% drop in buyers</a> this year. It could be argued that it is related to inflation and the overall weaker economy. Several film institutes cancelled their events this year to cut costs. What Tricia Tuttle can accomplish with the festival, financially and otherwise, remains to be seen. According to Roth, the grand task of the Berlinale is “to combine its artistic goals with a commercially successful cinema that also relies on stars and familiar names.” Film industry people I discussed the matter with were worried about a decisive slant towards the latter.</p> <p>From an artistic point of view, this year’s edition might have been the boldest yet. The International jury, headed by Lupita Nyong’o, was presented with competition films, which – during past editions – might have been featured in side sections. One such example is my personal competition favorite, “Pepe.” This Dominican film about one of Pablo Escobar’s hippos, telling the story of the drug lord’s death and how his older relatives were brought to Colombia, was undoubtedly more experimental than the average competition movie. Interestingly, its director, Nelson Carlo De Los Santos Arias, walked away with an amply deserved Best Director’s Award.</p> <p>Another surprising Berlinale winner was Bruno Dumont’s polarising “L’Empire.” This sci-fi drama, or whatever its label might be, won the Silver Bear Jury Prize. The idea to award these two films might have come from jury member Albert Serra, known for making audacious films and his taste for the adventurous.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="651" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale-1024x651.jpg" alt="Director Mati Diop at the 2024 Berlin Film Festival - Berlinale" class="wp-image-97197" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale-1024x651.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale-300x191.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale-768x488.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale-400x254.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15173237/2024-Berlin-Film-Festival-Golden-Bear-Mati-Diop-for-Dahomey-Dirk-Michael-Deckbar-for-Berlinale.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Mati Diop, the director of the documentary “Dahomey” which won the Golden Bear at the 74th edition of the Berlin Film Festival <em>(Photo: Dirk Michael Deckbar – Berlinale)</em></figcaption></figure> <p>For the second year in a row, the Golden Bear was given to a documentary. Last year’s winner was “On the Adamant” by Nicolas Philibert, with this year’s going to “Dahomey” by Mati Diop, which revolves around the theme of the journey of 26 plundered royal treasures from the Kingdom of Dahomey exhibited in Paris, now being returned to Benin. Thematically, it is not too dissimilar to “Pepe,” but its style is more conventional. It was the first time a black director won the Golden Bear, which, in turn, was handed to her by the first black jury president. The Grand Jury Prize went to Hong Sang-Soo for “The Traveler’s Need,” starring Isabelle Huppert.</p> <p>At a time when cinemas face significant challenges, festivals could play a pivotal role. While the Berlin Film Festival has been accused of being too elitist and exclusive in recent years, the fact is that half a million tickets were sold by the event in 2023, and a similar amount was sold this year. Hopefully, the festival will continue to juggle cinematic art with more commercial movies. A fact often forgotten is that today’s avant-garde is tomorrow’s mainstream, and too much of the same thing could bore potential audiences. The question remains: where will tomorrow’s ideas come from that will help renew the beloved medium of cinema and save it from stale repetition?</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/">Berlinale 2024 Highlights the Divide Between Art and Commerce at International Film Festivals</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2024/03/05/berlinale-2024-highlights-the-divide-between-art-and-commerce-at-international-film-festivals/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>CJ’s Top Women In Global Distribution – 2023</title> <link>https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/?utm_source=rss&utm_medium=rss&utm_campaign=cjs-top-women-in-global-distribution-2023</link> <comments>https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/#respond</comments> <dc:creator><![CDATA[J. Sperling Reich]]></dc:creator> <pubDate>Mon, 01 Jan 2024 23:59:46 +0000</pubDate> <category><![CDATA[People]]></category> <category><![CDATA[Montserrat Gil]]></category> <category><![CDATA[Veronika Kwan Vandenberg]]></category> <category><![CDATA[Huang Ziyan]]></category> <category><![CDATA[Ariane Toscan du Plantier]]></category> <category><![CDATA[Alice Panada]]></category> <category><![CDATA[Helen Moss]]></category> <category><![CDATA[Ladun Awobokun]]></category> <category><![CDATA[Soupy Rathanamongkolmas]]></category> <category><![CDATA[Finola Mcloughlin]]></category> <category><![CDATA[Katarina Nyman]]></category> <category><![CDATA[Liz Ellis]]></category> <category><![CDATA[Elissa Federoff]]></category> <category><![CDATA[Kathleen Gallagher]]></category> <category><![CDATA[Niamh McCaul]]></category> <category><![CDATA[Nathalie Cieutat]]></category> <category><![CDATA[Cathleen Taff]]></category> <category><![CDATA[Monique Esclavissat]]></category> <category><![CDATA[Kelly O’Connor]]></category> <category><![CDATA[Carol Choi]]></category> <category><![CDATA[Kymberli Frueh]]></category> <category><![CDATA[Wendy Reeds]]></category> <category><![CDATA[Subha-Orn (Soupy) Rathanamongkolmas]]></category> <category><![CDATA[Pia Grünler]]></category> <category><![CDATA[Sarah Timlick]]></category> <category><![CDATA[Susan Cotliar]]></category> <category><![CDATA[Toshi Yamasaki]]></category> <category><![CDATA[Susanna Barbato]]></category> <category><![CDATA[Alice Chen]]></category> <category><![CDATA[Anny Schmit]]></category> <category><![CDATA[Amy Wood]]></category> <category><![CDATA[Rebecca Kearey]]></category> <category><![CDATA[Patricia Gonzalez]]></category> <category><![CDATA[Christine Eloy]]></category> <category><![CDATA[Gina Glen]]></category> <category><![CDATA[Ann-Elizabeth Crotty]]></category> <category><![CDATA[Helen Lee-Kim]]></category> <category><![CDATA[Jody Pope]]></category> <category><![CDATA[Silvia Cruz]]></category> <category><![CDATA[Trish Long]]></category> <category><![CDATA[Daniela Elstner]]></category> <category><![CDATA[Liza Pano]]></category> <category><![CDATA[Elba McAllister]]></category> <category><![CDATA[Lene Hjertøy]]></category> <category><![CDATA[Eve Gabereau]]></category> <category><![CDATA[Yit-Ching Lee]]></category> <category><![CDATA[Karyn A. Temple]]></category> <category><![CDATA[Elizabeth Trotman]]></category> <category><![CDATA[Claudia Badoer]]></category> <category><![CDATA[Yolanda Del Val]]></category> <category><![CDATA[Lisa Bunnell]]></category> <category><![CDATA[Melanie Valera]]></category> <category><![CDATA[Cécile Gaget]]></category> <category><![CDATA[Anna Chettle]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=96036</guid> <description><![CDATA[<p>Upon publishing our first Top Women In Distribution list last year, we were pleased to see how receptive the industry was to the initiative. In fact, it was so popular that we were hardly prepared for the overwhelming number of responses that would flood in upon putting out a call for nominations for this year’s<a class="moretag" href="https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/">CJ’s Top Women In Global Distribution – 2023</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>Upon publishing our first Top Women In Distribution list last year, we were pleased to see how receptive the industry was to the initiative. In fact, it was so popular that we were hardly prepared for the overwhelming number of responses that would flood in upon putting out a call for nominations for this year’s list. It quickly became clear that this year’s celebration of women working in motion picture distribution would not be complete by mid-November as we had originally intended. Instead, it took us straight up to the final days of 2023 to properly review all the entries.</p> <p>Many entrants on this year’s list received multiple nominations from co-workers, colleagues, trade organizations and, of course, their own companies. There were lots of nominees that appeared on our 2022 list of Top Women In Distribution and even more first time nominations for industry professionals that could easily have made last year’s roundup. And there are at least 17 new entrants on our 2023 list. </p> <p>We are always concerned about overlooking important executives when compiling our lists and this year was no exception. Despite the increase in the number of nominations we received, we still have a few blind spots when it comes to certain territories such as Asia, the Middle East and India. </p> <p>As with our inaugural list, the only criteria we had when compiling the 2023 edition was that the nominees work specifically in distribution. That is why senior leaders like Anna Marsh, CEO of Studiocanal, and Donna Langley DBE, Chairman and Chief Content Officer of NBCUniversal Studio Group aren’t eligible. We have included executives from big studios who send blockbusters around the globe, as well as distributors who handle arthouse and documentary titles in a single country. And though we were encouraged to maintain a ranked order (rather than alphabetical) any movement, up or down, in placements between years is hardly indicative given how exaggerated they may be due to the number of new entrants.</p> <p>This year Veronika Kwan Vandenberg, the President of Distribution at Universal Pictures International tops our list. This should come as no surprise given the number of high profile box office hits Universal handled this year, including two few had pegged as high grossers at the beginning of 2023; “The Super Mario Bros. Movie” and “Five Nights at Freddy’s.” </p> <p>Please Note: Names in the list that currently don’t display a profile or headshot were simply quite tricky to find. Please feel free to send us any relevant information that can be added in to <a href="mailto:women@celluloidjunkie.com">women@celluloidjunkie.com</a>.</p> <hr> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07193828/Celluloid-Junkie-Logo-Number-01.png" alt="Celluloid Junkie - 01" class="wp-image-62628 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07193828/Celluloid-Junkie-Logo-Number-01.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07193828/Celluloid-Junkie-Logo-Number-01-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07193828/Celluloid-Junkie-Logo-Number-01-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-1 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Veronika Kwan Vandenberg</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>President of Distribution, Universal Pictures International</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="338" height="508" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16125914/Veronika-Kwan-Vandenberg-President-of-Distribution-Universal-Pictures-International.jpg" alt="" class="wp-image-86840 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16125914/Veronika-Kwan-Vandenberg-President-of-Distribution-Universal-Pictures-International.jpg 338w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16125914/Veronika-Kwan-Vandenberg-President-of-Distribution-Universal-Pictures-International-200x300.jpg 200w" sizes="(max-width: 338px) 100vw, 338px" /></figure><div class="wp-block-media-text__content"><p>As President of Distribution for Universal Pictures International (UPI) Veronika Kwan Vandenberg oversaw 24 film releases in 2023 that took in more than USD $2.971 billion internationally. Starting with the surprise hit “M3GAN” in January through “The Super Mario Bros. Movie” in April and right up to “Migration” in December, Kwan Vandenberg and her global team oversaw international operations and sales for all of Universal’s titles. These included three of the top four titles released internationally by MPA members.</p> <p>In the process Kwan Vandenberg and her team even managed to convince moviegoers to see “Oppenheimer,” a three-hour historical biopic about a physicist. (Though, filmmaker Christopher Nolan might describe his film differently.) She had worked with Nolan previously at Warner Bros. Pictures, where she spent 18 years as head of international distribution.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07204249/Celluloid-Junkie-Logo-Number-02.png" alt="Celluloid Junkie - 02" class="wp-image-62631 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07204249/Celluloid-Junkie-Logo-Number-02.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07204249/Celluloid-Junkie-Logo-Number-02-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07204249/Celluloid-Junkie-Logo-Number-02-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-3 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Cathleen Taff</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong><strong>President, Production Services, Franchise Management and Theatrical Distribution, Disney Entertainment</strong></strong>, Studios</p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29134606/Cathleen-Taff-The-Walt-Disney-Company.jpg" alt="Cathleen Taff" class="wp-image-96039 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29134606/Cathleen-Taff-The-Walt-Disney-Company.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29134606/Cathleen-Taff-The-Walt-Disney-Company-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Overseeing global theatrical distribution is but one of many duties Cathleen Taff assumes at The Walt Disney Studios and its subsidiaries, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Lucasfilm, 20th Century Studios, and Searchlight Pictures. In fact, it’s hard to believe there are enough hours in the day for Taff to not only handle distribution, but also lead the production services group, operations, technology, and labor relations for the Studios’ theatrical and streaming content. And don’t forget about Disney’s Theatrical Group and Music Group for which Taff is also responsible.</p> <p>A 29-year Disney veteran, Taff is also charged with handling the franchise management group helping maximize the studio’s intellectual property across The Walt Disney Company, as well as the multicultural engagement team focusing on diversity and inclusion initiatives.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07213359/Celluloid-Junkie-Logo-Number-03.png" alt="Celluloid Junkie - 03" class="wp-image-62635 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07213359/Celluloid-Junkie-Logo-Number-03.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07213359/Celluloid-Junkie-Logo-Number-03-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07213359/Celluloid-Junkie-Logo-Number-03-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-5 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Helen Moss</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>SVP of International Distribution, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135241/Helen-Moss-SVP-of-International-Distribution-Paramount-Pictures.jpg" alt="" class="wp-image-86846 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135241/Helen-Moss-SVP-of-International-Distribution-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135241/Helen-Moss-SVP-of-International-Distribution-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Helen Moss, Senior Vice President of International Theatrical Distribution at Paramount Pictures, oversees the planning and execution of all theatrical releases for Paramount titles in over 70 markets around the globe. In 2023 this meant juggling “Mission: Impossible – Dead Reckoning Part One,” “Transformers: Rise of The Beasts,” “PAW Patrol: The Mighty Movie” and “Killers of the Flower Moon” to name just a few of the studio’s releases.</p> <p>Moss has 15 years of experience in international distribution and has earned a reputation during her time at Paramount for helping grow franchises and increase box office revenue.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07225439/Celluloid-Junkie-Logo-Number-04.png" alt="Celluloid Junkie - 04" class="wp-image-62650 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07225439/Celluloid-Junkie-Logo-Number-04.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07225439/Celluloid-Junkie-Logo-Number-04-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07225439/Celluloid-Junkie-Logo-Number-04-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-7 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Gina Glen</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Director of Distribution, IMAX</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="301" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16141556/Gina-Glen-Director-of-Film-Distribution-IMAX.jpg" alt="" class="wp-image-86867 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16141556/Gina-Glen-Director-of-Film-Distribution-IMAX.jpg 301w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16141556/Gina-Glen-Director-of-Film-Distribution-IMAX-201x300.jpg 201w" sizes="(max-width: 301px) 100vw, 301px" /></figure><div class="wp-block-media-text__content"><p>Premium large format pioneer IMAX has had quite a year with record earnings thanks to a string of endless blockbusters including “Oppenheimer,” “Mission: Impossible – Dead Reckoning Part One,” “Lost in the Stars”, among many other titles. Managing all the releases around the world for the company is Gina Glen. Since 2001 she has been responsible for distribution of original feature film content, as well as DMR titles (IMAX’s proprietary image enhancement process) to IMAX cinemas across the world. Glen may have a bit more work to do over the next few years since the company continues to open auditoriums around the globe, signing deals with exhibitors on several continents over the past year.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08155512/Celluloid-Junkie-Logo-Number-05.png" alt="Celluloid Junkie - 05" class="wp-image-62668 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08155512/Celluloid-Junkie-Logo-Number-05.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08155512/Celluloid-Junkie-Logo-Number-05-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08155512/Celluloid-Junkie-Logo-Number-05-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-9 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Helen Lee-Kim</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>President of International, Lionsgate Motion Picture Group</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29135326/Helen-Lee-Kim-Lionsgate-Motion-Picture-Group.jpg" alt="Helen Lee-Kim of Lionsgate" class="wp-image-96042 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29135326/Helen-Lee-Kim-Lionsgate-Motion-Picture-Group.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29135326/Helen-Lee-Kim-Lionsgate-Motion-Picture-Group-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Helen Lee-Kim heads the international licensing of Lionsgate’s diversified slate of titles from tentpoles to targeted genre films. She is a key member of Lionsgate Motion Picture Group’s leadership and content strategy team shepherding the studio’s fast growing multi-platform business including streaming. Since rejoining the studio in 2017, she has generated nearly USD $1 billion in sales.</p> <p>In 2023, Lee-Kim and her team oversaw key studio franchises including: “John Wick: Chapter 4”, earning a franchise-best USD $440 million at the global box office and “Saw X” while also cutting deals with partners for the rollout of “The Hunger Games: The Ballad of Songbirds & Snakes.”</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08161037/Celluloid-Junkie-Logo-Number-06.png" alt="Celluloid Junkie - 06" class="wp-image-62671 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08161037/Celluloid-Junkie-Logo-Number-06.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08161037/Celluloid-Junkie-Logo-Number-06-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08161037/Celluloid-Junkie-Logo-Number-06-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-11 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Karyn A. Temple</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Senior Executive Vice President and Global General Counsel, Motion Picture Association</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="331" height="496" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144528/Karyn-A.-Temple-Senior-Executive-Vice-President-Global-General-Counsel-Motion-Picture-Association.jpg" alt="" class="wp-image-86885 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144528/Karyn-A.-Temple-Senior-Executive-Vice-President-Global-General-Counsel-Motion-Picture-Association.jpg 331w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144528/Karyn-A.-Temple-Senior-Executive-Vice-President-Global-General-Counsel-Motion-Picture-Association-200x300.jpg 200w" sizes="(max-width: 331px) 100vw, 331px" /></figure><div class="wp-block-media-text__content"><p>To be sure, Karyn Temple does not distribute motion pictures into cinemas per se, however as the Senior Executive Vice President and Global General Counsel for the Motion Picture Association (MPA) she has been busy during 2023 making sure titles that make it into movie theatres aren’t pirated. In July over this year she helped realize a memorandum of understanding between the Korea Copyright Protection Agency (KCOPA) and the MPA to cooperate on the protection of international copyrights. Then, in the December, she testified before the United States Congress about the need for legislation that will allow for piracy websites to be blocked by internet service providers.</p> <p>After spending eight years leading the U.S. Copyright Office as the Register of Copyrights and five years at the Recording Industry Association of America (RIAA) working on anti-piracy litigation matters, Temple has become a leading expert on the subject.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08163529/Celluloid-Junkie-Logo-Number-07.png" alt="Celluloid Junkie - 07" class="wp-image-62677 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08163529/Celluloid-Junkie-Logo-Number-07.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08163529/Celluloid-Junkie-Logo-Number-07-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08163529/Celluloid-Junkie-Logo-Number-07-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-13 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Kathleen Gallagher</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>EVP & General Sales Manager Theatrical Distribution, Universal Filmed Entertainment Group (North America)</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16140640/Kathleen-Gallagher-EVP-General-Sales-Manager-Theatrical-Distribution-Universal-Filmed-Entertainment-Group-North-America.jpg" alt="Kathleen Gallagher" class="wp-image-86864 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16140640/Kathleen-Gallagher-EVP-General-Sales-Manager-Theatrical-Distribution-Universal-Filmed-Entertainment-Group-North-America.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16140640/Kathleen-Gallagher-EVP-General-Sales-Manager-Theatrical-Distribution-Universal-Filmed-Entertainment-Group-North-America-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>In her second year as EVP and General Sales Manager of North America at Universal Pictures, Kathleen Gallagher has been leading the studio’s sales teams in the United States and Canada, overseeing the distribution strategies for Universal titles within the territories. Between “The Super Mario Bros. Movie,” “Fast X” and “Oppenheimer,” not to mention “Five Nights at Freddy’s,” Gallagher helped bring in over USD $1 billion of box office gross for Universal. She has been with the company for 23 years.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07235818/Celluloid-Junkie-Logo-Number-08.png" alt="Celluloid Junkie - 08" class="wp-image-62661 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07235818/Celluloid-Junkie-Logo-Number-08.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07235818/Celluloid-Junkie-Logo-Number-08-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/07235818/Celluloid-Junkie-Logo-Number-08-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-15 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Wendy Reeds</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>EVP, International Sales & China/Asia Productions and Strategy, Lionsgate Motion Picture Group</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140929/Wendy-Reeds-Lionsgate.jpg" alt="Wendy Reeds - Lionsgate" class="wp-image-96048 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140929/Wendy-Reeds-Lionsgate.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140929/Wendy-Reeds-Lionsgate-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>In charge of licensing all of Lionsgate Motion Picture Group’s films for international territories, Wendy Reeds is a 30-year veteran of international theatrical distribution. Reeds ran Lionsgate’s Asian sales and operations out of Hong Kong for several years, and was instrumental in building Lionsgate’s operations in China. During Reeds’ tenure, Lionsgate has been a partner in a number of content agreements with digital and traditional distribution partners throughout China.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08165043/Celluloid-Junkie-Logo-Number-09.png" alt="Celluloid Junkie - 09" class="wp-image-62683 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08165043/Celluloid-Junkie-Logo-Number-09.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08165043/Celluloid-Junkie-Logo-Number-09-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08165043/Celluloid-Junkie-Logo-Number-09-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-17 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Huang Ziyan</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>CEO & President, Heguang Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140158/Huang-Ziyan-Heguang-Pictures.jpg" alt="Huang Ziyan - Heguang Pictures" class="wp-image-96045 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140158/Huang-Ziyan-Heguang-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29140158/Huang-Ziyan-Heguang-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Since 2010 Huang Ziyan has guided the marketing and distribution of over 100 films in China as CEO and President of Heguang Pictures. Her releases have earned a total of CNY ¥18.99 billion (USD $2.63 billion) in box office making her one of the most accomplished female distribution executives in China. During 2023’s Lunar New Year, Heguang released “Bonnie Bears: Guardian Code” which earned CNY ¥1.495 billion (USD $220 million) and went on to bring the hit animated film “Happy Mom and Girl 1: Sweetheart on Mission” to cinemas in July.</p> <p>Huang spent four years as a Vice President at Englight Pictures where she was involved with the financing, marketing and distribution of 25 films, maintaining four consecutive years of 100% box office growth. During that time she was in charge of implementing the company’s “Ground Network Model,” which localized and reformed the traditional centralized film distribution system in China. In 2011, with her late husband Zhang Zhao, Huang founded Le Vision Pictures which went on to make such films as Zhang Yimou’s “Great Wall.”</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08170643/Celluloid-Junkie-Logo-Number-10.png" alt="Celluloid Junkie - 10" class="wp-image-62691 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08170643/Celluloid-Junkie-Logo-Number-10.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08170643/Celluloid-Junkie-Logo-Number-10-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08170643/Celluloid-Junkie-Logo-Number-10-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-19 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Monique Esclavissat</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>EVP, International Productions/Acquisitions & Latin America Distribution, Warner Bros. Pictures International</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="301" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135947/Monique-Esclavissat-Executive-Vice-President-International-ProductionsAcquisitions-Latin-America-Distribution-Warner-Bros.-Pictures-International.jpg" alt="Monique Esclavissat" class="wp-image-86855 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135947/Monique-Esclavissat-Executive-Vice-President-International-ProductionsAcquisitions-Latin-America-Distribution-Warner-Bros.-Pictures-International.jpg 301w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16135947/Monique-Esclavissat-Executive-Vice-President-International-ProductionsAcquisitions-Latin-America-Distribution-Warner-Bros.-Pictures-International-201x300.jpg 201w" sizes="(max-width: 301px) 100vw, 301px" /></figure><div class="wp-block-media-text__content"><p>Monique Esclavissat has been with Warner Bros. Pictures since 1998 and currently supervises the studio’s distribution activities in Europe, Eastern Europe, the Middle East, Africa and Latin America. In 2023 that meant making certain “Barbie” was a hit across multiple regions, not to mention conflicting cultures. (Spoiler Alert: “Barbie” was a blockbuster.) Fluent in four languages, Esclavissat also manages the studio’s local language productions. She began her career as Vice President, International Sales & Distribution, for Castle Rock International.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08171622/Celluloid-Junkie-Logo-Number-11.png" alt="Celluloid Junkie - 11" class="wp-image-62698 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08171622/Celluloid-Junkie-Logo-Number-11.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08171622/Celluloid-Junkie-Logo-Number-11-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08171622/Celluloid-Junkie-Logo-Number-11-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-21 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Carol Choi</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500">EVP of Original Content Strategy, The Walt Disney Company APAC</p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16153008/Carol-Choi-Managing-Director-The-Walt-Disney-Company-Japan.jpg" alt="Carol Choi - Managing Director, The Walt Disney Company Japan" class="wp-image-86900 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16153008/Carol-Choi-Managing-Director-The-Walt-Disney-Company-Japan.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16153008/Carol-Choi-Managing-Director-The-Walt-Disney-Company-Japan-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>There must have been no rest for Carol Choi this year as she helped bring at least 13 new releases to theatres throughout Japan (and the rest of Asia). She’s been with The Walt Disney Company for 17 years now, first heading up the studio’s Disney office, before taking over its Korean operations and ultimately being named Managing Director of Japan. While Choi is still responsible for achieving all the strategic objectives of Disney in Japan across multiple divisions, with so much experience the studio tapped her to be EVP of Original Content Strategy for Asia-Pacific.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08174516/Celluloid-Junkie-Logo-Number-12.png" alt="Celluloid Junkie - 12" class="wp-image-62701 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08174516/Celluloid-Junkie-Logo-Number-12.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08174516/Celluloid-Junkie-Logo-Number-12-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08174516/Celluloid-Junkie-Logo-Number-12-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-23 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Toshi Yamasaki</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>President & CEO, TOHO-TOWA Company</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16145106/Toshi-Yamasak-President-and-CEO-of-TOHO-TAWA.jpg" alt="" class="wp-image-86888 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16145106/Toshi-Yamasak-President-and-CEO-of-TOHO-TAWA.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16145106/Toshi-Yamasak-President-and-CEO-of-TOHO-TAWA-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>A subsidiary of Toho, Toho-Towa is Japan’s oldest motion picture importer and distributor, handling titles for both Paramount Pictures and Universal Studios. Toshi Yamasaki, the company’s CEO, was instrumental in creating those relationships and continues to manage TOHO-TAWA’s international business, acquisitions and distribution throughout Japan. That meant raking in upwards of 20% of the country’s billion-dollar-plus box office in 2023, making “The Super Mario Bros. Movie” its top earner for the year. Keep in mind, this was done without help from “Oppenheimer” which hasn’t yet been released in Japan (though it will be in 2024). Fluent in Japanese, English and French she was the first woman president in the entire TOHO group.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08180438/Celluloid-Junkie-Logo-Number-13.png" alt="Celluloid Junkie - 13" class="wp-image-62716 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08180438/Celluloid-Junkie-Logo-Number-13.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08180438/Celluloid-Junkie-Logo-Number-13-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08180438/Celluloid-Junkie-Logo-Number-13-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-25 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Lisa Bunnell</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>President of Distribution, Focus Features</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16142432/Lisa-Bunnell-President-of-Distribution-Focus-Features.jpg" alt="Lisa Bunnell" class="wp-image-86873 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16142432/Lisa-Bunnell-President-of-Distribution-Focus-Features.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16142432/Lisa-Bunnell-President-of-Distribution-Focus-Features-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Whether a Sundance award winner or Cannes favorite, Lisa Bunnell has earned a legendary reputation for turning specialty titles into theatrical hits. As President of Distribution at Focus Features she ensured the success of Wes Anderson’s latest, “Asteroid City” and “My Big Fat Greek Wedding 3,” lest we forget “The Holdovers” and “Book Club: The Next Chapter.” What may make Bunnell so successful is being able to draw from her experience in both distribution and exhibition, having previously spent 17 years at Loews Cineplex before heading to Landmark Theatres as their head film buyer.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08182015/Celluloid-Junkie-Logo-Number-14.png" alt="" class="wp-image-62719 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08182015/Celluloid-Junkie-Logo-Number-14.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08182015/Celluloid-Junkie-Logo-Number-14-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08182015/Celluloid-Junkie-Logo-Number-14-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-27 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Melanie Valera</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>SVP General Sales Manager, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29143836/Melanie-Valera-Paramount-Pictures.jpg" alt="Melanie Valera - Paramount Pictures" class="wp-image-96051 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29143836/Melanie-Valera-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29143836/Melanie-Valera-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>A 20-year veteran of Paramount Pictures, Melanie Valera will assume the role of SVP, General Sales Manager at the start of 2024. Previously responsible for distributing films in the Midwest and South with her sales team, Valera will soon be taking her talents nationwide. Prior to her role at Paramount Pictures, she held positions at DreamWorks and Miramax. She is very active within the film community and is the former President of Film Row and serves on the board of the Will Rogers Motion Picture Pioneers Foundation and The Motion Picture Club.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08192158/Celluloid-Junkie-Logo-Number-15.png" alt="" class="wp-image-62742 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08192158/Celluloid-Junkie-Logo-Number-15.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08192158/Celluloid-Junkie-Logo-Number-15-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08192158/Celluloid-Junkie-Logo-Number-15-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-29 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Subha-Orn (Soupy) Rathanamongkolmas</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Vice President, South Asia, Universal Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="301" height="451" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151547/Soupy-Rathanamongkolmas-Vice-President-South-Asia-Universal-Pictures.jpg" alt="" class="wp-image-86891 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151547/Soupy-Rathanamongkolmas-Vice-President-South-Asia-Universal-Pictures.jpg 301w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151547/Soupy-Rathanamongkolmas-Vice-President-South-Asia-Universal-Pictures-200x300.jpg 200w" sizes="(max-width: 301px) 100vw, 301px" /></figure><div class="wp-block-media-text__content"><p>Universal Pictures had a great year in 2023 due to blockbusters that performed well all over the world. In at least 18 markets throughout Asia, the studio has Soupy Rathanamongkolmas to thank for the success. As Vice President of South Asia for Universal Pictures International she manages the company’s titles across the region from India to the Philippines. Prior to joining the studio, she worked at The Walt Disney Company for 18 years in various roles including Head of Distribution, Studio Entertainment for Southeast Asia.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08195640/Celluloid-Junkie-Logo-Number-16.png" alt="Celluloid Junkie - 16" class="wp-image-62745 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08195640/Celluloid-Junkie-Logo-Number-16.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08195640/Celluloid-Junkie-Logo-Number-16-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08195640/Celluloid-Junkie-Logo-Number-16-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-31 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Finola Mcloughlin</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong><strong>Executive Director, EMEA Theatrical Distribution, Warner Bros. Entertainment </strong></strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170852/Finola-Mcloughlin-Warner-Bros.jpg" alt="Finola Mcloughlin - Warner Bros. Entertainment" class="wp-image-96246 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170852/Finola-Mcloughlin-Warner-Bros.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170852/Finola-Mcloughlin-Warner-Bros-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>In her current role of Executive Director, EMEA at Warner Bros. Entertainment Finola Mcloughlin’s key focus is overseeing the theatrical distribution of all the studio’s releases across Central and Eastern European Countries (CEE), Baltics, Balkans, former Commonwealth of Independent States (CIS), Africa, Portugal, Greece and Israel. Her responsibilities also involve pan regional initiatives where Mcloughlin can draw on her years of experience working primarily with Western European markets from when she first joined Warner Bros. over 17 years ago. Mcloughlin started her career working in Anti-Piracy operations at the Motion Picture Association (MPA) in Brussels, Belgium.</p></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="2" height="2" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/04/04183109/Blank-Spacer-Pixel.png" alt="" class="wp-image-90282 size-medium"/></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-32 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Jody Pope</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong><strong><strong>Director, Distribution EMEA</strong>, Universal Pictures International</strong></strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170747/Universal-Pictures-Logo.jpg" alt="Universal Pictures" class="wp-image-96243 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170747/Universal-Pictures-Logo.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/07170747/Universal-Pictures-Logo-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Jody Pope oversees theatrical distribution for Universal Pictures International (UPI) in over 20 countries within EMEA, a region that delivered USD $1.547 billion in box office for the studio in 2023, releasing 24 titles that included “The Super Mario Bros. Movie,” “Fast X” and “Oppenheimer” among others. Pope started her career in film distribution in 2002, heading up Theatrical Sales for Soda Pictures and Revolver Entertainment in the United Kingdom before moving to Universal Pictures UK. An Exhibition role followed as Head of Film at Everyman Cinemas before she returned to Universal Pictures International in 2015 as Director Distribution, EMEA.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202915/Celluloid-Junkie-Logo-Number-17.png" alt="Celluloid Junkie - 17" class="wp-image-62755 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202915/Celluloid-Junkie-Logo-Number-17.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202915/Celluloid-Junkie-Logo-Number-17-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202915/Celluloid-Junkie-Logo-Number-17-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-34 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Yit-Ching Lee</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Vice President Distribution EMEA, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29145048/Yit-Ching-Lee-Paramount-Pictures.jpg" alt="Yit-Ching Lee - Paramount Pictures" class="wp-image-96054 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29145048/Yit-Ching-Lee-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29145048/Yit-Ching-Lee-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Yit-Ching Lee has been a driving force at Paramount’s EMEA regional office since 2007, overseeing theatrical distribution throughout the region. This year she helped ensure major titles such as “Mission: Impossible – Dead Reckoning Part One,” “Transformers: Rise of The Beasts,” and Martin Scorsese’s latest film, “Killers of the Flower Moon”, were successful. Lee has served as Chair & Co-chair of Paramount’s Inclusion & Diversity initiatives for women and parents and mentored with UNIC Women’s Cinema Leadership program. Her career began at United International Pictures developing international emerging markets.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08201747/Celluloid-Junkie-Logo-Number-18.png" alt="Celluloid Junkie - 18" class="wp-image-62754 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08201747/Celluloid-Junkie-Logo-Number-18.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08201747/Celluloid-Junkie-Logo-Number-18-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08201747/Celluloid-Junkie-Logo-Number-18-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-36 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Sasha Lloyd</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>CEO of International & Strategy, A24</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03161234/Sasha-Lloyd-A24.jpg" alt="Sasha Lloyd - A24" class="wp-image-96186 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03161234/Sasha-Lloyd-A24.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03161234/Sasha-Lloyd-A24-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>When A24 set about finding an executive to take charge of its film and television distribution and business development in international territories, it took the unusual approach of hiring someone from the world if investment banking and finance. Sasha Lloyd began her career at Goldman Sachs working on accounts that included Lionsgate and other distributors among them. She then spent four years at the boutique investment bank GHL & Company, helping with entertainment and media company deals, including the USD $750 million refinancing of Summit Entertainment. A24 brought her on board at the beginning of 2016 to build an international division. In 2023 the UK native went from struggling to stay awake as a child to watch the Academy Awards ceremony to being at the Oscars to see the A24’s “Everything Everywhere All at Once” win the top six awards, something never achieved by a single studio in the events 95-year history.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202940/Celluloid-Junkie-Logo-Number-19.png" alt="Celluloid Junkie - 19" class="wp-image-62758 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202940/Celluloid-Junkie-Logo-Number-19.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202940/Celluloid-Junkie-Logo-Number-19-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08202940/Celluloid-Junkie-Logo-Number-19-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-38 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Elissa Federoff</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>President of Distribution, NEON</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="299" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16154359/Elissa-Federoff-President-of-Distribution-Neon.jpg" alt="" class="wp-image-86903 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16154359/Elissa-Federoff-President-of-Distribution-Neon.jpg 299w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16154359/Elissa-Federoff-President-of-Distribution-Neon-199x300.jpg 199w" sizes="(max-width: 299px) 100vw, 299px" /></figure><div class="wp-block-media-text__content"><p>Elissa Federoff is the President of Theatrical Distribution for NEON and has been with the company since its inception in January 2017. Federoff oversees the company’s release strategy across all its titles, positioning NEON as a major theatrical player with both big cinema chains and independent arthouses. She previously held stints at The Orchard, boutique label RADiUS, Oscilloscope Laboratories and Lionsgate. Federoff received the Dan Fellman Show “E” Award during ShowEast in 2023.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08204303/Celluloid-Junkie-Logo-Number-20.png" alt="Celluloid Junkie - 20" class="wp-image-62766 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08204303/Celluloid-Junkie-Logo-Number-20.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08204303/Celluloid-Junkie-Logo-Number-20-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08204303/Celluloid-Junkie-Logo-Number-20-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-40 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Ariane Toscan du Plantier</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Director of French and International Cinema Distribution, Gaumont</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172600/Ariane-Toscan-du-Plantier-Director-of-French-and-International-Cinema-Distribution-at-Gaumont.jpg" alt="" class="wp-image-86942 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172600/Ariane-Toscan-du-Plantier-Director-of-French-and-International-Cinema-Distribution-at-Gaumont.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172600/Ariane-Toscan-du-Plantier-Director-of-French-and-International-Cinema-Distribution-at-Gaumont-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>As the Director of French and International Cinema Distribution at Gaumont, Ariane Toscan du Plantier helped bring at least eight titles to cinemas in 2023 including “A Difficult Year,” “Father & Solder,” “Un Homme Heureux” and the Cannes selection, “The Taste of Things.” With a staff of three dozen, Toscan du Plantier manages Gaumont’s distribution both in France and internationally. She has been with the company for 28 years.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210440/Celluloid-Junkie-Logo-Number-21.png" alt="Celluloid Junkie - 21" class="wp-image-62772 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210440/Celluloid-Junkie-Logo-Number-21.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210440/Celluloid-Junkie-Logo-Number-21-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210440/Celluloid-Junkie-Logo-Number-21-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-42 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Susan Cotliar</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Vice President, Cinema Partnerships, Disney Entertainment, Studios</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162643/Susan-Cotliar-VP-Cinema-Cinema-Partnerships-Disney-Media-Entertainment-Distribution-at-The-Walt-Disney-Studios.jpg" alt="" class="wp-image-86915 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162643/Susan-Cotliar-VP-Cinema-Cinema-Partnerships-Disney-Media-Entertainment-Distribution-at-The-Walt-Disney-Studios.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162643/Susan-Cotliar-VP-Cinema-Cinema-Partnerships-Disney-Media-Entertainment-Distribution-at-The-Walt-Disney-Studios-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>In 2023 Disney had no shortage of releases that cost hundreds of millions of dollars to produce. From “The Little Mermaid” to the most recent “Indiana Jones” sequel, Susan Cotliar, Vice President of Cinema Partnerships at The Walt Disney Studios, was charged with overseeing everything from trailer placement to lobby marketing campaigns, as well as countless other in-theatre marketing efforts. She spent 24 years at Twentieth Century Fox, ultimately being named Senior Vice President of In-Theatre Marketing before becoming a part of the Disney family through the acquisition of Fox.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210508/Celluloid-Junkie-Logo-Number-22.png" alt="Celluloid Junkie - 22" class="wp-image-62775 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210508/Celluloid-Junkie-Logo-Number-22.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210508/Celluloid-Junkie-Logo-Number-22-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210508/Celluloid-Junkie-Logo-Number-22-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-44 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Ann-Elizabeth Crotty</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>EVP, Global Customer Experience, Marketing, Sales & Operations Specialist, Sony Pictures Entertainment</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16160612/Ann-Elizabeth-Crotty-EVP-Global-Customer-Experience-Marketing-Sales-Operations-Specialist-Sony-Pictures-Entertainment.jpg" alt="" class="wp-image-86909 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16160612/Ann-Elizabeth-Crotty-EVP-Global-Customer-Experience-Marketing-Sales-Operations-Specialist-Sony-Pictures-Entertainment.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16160612/Ann-Elizabeth-Crotty-EVP-Global-Customer-Experience-Marketing-Sales-Operations-Specialist-Sony-Pictures-Entertainment-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Ann-Elizabeth Crotty has been working in exhibitor relations in one form or another since 1997. After joining Sony Pictures in 2005 she has since become EVP, Global Customer Experience, Marketing, Sales & Operations Specialist. Crotty is known throughout the film industry as someone who can “get things done” with a positive attitude, no matter how challenging the film. In 2023, she worked on over a dozen releases including “No Hard Feelings,” “The Equalizer 3” and, of course, “Spider-Man: Across the Spider-Verse.”</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210535/Celluloid-Junkie-Logo-Number-23.png" alt="Celluloid Junkie - 23" class="wp-image-62776 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210535/Celluloid-Junkie-Logo-Number-23.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210535/Celluloid-Junkie-Logo-Number-23-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08210535/Celluloid-Junkie-Logo-Number-23-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-46 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Nathalie Cieutat</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Deputy Managing Director Distribution, Pathé Films</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162626/Nathalie-Cieutat-Deputy-Managing-Director-Distribution-Pathe-Films.jpg" alt="" class="wp-image-86912 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162626/Nathalie-Cieutat-Deputy-Managing-Director-Distribution-Pathe-Films.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16162626/Nathalie-Cieutat-Deputy-Managing-Director-Distribution-Pathe-Films-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Ask anyone in France, if not Europe, to identify the region’s top motion picture executives and the name Nathalie Cieutat will surely be mentioned. Cieutat is currently overseeing the distribution of Pathé Films releases, after having spent six years on the company’s exhibition side as the director of programming for Les Cinémas Pathé Gaumont. She started out working as a sales director for both Warner Bros. and Wild Bunch Distribution.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08213907/Celluloid-Junkie-Logo-Number-24.png" alt="" class="wp-image-62787 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08213907/Celluloid-Junkie-Logo-Number-24.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08213907/Celluloid-Junkie-Logo-Number-24-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08213907/Celluloid-Junkie-Logo-Number-24-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-48 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Christine Eloy</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Managing Director, Europa Distribution</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29150757/Christine-Eloy-Europa-Distribution.jpg" alt="Christine Eloy" class="wp-image-96057 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29150757/Christine-Eloy-Europa-Distribution.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29150757/Christine-Eloy-Europa-Distribution-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Christine Eloy has been representing the interests of independent European distributors for over 10 years now as Managing Director of Europa Distribution. The association counts 120 leading independent distributors as members throughout 31 countries in Europe and beyond. Eloy heads up Europa’s operations which include acting as both a network for the distribution of independent films, as well as a think tank for sharing information and training industry professionals.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092348/Celluloid-Junkie-Logo-Number-25.png" alt="Celluloid Junkie - 25" class="wp-image-62839 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092348/Celluloid-Junkie-Logo-Number-25.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092348/Celluloid-Junkie-Logo-Number-25-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092348/Celluloid-Junkie-Logo-Number-25-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-50 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Kelly O’Connor</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>SVP, Exhibitor & Marketing Services at Warner Bros. Pictures Domestic Distribution</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164231/Kelly-OConnor-SVP-Exhibitor-Marketing-Services-at-Warner-Bros.-Pictures-Domestic-Distribution.jpg" alt="Kelly O'Connor - Warner Bros." class="wp-image-86921 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164231/Kelly-OConnor-SVP-Exhibitor-Marketing-Services-at-Warner-Bros.-Pictures-Domestic-Distribution.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164231/Kelly-OConnor-SVP-Exhibitor-Marketing-Services-at-Warner-Bros.-Pictures-Domestic-Distribution-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Anyone in the United States or Canada who took a photo inside one of those giant Barbie doll boxes that were omnipresent in movie theatre lobbies during the summer of 2023, and let’s face it, who didn’t, has Kelly O’Connor to thank. She is the SVP of Exhibitor & Marketing Services at Warner Bros. Pictures on the domestic side and has been working with the studio since 1988. O’Connor has spent over 30 years working in the exhibitor relations department at the company managing the placement of trailers, one sheets, marketing material and yes, those Barbie boxes, in cinemas throughout North America.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092413/Celluloid-Junkie-Logo-Number-26.png" alt="Celluloid Junkie - 26" class="wp-image-62842 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092413/Celluloid-Junkie-Logo-Number-26.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092413/Celluloid-Junkie-Logo-Number-26-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092413/Celluloid-Junkie-Logo-Number-26-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-52 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Patricia Gonzalez</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>EVP, In-Theatre Marketing, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29152545/Patricia-Gonzalez-Paramount-Pictures.jpg" alt="Patricia Gonzalez - Paramount Pictures" class="wp-image-96060 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29152545/Patricia-Gonzalez-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29152545/Patricia-Gonzalez-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>If you work in exhibition or distribution in North America, if not the world, then you know Patricia Gonzalez. Period. As Executive Vice President, In-Theatre Marketing for Paramount Pictures, Gonzalez is responsible for the development of film marketing campaign strategies for domestic theatrical releases. In 2023 alone she helped create film marketing campaigns for “80 for Brady,” “Scream VI,” “Dungeons & Dragons: Honor Among Thieves,” “Transformers: Rise of the Beasts,” “Mission: Impossible – Dead Reckoning Part One,” “Teenage Mutant Ninja Turtles: Mutant Mayhem,” “PAW Patrol: The Mighty Movie” and “Killers of the Flower Moon.”</p> <p>Her responsibilities encompass the negotiation of key marketing activations including on-screen trailer programming, placement of digital and print advertising, specialty theatrical exhibits, on-screen custom content, development of exhibitor-specific online and social media strategies, creating movie fan events and collaborating on studio life-cycle marketing initiatives. Prior to joining Paramount in 2006, Gonzalez served as Head of In-Theatre Marketing Services for DreamWorks SKG for more than a decade. In June of 2023, Gonzalez was accepted as a member into the Academy of Motion Picture Arts and Sciences.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092437/Celluloid-Junkie-Logo-Number-27.png" alt="Celluloid Junkie - 27" class="wp-image-62845 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092437/Celluloid-Junkie-Logo-Number-27.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092437/Celluloid-Junkie-Logo-Number-27-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09092437/Celluloid-Junkie-Logo-Number-27-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-54 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Sarah Timlick</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong><strong>Head of Theatrical Sales Distribution, Elevation Pictures</strong></strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161821/Sarah-Timlick-Elevation-Pictures.jpg" alt="Sarah Timlick - Elevation Pictures" class="wp-image-96084 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161821/Sarah-Timlick-Elevation-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161821/Sarah-Timlick-Elevation-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Sarah Timlick is the Head of Theatrical Sales Distribution for Elevation Pictures, the largest independent distributor in Canada. In 2023, she managed the Canadian distribution of titles such as “Ferarri,” “Zone of Interest,” and “Past Lives”, among many others. She has been in the film industry for over 10 years, having begun her career at Alliance Films after completing her Bachelor of Fine Arts degree from the University of Toronto. Timlick also serves on the board for the Canadian Association of Film Distributors and Exporters (CAFDE) and the Canadian Picture Pioneers, as well as holding the distinction of being the youngest executive to be elected as the Chair of the Ontario Film Authority Board of Directors.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214223/Celluloid-Junkie-Logo-Number-28.png" alt="Celluloid Junkie - 28" class="wp-image-62790 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214223/Celluloid-Junkie-Logo-Number-28.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214223/Celluloid-Junkie-Logo-Number-28-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214223/Celluloid-Junkie-Logo-Number-28-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-56 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Pia Grünler</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong><strong>Nordic Head of Theatrical Distribution, SF Studios</strong></strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="449" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164214/Pia-Grunler-Head-of-Noridc-Theatrical-Distribution-SF-Studios.jpg" alt="Pia Grünler" class="wp-image-86918 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164214/Pia-Grunler-Head-of-Noridc-Theatrical-Distribution-SF-Studios.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16164214/Pia-Grunler-Head-of-Noridc-Theatrical-Distribution-SF-Studios-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Pia Grünler has been working in film distribution in Sweden for over 25 years. In 2023 she was promoted to Nordic Head of Theatrical Distribution at SF Studios. Previously, Grünler had been managing the company’s theatrical distribution for seven years. In her new role she will take on the full responsibility for the theatrical business and team in the Nordics. This means Grünler will be handling SF Studios’ own productions as well as local language titles from independent producers alongside releases from Hollywood studios such as Sony Pictures and MGM.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214249/Celluloid-Junkie-Logo-Number-29.png" alt="Celluloid Junkie - 29" class="wp-image-62791 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214249/Celluloid-Junkie-Logo-Number-29.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214249/Celluloid-Junkie-Logo-Number-29-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/08214249/Celluloid-Junkie-Logo-Number-29-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-58 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Rebecca Kearey</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Head of International & Business Operations, Searchlight Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153234/Rebecca-Kearey-Searchlight-Pictures.jpg" alt="Rebecca Kearey - Searchlight Pictures" class="wp-image-96066 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153234/Rebecca-Kearey-Searchlight-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153234/Rebecca-Kearey-Searchlight-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Rebecca Kearey began working with Searchlight Pictures at the company’s inception, where she started out working in domestic marketing. She took over running international operations for the company in 2005 and is now Head of International & Business Operations. Having spent nearly two decades in leadership at the studio, she has supervised the international marketing and distribution of all its releases including multiple Academy Award Best Picture winners. During Kearey’s tenure, Searchlight’s titles have grossed over USD $2.1 billion at the international box office and garnered over 40 BAFTA Awards.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103654/Celluloid-Junkie-Logo-Number-30.png" alt="Celluloid Junkie - 30" class="wp-image-62857 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103654/Celluloid-Junkie-Logo-Number-30.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103654/Celluloid-Junkie-Logo-Number-30-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103654/Celluloid-Junkie-Logo-Number-30-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-60 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Liza Pano</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>SVP, Worldwide Distribution Services, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153529/Liza-Pano-Paramount-Pictures.jpg" alt="Liza Pano" class="wp-image-96069 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153529/Liza-Pano-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153529/Liza-Pano-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Liza Pano is Senior Vice President, Worldwide Distribution Services at Paramount Pictures, where she is responsible for overseeing global localization and distribution for theatrical and non-theatrical releases. She joined Paramount when the studio acquired DreamWorks, where she was serving as Vice President, Worldwide Technical Services, supervising the international delivery of all the company’s titles. Pano previously worked at 20th Century Fox in post-production and at Dolby as Manager for Theatrical Marketing and Promotions.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103720/Celluloid-Junkie-Logo-Number-31.png" alt="Celluloid Junkie - 31" class="wp-image-62860 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103720/Celluloid-Junkie-Logo-Number-31.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103720/Celluloid-Junkie-Logo-Number-31-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103720/Celluloid-Junkie-Logo-Number-31-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-62 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Nicole Weis</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Vice President of Theatrical Distribution, IFC</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03145751/Nicole-Weis-IFC-Films.jpg" alt="Nicole Weis - IFC Films" class="wp-image-96180 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03145751/Nicole-Weis-IFC-Films.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/03145751/Nicole-Weis-IFC-Films-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Nicole Weis was brought into IFC Films in 2023 as Vice Presdient of Theatrical Distribution to handle the company’s slate of films across all three of its labels; IFC, RJLE Films, and Shudder. Weis arrives at IFC after four years at A24 where she was Vice President of Sales and Distribution, where she helped bring “Everything Everywhere All At Once,” “Marcel the Shell with Shoes On,” “Midsommar,” “Minari,” “Uncut Gems” and “The Whale” to movie theatres, among many other titles. She began her career at Universal Pictures, where Weis spent seven years working at Universal Pictures in distribution, eventually becoming Director of Sales, leading domestic business planning and bottom-line growth strategies.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103745/Celluloid-Junkie-Logo-Number-32.png" alt="Celluloid Junkie - 32" class="wp-image-62862 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103745/Celluloid-Junkie-Logo-Number-32.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103745/Celluloid-Junkie-Logo-Number-32-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103745/Celluloid-Junkie-Logo-Number-32-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-64 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Susanna Barbato</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Executive Board Member, NOS Lusomundo Audiovisuais</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172618/Susanna-Barbato-Executive-Board-Member-at-NOS-Lusomundo-Audiovisuais.jpg" alt="" class="wp-image-86945 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172618/Susanna-Barbato-Executive-Board-Member-at-NOS-Lusomundo-Audiovisuais.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16172618/Susanna-Barbato-Executive-Board-Member-at-NOS-Lusomundo-Audiovisuais-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Whenever anyone asks whether Susanna Barbato works in exhibition or distribution at NOS Lusomundo Audiovisuais, the answer is always “yes.” That’s because, as an Executive Board member for the company, Barbato works in both areas. She oversees the strategic development of film acquisition and distribution from both independent producers and major studios for multiple platforms including cinema, home entertainment and television. NOS is the leading content provider in Portugal as well as Portuguese speaking territories. NOS also operates the leading cinema chain in Portugal, with over 210 screens, where Barbato helps manage programming.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103809/Celluloid-Junkie-Logo-Number-33.png" alt="Celluloid Junkie - 33" class="wp-image-62865 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103809/Celluloid-Junkie-Logo-Number-33.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103809/Celluloid-Junkie-Logo-Number-33-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103809/Celluloid-Junkie-Logo-Number-33-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-66 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Lene Hjertøy</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Head of Theatrical Distribution Norway, SF Studios</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153920/Lene-Hjertoy-SF-Studios.jpg" alt="Lene Hjertøy - SF Studios Norway" class="wp-image-96072 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153920/Lene-Hjertoy-SF-Studios.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29153920/Lene-Hjertoy-SF-Studios-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>After spending 22 years working her way into a senior position in distribution at The Walt Disney Company’s Nordic division, Lene Hjertøy began as Head of Theatrical Distribution Norway at SF Studios in January of 2023. This year alone she had to manage the release of over two dozen titles, both local productions and international hits from Holllywood studios, such as “Sulis 1907,” “Spider-Man: Across the Spider-Verse” and “Napoleon.”</p></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="2" height="2" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/04/04183109/Blank-Spacer-Pixel.png" alt="" class="wp-image-90282 size-medium"/></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-67 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Katarina Nyman</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Director of Film Distribution, Nordisk Film</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171645/Katarina-Nyman-Director-of-Film-Distribution-Nordisk-Film-Finland.jpg" alt="" class="wp-image-86933 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171645/Katarina-Nyman-Director-of-Film-Distribution-Nordisk-Film-Finland.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171645/Katarina-Nyman-Director-of-Film-Distribution-Nordisk-Film-Finland-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Katarina Nyman has been with Nordisk Film for over 20 years and is currently Director of Distribution in Finland for the company. In this capacity she has overseen the release of at least 20 local titles during the past two years. During 2023 half of all admissions to local productions were generated by Nordisk Film releases, including the international hit “Sisu.” Nyman is President of the Finnish Chamber of Films, which celebrated its 100th anniversary this year by launching a national cinema day to draw audience attention to the cinema going experience.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103834/Celluloid-Junkie-Logo-Number-34.png" alt="Celluloid Junkie - 34" class="wp-image-62868 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103834/Celluloid-Junkie-Logo-Number-34.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103834/Celluloid-Junkie-Logo-Number-34-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103834/Celluloid-Junkie-Logo-Number-34-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-69 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Anna Chettle</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Managing Director, International, A24</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29160551/Anna-Chettle-A24.jpg" alt="Anna Chettle - A24" class="wp-image-96078 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29160551/Anna-Chettle-A24.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29160551/Anna-Chettle-A24-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Indie darling A24 has been known to use partners outside of North America to distribute titles such as the award-winning “Everything Everywhere All at Once.” More and more however, the company is releasing its movies internationally. In fact, Anna Chettle now oversees A24’s international sales arm and distribution operations across international territories. After spending five years at Hanway Films in London, Chettle moved to New York to join the company’s international team, helping Sasha Lloyd build an international sales and distribution division for A24.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103858/Celluloid-Junkie-Logo-Number-35.png" alt="Celluloid Junkie - 35" class="wp-image-62871 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103858/Celluloid-Junkie-Logo-Number-35.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103858/Celluloid-Junkie-Logo-Number-35-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103858/Celluloid-Junkie-Logo-Number-35-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-71 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Kymberli Frueh</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>SVP of Content Acquisitions & Programming, Trafalgar Releasing</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171707/Kymberli-Frueh-Sr.-VP-Programming-Content-Strategy-Acquisitions-Trafalgar-Releasing.jpg" alt="" class="wp-image-86936 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171707/Kymberli-Frueh-Sr.-VP-Programming-Content-Strategy-Acquisitions-Trafalgar-Releasing.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16171707/Kymberli-Frueh-Sr.-VP-Programming-Content-Strategy-Acquisitions-Trafalgar-Releasing-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>For the past five years Kymberli Frueh has held a senior position at Trafalgar Releasing, a leading international distributor of event cinema and specialty titles. Currently Senior Vice President of Content Acquisitions & Programming at Trafalger, Frueh had quite the year working on concert films like “Taylor Swift | The Eras Tour” and “Renaissance: A Film By Beyoncé” along with cinematic events for Dolly Parton, Machine Gun Kelly and Metallica, to name but a few. Of course, during 2023 Trafalgar also handled the usual event cinema fare of Broadway productions, operas, ballets and classic re-releases. She previously spent 10 years heading up the programming team at Fathom Events, helping build event cinema into the serious business it has ultimately become.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103927/Celluloid-Junkie-Logo-Number-36.png" alt="Celluloid Junkie - 36" class="wp-image-62872 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103927/Celluloid-Junkie-Logo-Number-36.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103927/Celluloid-Junkie-Logo-Number-36-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103927/Celluloid-Junkie-Logo-Number-36-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-73 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Cécile Gaget</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Head of Film, Wild Bunch</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16143948/Cecile-Gaget-Head-of-Film-Wild-Bunch.jpg" alt="" class="wp-image-86879 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16143948/Cecile-Gaget-Head-of-Film-Wild-Bunch.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16143948/Cecile-Gaget-Head-of-Film-Wild-Bunch-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>In her first full year at Wild Bunch as Head of Film, Cécile Gaget distributed Japanese hits such as “The First Slam Dunk” and Hayao Miyazaki’s “The Boy and the Heron” in France. Of course, Wild Bunch also released numerous local language titles including “L’événement” and “Sentimental.” Gaget oversees French acquisitions, distribution and local production for the company. She previously spent two years at Anton as President of International Production and Distribution and a decade at Gaumont.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103951/Celluloid-Junkie-Logo-Number-37.png" alt="Celluloid Junkie - 37" class="wp-image-62874 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103951/Celluloid-Junkie-Logo-Number-37.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103951/Celluloid-Junkie-Logo-Number-37-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09103951/Celluloid-Junkie-Logo-Number-37-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-75 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Daniela Elstner</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Executive Director, Unifrance</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29154815/Daniela-Elstner-Unifrance.jpg" alt="Daniela Elstner - Unifrance" class="wp-image-96075 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29154815/Daniela-Elstner-Unifrance.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29154815/Daniela-Elstner-Unifrance-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Daniela Elstner began her career at Unifrance in 1996 and is now its Executive Director, a position she has held since 2019. Unifrance is a trade organization based in Paris with 50 employees charged with promoting French cinema at home and abroad. Elstner has previously been the Director of Sales at Les Films du Losange and worked at Doc & Film International. She has also been president of the Association of Film Exporters since 2015. She was a featured speaker at the 2023 SXSW conference.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104016/Celluloid-Junkie-Logo-Number-38.png" alt="Celluloid Junkie - 38" class="wp-image-62877 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104016/Celluloid-Junkie-Logo-Number-38.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104016/Celluloid-Junkie-Logo-Number-38-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104016/Celluloid-Junkie-Logo-Number-38-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-77 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Elizabeth Trotman</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>CEO Australia & New Zealand, Studiocanal</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144113/Elizabeth-Trotman-CEO-Studiocanal-Australia-New-Zealand.jpg" alt="" class="wp-image-86882 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144113/Elizabeth-Trotman-CEO-Studiocanal-Australia-New-Zealand.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16144113/Elizabeth-Trotman-CEO-Studiocanal-Australia-New-Zealand-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>As CEO of StudioCanal’s operations in Australian and New Zealand, Elizabeth Trotman manages theatrical film and television distribution, acquisitions, development, and production among many other responsibilities. She has had stints at Warner Bros., spent 10 years at the HOYTS Group and for the past 12 years has been with StudioCanal, overseeing the theatrical release of roughly 20 films per year in the region. During her tenure at StudioCanal, Trotman has handled the distribution of over 250 films.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104041/Celluloid-Junkie-Logo-Number-39.png" alt="Celluloid Junkie - 39" class="wp-image-62880 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104041/Celluloid-Junkie-Logo-Number-39.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104041/Celluloid-Junkie-Logo-Number-39-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09104041/Celluloid-Junkie-Logo-Number-39-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-79 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Silvia Cruz</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>CEO, Vitrine Filmes</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161359/Silvia-Cruz-Vitrine-Filmes.jpg" alt="Silvia Cruz - Vitrine Filmes" class="wp-image-96081 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161359/Silvia-Cruz-Vitrine-Filmes.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29161359/Silvia-Cruz-Vitrine-Filmes-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Silvia Cruz founded Vitrine in 2010 in Brazil as a distribution company dedicated to bringing local and international art house films to cinemas throughout the country. Since then Vitrine has been responsible for distributing over 150 titles including Kleber Mendonça Filho’s “Aquarius” and “Bacurao,” Noah Baumbach’s “Frances Ha” and Karim Ainouz’s “The Invisible Life of Euridice Gusmao.” In 2019, Cruz moved to Spain and began working in film distribution and production through Vitrine Filmes in both countries. She began her career at Pandora Filmes, and worked at Europa Filmes and Coração da Selva, acting in the executive production area and acquisitions.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124133/Celluloid-Junkie-Logo-Number-40.png" alt="Celluloid Junkie - 40" class="wp-image-62920 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124133/Celluloid-Junkie-Logo-Number-40.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124133/Celluloid-Junkie-Logo-Number-40-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124133/Celluloid-Junkie-Logo-Number-40-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-81 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Anny Schmit</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Managing Director, Sony Pictures Releasing</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="301" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17120758/Anny-Schmit-Managing-Director-Sony-Pictures-Releasing.jpg" alt="Anny Schmit - Sony Pictures" class="wp-image-86969 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17120758/Anny-Schmit-Managing-Director-Sony-Pictures-Releasing.jpg 301w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17120758/Anny-Schmit-Managing-Director-Sony-Pictures-Releasing-201x300.jpg 201w" sizes="(max-width: 301px) 100vw, 301px" /></figure><div class="wp-block-media-text__content"><p>Based in Belgium, Anny Schmit is Managing Director at Sony Pictures, a role she has held for over three years. Early in her career Schmit spent three years as the Marketing Manager for Warner Bros. Belgium where she ultimately became Managing Director between 2000-2008. Starting in 2013, she headed up film distribution and home entertainment as the General Manager Distribution Benelux at Belga Films for five years. Her roles have also led her to develop solid experience in marketing and communications, especially during her four years as Managing Director of media agency, Carat.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124200/Celluloid-Junkie-Logo-Number-41.png" alt="Celluloid Junkie - 41" class="wp-image-62923 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124200/Celluloid-Junkie-Logo-Number-41.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124200/Celluloid-Junkie-Logo-Number-41-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124200/Celluloid-Junkie-Logo-Number-41-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-83 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Trish Long</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>General Manager & Vice President, The Walt Disney Company (Ireland)</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16173207/Trish-Long-General-Manager-Vice-President-The-Walt-Disney-Company-Ireland.jpg" alt="Trish Long" class="wp-image-86948 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16173207/Trish-Long-General-Manager-Vice-President-The-Walt-Disney-Company-Ireland.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16173207/Trish-Long-General-Manager-Vice-President-The-Walt-Disney-Company-Ireland-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Trish Long will mark 30 years with The Walt Disney Company in 2024. She has been the General Manager & Vice President of the company’s Ireland operations since 2008. Long is involved in several of Disney’s EMEA initiatives as well and is a member of The Walt Disney Company’s International Futures team. In addition to working in motion picture distribution for one of Hollywood’s biggest studios, she is Chair of the Dublin International Film Festival and the charity organization, MediCinema Ireland.</p></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="2" height="2" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/04/04183109/Blank-Spacer-Pixel.png" alt="" class="wp-image-90282 size-medium"/></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-84 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Niamh McCaul</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>General Manager Ireland, Paramount Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162236/Niamh-McCaul-Paramount-Pictures.jpg" alt="Niamh McCaul - Paramount Pictures" class="wp-image-96087 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162236/Niamh-McCaul-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162236/Niamh-McCaul-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Niamh McCaul has been an active member of the film distribution community in Ireland since finishing her studies in the mid-1990s. McCaul celebrated 15 years with Paramount Pictures this year as General Manager for Ireland. She previously worked at Eclipse Pictures as Managing Director since its inception in 2002. In addition to her current role, she also serves as Chair of the Women + ERG in London and is Fundraising Chair for the Cinema Trade Benevolent Fund, an Irish charity. Most recently, McCaul was honored to work with Showtime & Tara Films to release the acclaimed documentary “Nothing Compares”, which won the George Morrison Feature Documentary at the 2023 Irish Film and Television Academy Awards.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124227/Celluloid-Junkie-Logo-Number-42.png" alt="Celluloid Junkie - 42" class="wp-image-62926 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124227/Celluloid-Junkie-Logo-Number-42.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124227/Celluloid-Junkie-Logo-Number-42-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124227/Celluloid-Junkie-Logo-Number-42-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-86 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong><strong>Montserrat Gil</strong></strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>VP & Managing Director, Paramount Pictures Spain</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162512/Montserrat-Gil-Paramount-Pictures.jpg" alt="Montserrat Gil - Paramount Pictures" class="wp-image-96090 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162512/Montserrat-Gil-Paramount-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29162512/Montserrat-Gil-Paramount-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Montse Gil is a senior entertainment executive with more than 25 years in the movie business. She has been a part of distributing over 500 movies in Spain – first, at 20th Century Fox where she headed up the marketing department since 1995 and now as the Vice President and Managing Director of Paramount Pictures, a position she has held since 2010. Gil was voted one of the 100 most influential women in Spain and is the only woman running a multinational film distribution company in Spain. She has collaborated with UNIC’s Women Leadership Program, where she participated as a mentor. Gil is a graduate in Media Communications, holds a PhD in Marketing and Research and a Master’s in Business Administration. She is a regular lecturer at various Master’s programs at several universities.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124252/Celluloid-Junkie-Logo-Number-43.png" alt="Celluloid Junkie - 43" class="wp-image-62928 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124252/Celluloid-Junkie-Logo-Number-43.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124252/Celluloid-Junkie-Logo-Number-43-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124252/Celluloid-Junkie-Logo-Number-43-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-88 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Amy Wood</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>VP, Global Theatrical Distribution, Crunchyroll</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="334" height="500" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151646/Amy-Wood-Vice-President-Global-Theatrical-Distribution-Crunchyroll.jpg" alt="" class="wp-image-86894 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151646/Amy-Wood-Vice-President-Global-Theatrical-Distribution-Crunchyroll.jpg 334w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/16151646/Amy-Wood-Vice-President-Global-Theatrical-Distribution-Crunchyroll-200x300.jpg 200w" sizes="(max-width: 334px) 100vw, 334px" /></figure><div class="wp-block-media-text__content"><p>Based in Los Angeles, Amy Wood is in her second year as Vice President of Global Theatrical Distribution at Crunchyroll. In 2023, she was responsible for managing the distribution of anime releases such as “Suzume,” “Demon Slayer: Kimetsu no Yaiba” and “That Time I Got Reincarnated as a Slime.” Wood heads up teams in North America, Australia, France, Germany and the United Kingdom. She previously spent 10 years at Lionsgate in charge of international distribution. Prior to Lionsgate, Wood spent eight years at Pacific and Arclight Theatres leading their marketing teams.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124324/Celluloid-Junkie-Logo-Number-44.png" alt="Celluloid Junkie - 44" class="wp-image-62931 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124324/Celluloid-Junkie-Logo-Number-44.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124324/Celluloid-Junkie-Logo-Number-44-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124324/Celluloid-Junkie-Logo-Number-44-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-90 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Liz Ellis</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Chief Operating Officer, Angel Studios</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29163007/Liz-Ellis-Angel-Studios.jpg" alt="Liz Ellis - Angel Studios" class="wp-image-96093 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29163007/Liz-Ellis-Angel-Studios.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29163007/Liz-Ellis-Angel-Studios-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>If ever there was a year that Angel Studios made a name for themselves, it would be 2023, when its release “Sound of Freedom” became the surprise hit of the summer earning over USD $180 million domestically before launching in territories around the globe. Liz Ellis is the Chief Operating Officer at Angel Studios, where she has undertaken transformative initiatives that have increased productivity within the company by aligning talents with suitable projects and roles. She is an esteemed Professional Certified Coach (ICF) and Gallup Certified Strengths Coach and she implemented solutions-based coaching at Angel Studios.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124349/Celluloid-Junkie-Logo-Number-45.png" alt="Celluloid Junkie - 45" class="wp-image-62934 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124349/Celluloid-Junkie-Logo-Number-45.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124349/Celluloid-Junkie-Logo-Number-45-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124349/Celluloid-Junkie-Logo-Number-45-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-92 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Ladun Awobokun</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>General Manager, FilmOne Entertainment</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17122621/Ladun-Awobokun-Head-of-Distribution-FilmOne-Entertainment.jpg" alt="Ladun Awobokun" class="wp-image-86981 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17122621/Ladun-Awobokun-Head-of-Distribution-FilmOne-Entertainment.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17122621/Ladun-Awobokun-Head-of-Distribution-FilmOne-Entertainment-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Promoted to General Manager at FilmOne Entertainment at the beginning of 2023, Ladun Awobokun drives content strategy for the business, including; distribution, content sales and acquisitions, investment management, streaming, as well as cinema and movie studio relations. Awobokun’s staff manages the release plans and strategies for Hollywood studio films throughout English-speaking West Africa. Naturally, FilmOne also handles locally produced Nollywood titles. She is known for having fostered standardization and transparency in West Africa’s movie industry and was instrumental in getting Comscore adopted throughout the region.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124412/Celluloid-Junkie-Logo-Number-46.png" alt="Celluloid Junkie - 46" class="wp-image-62935 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124412/Celluloid-Junkie-Logo-Number-46.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124412/Celluloid-Junkie-Logo-Number-46-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124412/Celluloid-Junkie-Logo-Number-46-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-94 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Elba McAllister</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>CEO, Cineplex (Colombia)</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164138/Elba-McAllister-Cineplex.jpg" alt="Elba McAllister - Cineplex" class="wp-image-96096 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164138/Elba-McAllister-Cineplex.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164138/Elba-McAllister-Cineplex-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Cineplex, an independent distributor based in Colombia, celebrated its 30th anniversary in 2023. The company releases independent arthouse films in 20 countries, mostly in Latin America. Elba McAllister, the company’s CEO and founder, has shepherded over 500 movies into cinemas including “The Delinquents” from Argentina and “Fallen Leaves” from Finland this year. On average, Cineplex releases 25 films per year. While she has handled the distribution of releases from directors such as Ang Lee, Ken Loach, Wong Kar Wai, and Lars von Trier over the years, McAllister may be best known for introducing Colombian titles to the wider world.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124436/Celluloid-Junkie-Logo-Number-47.png" alt="Celluloid Junkie - 47" class="wp-image-62938 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124436/Celluloid-Junkie-Logo-Number-47.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124436/Celluloid-Junkie-Logo-Number-47-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124436/Celluloid-Junkie-Logo-Number-47-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-96 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Yolanda Del Val</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Fiction Department Director, DeAPlaneta Entertainment (Spain)</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/28104815/Yolanda-del-Val-Head-of-Theatrical-Acquisitions-DeAPlaneta.jpg" alt="" class="wp-image-87260 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/28104815/Yolanda-del-Val-Head-of-Theatrical-Acquisitions-DeAPlaneta.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/28104815/Yolanda-del-Val-Head-of-Theatrical-Acquisitions-DeAPlaneta-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>With more than 25 years’ experience in the audiovisual sector, Yolanda Del Val has been managing the Fiction Department of DeAPlaneta Entertainment since 2017. As well as being in charge of film and television distribution, Del Val also oversees production of the same. During her time in this role, she has acquired and distributed more than 1,000 film and TV titles, including “The Pianist” (Roman Polanski), “The King’s Speech,” “12 Years a Slave,” as well as Spanish hits like “Planet 51,” “La Llamada” and the “Baztan Trilogy.” In the last three years Del Val has co-produced three films: “¿Quién es Quien?”, “The Three Musketeers: D’Artagnan” and “The Three Musketeers: Milady.”</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124545/Celluloid-Junkie-Logo-Number-48.png" alt="Celluloid Junkie - 48" class="wp-image-62941 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124545/Celluloid-Junkie-Logo-Number-48.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124545/Celluloid-Junkie-Logo-Number-48-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124545/Celluloid-Junkie-Logo-Number-48-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-98 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Eve Gabereau</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Founder & CEO, Modern Films</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17123657/Eve-Gabereau-Founder-CEO-Modern-Films.jpg" alt="Eve Gabereau - Modern Films" class="wp-image-86993 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17123657/Eve-Gabereau-Founder-CEO-Modern-Films.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2022/11/17123657/Eve-Gabereau-Founder-CEO-Modern-Films-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Eve Gabereau is CEO and founder of Modern Films, a London-based film production and distribution agency. Known for championing diverse stories and world cinema, Modern has grown since launching in 2017 to represent over 100 films, including such acclaimed titles as the history-making Oscar and BAFTA winner “Drive My Car” from director Ryusuke Hamaguchi. Gabereau has built a reputation for her great cinematic taste, having previously co-founded the indie distribution company Soda Pictures where, for 15 years, she handled over 350 noteworthy films such as “Toni Erdmann,” Jim Jarmusch’s “Paterson” and multiple works by filmmaker Kelly Reichardt. She is an Inside Pictures alumnus, a member of the British Screen Forum, Film Distributors Association and Europa Distribution and on the boards of ACE Producers, Film London and the British Independent Film Awards.</p></div></div></div></div> <div class="wp-block-group alignwide has-white-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124611/Celluloid-Junkie-Logo-Number-49.png" alt="Celluloid Junkie - 49" class="wp-image-62944 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124611/Celluloid-Junkie-Logo-Number-49.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124611/Celluloid-Junkie-Logo-Number-49-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124611/Celluloid-Junkie-Logo-Number-49-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-100 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Claudia Badoer</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Managing Partner, Filmcoopi Zurich</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164739/Claudia-Badoer-Filmcoopi-Zurich.jpg" alt="Claudia Badoer - Filmcoopi Zurich" class="wp-image-96099 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164739/Claudia-Badoer-Filmcoopi-Zurich.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29164739/Claudia-Badoer-Filmcoopi-Zurich-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Claudia Badoer has been with Filmcoopi Zurich as one of its co-owners and co-managers. Filmcoopi Zurich is an independent distributor of high-end arthouse films as well as internationally-acclaimed documentaries. The company releases an average of 45 titles per year and in 2023 handled the Swiss distribution of “Anatomy of a Fall,” “Zone of Interest” and “Past Lives” among others. As part of her release campaigns, Badoer is constantly looking for innovative ways to reach audiences in Switzerland and to attract a younger audience for independent film. She is a board member of the Swiss national distributors association as well as of Europa Distribution.</p></div></div></div></div> <div class="wp-block-group alignwide has-cj-gray-background-color has-background is-layout-flow wp-block-group-is-layout-flow"><div class="wp-block-group__inner-container"><div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="754" height="411" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124638/Celluloid-Junkie-Logo-Number-50.png" alt="Celluloid Junkie - 50" class="wp-image-62947 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124638/Celluloid-Junkie-Logo-Number-50.png 754w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124638/Celluloid-Junkie-Logo-Number-50-300x164.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2020/06/09124638/Celluloid-Junkie-Logo-Number-50-400x218.png 400w" sizes="(max-width: 754px) 100vw, 754px" /></figure><div class="wp-block-media-text__content"><div class="wp-block-group is-vertical is-layout-flex wp-container-core-group-layout-102 wp-block-group-is-layout-flex"><p class="has-x-large-font-size" style="font-style:normal;font-weight:800"><strong>Alice Panada</strong></p> <p class="has-small-font-size" style="font-style:normal;font-weight:500"><strong>Head of Theatrical Distribution, Notorious Pictures</strong></p></div></div></div> <div class="wp-block-media-text alignwide is-stacked-on-mobile" style="grid-template-columns:15% auto"><figure class="wp-block-media-text__media"><img loading="lazy" decoding="async" width="300" height="450" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29165036/Alice-Panada-Notorious-Pictures.jpg" alt="Alice Panada - Notorious Pictures" class="wp-image-96102 size-medium" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29165036/Alice-Panada-Notorious-Pictures.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/12/29165036/Alice-Panada-Notorious-Pictures-200x300.jpg 200w" sizes="(max-width: 300px) 100vw, 300px" /></figure><div class="wp-block-media-text__content"><p>Alice Panada started working with Notorious Pictures in 2017 as the company’s Theatrical Marketing Director before becoming Head of Theatrical Distribution in 2022. Notorious Pictures distributes local productions and studio releases in Italy and Spain and during 2023 handled titles such as “The Hunger Games: The Ballad of Songbirds & Snakes” and “Jeanne du Barry” for those territories. Panada is responsible for the company’s distribution strategy, release planning, budget management, market analysis and even exhibitor relations. She is active in helping Notorious in acquiring new films for theatrical distribution and streaming platforms. Panada began her working in theatrical marketing for The Walt Disney Company.</p></div></div></div></div><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/">CJ’s Top Women In Global Distribution – 2023</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2024/01/01/cjs-top-women-in-global-distribution-2023/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>CJ Exclusive: Tashkent, Uzbekistan, Bids to Be Crowned Capital of Central Asia’s Film Industry</title> <link>https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/?utm_source=rss&utm_medium=rss&utm_campaign=cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry</link> <comments>https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/#comments</comments> <dc:creator><![CDATA[Mark Law Hitchings]]></dc:creator> <pubDate>Wed, 01 Nov 2023 08:53:04 +0000</pubDate> <category><![CDATA[Locations]]></category> <category><![CDATA[Finance]]></category> <category><![CDATA[Organizations]]></category> <category><![CDATA[Cinemas]]></category> <category><![CDATA[People]]></category> <category><![CDATA[Cinema Equipment]]></category> <category><![CDATA[Production Companies]]></category> <category><![CDATA[Cinema Service Providers]]></category> <category><![CDATA[Exhibitors]]></category> <category><![CDATA[investment]]></category> <category><![CDATA[film production]]></category> <category><![CDATA[cinema]]></category> <category><![CDATA[Tashkent]]></category> <category><![CDATA[Uzbekistan]]></category> <category><![CDATA[Firdavs Abdukhalikov]]></category> <category><![CDATA[Tashkent International Film Festival]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=97164</guid> <description><![CDATA[<p>Firdavs Abdukhalikov, Director-General of UzbekFilm, Uzbekistan’s national film agency, announced a raft of new investments in the nation’s film industry, with the opening round of funding set to begin the positioning of Tashkent as the region’s capital of film and television production.   Mr Abdukhalikov, who also chairs the Tashkent International Film Festival, said a US<a class="moretag" href="https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/">CJ Exclusive: Tashkent, Uzbekistan, Bids to Be Crowned Capital of Central Asia’s Film Industry</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>Firdavs Abdukhalikov, Director-General of UzbekFilm, Uzbekistan’s national film agency, announced a raft of new investments in the nation’s film industry, with the opening round of funding set to begin the positioning of Tashkent as the region’s capital of film and television production. </p> <p>Mr Abdukhalikov, who also chairs the Tashkent International Film Festival, said a US $30 million deal had been inked with the <a href="https://danmon.com/">Danmon Group</a> to supply state-of-the-art studio technology. The agreement struck with the Danish broadcast and media solutions provider will see equipment for broadcast television, film, and commercial productions delivered to Tashkent and Samarkand to stock an ambitious new studio building program. </p> <p>“Before 2016, the cinema industry in Uzbekistan was not developed at all,” Mr Abdukhalikov said. “But this is Uzbekistan’s new era, and our president announced a new programme for cinema development. Not only cinema development, but the development of every sector in the country.”</p> <p>Under the supervision of Abdukhalikov, the freshly invigorated national studio has produced a string of critically acclaimed films, including “Scorpion” (2018), “Hot Bread” (2019), “To The Ends Of The Earth” (2019), ”2000 Songs Of Farida” (2020), and “I’m Not A Terrorist” (2021).</p> <p>“We have achieved the complete reconstruction of the UzbekFilm studios, which were totally destroyed. Everything was abandoned and neglected. If you look inside now, there is a big TV studio, it’s brand new.”</p> <div class="wp-block-image"><figure class="alignright size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="682" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-1024x682.jpg" alt="" class="wp-image-97170" style="width:433px;height:auto" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-1024x682.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-300x200.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-768x512.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-1250x833.jpg 1250w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400-400x267.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/15031605/IMG_5400.jpg 1280w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Firdavs Abdukhalikov, Director-General, UzbekFilm</figcaption></figure></div> <p>“We are also planning to construct a cinema city, which would not be taxed at all, like a freeport,” Mr Abdukhalikov continued. “So, with the rebate system and the tax-free system, we think that they are going to give us fantastic results.” </p> <p>The turnaround under Abdukhalikov’s stewardship has been profound, with UzbekFilm’s output making a marked contribution to Uzbekistan’s economic renaissance and acting as a cultural masthead to attract a growing <a href="https://www.ceicdata.com/en/indicator/uzbekistan/foreign-direct-investment">influx of foreign direct investment</a>. Jumping an impressive 37% in 2019 from 10.7% the year before, FDI contributed $9.3 billion to the Uzbek economy pre-Covid. However, the government is looking to book even more impressive gains, with this opening salvo of capital forming part of an ambitious package to <a href="https://www.investmentmonitor.ai/features/uzbekistan-central-asia-fdi-star/">attract $120 billion</a> of investment over the next three years.</p> <p>Sophie Ibbotson, Uzbekistan’s National Tourism Ambassador to the UK, said, “To attract investment, Uzbekistan is building its international brand. That requires investing in the arts so Uzbekistanis can have the skills they need to tell their own stories and sell their own country through film, television, music, fashion, social media, and scholarship.”</p> <p>With production space currently at a premium in Uzbekistan’s capital, Mr Abdukhalikov said a deal was in the works to secure a further US $100 million investment to build studios in Tashkent and Samarkand to service the growing national film and television markets, as well as providing studio space for foreign productions making use of Uzbekistan’s relatively unexplored locations. </p> <p>With a population of 1.4 million, Tashkent is the largest city in the region. Other nations in Central Asia, which includes Turkmenistan, Tajikistan, Kazakhstan, and Kyrgyzstan, have lagged behind Uzbekistan for inward investment, presenting a huge opportunity to a nation keen to utilise its resources to take a more central position on the world stage and shake off defunct Soviet ties. </p> <p>The studios are slated to begin construction this year.</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/">CJ Exclusive: Tashkent, Uzbekistan, Bids to Be Crowned Capital of Central Asia’s Film Industry</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/11/01/cj-exclusive-tashkent-uzbekistan-bids-to-be-crowned-capital-of-central-asias-film-industry/feed/</wfw:commentRss> <slash:comments>1</slash:comments> </item> <item> <title>Tashkent International Film Festival: Ambition, Talent & Fireworks Thrill at Glittering Closing Ceremony</title> <link>https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/?utm_source=rss&utm_medium=rss&utm_campaign=tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony</link> <comments>https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/#respond</comments> <dc:creator><![CDATA[Mark Law Hitchings]]></dc:creator> <pubDate>Fri, 20 Oct 2023 15:32:00 +0000</pubDate> <category><![CDATA[Countries]]></category> <category><![CDATA[Award Ceremonies]]></category> <category><![CDATA[People]]></category> <category><![CDATA[Film Festivals]]></category> <category><![CDATA[Tashkent]]></category> <category><![CDATA[Uzbekistan]]></category> <category><![CDATA[Tashkent International Film Festival]]></category> <category><![CDATA[Kevin Spacey]]></category> <category><![CDATA[awards ceremony]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=97263</guid> <description><![CDATA[<p>The stagecraft and performances weren’t the only eye-opening spectacles at the closing ceremony of the 15th Tashkent International Film Festival, Uzbekistan (September 29 – October 3). Whilst filmmakers, thespians, press, and the great and the good of Uzbek film and television watched the electric awards show centred around a vast rotating coliseum somewhere near the<a class="moretag" href="https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/">Tashkent International Film Festival: Ambition, Talent & Fireworks Thrill at Glittering Closing Ceremony</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>The stagecraft and performances weren’t the only eye-opening spectacles at the closing ceremony of the 15th Tashkent International Film Festival, Uzbekistan (September 29 – October 3). Whilst filmmakers, thespians, press, and the great and the good of Uzbek film and television watched the electric awards show centred around a vast rotating coliseum somewhere near the Tajik border, many were chattering about the choice of host, one Mr. Kevin Spacey. With opinion in this part of the world still overwhelmingly guided by Russian news media, perhaps the controversial actor hadn’t featured quite as overtly in the press when the festival’s bookers were selecting their emcee. </p> <p>Whilst it was this journalist that broke the story of our host’s health scare that <a href="https://www.thesun.co.uk/tvandshowbiz/24266817/kevin-spacey-rushed-to-hospital-fearing-heart-attack-at-film-festival-after-going-numb-in-one-arm/">melted Google</a> sometime back in October, it was perhaps more astonishing to view the time, effort and talent that went into the ceremony in what is referred to as Uzbekistan’s second city. Attendees were treated to a series of dance troupes, orchestral numbers and singers, the perfect choreography matching the expert timing.</p> <p>The Eternal City was the setting for the evening’s entertainment: a mock mediaeval Uzbek bazaar and village designed and built as part of the astonishingly expensive and luxurious Silk Road Samarkand Resort somewhere on the outskirts of the Samarkand. </p> <p>It transpires that Samarkand’s city centre is a civil engineer’s living nightmare, jam-packed as it is with historical monuments, meaning when the Chinese Minyoun Hospitality Group was deciding where to break ground, the location chosen in which to plough their eye-watering budget to build a hub of spectacular, soaring luxury hotels with conference centres and malls, was a manmade lake designed for ex-Soviet rowers to practise their coxless fours somewhere to the east of the city. </p> <p><strong>An Extravagant Schedule</strong></p> <p>The festival program in Samarkand followed a machine gun series of energetic warm-up events in Tashkent itself, including a red-carpet event, screenings, several sumptuous dinners, as well as the awards ceremony for the ‘Cinema in 5 Days’ event, where entrants are given a theme – think something ethereal; The Beauty of Uzbekistan, for example – and given five days to complete a short narrative film. Ambitious young directors from across Central Asia took up the challenge, with many of the final products turning out to be very solid offerings, considering the limited time and resources available. </p> <p>What was unusual about this section of this particular evening’s events was the spectacular staging of the awards; thousands of spectators packed the bleachers to observe a huge orchestra pit of nominees huddled excitedly in front of a titanic stage wrapped by a DJ, vast screens, and caged by a pyrotechnics rig that would put any Champions League final to shame. </p> <p>It should be noted that this legion of attendees had been transported to Samarkand by way of the festival booking out an entire express train from Tashkent. Finding the restaurant cars staffed by expert and attentive bartenders at 7:00 am ably demonstrated that Tashkent’s organisers were old hands at connecting with film producers and journalists. </p> <p>Uzbek celebrities lined up to present statuettes to giddy young directors and producers, roaring, high-fiving, and hugging in jubilation as the winners were announced to rapturous ovations. </p> <div class="wp-block-image"><figure class="aligncenter size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="768" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-1024x768.jpg" alt="" class="wp-image-97281" style="width:616px;height:auto" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-1024x768.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-300x225.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-768x576.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-1536x1152.jpg 1536w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-2048x1536.jpg 2048w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-1250x938.jpg 1250w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-400x300.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21070741/IMG_5291-320x240.jpg 320w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Credit: Mark Law Hitchings</figcaption></figure></div> <p>The most interesting tidbit was teased out after speaking with some of the festival winners afterwards. It emerged that Firdavs Abdukhalikov had been through each of their pitches with a fine-tooth comb, ticking good ideas and striking through bad ones. This is meaningless unless you know that Abdukhalikov is Director-General of the festival, Chairman of the national film agency, UzbekKino, is one of the country’s most successful producers, and owns several television networks in Uzbekistan.</p> <p>If this is how Uzbekistan lauds its up-and-comers, how it supercharges their ambition and tends to their fragile, youthful creative egos, and if this is the attention paid to micro budget short films by senior figures in the cultural legislature, then the future of Uzbekistan’s film and television industry isn’t just rosy, it’s a glossy vermilion. </p> <p>The service was nothing if not exceptional, with every element planned to the most minute detail; and it is this attention to detail that will set Uzbekistan apart when Hollywood comes calling. And for a nation so rich with culture, heritage and ambition, Hollywood will certainly come calling. </p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/">Tashkent International Film Festival: Ambition, Talent & Fireworks Thrill at Glittering Closing Ceremony</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/10/20/tashkent-international-film-festival-ambition-talent-fireworks-thrill-at-glittering-closing-ceremony/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>CJ Exclusive: Uzbekistan Eyes a Bright Future with Film & TV Rebates Set to Rise to 30%</title> <link>https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/?utm_source=rss&utm_medium=rss&utm_campaign=cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30</link> <comments>https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/#respond</comments> <dc:creator><![CDATA[Mark Law Hitchings]]></dc:creator> <pubDate>Thu, 05 Oct 2023 22:57:00 +0000</pubDate> <category><![CDATA[Locations]]></category> <category><![CDATA[Finance]]></category> <category><![CDATA[People]]></category> <category><![CDATA[Post Production]]></category> <category><![CDATA[Production Companies]]></category> <category><![CDATA[Countries]]></category> <category><![CDATA[Production]]></category> <category><![CDATA[Uzbekistan]]></category> <category><![CDATA[Said Rustmanov]]></category> <category><![CDATA[tax incentive]]></category> <category><![CDATA[TV production]]></category> <category><![CDATA[film production]]></category> <category><![CDATA[Tashkent]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=97236</guid> <description><![CDATA[<p>Uzbekistan’s ambassador to the United Kingdom, Said Rustamov, says that new tax incentives announced at the Tashkent International Film Festival (Sept 29-Oct 3 2023) will put Uzbekistan on course to become a world leader in film and television production. Mr Rustamov said, “Uzbekistan is investing heavily in film, television, and the performing arts. Our studio<a class="moretag" href="https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/">CJ Exclusive: Uzbekistan Eyes a Bright Future with Film & TV Rebates Set to Rise to 30%</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>Uzbekistan’s ambassador to the United Kingdom, Said Rustamov, says that new tax incentives announced at the <a href="https://tiffest.uz/en">Tashkent International Film Festival</a> (Sept 29-Oct 3 2023) will put Uzbekistan on course to become a world leader in film and television production.</p> <p>Mr Rustamov said, “Uzbekistan is investing heavily in film, television, and the performing arts. Our studio and production facilities are some of the finest in the world, but we continue to invest in cinema because we have a rich cinematic history dating back more than a century, from which to draw influence and expertise.”</p> <p>Senior government figures had earlier confirmed that plans to increase tax rebates from 20% to 30% had been submitted to the legislature for approval. When implemented, the tax incentives will propel Uzbekistan’s offer to film and television producers to the apex of international league tables. </p> <p>The Central Asian nation’s long and storied history of cinema production began under the Russian tsars and continued into the Soviet and Russian Federal eras. However, the Uzbek Government has had something of a hard time persuading foreign productions from India, China, the UK, United States, and Europe to venture into Uzbekistan under the current 20% regime, sitting, as it does, some 5% below competitors with better developed production infrastructures.</p> <p>Although California, New York and the UK all offer 25% tax relief for qualifying productions, the landscape could be set for a radical upheaval, with Uzbekistan planning to up the ante with an offering of ultra-modern studio services and post-production suites in tandem with the 30% rebate, with at least one supersized sound stage planned to be solely dedicated to ‘historical epics’. An opening investment of USD $100 million will soon be deposited to begin construction of the studios this year, with the head of UzbekFilm revealing that plans are also afoot to build a ‘cinema city’ that will be entirely tax exempt.</p> <p>The Uzbek government is keen to broadcast to foreign film and television producers just what an undiscovered frontier the nation is as a filming and production location, with much of the ancient architecture and its surrounding terrain unexplored by location managers and scouts. Littered with stunning and expertly preserved Timurid-period architecture dating from the 14<sup>th</sup> to 16<sup>th</sup> centuries, many of Uzbekistan’s ancient sites are characterised by complex blue and turquoise tilework, with the colours symbolising the mystical depths of the universe. </p> <p><strong>A Promising Future</strong></p> <p>Once at the heart of the fabled Silk Road, a 4,000-mile trade route connecting China with the Mediterranean, Tashkent is now at the heart of a country primed to erupt with foreign investment, with cash inflow <a href="https://www.euronews.com/business/2023/05/09/uzbekistan-attracts-foreign-investors-thanks-to-extensive-government-reforms">increasing tenfold in the last six years</a>.</p> <div class="wp-block-image"><figure class="alignright size-full is-resized"><img loading="lazy" decoding="async" width="726" height="800" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21041710/Uzbek-Ambassador-to-the-UK-Said-Rustamov-jpeg-1.jpg" alt="" class="wp-image-97239" style="width:347px;height:auto" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21041710/Uzbek-Ambassador-to-the-UK-Said-Rustamov-jpeg-1.jpg 726w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21041710/Uzbek-Ambassador-to-the-UK-Said-Rustamov-jpeg-1-272x300.jpg 272w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/03/21041710/Uzbek-Ambassador-to-the-UK-Said-Rustamov-jpeg-1-400x441.jpg 400w" sizes="(max-width: 726px) 100vw, 726px" /><figcaption class="wp-element-caption">Said Rustmanov, Uzbekistan’s Ambassador to the UK</figcaption></figure></div> <p>“Our outlook is global and forward thinking,” Mr Rustmanov said. “Whilst we nurture tomorrow’s artists and creatives, we also honour and preserve our millennia-old heritage so that it may be enjoyed for millennia to come.”</p> <p>The sector has been resurgent since Firdavs Abdukhalikov took over supervision of UzbekKino, the national cinema agency, in 2016. He and a dedicated team have spent years reviving the department, with their mammoth task complicated by decades of neglect under Soviet leadership. However, his efforts are starting to bear fruit, particularly since his appointment to the position of Director-General of the Tashkent International Film Festival, with its 15<sup>th</sup> iteration recently welcoming a host of talent from across the globe.</p> <p>Mr Rustmanov said, “Uzbekistan is truly unique: a warm, friendly, and welcoming nation, rich with history, culture, and stunning locations. As the world changes, Uzbekistan is at the forefront of developing our creative sectors to offer an experience to film and television producers that is unmatched.”</p> <p>Uzbekistan’s President, Shavkat Mirziyoyev, included aid for the film and television industries in his 2021 re-election pitch to voters, meaning there are expectations amongst media businesses that the country will undergo a marked improvement in foreign footfall, international distribution, and inward investment. </p> <p>With this being his final interview before completing his productive stint in London, Ambassador Rustmanov’s colleagues and commentators have noted that he has been a particularly effective builder of relationships in the creative industries and has long been a staunch proponent of developing strong ties with the UK and US during his time in the capital. </p> <p>Mr Rustamov previously <a href="https://diplomatmagazine.com/heads-of-mission/middle-east-asia/uzbekistan/">told Diplomat Magazine</a>, “Uzbekistan is open for business and is positioned in the centre of the huge Central Asia market. We have the most diversified economy in our region, in addition to human capital, and Uzbekistan is highly focused on strengthening its relationship with the UK.”</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/">CJ Exclusive: Uzbekistan Eyes a Bright Future with Film & TV Rebates Set to Rise to 30%</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/10/05/cj-exclusive-uzbekistan-eyes-a-bright-future-with-film-tv-rebates-set-to-rise-to-30/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>I Wonder Pictures: Andrea Romeo Talks the Magic Mix of Arthouse and Commercial Cinema</title> <link>https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/?utm_source=rss&utm_medium=rss&utm_campaign=i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema</link> <comments>https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/#respond</comments> <dc:creator><![CDATA[Davide Abbatescianni]]></dc:creator> <pubDate>Mon, 25 Sep 2023 13:53:30 +0000</pubDate> <category><![CDATA[Venice Film Festival]]></category> <category><![CDATA[Distributors]]></category> <category><![CDATA[People]]></category> <category><![CDATA[Film Festivals]]></category> <category><![CDATA[Interview]]></category> <category><![CDATA[IWonderfull]]></category> <category><![CDATA[interview]]></category> <category><![CDATA[A24 films]]></category> <category><![CDATA[Andrea Romeo]]></category> <category><![CDATA[I Wonder Pictures]]></category> <category><![CDATA[Arthouse]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=96573</guid> <description><![CDATA[<p>Over the last few years, Bologna-based I Wonder Pictures has emerged as one of the leading distribution players in Italy, helmed by founder & CEO, Andrea Romeo. Characterized by a bold approach to sell both arthouse and commercial cinema, I Wonder has gradually expanded its business model well beyond traditional theatrical distribution.  This year at<a class="moretag" href="https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/">I Wonder Pictures: Andrea Romeo Talks the Magic Mix of Arthouse and Commercial Cinema</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>Over the last few years, Bologna-based I Wonder Pictures has emerged as one of the leading distribution players in Italy, helmed by founder & CEO, Andrea Romeo. Characterized by a bold approach to sell both arthouse and commercial cinema, I Wonder has gradually expanded its business model well beyond traditional theatrical distribution. </p> <p>This year at the Venice Film Festival, I Wonder visited the Lido with 12 new titles. Their picks included two Orizzonti winners “Explanation for Everything”<em> </em>(Best Film)<em> </em>and<em> </em>“El paraíso”<em> </em>(Best Script and Best Actress), three Giornate degli Autori films including the winning picture, “Humanist Vampire Seeking Consenting Suicidal Person”,<em> </em>and three competition titles – Bertrand Bonello’s latest, “The Beast” (toplined by Léa Seydoux and George McKay), Malgorzata Szumowska and Michal Englert’s Polish LGBTQ+ drama “Woman Of” and Stéphane Brizé’s “Out of Season”<em> </em>(starring Guillaume Canet and Alba Rohrwacher in the leading roles).</p> <p>To introduce their editorial policy and how it has changed over time, Romeo said, “I Wonder Pictures launched 10 years ago to distribute a movie that really impressed us, “Searching for Sugar Man”. Over the last 10 years, much has changed, but we kept our initial goal to bring surprising stories to theaters. Today, our editorial policy combines the best of high-quality European cinema – with a special attention to French comedies such as “A Difficult Year”, out in cinemas in November – together with a new type of film product, ‘rooted’ in our times.”</p> <p>“This is the case of A24 titles such as “Everything Everywhere All At Once” and “The Whale”, as well as the upcoming releases “Dream Scenario” and “The Zone of Interest”. These are universal films sporting concepts that cross the boundaries of genres,” he said, adding how these films are both trendy and capable of sparking debate.</p> <div class="wp-block-image"><figure class="alignright size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="536" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82-1024x536.png" alt="I Wonder Pictures, founded by Andrea Romeo, " class="wp-image-96606" style="aspect-ratio:1.9104477611940298;width:405px;height:auto" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82-1024x536.png 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82-300x157.png 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82-768x402.png 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82-400x209.png 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/24095903/Untitled-design-82.png 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">I Wonder Pictures, founded by Andrea Romeo, has expanded its business model beyond traditional theatrical distribution</figcaption></figure></div> <p>When asked how the company managed to diversify their business model and expand their scope by venturing into streaming (IWonderfull), festivals (I Wonder is a key partner of Venice strands, Giornate degli Autori and Critics’ Week) and co-production, Romeo said, “The goal is not to ignore any distribution opportunity for film products. The film product itself is not in crisis, but it is available on a wider range of channels than it used to be. Starting from this idea, we aimed to enhance the theatrical release as a shared viewing experience, in particular through meetings with cast and directors in cinemas and our focus on festivals, which has always been in our DNA as a launchpad to buy and promote films.”</p> <p>Of IWonderfull, he explained, “IWonderfull was born during the pandemic as a response to the crisis experienced by the theaters. It has quickly become a new opportunity to delve into new modes of ‘consuming’ cinema through the creation of a catalog that includes movies that have been in theaters, along with others set to land exclusively on the platform.”</p> <p>Last year, I Wonder kicked off a new label called ‘Arthouse.’ Romeo talked through the initiative’s goals and the response to it, “Arthouse was born with the mission of giving value to a much-needed type of film product, a more cinephile one, which does not primarily aim to gain commercial response, yet has a loyal audience. These movies need specific work approaches, and a carefully-planned release strategy in select cinemas.” </p> <p>“So far, the model has been successful as proven by the results achieved by Jerzy Skolimoski’s “Eo”, out in cinemas last Christmas, but also over the course of the current season, when we’ll be releasing titles like the Golden Bear winner “On the Adamant” and “20,000 Species of Bees”, which would have struggled to find room through a classical distribution strategy.”</p> <p>Romeo argued that aiming at [an audience of] young spectators within the cinephile and generalist audience is key, “Learning about their tastes and providing them with a clever, high-quality offering [is crucial]. This is what we’re doing with A24 films, but not just this. And this will be one of the most stimulating challenges in the near future.”</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/">I Wonder Pictures: Andrea Romeo Talks the Magic Mix of Arthouse and Commercial Cinema</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/09/25/i-wonder-pictures-andrea-romeo-talks-the-magic-mix-of-arthouse-and-commercial-cinema/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>ProLight + Sound 2023 Brings Some Theatre Fairy Dust to Cinemas</title> <link>https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/?utm_source=rss&utm_medium=rss&utm_campaign=prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas</link> <comments>https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/#respond</comments> <dc:creator><![CDATA[Terry Nelson]]></dc:creator> <pubDate>Sat, 09 Sep 2023 01:19:13 +0000</pubDate> <category><![CDATA[Conferences & Trade Shows]]></category> <category><![CDATA[ProLight & Sound]]></category> <category><![CDATA[LED Lighting]]></category> <category><![CDATA[KV2 Audio]]></category> <category><![CDATA[Stumpfl]]></category> <category><![CDATA[Green Hippo]]></category> <category><![CDATA[LED displays]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=92781</guid> <description><![CDATA[<p>To use a phrase that is fairly common today, this article/report is to encourage you to ‘think outside the box’ in terms of how your venue is presented and what could be done to bring the audience to your cinema before they even get into the auditorium. Though not a cinema show per se, ProLight<a class="moretag" href="https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/">ProLight + Sound 2023 Brings Some Theatre Fairy Dust to Cinemas</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>To use a phrase that is fairly common today, this article/report is to encourage you to ‘think outside the box’ in terms of how your venue is presented and what could be done to bring the audience to your cinema before they even get into the auditorium.</p> <p>Though not a cinema show per se, <a href="https://pls.messefrankfurt.com/frankfurt/en.html" target="_blank" rel="noreferrer noopener">ProLight & Sound</a> held last March in Frankfurt, Germany is aimed at the theatre and events industry and there is a lot that could be applied to cinemas. After all, cinemas owe their ancestry to theatre (and in the United States in particular, the name is still used as such), so why not return the compliment and see what could be applied to film venues.</p> <p>In a discussion with Jimmy Sunshine of CinemaExpo, probably more than 20 years ago, he said that, in his opinion, the cinema manager of the future would not be just showing films but running a multimedia venue, with all that that implied.</p> <p>It is no secret that the COVID pandemic has rattled a lot of industries and the cinema is no exception. Getting audiences back into their seats is still proving to be difficult, even though a few big successes have helped things along. So, what to do? Coming from an event and media industry background, it struck me that adding a bit of old-fashioned pizzazz to cinemas could incite people to come to a venue, before they even think about the films. In other words, make your cinema the place to be.</p> <p>Lighting and visual effects for theatres and special events have come on leaps and bounds over recent years and it seems to me that this technology certainly finds its place in cinema venues. I think we can look at three phases: making the venue stand out in the street, getting the people in and then, keeping them at the venue.</p> <p>Starting with the aspect ProLight (the sound can come later), I was able to investigate a variety of possibilities and received a very enthusiastic response from manufacturers with regards to use in cinemas.</p> <p>There is an increasing use of projection on buildings and this can really make a place stand out. However, you may need to find a friendly neighbour or an emplacement in front of your building in order to project from.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="608" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-1024x608.jpeg" alt="Green Hippo - Projection Mapping" class="wp-image-95280" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-1024x608.jpeg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-300x178.jpeg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-768x456.jpeg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-1536x912.jpeg 1536w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-1250x742.jpeg 1250w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping-400x238.jpeg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175255/Green-Hippo-Projection-Mapping.jpeg 2048w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">An example of Green Hippo’s projection mapping system.</figcaption></figure> <p>The idea here is to use the façade of a building as a screen onto which the graphics and content is projected. The support – or projection – can be either projected images (which can also be dynamic) to give a whole new character to the building by using scenes of your choice or laser-driven images from laser projectors. As the old chestnut adage goes, “the only limits are your imagination.”</p> <p>In the case where external projectors cannot be used for whatever reason, there are other solutions for making an eye-catching façade. These range from LED walls to show seamless high-resolution images to ground-mounted lighting projectors that can throw ambient colours – or a “wash” on parts of the wall. The entrance to the cinema could also be framed in LED strips with changing colours to invite people into the foyer.</p> <p>Okay, let us say that we have got people into the building – what can we do to make sure they stay there and investigate what is on offer? The obvious point is to make sure that the ambiance is attractive and catches their interest. It is clear that the foyer is not a theatre but we can use lighting and scenic effects to involve the audience and make things exciting.</p> <p>As previously mentioned, the use of LED panels and/or screens is a way of showing some exciting imagery and the content can be extremely varied. For example, concession stands could be fronted with LED panelling to show what is on offer in terms of food and beverages while panelling behind could be used for a variety of backdrops.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="555" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen-1024x555.jpg" alt="Flexible LED Screen" class="wp-image-95256" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen-1024x555.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen-300x163.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen-768x416.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen-400x217.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175122/2023-Prolight-and-Sound-Frankfurt-Germany-3D-LED-Screen.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Flexible LED screens are now available and are used to great effect in front of desks and counters.</figcaption></figure> <p>As well, the use of LED panelling can be used to great effect for publicity and branding, thus providing a viable source of extra income. One display at Pro Light & Sound had 3D images of a wall crumbling in a forest and a Pterodactyl flying out at you, to be followed by the obligatory T-Rex. It should also be mentioned that flexible LED screens are now available and are used to great effect in front of desks and counters.</p> <p>In fact, LED systems are everywhere – in screens, lighting and lighting strips. They are now an economical way of providing spectacular lighting effects and what are called washes, i.e. large areas illuminated by projectors for an overall effect on walls and screens – both interior and exterior.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="670" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes-1024x670.jpg" alt="LED Lighting System Examples" class="wp-image-95259" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes-1024x670.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes-300x196.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes-768x502.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes-400x262.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175136/2023-Prolight-and-Sound-Frankfurt-Germany-LED-Light-Tubes.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">LED systems are everywhere – an economical way of providing lighting effects.</figcaption></figure> <p>Further possibilities are provided by LED tubes (which can be either round or square in cross-section) that can be used to build décors or just framing applications. Most of these tubes can be programmed to have different hues and effects – once again, eye-catching and providing ambiance.</p> <p>Finding the right lighting applications for your foyer will be very dependent on how much floorspace – and height – is available. Much of what has been discussed so far is very flexible, but for those venues that have the height and area, motorised trusses with projectors can be used to great effect to provide changing moods. Systems as those offered by Tait, can also incorporate screens for more dynamic presentations.</p> <p>It goes without saying that this offers a wide potential for marketing and logo applications.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="667" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting-1024x667.jpg" alt="TAIT motorised truss" class="wp-image-95268" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting-1024x667.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting-300x196.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting-768x500.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting-400x261.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175213/2023-Prolight-and-Sound-Frankfurt-Germany-Tait-Lighting.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">TAIT makes motorised trusses with both lighting and LED screens.</figcaption></figure> <p>Following this brief overview of lighting systems, we can take a look at some items that could be qualified as “special effects.” These certainly incorporate what could be termed the “art of illusion” and range from floor-mounted LED strips firing vertically at rough-hewn curtains – as well as smooth ones – and morphing through a range of colours and effects to create atmosphere, to flooring.</p> <p>One product that particularly caught my eye was a stage composed of plastic panels with LEDs (Hunan Yestech Optoelectronic Co.) that provided a striking 3D effect – am I walking on a solid surface or in danger of falling into something? This was combined with a vibrating floor, the Infra-Floor, that transmits low audio frequencies (subsonics) when stood upon and could be used in an “experience area.”</p> <p>An interesting effect for a foyer was a projection system by Green Hippo that includes cameras that allow visitors to be encrusted into a setting (i.e. virtual set technology) and to include visual effects triggered by arm movements. Fighting away falling snow proved to be very popular but anything would be possible.</p> <p>Vioso provides software for the control and calibration of multi-projector systems that can be used in a variety of situations, such as interior spaces, small to large domes and multimedia simulation installations – to name but a few. Here the term ‘immersive’ really does come into its own and an installation in a foyer could be a real crowd-pleaser.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="721" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen-1024x721.jpg" alt="Stumpfl AnyShape Screen" class="wp-image-95262" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen-1024x721.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen-300x211.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen-768x541.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen-400x282.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175149/2023-Prolight-and-Sound-Frankfurt-Germany-Stumpfl-Anyshape-Screen.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">An example of the Stumpfl AnyShape in which custom-designed frames can be built to suit requirements.</figcaption></figure> <p>There are times when a traditional rectangular screen does not fit the job in hand: Stumpfl have now introduced the AnyShape screen range where custom-designed frames can be built to suit requirements. Once again, applications include visuals and marketing.</p> <p>Airstar provide a range of lighted balloons and large tubes for both decorative and lighting applications. For example, if you needed a large globe of the Earth or the Moon in the middle of your foyer, these are the people to do it.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="768" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-1024x768.jpg" alt="Atomic Lighting Panels" class="wp-image-95277" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-1024x768.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-300x225.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-768x576.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-400x300.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic-320x240.jpg 320w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175239/2023-Prolight-and-Sound-Frankfurt-Germany-Atomic.jpg 1100w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Atomic’s scenic panels can be configured in a wide variety of versions and feature internal lighting to complete the effect.</figcaption></figure> <p>To close the lighting tour, I would like to mention Atomic, who do a range of modular systems for decorative purposes in seating areas as well as general purpose. These scenic panels can be configured in a wide variety of versions and feature internal lighting to complete the effect. As an interesting sideline, the system is rental-only, making it highly suitable for special events where unnecessary capital investment is not an option.</p> <p>To complete our “out-of-the-box” roundup, we will make a brief incursion to the world of audio. Cinema loudspeaker systems have, by and large, not changed significantly over the years and new cinema auditorium concepts are starting to require different technical approaches. Uniform coverage and clarity, especially in the vocal frequencies, are a vital ingredient to any event and certain manufacturers from the concert and theatre world now have products that are very relevant to cinema.</p> <p>Two names that are interesting to note are KV2 Audio and Coda Audio.</p> <p>For cinema installations, the KV2 SL412 and ESR215MkII are three-way point source systems with excellent reproduction in the vocal range. Dispersion is 110° horizontal and 40° vertical, meaning wide audience coverage plus control in the vertical domain to put the sound into the audience and not into the ceiling. A range of subwoofers and application-specific amplifiers/controllers are also part of the KV2 Audio range.</p> <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="768" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-1024x768.jpg" alt="KV2 SL412 Speaker from KV2 Audio" class="wp-image-95265" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-1024x768.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-300x225.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-768x576.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-400x300.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio-320x240.jpg 320w, https://cdn.celluloidjunkie.com/wp-content/uploads/2023/11/02175201/2023-Prolight-and-Sound-Frankfurt-Germany-KV2-Audio.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">The KV2 SL412 speaker from KV2 Audio is a three-way point source system with excellent reproduction in the vocal range.</figcaption></figure> <p>Space by Coda offers a variety of modular panels that include steerable loudspeaker systems, acoustic treatment and artwork – all to be configured to suit the venue. The concept is extremely interesting and Celluloid Junkie will be coming back to this in the near future.</p> <p>On a final note, is communication among staff a problem in your venue? If so, the Riedel Bolero wireless system could be the answer. Designed for the event and broadcast industry, this digital enhanced cordless telecommunications (DECT) system is very robust and user friendly. The key components are colour-coded beltpacks and distribution antennae. The advantage of it being DECT is that it is immune to outside interference and thus totally secure.</p> <p>With all of the convergence among the latest technologies, the cinema needs to be more than ever an ‘experience zone’. I hope that this foray into the multimedia world will have provoked some interest to look outside the box and germinate some ideas. I would be very interested to get your feedback.</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/">ProLight + Sound 2023 Brings Some Theatre Fairy Dust to Cinemas</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/09/08/prolight-sound-2023-brings-some-theatre-fairy-dust-to-cinemas/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Locarno: Market Classics Like New Releases, Says Panel of Experts</title> <link>https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/?utm_source=rss&utm_medium=rss&utm_campaign=locarno-market-classics-like-new-releases-says-panel-of-experts</link> <comments>https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/#respond</comments> <dc:creator><![CDATA[Davide Abbatescianni]]></dc:creator> <pubDate>Wed, 30 Aug 2023 11:03:00 +0000</pubDate> <category><![CDATA[Locarno Film Festival]]></category> <category><![CDATA[People]]></category> <category><![CDATA[Conferences & Trade Shows]]></category> <category><![CDATA[Film Festivals]]></category> <category><![CDATA[theatrical distribution]]></category> <category><![CDATA[Repertory]]></category> <category><![CDATA[film marketing]]></category> <category><![CDATA[Heritage Online]]></category> <category><![CDATA[classic cinema]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=96420</guid> <description><![CDATA[<p>On 7 August, the Locarno Film Festival hosted a Heritage Online panel titled “Theatrical Distribution and Streaming of Classics,” moderated by critic and programmer Jay Weissberg. The panel was comprised of Ronald Chammah (Les Film Camelia); Frédéric Maire (Cinématèque Suisse); Elise Cochin (mk2); Jaume Ripoll (Filmin); K.J. Relth-Miller (Academy Museum) and Erin Farrell (Film Movement).<a class="moretag" href="https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/">Locarno: Market Classics Like New Releases, Says Panel of Experts</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>On 7 August, the Locarno Film Festival hosted a Heritage Online panel titled “Theatrical Distribution and Streaming of Classics,” moderated by critic and programmer Jay Weissberg. The panel was comprised of Ronald Chammah (Les Film Camelia); Frédéric Maire (Cinématèque Suisse); Elise Cochin (mk2); Jaume Ripoll (Filmin); K.J. Relth-Miller (Academy Museum) and Erin Farrell (Film Movement).</p> <p>First, Weissberg asked whether the concept of heritage cinema itself is helping or hurting theatrical distribution. Cochin said that mk2 handles a catalog of about 850 titles, including some key titles by auteurs such as Abbas Kiarostami and David Lynch, as well as “more obscure films.” She also highlighted how working under their own label (which kicked off during the first lockdown) has proven beneficial to the circulation of “unknown films and classics” alike.</p> <p>Relth-Miller explained how during a chat with an exhibitor based in Paris, she found out how repertory cinema is not considered different from contemporary cinema, “They are collapsing both concepts into one single model. I think that’s very interesting because at least in Los Angeles – and I can see this in New York and in other major metropolitan areas of the United States – you [actually] see a bifurcation,” she insisted. </p> <p>Meanwhile, Maire rejected the idea of distinguishing old and new titles, backing the idea of mixing fresh titles with classics. “This idea of separating them is useful for communication for the market, but, except for that, we try to avoid it. […] Yesterday, I was watching [Daniel Schmid’s] “La Paloma” and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.</p> <p>Farrell agreed that this approach can be helpful to raise audience awareness, “When we talk about ‘heritage films’ in the same breath as our new releases, we tend to get a bit more engagement, and that’s something I’m trying to do more going forward.”</p> <p>“Let’s call a cat a cat: ‘heritage film’ is not a bad word. […] We can have a lot of fun creating marketing,” said Cochin, adding how her team, in collaboration with artist and illustrator Akiko Stehrenberger, created “a series of really <em>badass</em> posters” to promote restored movies by Claude Chabrol. </p> <p></p> <p><strong>Changing Landscapes</strong></p> <p>Throughout the panel, the speakers thus agreed how positioning old films as if they are brand-new titles is crucial, but also admitted that it is significantly harder to work with this strategy on “hidden gems” in comparison with films typically termed “classics” that have been helmed by acclaimed filmmakers. They also agreed how – luckily enough – the pandemic has actually helped increase the curiosity of audiences.</p> <p>Reith-Miller, for example, noted how certain cult classics, such as Sergio Corbucci’s “The Great Silence”, are always going to perform well and can serve as a “gateway for more exploration,” paving the way for lesser known hidden gem films.</p> <div class="wp-block-image"><figure class="alignright size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="576" src="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-1024x576.jpg" alt="" class="wp-image-96426" style="aspect-ratio:1.7777777777777777;width:578px;height:auto" srcset="https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-1024x576.jpg 1024w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-300x169.jpg 300w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-768x432.jpg 768w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-1536x864.jpg 1536w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-1250x703.jpg 1250w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4-400x225.jpg 400w, https://cdn.celluloidjunkie.com/wp-content/uploads/2024/01/17043329/LocarnoPro_panel4.jpg 1920w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Jaume Ripoll (left, Filmin); Elise Cochin (mk2)</figcaption></figure></div> <p>Meanwhile, Maire described France as “a paradise” for heritage cinema, and Ripoll admitted that the Spanish market is more challenging when it comes to the same niche. “What numbers tell us is that people, or at least our Spanish audience, only care about one or two big titles. If it’s Chantal Akerman, it’s “Jeanne Dielman”, “23 quai du Commerce”, “1080 Bruxelles”,” said Ripoll.</p> <p>Chammah revealed how the arthouse audience keen to rediscover classics got younger: “Seven years ago when we would show a classic, the main audience used to be older. Now, after the pandemic, it’s young people.” Speaking of marketing, he highlighted how radio interviews and podcasts may now be more effective than print media. After taking part in three radio broadcasts over the course of two weeks, the attendance of Les Film Camelia’s silent film program doubled.</p> <p>Maire stressed how new media and platforms are indispensable to intercept younger audiences, mentioning the Cinematheque’s work on TikTok and the creation of a dedicated podcast. Besides, the organization of event screenings remains essential, he added.</p> <p>On the topic of attracting audiences with original prints, Relth-Miller defined such a choice as “a double-edged sword.” The prints need to be of high standard in order to build trust and not to receive complaints, “When there is trust, the audience can go out on a limb with you. They know you will take them somewhere interesting.”</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/">Locarno: Market Classics Like New Releases, Says Panel of Experts</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/08/30/locarno-market-classics-like-new-releases-says-panel-of-experts/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Cinema Foundation’s Jackie Brenneman Discusses 2023 National Cinema Day</title> <link>https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/?utm_source=rss&utm_medium=rss&utm_campaign=cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day</link> <comments>https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/#comments</comments> <dc:creator><![CDATA[J. Sperling Reich]]></dc:creator> <pubDate>Wed, 23 Aug 2023 00:46:00 +0000</pubDate> <category><![CDATA[Marketing & Promotions]]></category> <category><![CDATA[Organizations]]></category> <category><![CDATA[National Cinema Day]]></category> <category><![CDATA[National Association of Theatre Owners]]></category> <category><![CDATA[Jackie Brenneman]]></category> <category><![CDATA[The Cinema Foundation]]></category> <guid isPermaLink="false">https://celluloidjunkie.com/?p=93678</guid> <description><![CDATA[<p>Even after the first ever National Cinema Day attracted over 8.1 million moviegoers throughout North America on 3 September of last year, it was not a foregone conclusion that the initiative would become an annual event. However, the lingering question about the future of National Cinema Day was answered on Monday when its organizer, The<a class="moretag" href="https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/">Read More</a></p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/">Cinema Foundation’s Jackie Brenneman Discusses 2023 National Cinema Day</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></description> <content:encoded><![CDATA[<p>Even after the first ever National Cinema Day <a href="https://celluloidjunkie.com/wire/first-national-cinema-day-brought-an-estimated-8-1-million-moviegoers-to-cinemas-across-the-country-september-3rd/">attracted over 8.1 million moviegoers</a> throughout North America on 3 September of last year, it was not a foregone conclusion that the initiative would become an annual event. However, the lingering question about the future of National Cinema Day was answered on Monday when its organizer, <a href="https://celluloidjunkie.com/wire/the-cinema-foundation-announces-the-second-annual-national-cinema-day-americas-day-at-the-movies-on-aug-27th/">The Cinema Foundation, announced</a> it will be occurring on Sunday, 27 August at over 3,000 movie theatres throughout the United States.</p> <p>The 2023 version of <a href="https://www.nationalcinemaday.org/" target="_blank" rel="noreferrer noopener">National Cinema Day</a> has been moved up one week into August and switched from a Saturday to a Sunday, and all movie tickets for all showtimes, all formats will still be offered at a steep discount of USD $4, instead of last year’s USD $3. But that isn’t the only difference as <a href="https://celluloidjunkie.com/tag/jackie-brenneman/">Jackie Brenneman</a>, the President of <a href="https://www.thecinemafoundation.org/" target="_blank" rel="noreferrer noopener">The Cinema Foundation</a> explained when during a recent interview about the upcoming program. We spoke to Brenneman last week, before reports were published that she was leaving both the foundation and the <a href="https://www.natoonline.org/" target="_blank" rel="noreferrer noopener">National Association of Theatre Owners</a>, where she is Executive Vice President & General Counsel.</p> <p>Our conversation began by discussing last year’s event, which Brenneman says was designed as a way for cinema operators and distributors to show their appreciation of moviegoers while the industry recovered from the pandemic. Despite being successful at enticing audiences to cinemas, not all the stakeholders were entirely convinced National Cinema Day should be repeated, which was apparent earlier this year during a panel discussion at CinemaCon on the pros and cons of the event. Studios spend countless millions on making and marketing movies so it makes sense that any plan discounting tickets to their releases would be anathema to them. Likewise, a few exhibitors wondered if the event attracted a customer base that was only looking for a discount but didn’t purchase any concessions. Understandably, nobody wants to leave money on the table or suppress revenue generation through such an event.</p> <p>Yet there was clearly enough enthusiasm after the first National Cinema Day to hold it again in 2023. “I think we developed a level of trust and credibility in our execution last year,” said Brenneman. “I think the studio’s knew that we were really looking out for all partners. The Cinema Foundation is an all industry group. We came to them right after Cinema Day last year and and showed them our results and asked for their thoughts. And then we continued having conversations with them to make sure National Cinema Day is a value add for them. It’s easy to see how it’s a value add for exhibition. But Cinema Day doesn’t work if it’s not for the whole industry. And so we really did set out to make the day bigger and better for our partners too.”</p> <p>One sign that studios may have seen some benefit to participating in National Cinema Day this year is the sheer number of films being offered to audiences. In 2022, a handful of titles and few if any new releases were available to cinema-goers on National Cinema Day, however this year there are a dozen or more movies to choose from; hit holdovers like “Barbie,” “Oppenheimer” and “Sound of Freedom” are going to be joined by wide releases such as “Gran Turismo.” These titles will be augmented by special releases of “Jurassic Park” in 3D, a sing-a-long version of “The Little Mermaid” and the 50th Anniversary screenings of “American Graffiti” through Fathom Events. Universal Pictures is even bringing “The Super Mario Bros. Movie” back to theatres just in time for the event and A24 is programming “Lady Bird” for those who might want to see one of filmmaker Greta Gerwig’s earlier movies.</p> <p>The Cinema Foundation also had more time and resources to plan this year’s National Cinema Day. In 2022, Brenneman was given one month and a USD $500,000 marketing budget to plan a brand new holiday. This year, studios are providing more promotional heft to the cause and major cinema chains have planned special events throughout the day. It’s all a part of Brenneman’s longer term vision for National Cinema Day. “If we’re calling this a holiday for movie going, then the best thing we can do is to increase the celebration,” she said. “We want this to eventually be that day that you have to go to the movies. Five to ten years down the road, if this is the day where you know, there’s special sneak previews, new releases that you can only see on National Cinema Day, Q&As, talent drop-ins and giveaways… If every single movie theater can be its own CinemaCon or ComicCon, its own party. That’s that’s the eventual goal. It’s hopefully going to be a better experience every single year. The best way to achieve that is to listen to movie theater owners who know their customers best and listen to studios who are programming for a variety of audiences.”</p> <p>For this upcoming National Cinema Day, Brenneman has been able to facilitate data collection from moviegoers. “Data is at our core at The Cinema Foundation,” Brenneman stated. “We can’t tell our story unless we understand the facts. Who came? Why did they come? And so that is a key area of improvement this year that was requested by partners from all sides.”</p> <p>Data collection is being done through a survey created by the foundation in collaboration with exhibitors and distributors. It will be available at all participating theatres through a QR code and the results will be shared with all stakeholders so that everyone can understand what kind of moviegoers come out for National Cinema Day. Special movie themed giveaways will be offered as an incentive for audiences to participate in the survey. Even the Academy of Motion Pictures Arts and Sciences has offered up a prize; a USD $500 Lego Oscar.</p> <p>Of course, what is getting all the mainstream media attention in advance of this year’s National Cinema Day and what will put the event on most moviegoers radar aren’t giveaways or prizes, it’s the USD $4 ticket price. Brenneman though stressed that “National Cinema Day isn’t really about the price. If it were just about price, we wouldn’t have eight million people coming. It’s about the experience. It just has to be. We want everyone to understand that movie theaters are a place where there is something for everyone.”</p><p>The post <a rel="nofollow" href="https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/">Cinema Foundation’s Jackie Brenneman Discusses 2023 National Cinema Day</a> appeared first on <a rel="nofollow" href="https://celluloidjunkie.com">Celluloid Junkie</a>.</p>]]></content:encoded> <wfw:commentRss>https://celluloidjunkie.com/2023/08/22/cinema-foundations-jackie-brenneman-discusses-2023-national-cinema-day/feed/</wfw:commentRss> <slash:comments>1</slash:comments> </item> </channel></rss> If you would like to create a banner that links to this page (i.e. this validation result), do the following:
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