Dutch Film Works Moves into International Sales (EXCLUSIVE)

A major new international sales outfit is coming to market. Dutch Film Works (DFW), one of the largest movie distributors in the Benelux region, is moving into film and TV sales. DFW general manager Angela Pruijssers will spearhead the sales effort alongside Charlotte Henskens, who will join from Amsterdam-based Fortissimo Films, where she is director of sales, in June.

The new operation launches out of the gate with Fatt Prods. “My Best Friend Anne Frank” and “Penoza the Movie,” a feature based on NL Film’s popular Dutch series of the same name, which was remade as “Red Widow” for ABC in the U.S.

DFW is in Cannes in buying mode and has picked up movies including AGC’s “Moonfall.” It is also readying the launch of an international sales arm, DFW Intl. The sales division will have a presence at the major film and TV markets, starting with Mipcom in October — the global TV biz’s largest annual confab.

Utrecht-based DFW has previously brokered some sales deals, including one for De Mensen’s buzzy Dutch crime series “Undercover,” which Netflix now has in most global territories.

Having moved into film, TV, docs and kids’ production, the DFW slate includes big-ticket 10-part Dutch crime saga “Women of the Night” (pictured), and NL Film’s “Stanley,” a limited series based on the real-life story of notorious drug smuggler Stanley Hillis. Both are for Dutch pubcast channels locally, and DFW Intl. will sell them internationally.

DFW CEO Willem Pruijssers said that new local incentives have spurred its move into sales. The relief kicks in at a high level for local producers, opening up an opportunity for DFW to come in and provide finance, become a production partner and take on international rights.

“The quality level is going up because of the possibility of bigger budget productions,” he told Variety. “We will specialize in high-end local content with international potential. Traditionally sales agents work on a commission basis, but we are investing in projects and it’s more of a partnership model.”

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

‘Game of Thrones’: Emilia Clarke, Sophie Turner Pen Emotional Farewells Ahead of Series Finale

The Mother of Dragons is saying goodbye.

After portraying Daenerys Targaryen on “Game of Thrones” for the better part of the past decade, Emilia Clarke penned a heartfelt farewell ahead of the series finale.

“Finding the words to write this post has left me overwhelmed with how much I want to say but how small words feel in comparison to what this show and Dany have meant to me,” Clarke wrote on Instagram hours before the show’s final episode airs on HBO. “The mother of dragons chapter has taken up the whole of my adult life.”

Clarke had only appeared in small TV and film roles before she became known to the world as Khaleesi,  Breaker of Chains, and Mother of Dragons. The 32-year-old actress was in her early 20s when she was cast in the risky fantasy drama based on George R.R. Martin’s book series “A Song of Ice and Fire.”

“This woman has taken up the whole of my heart,” she continued. “I’ve sweated in the blaze of dragon fire, shed many tears at those who left our family early, and wrung my brain dry trying to do Khaleesi and the masterful words, actions (and names) I was given, justice.”

Clarke, who received three Emmy nominations for “Game of Thrones,” lost her father to cancer in 2016, just as the show’s seventh season began airing.

“‘Game of Thrones’ has shaped me as a woman, as an actor and as a human being,” she said. “I just wish my darling dad was here now to see how far we’ve flown.”

Despite her character’s darker arc toward the end of the eighth and final season, Queen Dany has remained a fan-favorite over the course of the series.

“But to you,” she concluded, “dear kind magical fans, I owe you so much thanks, for your steady gaze at what we’ve made and what I’ve done with a character that was already in the hearts of many before I slipped on the platinum wig of dreams. Without you there is no us. And now our watch has ended.”

Finding the words to write this post has left me overwhelmed with how much I want to say but how small words feel in comparison to what this show and Dany have meant to me. The mother of dragons chapter has taken up the whole of my adult life. This woman has taken up the whole of my heart. I’ve sweated in the blaze of dragon fire, shed many tears at those who left our family early, and wrung my brain dry trying to do Khaleesi and the masterful words, actions (and names) I was given, justice. Game of Thrones has shaped me as a woman, as an actor and as a human being. I just wish my darling dad was here now to see how far we’ve flown. But to you, dear kind magical fans, I owe you so much thanks, for your steady gaze at what we’ve made and what I’ve done with a character that was already in the hearts of many before I slipped on the platinum wig of dreams. Without you there is no us. And now our watch has ended. @gameofthrones @hbo #love #motherofdragonsoverandout

A post shared by @ emilia_clarke on May 19, 2019 at 9:37am PDT

Sophie Turner, best known to “Game of Thrones” enthusiasts as Sansa Stark, also wrote a touching tribute ahead of Sunday’s epic conclusion.

“Sansa, Thank you for teaching me resilience, bravery and what true strength really is,” Turner captioned a cast photo. “Thank you teaching me to be kind and patient and to lead with love.”

Like Clarke, the 23-year-old Turner has spent a significant portion of her life on the set of “Game of Thrones.”

“I grew up with you,” she wrote. “I fell in love with you at 13 and now 10 years on.. at 23 I leave you behind, but I will never leave behind what you’ve taught me.”

Turner also gave a shoutout to her fellow cast and crew members.

“To the show and the incredible people who make it, thank you for giving me the best life and drama lessons I could have ever asked for,” she said. “Without you I wouldn’t be the person I am today. Thank you for giving me this chance all those years ago. And finally to the fans. Thank you for falling in love with these characters and supporting this show right through till the end. I’ll miss this more than anything.”

Sansa, Thank you for teaching me resilience, bravery and what true strength really is. Thank you teaching me to be kind and patient and to lead with love. I grew up with you. I fell in love with you at 13 and now 10 years on.. at 23 I leave you behind, but I will never leave behind what you’ve taught me. To the show and the incredible people who make it, thank you for giving me the best life and drama lessons I could have ever asked for. Without you I wouldn’t be the person I am today. Thank you for giving me this chance all those years ago. And finally to the fans. Thank you for falling in love with these characters and supporting this show right through till the end. I’ll miss this more than anything.

A post shared by Sophie Turner (@sophiet) on May 19, 2019 at 1:12pm PDT

Jacob Anderson, who plays Grey Worm, a trusted adviser of Danerys, called his six-year run on the show “the craziest school trip ever.”

“Grey Worm. You went from a robot to a real boy. I’m proud of you. I’ll miss you bud,” the actor wrote on Instagram. “Thank you to everybody that cared about him and rooted for him. He was really scared at first, but you made him feel loved. He appreciates it. I asked him.”

1. First Day. 2. Last Day. GoT was like the craziest school trip ever. A 6 year Adventure Weekend. Grey Worm. You went from a robot to a real boy. I’m proud of you. I’ll miss you bud. Thank you to everybody that cared about him and rooted for him. He was really scared at first, but you made him feel loved. He appreciates it. I asked him. Huge shout out to the Targs team: Nats, Emilia, Conleth, Peter, Iain, Ian, Michiel, Reece, Ed, Kit, Liam. Thank you for making the days so fun. Here’s to every single department behind the scenes that worked to the bone to make this show. They worked tirelessly everyday to make this thing, and they never get shout outs and they know that but they do it anyway. Here’s to you, you ragtag bunch of talented clever rascals. I love ya’ll. Thank you. Game of Thrones ENDS tonight on @hbo AT 9pm and @skyatlanticuk at 2am. I hope you enjoy it.

A post shared by Raleigh Ritchie (@raleighritchie) on May 19, 2019 at 1:37pm PDT

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

French Filmmaker Axelle Ropert Readies ‘Petite Solange’ With MK2 Films (EXCLUSIVE)

French writer/director Axelle Ropert is set to direct “Petite Solange,” a film that will star Léa Drucker and Philippe Katerine, who won the best acting nods at this year’s Cesar Awards for their performances in “Custody” and “Sink or Swim,” respectively.

MK2 films will handle international sales. Haut et Court has acquired rights for French distribution.

Produced by Aurora Films with a budget of 1.5 million euros ($1.675 million), “Petite Solange” follows a vibrant and sentimental 12-year-old girl whose world starts to crack when her parents’ marriage falls apart.

“‘Petite Solange’ is a gentle and tender drama with a much needed point of view; that of a young girl surrounded by love but also caught in her parents’ break up, and the impact of their divorce on her own search for love,” said Juliette Schrameck, managing director at MK2 films. “Petite Solange” is set for delivery in 2020.

Ropert, who is also a prominent film critic and journalist, made her feature debut with “The Wolberg Family” which played at Cannes’ Directors Fortnight in 2009.

MK2 Films has seven films playing in the official selection at this year’s Cannes Film Festival, including five pics in competition — three of which are directed by women: Justin Triet (“Sibyl”), Mati Diop (“Atlantics”) and Celine Sciamma (“Portrait of a Lady on Fire”). The company also has Monia Chokri’s “A Brother’s Love” and Danielle Lessovitz’s “Port Authority” playing at Un Certain Regard.

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

Adult Audience Animation: Cannes Panel Talks Big-Screen Strategy

CANNES–A panel of leading animation industry executives gathered during the Cannes Film Market on Sunday to shed light on their strategies for the theatrical release of adult-oriented animated features.

It was a timely conversation at this year’s Cannes Film Festival. Five of the 28 animated projects in the Marché du Film are adult audience-focused, including two in the official selection, noted Annemie Degryse, CEO and producer of Belgium’s Lunanime, while moderating “The A-Z Game Plan to Releasing Animated Films for Adults for the Big Screen.” Yet even as adult-oriented animation is enjoying greater critical acclaim than ever before, its commercial prospects are often limited.

“Finding the audience is always difficult for adult [targeting] movies,” said Carole Baraton, co-founder of Paris-based sales agent Charades. While family animation – despite its ups and downs – has had an established model for box-office success since the early days of Disney, adult-oriented animated features are still largely seen as niche-oriented.

“When these movies are released in our theaters, they’re seen more as curiosities, because we have two or three animated movies for adults a year,” said Jan-Willem van Eemeren, manager of Belgian exhibitor Cinema Cartoon’s. “They have to compete with the best arthouse movies there are during the year…[and] people have to choose between them.”

He continued: “For an audience, [animation] is something abstract. It’s not a unique selling point.” Cinema Cartoon’s most successful adult animation titles in recent years, such as Wes Anderson’s “Isle of Dogs” and Charlie Kaufman’s “Anomalisa,” “used animation as a medium,” rather than as the main attraction luring audiences to the theater, said van Eemeren.

In the case of French director and animator Jeremy Clapin’s “J’ai perdu mon corps” (I Lost My Body), which is playing in Critics’ Week this year, Baraton said the film stands out as an “auteur’s statement, something really fresh and different, and very sophisticated, which can really stand out among all the arthouse crowd.”

Edward Noeltner, president of L.A and Pari-based Cinema Management Group, said that the breakout success of Academy Award nominee “Loving Vincent” was due to a combination of its lavish, hand-painted animation style, an IP that was “universally known and loved,” and the tragic story at its heart, about the tortured life of Vincent van Gogh. “All of these things were wonderful marketing tools,” he said.

A splashy festival launch was instrumental to the successful release of Studio Ghibli’s Oscar-nominated feature “The Red Turtle,” according to Baraton, whose Charades sold the film. “It was key to be in Cannes’ Un Certain Regard. It allowed the movie to step out of what I call the animation ghetto. It was considered more as a great director, auteur breakout,” she said.“The fact that it started here…allowed us to secure a real strong network of distributors, with a mixture of animation distributors, and a mix of distributors who are not specialized at all.”

That mix is vital to turning an adult-focused animated feature into a breakout hit, said Dave Jesteadt, president of U.S. indie distributor Gkids, whose pick-ups for North America have scored 11 best animated feature Oscar nominations since 2009.

“Marketing the films as narratives, as independent films, as foreign films, is really as important or more important than marketing them as animation,” he said. “The actual audience who self-identify as adult animation fans in America is fairly limited…but the potential audience for adult stories, for these kinds of extremely creative narratives, is very large.”

The challenge for Gkids is to target potential movie-goers who “don’t normally think of animation as a medium that can tell these kinds of stories, but regularly go see other subtitled cinema, and get them into the theaters for animation.”

If there’s an upside for distributors and sales agents – who producer Manuel Cristobal, of Spain’s Sygnatia, described as the “key in this business” – it’s that the rash of adult animated films and series showing on TV and streaming services are making them more familiar, and more appealing. “The digital platforms, they do have that audience,” said Baraton. “They have a real appetite for these movies. They find the audience for you, and you provide the movies.”

Jesteadt noted that “more and more younger generations are being raised without strict boundaries between animation and live action, and if we’re really being honest, between digital and film.”

He added: “Those lines are going to blur, and I think the audience will become increasingly diversified with each passing year.”

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

John Hannah Reunites With ‘The Mummy’ Actors for Horror Pic ‘Lair’ (EXCLUSIVE)

John Hannah, Corey Johnson and Oded Fehr will star in “Lair,” billed as a socially conscious horror movie about an LGBT family embroiled in one man’s attempt to prove the existence of the supernatural.

The trio all appeared in the successful franchise “The Mummy,” and their new picture goes into production later this year. Katarina Cas, Julian Kostov, Alexandra Gilbreath and Jen Brister also star. Ditto Films will produce, and Adam Ethan Crow writes and directs.

The film follows self-proclaimed occult expert Dr. Steven Caramore (Johnson), who ekes out a living debunking claims of possession, haunting and anything supernatural for a quick buck. When a friend (Fehr) accused of murder claims he was possessed by a demon, Caramore has to test his own beliefs. Hannah stars as his lawyer.

Caramore litters an apartment with cursed items, outfits it with surveillance equipment and rents the place to an unsuspecting family, setting off a chain of supernatural events. Cas and Brister play a lesbian couple with two kids.

Alonso Varela, whose credits include “War for the Planet of the Apes” and “Guardians of the Galaxy,” will be vfx supervisor. Cinematographer Stuart White is also on board. Production gets under way in L.A. in September. Sales are with iuviT Media, which is pre-selling the horror pic at Cannes.

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

Emerging Talent From Gallic Cinema

Variety is teaming with Unifrance, an agency that promotes French cinema around the world, to focus attention on four emerging talents in the French movie industry as part of Unifrance’s “New Faces of French Cinema” program. Here Variety profiles the rising filmmakers: Justine Triet, Eléa Gobbé-Mévellec, Hafsia Herzi and Mati Diop.

Mati Diop
Born to a family of musicians and filmmakers, raised in France, and trained at the Le Fresnoy National Studio of Contemporary Arts, Diop has already built an impressive track record on the international circuit.

She’s taken her short- and medium-length films to festivals in Marseille, Venice and Montreal, collecting prizes left, right and center, and has starred in acclaimed works from directors including Claire Denis and Antonio Campos.

This year she’ll make history as the first black female filmmaker to compete for the Palme d’Or with her feature debut, “Atlantics.” She said she was pleased to be the first black woman filmmaker in Cannes Competition. The film serves as both an extension and companion piece to her 2009 short “Atlantiques,” which won the prize for short film at the Rotterdam fest.

As Diop describes in her director’s statement, her Cannes debut “is a film about being haunted, being spellbound, and the idea that ghosts are created within us.”

As filmmaker, Diop has often contended with her own background and family heritage. With her 2013 doc “A Thousand Suns” she considered the impact of “Touki Bouki,” a landmark of Senegalese cinema that was directed by her uncle Djibril Diop Mambéty, and that took home the Critics’ Award in Cannes 1973.

As she describes it, “Atlantics” shares an equally personal charge, even if the story isn’t precisely her own. “A first film is often autobiographical, even indirectly,” Diop writes. “Inventing the character of Ada was also a way of having the experience, through fiction, of the African adolescence that I hadn’t lived.”

Hafsia Herzi
Herzi broke out in a major way with 2007’s “The Secret of the Grain.”

When cast, she was a 19-year-old unknown who had never acted in a film before, and by the time all was said and done, she emerged with prizes from the Césars and Venice Film Festival and an international career that continues to this day.

But Herzi also credits that big-screen debut with sparking her interest in her latest undertaking as well. “I like writing, and I wanted to tell stories,” she says. “And shooting ‘The Secret of the Grain’ confirmed my desire to do so with film.”

She directed her first short in 2010, and has been developing different projects since then. However, when a recent attempt stalled out waiting for financing, the would-be director took matters into her own hands.

“Instead of sitting around waiting for the financing to come together [for that other project], I looked for something I could put together and get off the ground right away,” she explains. “I put together a small crew of about four people, and I said, let’s shoot. I decided to do this project on a Thursday morning, and by Monday we were in production.”

Herzi wrote, directed and produced “You Deserve a Lover,” and filled both the cast and crew with people working on their first feature shoot.

“It’s very important for me to work with first-timers,” she notes. “Just like someone gave me a shot, I’d like to do the same for others. I like fresh ideas and new voices, and I don’t believe in adhering to any rules. My only rule is this: if you like cinema and want to make it, you’re welcome on my set.”

Eléa Gobbé-Mévellec
Once her 2008 short “Escale” announced her as one of the most promising new talents in French animation, Gobbé-Mévellec opted to continue working as an animator on other director’s features in order to better understand the process and ready herself for her own eventual debut.

Over the past decade the animator worked on several high-profile projects, but she credits one in particular for offering her a new creative vision.

“ ‘Ernest and Celestine’ was the revelation of my career,” she says. “It validated my interest in watercolors and open lines by showing how beautifully they could work in animation, and it proved that such a graphic style could be a powerful storytelling tool.”

When the producers of “The Swallows of Kabul” went looking for a co-director for their film and invited Gobbé-Mévellec to pitch, she considered the project’s new story and setting, and let her mind wander back to her previous watercolor work.

“It created connections in my head,” says Gobbé-Mévellec. “The white of the paper could also represent the light of Kabul, I thought. A good story announces its own form, and you have to listen to what it tells you, and the look of the film was inspired by what I did before.”

“The Swallows of Kabul” plays in Cannes’ Un Certain Regard.

Her first feature now under her belt, Gobbé-Mévellec has a few projects in early development and remains enraptured by her chosen profession.

“I will continue doing what I love, which is to draw,” she says. “Animation takes a step away from the real world in order to consider it with a different set of eyes. It allows us to explore different ideas and see old things in new ways. That’s what nourishes me, and that’s what I love about cinema in general.”

Justine Triet
Triet has always needed to court chaos.
After studying video art and documentary at France’s prestigious National School of Fine Arts, she found her inspiration in the street violence and political unrest of her immediate surroundings. “I had a lot of difficulty shooting Paris, because it felt like a museum,” she says. “In order for a place to excite me, I need to find the action and volatility within it.”

She shot docs in Paris and Sao Paulo, and then inched toward fiction filmmaking for entirely pragmatic reasons. “I could never film exactly what I wanted without threat of a lawsuit,” Triet laughs, “so I figured I’d have cast real actors and call the film a fiction. That way nobody would threaten to sue!”

She made her feature breakthrough with “Age of Panic,” a film that thrust two professional actors into a series of unplanned and fractious events in the lead-up to France’s 2012 presidential election, and followed it up with 2016’s “In Bed With Victoria,” a deconstructed romantic comedy about the neuroses of urban life.

This year, she makes her Cannes Competition debut with “Sibyl,” the story of a collected psychiatrist whose professional cool begins to unravel when she takes on an actress as a patient, and whose tether to reality only further loosens once she starts bearing witness to the controlled chaos of a film set.

The film might not be directly autobiographical, but it speaks to one of Triet’s key principles as she continues to explore feature filmmaking.

“I have a way of working where I always need to throw things into disorder,” she says. “Either by bringing in animals or children or whatever else, I must always find a way to get out of my comfort zone.

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

Concert Review: The Dandy Warhols Need No Confetti at 25th Anniversary Show

When the Dandy Warhols released their first album in 1995, the year’s bestselling record came from Hootie and the Blowfish. Suffice it to say, a lot has changed in the music industry and the world since Courtney Taylor-Taylor and Peter Holmström met in Portland, Oregon and decided to form a band. Yet on Saturday night at the Fillmore in San Francisco, on the final headlining date of a tour celebrating the band’s 25th anniversary (they’re playing the Bottlerock Festival later this week), the Dandy Warhols largely treated the affair as they would any other show.

Although singer-guitarist Taylor-Taylor, guitarist Holmstöm, keyboardist Zia McCabe and drummer Brent DeBoer had played 13 shows in the past 15 days, they seemed no worse for wear — although they didn’t hit the stage until the very rock and roll time of 10:45 p.m. Stationed amidst several iridescent (and slightly deflated) balloons reminding the crowd of the band’s silver jubilee, Taylor-Taylor and company kicked things off with the gothic, haunting “Forever.” Highlighted by McCabe’s steady work on the keys—made all the more effortlessly cool thanks to her choice to stash her spare hand in her pocket as she played—the choice to open with a fairly atypical-sounding song from their latest album encapsulated the Dandy’s attitude. Yes, being a band for a quarter of a century is no easy feat, but that apparently doesn’t mean excessive fanfare is required.

In some senses, it was the pacing and sequence of the setlist that reflected why the Dandy Warhols have managed to stick around when so many other bands have dissipated. When the final notes of “Forever” gave way to a rousing take on fan favorite “Holding Me Up,” it was a reminder of the band’s proven track record as a rock chameleons: That song’s alt-pop sensibilities are a world apart from “Forever,” yet both tracks are clearly cut from the same cloth. The band’s ability to embrace different sounds—psychedelia, garage rock, shoegaze—without ever losing the core flame that keeps them burning was showcased again and again as the group performed selections from across their career.

As for fond memories, the anecdotes from Taylor-Taylor were minimal.

Dressed in his typical attire—a vest, scarf, and tight maroon pants—he spoke at one point about performing in a garage in San Francisco’s Mission district with local peers Brian Jonestown Massacre. Otherwise the space between songs was filled with instrument distortion, be it an open note from Holmstöm or some warbled keyboard noises. Chatting with the audience can feel forced or authentic, just as ignoring fans may seem arrogant or come across as a byproduct of a musician’s focus. In the case of the Dandy Warhols, it’s likely the answer lies somewhere in the middle. It seems plausible that a bit of distance and disconnect could be a helpful tool in conjuring the proper atmosphere for a rock show, but it may also simply have been the result of the band needing a few beats to catch their breath. If that’s the case, it’s certainly understandable given they’d played nearly every night over the past two weeks.

One thing that stood out was the age of those in attendance in relation to which songs they were most excited to hear.

It wasn’t difficult to spot the “Veronica Mars” fans who reacted with elation when the synthesizers of “We Used to Be Friends” (the cult series’ theme song) burbled to life. Likewise, the bohemians to whom the Dandy Warhols once famously compared themselves to have, in some instances, now become parents. Small clusters of moms and dads with younger children—the majority of whom were equipped with adequate ear protection—looked to share a moment with their kin when the band reached the evening’s finish line with early hits like “I Love You” and the classic “Every Day Should Be a Holiday.”

The stage arrangement for the Dandy Warhols saw Taylor-Taylor positioned at rear center beside his cousin, drummer DeBoer. Flanked by McCabe and Holmstöm on either side, their chosen alignment was reminiscent of a time when a venue’s intimate confines necessitated that the band wedge itself into a tiny space. Those were the days of house shows, poorly lit bars, and yes, garages in the Mission. While the stages the band now plays on may have grown in size, their approach has never changed: The Dandy Warhols play like a group that doesn’t need fancy soirees to prove their success. The proof is in Holmstöm’s fuzzed-out guitar licks; in McCabe’s Swiss Army-knife role in the group, constantly pivoting from keyboards to bass to maracas to tambourine; it’s in Taylor-Taylor’s vocals, which still seethe with a poisonous disaffection. It’s plastered all over DeBoer’s face every time he’s called upon to harmonize.

Anniversary show or just another Saturday night? The Dandy Warhols don’t care, and neither should you.

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

CBS Hurls New Anchor Team Into TV’s Morning-News Wars

News Team: Assemble.

CBS News plans to hurl a new anchor squad into TV’s morning-news wars Monday when a different trio – Gayle King, Anthony Mason and Tony Dokoupil –  takes the helm at “CBS This Morning.” The A.M. effort that has won critical plaudits by focusing on harder news topics, like international affairs and business, and has given CBS new momentum in a daypart dominated by ABC’s “Good Morning America” and NBC’s “Today” that it struggled in the past to conquer. But the show has ceded ground in recent months.

That doesn’t mean CBS is going to abandon the program’s newsier premise, says Diana Miller, its new executive producer. Viewers still won’t be seeing an abundance of cooking segments or summer concert series. “We are certainly not going to be doing less news,” she says. “In this day and age, there’s no shortage of it.”

Even so, viewers can expect to see some tweaks to the program’s format. No one is jettisoning the show’s signature “Eye Opener” video montage. But audiences will encounter a set of correspondents assigned to the program in very specific ways. David Begnaud, who gained notice for his recent coverage of hurricane-torn Puerto Rico, becomes the show’s lead national correspondent. Jericka Duncan becomes a national correspondent. Vladimir Duthiers will give a first look at each day’s most talked-about stories. And Anna Werner will serve as a consumer investigative correspondent.

“We really want this to be the team you can trust – not just the anchor team, but also with the addition of these great reporters,” says Miller, noting that on-air personnel will focus not only on bringing viewers the news of the day, but spotlight why stories matter to viewers.  Viewers can expect to see regular segments looking at consumer, medical and financial news. Producers will manage things so that the anchors and correspondents will have time to get into the field, as well as pursue some investigations.

Behind the scenes, millions of dollars are at stake. The weekday version of the show captured nearly $233.5 million in ad revenue in 2018, according to Kantar Media, a tracker of ad spending – an approximate 10.1% increase from the nearly $211.9 million it notched in the previous year. CBS News is betting the on-air changes will boost the show – and help the network gain back some of the morning-schedule ground it captured after the program launched in 2012.

CBS may be borrowing a page or two from other morning institutions. Local-news stations thrive on featuring specific personnel on sports, weather and other topics. At cable’s HLN, “Morning Express” has featured Robin Meade, weather anchor Bob Van Dillen and business correspondent Jennifer Westhoven since 2006. They have stayed together more years than any current national morning team.

The vibe on the set of “CBS This Morning” will be the same as in the past, says Miller. “CBS This Morning” initially thrived on letting anchors King, Norah O’Donnell and Charlie Rose take time during segments to ask their own questions about the news, whether they be about the success of Apple earnings or the use of robots in overseas factories. That chemistry was upset after Rose was ousted in the wake of allegations that he made unwanted sexual advances on subordinates. Two new anchors – John Dickerson and Bianna Golodryga – joined the CBS morning circle, but viewership began to roll back.

Under new CBS President Susan Zirinsky, the network’s best-known news programs are being overhauled. Dickerson has been dispatched to “60 Minutes,” where Steve Kroft is retiring. O’Donnell will take up the reins of “CBS Evening News” this summer. New producers have been installed at “CBS This Morning” and “48 Hours,” and a new executive producer will soon be named to oversee O’Donnell’s production.

At “Morning,” King’s recent success in snaring interviews with people like musician R. Kelly has expanded her circle, and given “CBS This Morning” a chance to own different kinds of stories. “We are still a hard-news destination, make no mistake about it,” says Zirinsky in a recent interview. “We are the destination for people who want the news in the morning, but we can expand because of the reach of these three people and touch the cultural, iconic, memorable stories of the day.” She also cites Mason’s facility over the years with everything from foreign affairs to business to popular music and says Dokoupil is a “rising young star” whose writing and reporting on segments for “CBS Sunday Morning” have impressed executives.

The broader appeal of the CBS program has been letting the main anchors show their own curiosity and probe stories more deeply, a feature that seems likely to continue. “The other shows have left a lot of room for us to own areas they are not covering,”says Miller. The new “CBS This Morning” broadcast “is going to have a fresh sort of feel to it , even though the bones of the show are going to feel extremely familiar to people.”

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

Ramalan Zodiak Hari Ini: Pisces Tetap Optimis, Aries Harus Lebih Perhatian

JakartaPisces:
Peruntungan: Tetaplah optimis karena dimana ada kesulitan disitu pasti ada jalan untuk menuju kesuksesan, bukankah antara penderitaan dan kebahagiaan selalu berjalan beriringan.
Bersakit-sakitlah dahulu bersenang-senanglah kemudian.

Keuangan: Cukup lancar hanya saja tetaplah waspada dengan orang yang kurang bisa bertanggung jawab.

Asmara: Tabahlah dalam menghadapi cobaan ini, jangan ambil keputusan jika anda masih dalam keadaan emosi.


Jam Baik: 17.00-18.00

Aries:
Peruntungan: Cobalah lebih konsisten terutama dalam membina hubungan yang baik dengan partner kerja anda. Sebab jika tidak berhati-hati maka segala rencana anda akan buyar hancur berantakan. Jangan patah semangat apalagi jika atasan sudah memberi angin positif bagi anda.

Keuangan: Pemasukan masih sesuai dengan yang diharapkan, hanya saja sikap sembrono anda itu sebaiknya benar-benar diwaspadai.

Asmara: Maksud anda ingin menyenangkan sidia, tapi belum tentu si dia mau menerimanya.

Jam Baik: 11.00-12.00

Untuk ramalan zodiak selengkapnya, klik di sini.
(asf/asf)


Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/

Cannes Film Review: ‘Diego Maradona’

You expect the director of a biographical documentary to have a passion for whoever he’s making a movie about. But the British filmmaker Asif Kapadia spins right past passion and into obsession. He doesn’t just chronicle a personality — he does an immersive meditation on it. Kapadia plunges into the raw stuff of journalism: news footage, home video, and other “objective” media. It’s not that he doesn’t shape the material; Kapadia’s films are richly, brilliantly edited. But by eschewing many of the standard tools of documentary filmmaking, Kapadia creates an unusually direct communion between the audience and the subject, taking existential deep dives into the lives of people like the singer Amy Winehouse, the motor-racing champion Ayrton Senna, and, in his new film, the Argentine football legend of the 1980s, Diego Maradona.

One of the messages of Kapadia’s films is that there’s no one on earth like any of these people. Each one broke the mold — and, in two out of three cases (Winehouse and Senna), died in the process. Kapadia’s films are obsessive portraits of obsession, and when his method totally connects, as it did in “Amy,” the results can be masterful.

Diego Maradona” isn’t a movie on that level. It’s a heady, engrossing, indulgently sprawling profile of a modern athlete in all his glory and contradiction, but it’s also a film that leaves you with more questions than it should. Kapadia constructed it out of 500 hours of never-before-seen footage taken from Maradona’s personal archive, and his method of hewing to that footage, weaving it into an epic video tapestry, gives the film a rare purity and immediacy. But there are moments when you hunger for the kind of information that a more classical approach would have yielded.

It’s telling that “Amy” (2015), Kapadia’s greatest film, which took the Oscar for best documentary, is also the most conventional, with talking-head interviews that do more than chronicle Amy Winehouse’s life; they interpret it. But Kapadia, in that case, was working with a highly idiosyncratic untold story — that of a singer whose cat-eyed junkie-wastrel image and spectacularly horrifying self-destructive spiral wound up blotting out her majesty as an artist. “Amy,” in unearthing the complex and even heroic singer behind the punk beehive persona, wound up being the rare portrait of a pop star that felt as fresh as its subject was famous.

In “Diego Maradona,” Kapadia returns to the mode he pioneered in “Senna” (2010), with interview subjects who are heard on the soundtrack but remain unseen, so that nothing interrupts the flow of the images. Kapadia wants to take you closer to his subjects than other documentaries do, and part of his technique is (ironically) to revel in the surface of whatever he’s showing us. But “Diego Maradona” is the first film of his that left me wishing he’d excavated more. The story he unfurls is tantalizing in its mesh of triumph and loss, ecstasy and ambiguity, and it holds us. But the treatment could have used more shape.

Many believe that Diego Maradona is the greatest football player who ever lived (his only rival for that accolade would be Pelé), and in clip after clip of “Diego Maradona” we experience the roughhewn magic he possessed as an athlete. He wasn’t tall (only 5’5″), and one observer says that his virtuosity came more from the brain than the body. Watching the movie, we see what that means: He had extraordinary physical skill, but a typical Maradona blitz had him dribbling the ball past several opponents with a force of speed that seemed to come from a supreme mental command of time and space, as if he were turning the soccer field into a video game. He knew not only where he was but where he was going to be in three seconds, and four seconds after that. He transfused the desire for victory into a spin-on-a-dime dexterity.

Maradona was a shaggy, sexy, long-dark-curly-haired rock star of football who looked like a muscled-up John Hall, and emotionally he had a reverence for what he was doing that was part of the magic. After scoring a goal, he lifts his fists and face to the heavens, as if thanking God for having the grace to work through him. At those moments, is he being modest or messianic? A bit of both. This is the sort of emotion we see in American athletes after the clinching play of the World Series, but Maradona’s everyday outpouring of champion bliss, which makes the typical end-zone dance look like a corporate display of exuberance, is part of the power of a sport that, in many regions of the world, is a religion.

The grand theme of “Diego Maradona” is that Maradona, through football, became not just a superstar but a god — and that the sport’s primeval underpinnings exalted him, and then did him in. For what happens when a god, in soccer, turns into a fallen god? The horde is not kind. The other theme of the movie — though it’s there more in spirit than exploration — is that football, as it exists today, is a sport of tribes, but the flux of global capitalism has served to rip tribe members away from their homes.

In America, we’ve grown accustomed to the point of numbness to the loss of locality in sports. In the late ’60s, the Detroit Tigers, the team I grew up rooting for, still had more than their share of homegrown players. Locality was part of the mystique of sports. Otherwise, what does it mean to root for the team in your city?

In “Diego Maradona,” the football teams are intensely local and ardently national. Yet a player like Maradona is an international firecracker who gets tossed into the middle of all that. We get a glimpse of his roots in Villa Fiorito, a shantytown on the outskirts of Buenos Aires, where football became the way he led himself and his family (he was the third of five children) out of poverty. But the movie mostly spins past his early years: how he got into football as a teenager, or even his first gig as a superstar globe-trotter when he signed with the Barcelona team for a then-record fee of $7.6 million.

The heart of the film is what happens after that, when he goes from Barcelona to Naples, for a record $10.1 million. He is already the world’s reigning football star, and the Naples team is, more or less, the worst in Italy. It’s a little like the moment in 1969 when O.J. Simpson was drafted by the Buffalo Bills; I still remember a TV interview Simpson did at the time, where you could hear the depression in his voice at the cruel irony of the fact that his virtuosity made him the inevitable pick for worst team in the league (which had the privilege of first draft pick). But in Maradona’s case, he chose to go, with the idea that he would redeem the Napoli team, and they would redeem him.

The movie barely touches on the chaotic brawl that Maradona was involved in — and, in fact, spearheaded — in Barcelona at the 1984 Copa del Rey final, which half of Spain saw spiral out of control on live television. Is it that Kapadia wanted to downplay the image of a violent, hotheaded Maradona? As a result, the movie never makes it entirely clear why he went to Naples, but it does sketch in the tumultuous culture of the place — the Camorra boss who ran the town and formed an alliance with Maradona (was Mardona coerced? That’s another issue we aren’t clear on), and the fact that Naples had come to be viewed by many Italians as the armpit of Italy. Italy, the film suggests, believed in soccer as much as it did life itself, and when Maradona finally led the Napoli team to its national victory, in 1987, he was seen as a kind of savior. The entire city was lifting its hands to the heavens. (The street celebration lasted for two months.)

Since Maradona isn’t just an athlete-wizard but a warmly charismatic figure, we’re curious to discover the tragic flaw that brought this man down. But the “flaw” is more like a succession of scandals, some fair and some unfair, that don’t necessarily bespeak any underlying hand of fate. He had a child out of wedlock (the Italian tabloids went wild), which he greeted with the strategy of deny, deny, deny. He became a serious cocaine addict — a self-driven form of descent, obviously, but not one that the movie explores with any of the wrenching personal cataclysm that marked the addiction odyssey of “Amy.”

And then there’s the bizarre national/international football conundrum. Each time Diego Maradona played in the World Cup, it was on the Argentine team, because the rules stipulate that World Cup teams must be nationally based. When the Argentine team faced off against the Italian team, in a match played in the stadium in Naples, the Italians — especially the Napoli crowd — reacted as if their star player had turned into the Antichrist. That was the kickoff to his grand fall.

But none of this, as the movie presents it, made total sense to me. The whole issue of Maradona playing for the Argentine team in the World Cup, even as he’s become the savior of Naples football, calls forth issues of nationality, identity, ethnic loyalty, and 20th-century global evolution that the film needed to explore. Forget, for a moment, the Italians: What did it mean to Maradona to be oscillating between Italy and Argentina, his expatriate teamland and homeland? “Diego Maradona” wants to be a kind of high-flying, reach-for-the-stars tragedy, like “Amy” or “Senna,” but it leaves out too much. No matter how many newsreels it shows us or how arresting they are, all that grainy reality can’t add up to revealing what’s inside the man at its center.

Sumber: https://variety.com/2019/film/news/dutch-film-works-launches-sales-penoza-film-anne-frank-netflix-undercover-1203220211/