The Rff (Russian Film Festival) lands on the Spanish platform this Thursday, 10 December, and can be enjoyed by its subscribers until the 30th. Eight great titles from the Russian Film Festival, an international event organised by the Russian Cultural Federation and Roskino (Russian Cinema Worldwide), will be available for Filmin subscribers to enjoy from 10-30 December. The festival, which is also unspooling in Mexico (via FilminLatino), Australia and Brazil, aims to promote the best Russian film productions internationally, placing particular emphasis on the Spanish market. All of the movies will be available in their original-language version with Spanish subtitles, while the animated flick The Big Trip will also be dubbed into Spanish in order to cater to younger viewers. The content of the programme, which takes in genres ranging from animations and thrillers to arthouse films, has been curated so that it will reach audiences of different ages and...
Korean hit #Alive kicked up another $2.2M this weekend, holding well throughout the mid-weeks, but with an overall 63% Friday-Saturday-Sunday dip from the comparable weekend days last session. The timely thriller that’s set against the backdrop of a city in lockdown due to a virus has now grossed $11M. It’s a continued indication that moviegoers want something new, and in cases of a strong local industry, they’re also enjoying homegrown fare. Still, not much is going to rock the international box office until Hollywood starts releasing fresh titles.
A question has been raised as to whether the studios could release big new movies overseas without the biggest domestic cities given the situation in the U.S. is still dire. While international makes up the lion’s share of receipts (73% in 2019), a finance source explains that an event picture generally goes out on more than 30,000 screens worldwide — those screens are hardly available at present.
A question has been raised as to whether the studios could release big new movies overseas without the biggest domestic cities given the situation in the U.S. is still dire. While international makes up the lion’s share of receipts (73% in 2019), a finance source explains that an event picture generally goes out on more than 30,000 screens worldwide — those screens are hardly available at present.
- 7/7/2020
- by Nancy Tartaglione
- Deadline Film + TV
‘The Invisible Man’
Last weekend was the worst of the year for Australian cinemas as Universal’s The Invisible Man and Paramount’s Sonic the Hedgehog were the only titles to crack $1 million.
Still, who can blame people for shunning cinemas given virtually all the new releases had either flopped in the Us or were niche titles that earned modest sums?
Among the misfires were Warner Bros’ The Way Back, Disney/Searchlight Films’ Downhill, Mind Blowing Films’ Bollywood action thriller Baaghi 3 and Roadshow’s The Big Trip.
Universal’s Dark Waters and Umbrella Entertainment’s feature doc Honeyland had mediocre debuts.
The top 20 titles generated $8.8 million, down 13 per cent on the previous frame which had ranked as the lowest of the year, according to Numero.
Leigh Whannell’s The Invisible Man raked in nearly $2.2 million in its second frame, easing by a mere 13 per cent. The psychological thriller starring Elisabeth Moss,...
Last weekend was the worst of the year for Australian cinemas as Universal’s The Invisible Man and Paramount’s Sonic the Hedgehog were the only titles to crack $1 million.
Still, who can blame people for shunning cinemas given virtually all the new releases had either flopped in the Us or were niche titles that earned modest sums?
Among the misfires were Warner Bros’ The Way Back, Disney/Searchlight Films’ Downhill, Mind Blowing Films’ Bollywood action thriller Baaghi 3 and Roadshow’s The Big Trip.
Universal’s Dark Waters and Umbrella Entertainment’s feature doc Honeyland had mediocre debuts.
The top 20 titles generated $8.8 million, down 13 per cent on the previous frame which had ranked as the lowest of the year, according to Numero.
Leigh Whannell’s The Invisible Man raked in nearly $2.2 million in its second frame, easing by a mere 13 per cent. The psychological thriller starring Elisabeth Moss,...
- 3/8/2020
- by The IF Team
- IF.com.au
Russian animation work, even during the Cold War, found its way to European TV screens, where characters were dubbed but fairy tale-inspired toons had deep appeal to non-Russian kids. These days, despite impressive digital wizardry and a multitude of new platforms, character and story are still the special sauce that make toons from the East succeed abroad, say producers.
Competition will be lively at Cannes for hot new titles with growing interest in new Russian animation work — just one indicator is Netflix’s buy of the series “Leo and Tig” and “Be-Be Bears” from Moscow-based Parovoz last fall as part of its strategy to beef up children’s programming. The two seasons of shorts, about animal adventurers, have done well with kids worldwide.
Buyers are also mindful of last year’s “Snow Queen: Fire & Ice” success. The wintry adventure from leading toon company Wizart broke records after its release in April last year.
Competition will be lively at Cannes for hot new titles with growing interest in new Russian animation work — just one indicator is Netflix’s buy of the series “Leo and Tig” and “Be-Be Bears” from Moscow-based Parovoz last fall as part of its strategy to beef up children’s programming. The two seasons of shorts, about animal adventurers, have done well with kids worldwide.
Buyers are also mindful of last year’s “Snow Queen: Fire & Ice” success. The wintry adventure from leading toon company Wizart broke records after its release in April last year.
- 5/14/2019
- by Will Tizard
- Variety Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.