Exclusive: The subversive and experimental works of Portuguese filmmaker João César Monteiro have long been unavailable or difficult to view in the U.S. thanks to tight copyright laws and poor preservation. But that’s all about to change.
The NYC-based Cinema Guild has acquired North American distribution rights to Monteiro’s films and is planning a broad theatrical retrospective of the films—all newly restored in 4K—in the U.S. and Canada in early 2025.
The deal was negotiated by Edward McCarry and Peter Kelly of Cinema Guild with Branco of Leopardo Filmes. Digital and home video releases will follow the theatrical retrospective in 2025.
Born into a wealthy Catholic family and raised in Lisbon, Monteiro was one of the most controversial and unusual filmmakers of his generation. His often unclassifiable features spanned satirical, experimental, and fabulistic themes. Some of his most notable works include the militant and mythical What...
The NYC-based Cinema Guild has acquired North American distribution rights to Monteiro’s films and is planning a broad theatrical retrospective of the films—all newly restored in 4K—in the U.S. and Canada in early 2025.
The deal was negotiated by Edward McCarry and Peter Kelly of Cinema Guild with Branco of Leopardo Filmes. Digital and home video releases will follow the theatrical retrospective in 2025.
Born into a wealthy Catholic family and raised in Lisbon, Monteiro was one of the most controversial and unusual filmmakers of his generation. His often unclassifiable features spanned satirical, experimental, and fabulistic themes. Some of his most notable works include the militant and mythical What...
- 9/25/2024
- by Zac Ntim
- Deadline Film + TV
A new animated TV series is in the works inspired by a video game featured in “Boy Kills World,” the upcoming martial arts action film starring Bill Skarsgård as a deaf boy trained to enact vengeance on those who murdered his family.
“Super Dragon Punch Force 3,” the real-life action-packed fighter video game that appears in the film (and will launch day-and-date with the U.S. and global release of “Boy Kills World” on April 26), has had its own animated series greenlit. Now in development, the show, which is set to dive into the universe of the game, will follow a highly-skilled yet dysfunctional team of misfits as they fight to defend their world from sentient robots, an ancient network of cultists and other intergalactic threats.
Mario Carvalhal, whose most recent credits include the Apple TV+ and Skydance’s animated series “The Search for Wondla” and the horror thriller “Browse” starring Lukas Haas,...
“Super Dragon Punch Force 3,” the real-life action-packed fighter video game that appears in the film (and will launch day-and-date with the U.S. and global release of “Boy Kills World” on April 26), has had its own animated series greenlit. Now in development, the show, which is set to dive into the universe of the game, will follow a highly-skilled yet dysfunctional team of misfits as they fight to defend their world from sentient robots, an ancient network of cultists and other intergalactic threats.
Mario Carvalhal, whose most recent credits include the Apple TV+ and Skydance’s animated series “The Search for Wondla” and the horror thriller “Browse” starring Lukas Haas,...
- 4/18/2024
- by Alex Ritman
- Variety Film + TV
Victor Erice’s “Close Your Eyes” won best film at the 17th edition of Leffest Lisboa Film Festival, which announced awards Saturday night.
Marking Erice’s first feature film since his 1992 docudrama “The Quince Tree Sun” and garnering almost universal positive reviews – Variety called it “an aching ode to film, time and memory” – following its world premiere at Cannes, “Close Your Eyes” has screened at Toronto, Busan, BFI London and New York.
During Leffest, in a session moderated by Paulo Branco, 83-year old Erice took part in a conversation with preeminent 64-year old Portuguese helmer, Pedro Costa, whose short “The Daughters of Fire,” was a Cannes Special Screening and also had its Portuguese premiere at the fest.
Erice remarked during the event, one fest highlight, that both he and Costa are working in the shadow of two great filmmakers – “Don Luis Buñuel” and “Don Manoel de Oliveira” – and he added...
Marking Erice’s first feature film since his 1992 docudrama “The Quince Tree Sun” and garnering almost universal positive reviews – Variety called it “an aching ode to film, time and memory” – following its world premiere at Cannes, “Close Your Eyes” has screened at Toronto, Busan, BFI London and New York.
During Leffest, in a session moderated by Paulo Branco, 83-year old Erice took part in a conversation with preeminent 64-year old Portuguese helmer, Pedro Costa, whose short “The Daughters of Fire,” was a Cannes Special Screening and also had its Portuguese premiere at the fest.
Erice remarked during the event, one fest highlight, that both he and Costa are working in the shadow of two great filmmakers – “Don Luis Buñuel” and “Don Manoel de Oliveira” – and he added...
- 11/19/2023
- by Martin Dale
- Variety Film + TV
Prominent Paris-based producer Marianne Slot, who has been instrumental to bringing works by auteurs such as Lars Von Trier, Lucrecia Martel, and Argentina’s Lisandro Alonso to the big screen, is being honored by the Locarno Film Festival.
Slot will receive the Swiss festival’s Raimondo Rezzonico prize for a producer who epitomizes the indie ethos. She will be bestowed with the award on Aug. 5 with a tribute that will include a screening of Icelandic director Benedikt Erlingsson’s environmental-themed black comedy “Woman At War,” followed by an on-stage conversation on Aug. 6.
Born in Denmark, Slot set up the Paris-based production company Slot Machine in 1993. She has been Von Trier’s French producer since 1995, starting with “Breaking the Waves.” Over the years Slot has shepherded works by a slew of indie auteurs at various stages of their careers. Besides Martel and Erlingsson these include Bent Hamer, Małgorzata Szumowska, Paz Encina,...
Slot will receive the Swiss festival’s Raimondo Rezzonico prize for a producer who epitomizes the indie ethos. She will be bestowed with the award on Aug. 5 with a tribute that will include a screening of Icelandic director Benedikt Erlingsson’s environmental-themed black comedy “Woman At War,” followed by an on-stage conversation on Aug. 6.
Born in Denmark, Slot set up the Paris-based production company Slot Machine in 1993. She has been Von Trier’s French producer since 1995, starting with “Breaking the Waves.” Over the years Slot has shepherded works by a slew of indie auteurs at various stages of their careers. Besides Martel and Erlingsson these include Bent Hamer, Małgorzata Szumowska, Paz Encina,...
- 4/27/2023
- by Nick Vivarelli
- Variety Film + TV
Upcoming animated features on the company’s slate include The Character Of Rain and Sheba.
France-based animation sales company Gebeka International, which was launched as a joint venture between Wild Bunch International (Wbi) and Gebeka Films last June, has hired Jason Bressand to pilot sales.
He reports to Wbi head of sales Eva Diederix and joins Wbi and Gebeka Films staffers Livia Van der Staay and Marion Delord who oversee acquisitions.
Bressand arrives from Paulo Branco’s Paris-based company Alfama Films, where he was head of international sales and festivals from 2018.
During his time there, he handled titles including German...
France-based animation sales company Gebeka International, which was launched as a joint venture between Wild Bunch International (Wbi) and Gebeka Films last June, has hired Jason Bressand to pilot sales.
He reports to Wbi head of sales Eva Diederix and joins Wbi and Gebeka Films staffers Livia Van der Staay and Marion Delord who oversee acquisitions.
Bressand arrives from Paulo Branco’s Paris-based company Alfama Films, where he was head of international sales and festivals from 2018.
During his time there, he handled titles including German...
- 4/6/2022
- by Melanie Goodfellow
- ScreenDaily
The Locarno Film Festival will honor U.S. producer and screenwriter Gale Anne Hurd – best known for being instrumental to “The Terminator” film trilogy and “The Walking Dead” TV franchise – with its Raimondo Rezzonico Prize awarded to a producer who epitomizes the indie ethos.
The prominent Swiss fest dedicated to international indie cinema is on track to hold its 74th edition as an in-person event August 4-14, barring coronavirus complications.
Beginning as an executive assistant to Roger Corman, Hurd co-wrote “Terminator” with her now ex-husband James Cameron and went on to produce “Aliens” and Michael Bay-directed “Armageddon,” among other big-screen features. She moved into series television in the early 2000s and “The Walking Dead” arrived in 2010, followed by spin-off “Fear the Walking Dead” and USA’s “Falling Water.”
“Gale Anne Hurd has revolutionized our conception of what action cinema looks like,” Locarno Artistic director Giona A. Nazzaro said in a statement,...
The prominent Swiss fest dedicated to international indie cinema is on track to hold its 74th edition as an in-person event August 4-14, barring coronavirus complications.
Beginning as an executive assistant to Roger Corman, Hurd co-wrote “Terminator” with her now ex-husband James Cameron and went on to produce “Aliens” and Michael Bay-directed “Armageddon,” among other big-screen features. She moved into series television in the early 2000s and “The Walking Dead” arrived in 2010, followed by spin-off “Fear the Walking Dead” and USA’s “Falling Water.”
“Gale Anne Hurd has revolutionized our conception of what action cinema looks like,” Locarno Artistic director Giona A. Nazzaro said in a statement,...
- 5/4/2021
- by Nick Vivarelli
- Variety Film + TV
Portugal’s cash rebate scheme, introduced in 2018, is attracting major international productions and new production outfits and facilities, and providing significant leverage for domestic film and TV productions.
Shoots slowed during the pandemic, with several projects lensed in bubbles, but production is expected to surge in the second half of 2021.
The current cash rebate is tabbed at 25/30% of eligible production spend and may be upwardly revised in the near future.
€22.5 million ($27.5 million) in total cash rebate has been disbursed since 2018, roughly equally split between international shoots and 100% Portuguese productions and co-productions.
High-profile projects include Ira Sachs’ “Frankie,” with Isabelle Huppert, Richard Stanley’s “The Color Out of Space,” starring Nicolas Cage, Marco Pontecorvo’s “Fatima,” with Harvey Keitel, and three Bollywood pics. These projects have accessed cash rebate per pic varying between €631,000 and €1.9 million ($2.4 million) Portugal is also shaking up its production eco-system. Pubcaster Rtp has shifted from telenovelas to...
Shoots slowed during the pandemic, with several projects lensed in bubbles, but production is expected to surge in the second half of 2021.
The current cash rebate is tabbed at 25/30% of eligible production spend and may be upwardly revised in the near future.
€22.5 million ($27.5 million) in total cash rebate has been disbursed since 2018, roughly equally split between international shoots and 100% Portuguese productions and co-productions.
High-profile projects include Ira Sachs’ “Frankie,” with Isabelle Huppert, Richard Stanley’s “The Color Out of Space,” starring Nicolas Cage, Marco Pontecorvo’s “Fatima,” with Harvey Keitel, and three Bollywood pics. These projects have accessed cash rebate per pic varying between €631,000 and €1.9 million ($2.4 million) Portugal is also shaking up its production eco-system. Pubcaster Rtp has shifted from telenovelas to...
- 3/3/2021
- by Martin Dale
- Variety Film + TV
Funded by Turismo de Portugal, the country’s shoot cash rebate aims to increase Portugal’s international visibility. Secretary of State for Tourism Rita Marques stresses that tourism is a key driver of sustainable growth, job creation and foreign investment, as well as promoting Portuguese and European cultural values: “That’s why we have created one of the most competitive film production incentive systems in Europe, especially oriented to those projects that can bring economic social, and environment value and positive impact to the world.”
Portugal boasts the highest number of sunny days in Europe and greener landscapes than much of Southern Europe. Crews are skilled, multi-lingual and offer highly competitive rates.
The major diversity of natural and cultural heritage within a relatively small country means that shoots can access a wide variety of locales within relatively short distances.
The Portugal Film Commission (Pfc) is complemented by 12 film commissions and offices,...
Portugal boasts the highest number of sunny days in Europe and greener landscapes than much of Southern Europe. Crews are skilled, multi-lingual and offer highly competitive rates.
The major diversity of natural and cultural heritage within a relatively small country means that shoots can access a wide variety of locales within relatively short distances.
The Portugal Film Commission (Pfc) is complemented by 12 film commissions and offices,...
- 3/3/2021
- by Martin Dale
- Variety Film + TV
Diaphana has taken French rights to Ryusuke Hamaguchi’s drama.
On the eve of the EFM, Berlin-based sales outfit m-appeal has announced two key deals for its Berlinale Competition contender Wheel Of Fortune And Fantasy in advance of the film’s world premiere next week.
Leading French arthouse outfit Diaphana will handle Japanese filmmaker Ryūsuke Hamaguchi’s latest film in France and is planning a theatrical release later this year on 80 to 150 prints.
Other deals confirmed are Paulo Branco’s Lisbon-based Leopardo Filmes for Portugal; GreenNarea Media for Korea; and Andrews Films for Taiwan. All are planning a theatrical release...
On the eve of the EFM, Berlin-based sales outfit m-appeal has announced two key deals for its Berlinale Competition contender Wheel Of Fortune And Fantasy in advance of the film’s world premiere next week.
Leading French arthouse outfit Diaphana will handle Japanese filmmaker Ryūsuke Hamaguchi’s latest film in France and is planning a theatrical release later this year on 80 to 150 prints.
Other deals confirmed are Paulo Branco’s Lisbon-based Leopardo Filmes for Portugal; GreenNarea Media for Korea; and Andrews Films for Taiwan. All are planning a theatrical release...
- 2/26/2021
- by Geoffrey Macnab
- ScreenDaily
Portuguese producer and Alfama Film Productions sought almost €1m in damages.
The UK’s Recorded Picture Company (Rpc) has won a high court case in London over a long-running rights dispute over Terry Gilliam’s The Man Who Killed Don Quixote.
Portuguese producer Paulo Branco and French production company Alfama Films sought almost €1m in damages due to a breach in an agreement giving them the option to make the film. The damages would comprise pre-production costs and a producer’s fee.
But the claims were dismissed as the UK court concluded Alfama Films and Branco never had a substantial chance of making the film,...
The UK’s Recorded Picture Company (Rpc) has won a high court case in London over a long-running rights dispute over Terry Gilliam’s The Man Who Killed Don Quixote.
Portuguese producer Paulo Branco and French production company Alfama Films sought almost €1m in damages due to a breach in an agreement giving them the option to make the film. The damages would comprise pre-production costs and a producer’s fee.
But the claims were dismissed as the UK court concluded Alfama Films and Branco never had a substantial chance of making the film,...
- 12/18/2020
- by Michael Rosser
- ScreenDaily
Portuguese producer and Alfama Film Productions sought almost €1m in damages.
The UK’s Recorded Picture Company (Rpc) has won a high court case in London over a long-running rights dispute over Terry Gilliam’s The Man Who Killed Don Quixote.
Portuguese producer Paulo Branco and French production company Alfama Films sought almost €1m in damages due to a breach in an agreement giving them the option to make the film. The damages would comprise pre-production costs and a producer’s fee.
But the claims were dismissed as the UK court concluded Alfama Films and Branco never had a substantial chance of making the film,...
The UK’s Recorded Picture Company (Rpc) has won a high court case in London over a long-running rights dispute over Terry Gilliam’s The Man Who Killed Don Quixote.
Portuguese producer Paulo Branco and French production company Alfama Films sought almost €1m in damages due to a breach in an agreement giving them the option to make the film. The damages would comprise pre-production costs and a producer’s fee.
But the claims were dismissed as the UK court concluded Alfama Films and Branco never had a substantial chance of making the film,...
- 12/18/2020
- by Michael Rosser
- ScreenDaily
Terry Gilliam’s “The Man Who Killed Don Quixote” has endured its latest legal hurdle.
The U.K.’s Royal Courts of Justice have ruled in favor of the Jeremy Thomas-owned Recorded Picture Company (Rpc), and against France’s Alfama Film Productions and CEO Paulo Branco over a rights dispute relating to Gilliam’s 2018 film, which starred Adam Driver and Jonathan Pryce.
The dispute dates back to 2016, when Rpc first entered into a deed with Alfama, giving them the option to produce the project. However, Branco and Gilliam’s relationship soon broke down and Rpc eventually gave the option to Spanish company Tornasol, who went on to produce the film, resulting in years of disputes over who owned the rights to the project, amid an attempt by Branco to disrupt the film’s release.
However, in a ruling on Thursday, Deputy High Court Judge Hacon sided with Gilliam and the film’s producers,...
The U.K.’s Royal Courts of Justice have ruled in favor of the Jeremy Thomas-owned Recorded Picture Company (Rpc), and against France’s Alfama Film Productions and CEO Paulo Branco over a rights dispute relating to Gilliam’s 2018 film, which starred Adam Driver and Jonathan Pryce.
The dispute dates back to 2016, when Rpc first entered into a deed with Alfama, giving them the option to produce the project. However, Branco and Gilliam’s relationship soon broke down and Rpc eventually gave the option to Spanish company Tornasol, who went on to produce the film, resulting in years of disputes over who owned the rights to the project, amid an attempt by Branco to disrupt the film’s release.
However, in a ruling on Thursday, Deputy High Court Judge Hacon sided with Gilliam and the film’s producers,...
- 12/17/2020
- by Naman Ramachandran
- Variety Film + TV
Key names in the Portuguese film industry are today publicly protesting a piece of government legislation that would allow international streaming services to avoid making contributions to the Portuguese National Film Fund (Ica), despite the EU mandating the likes of Netflix and Amazon invest back into Euro nations.
High profile film figures including Miguel Gomes (Tabu) and Paulo Branco (Mysteries Of Lisbon) are lending their support to the demonstration in front of the Portuguese Parliament, which saw a healthy turnout.
According to a letter co-signed by some 850 directors, producers and film personnel, the streamers must be forced to re-invest in local industries, particularly after the pandemic era strengthened their businesses.
“If the platforms, which increasingly dominate the market, are not taxed, Ica will be gradually depleted, and less and less Portuguese films will be produced,” said a statement. “If filming in Portugal is already difficult, it will be even more so.
High profile film figures including Miguel Gomes (Tabu) and Paulo Branco (Mysteries Of Lisbon) are lending their support to the demonstration in front of the Portuguese Parliament, which saw a healthy turnout.
According to a letter co-signed by some 850 directors, producers and film personnel, the streamers must be forced to re-invest in local industries, particularly after the pandemic era strengthened their businesses.
“If the platforms, which increasingly dominate the market, are not taxed, Ica will be gradually depleted, and less and less Portuguese films will be produced,” said a statement. “If filming in Portugal is already difficult, it will be even more so.
- 10/20/2020
- by Tom Grater
- Deadline Film + TV
A group of Portuguese filmmakers took to the streets on Tuesday to protest new local film and TV legislation being voted on in parliament, which they claim will give foreign streaming giants an unfair advantage within the country’s film landscape.
Portugal is among the first countries in Europe to implement the European Union’s recently approved Audiovisual Media Services Directive (Avms), which obligates foreign streaming services such as Netflix and Amazon Prime Video to invest a portion of their revenue into local productions. Now that Brussels has approved the Avms, parliaments across Europe must transpose it into law by 2021.
A crowd of people comprising Portuguese producers, directors, actors and film students staged the protest after writing an open letter to the government. In the document, they complained that under the proposed new rules, foreign streaming giants won’t be paying a tax on their subscription revenues and also won...
Portugal is among the first countries in Europe to implement the European Union’s recently approved Audiovisual Media Services Directive (Avms), which obligates foreign streaming services such as Netflix and Amazon Prime Video to invest a portion of their revenue into local productions. Now that Brussels has approved the Avms, parliaments across Europe must transpose it into law by 2021.
A crowd of people comprising Portuguese producers, directors, actors and film students staged the protest after writing an open letter to the government. In the document, they complained that under the proposed new rules, foreign streaming giants won’t be paying a tax on their subscription revenues and also won...
- 10/20/2020
- by Nick Vivarelli
- Variety Film + TV
The pandemic, although disastrous for most parts of the economy, had one minor upside: a boost in online viewing. The number of subscribers of Portugal’s VOD platform Filmin, for example, has tripled compared with last year, due in part to the lockdown. “We grew as much in three months as we forecast for two years,” Filmin Portugal manager Anette Dujisin told Variety. Classic films have played a major part in driving that growth.
Despite challenges with local classics, Filmin is seeing growing success with heritage films and catalog titles as well as new releases. Filmin has received constant requests from subscribers – even loud demands from some – for more classic films since the service went online in 2016, Dujisin said.
The feedback affirms “that a VOD platform dedicated to independent cinema is not complete without a certain body of classical films,” Dujisin said. “So since the beginning we have been making...
Despite challenges with local classics, Filmin is seeing growing success with heritage films and catalog titles as well as new releases. Filmin has received constant requests from subscribers – even loud demands from some – for more classic films since the service went online in 2016, Dujisin said.
The feedback affirms “that a VOD platform dedicated to independent cinema is not complete without a certain body of classical films,” Dujisin said. “So since the beginning we have been making...
- 10/12/2020
- by Ed Meza
- Variety Film + TV
Variações: Guardian Angel, the most-watched Portuguese film in national cinemas in 2019, received seven gongs. The Domain, directed by Tiago Guedes, has emerged as the winner of the eighth edition of the Sophia Awards. The ceremony was originally scheduled for March, but owing to the pandemic, it was postponed until 17 September.It was a big night for Guedes: The Domain received the Best Feature Film Award as well as six other gongs, out of a total of 15 nominations. Besides winning seven awards for The Domain (including Best Director and Best Original Screenplay), he also picked up the Best Adapted Screenplay Award for his other recent feature, Sadness and Joy in the Life of Giraffes. The Best Feature Film Award was given to Paulo Branco, producer of The Domain, who decided to leave it unclaimed for the time being, stating that he would not take it until next year or...
Paris-based Merli has worked with Gemini FIlms and Pyramide.
Industry veteran Nadia Dresti has stepped down as head of Locarno Pro, the Swiss festival’s industry section, after 20 years at the helm.
She is to be replaced by Valentina Merli, founder of Paris-based Misia Films.
Dresti, who is remaining with Locarno as an international advisor, will accompany Merli to Berlin and Cannes this year to help the preparations for this year’s edition of Locarno which takes place August 5-15.
“Over the 20 years of my tenure, Nadia has been a priceless asset for the festival because of her remarkable skills,...
Industry veteran Nadia Dresti has stepped down as head of Locarno Pro, the Swiss festival’s industry section, after 20 years at the helm.
She is to be replaced by Valentina Merli, founder of Paris-based Misia Films.
Dresti, who is remaining with Locarno as an international advisor, will accompany Merli to Berlin and Cannes this year to help the preparations for this year’s edition of Locarno which takes place August 5-15.
“Over the 20 years of my tenure, Nadia has been a priceless asset for the festival because of her remarkable skills,...
- 1/13/2020
- by 57¦Geoffrey Macnab¦41¦
- ScreenDaily
Some movies are willed into existence, some organically happen by chance, and some are severely birthed and Oscar-nominated filmmaker Terry Gilliam has been through it all, especially in the two-decade-plus production of his cherished The Man Who Killed Don Quixote. His first go-round with the project starred Johnny Depp but was besieged by financial and production problems including a flash flood, Nato aircraft buzzing the set and star Jean Rochefort suffering a herniated disc. Gilliam resurrected the project in March 2017, battling with the pic’s financier Paulo Branco, the controversies of which the former Brazil filmmaker details extensively here in today’s Crew Call.
While many filmmakers and studios in this social media era are notorious about hiding or downplaying their production problems, Gilliam is unashamed, and an open book providing life lessons which the town can learn from. Today we cover a number of areas with him including his run with Monty Python,...
While many filmmakers and studios in this social media era are notorious about hiding or downplaying their production problems, Gilliam is unashamed, and an open book providing life lessons which the town can learn from. Today we cover a number of areas with him including his run with Monty Python,...
- 1/3/2020
- by Anthony D'Alessandro
- Deadline Film + TV
Terry Gilliam spent 30 years — nearly half the 79-year-old director’s life — pushing “The Man Who Killed Don Quixote” up a mountain. Production stalls, casting qualms, budget blow-ups, even a stroke. It would seem the fates were against the legendary filmmaker. Was it all worth it? “Sure,” the director told IndieWire in a recent interview. “We did something everybody said ‘Don’t do.’ I didn’t take advice. I feel good when I don’t take advice.”
Gilliam’s Miguel de Cervantes adaptation has been notoriously thwarted all the way back to 1989. Yet the finished product, which finally shot in 2017 once Adam Driver signed on, stands as an impressive achievement on its own terms that doesn’t reflect any behind-the-scenes drama. “That’s the whole point. Our problems are not supposed to be your problem,” Gilliam said. “I don’t think of the film as taking 30 years to make. The film we made,...
Gilliam’s Miguel de Cervantes adaptation has been notoriously thwarted all the way back to 1989. Yet the finished product, which finally shot in 2017 once Adam Driver signed on, stands as an impressive achievement on its own terms that doesn’t reflect any behind-the-scenes drama. “That’s the whole point. Our problems are not supposed to be your problem,” Gilliam said. “I don’t think of the film as taking 30 years to make. The film we made,...
- 12/20/2019
- by Ryan Lattanzio
- Indiewire
Terry Gilliam wonders if The Man Who Killed Don Quixote can live up to its larger than life production trouble. The trouble is due to the insecurities Quixote faced being an independent production, but that independence is also how Gilliam’s kept the project alive long after a studio would have scrapped it.
The movie’s storied production history is well-documented, including Amazon’s last-minute decision to pull out of the project when producer Paulo Branco claimed rights to the film, which nearly derailed their 2018 premiere at the Cannes Film Festival.
In our conversation with Gilliam we discuss how Jonathan Pryce’s Don Quixote built his own ramshackle armor, how directing is like being “an ignorant peasant who knows no better,” and his feelings about Fathom Event’s one-night-only screening strategy.
The Film Stage: I found Quixote’s costume so beautiful. It looks like a leftover costume from the movie within a movie,...
The movie’s storied production history is well-documented, including Amazon’s last-minute decision to pull out of the project when producer Paulo Branco claimed rights to the film, which nearly derailed their 2018 premiere at the Cannes Film Festival.
In our conversation with Gilliam we discuss how Jonathan Pryce’s Don Quixote built his own ramshackle armor, how directing is like being “an ignorant peasant who knows no better,” and his feelings about Fathom Event’s one-night-only screening strategy.
The Film Stage: I found Quixote’s costume so beautiful. It looks like a leftover costume from the movie within a movie,...
- 4/10/2019
- by The Film Stage
- The Film Stage
It’s been 30 years since Terry Gilliam first dreamt of making a movie about the foolish, windmill-chasing knight Don Quixote — and it’s been roughly 29 years since it became his nightmare. As the tragicomic documentary Lost in La Mancha proved, Gilliam’s Quixote picture is the dictionary definition of a cursed movie, plagued by financial troubles, ailing actors and noisy fighter jets flying overhead. But now he’s finally broken the spell, and The Man Who Killed Don Quixote last year received a marathon standing ovation at Cannes.
Although the filmmaker,...
Although the filmmaker,...
- 4/10/2019
- by Kory Grow
- Rollingstone.com
It has taken Terry Gilliam 30 years to bring “The Man Who Killed Don Quixote” to the big screen. His most notable attempt to make the film starred Johnny Depp and involved a doomed six-day shoot, captured in the documentary “Lost in La Mancha,” that ended in the set being washed away in a flash flood and Gilliam’s then-Quixote, Jean Rochefort, suffering a medical emergency and unable to ride a horse.
Though the failed 2001 shoot was the most dramatic, Gilliam has been painfully close to finishing the film countless times, as the project has constantly evolved with new players ever since he was promised $20 million in 1989 to tell his adapted version of Miguel de Cervantes’ novel. Just last year, the film was completed with the help of Amazon Studios — which pulled out days before the film premiered in Cannes, leaving Gilliam once again searching for a home. Now, the filmmaker...
Though the failed 2001 shoot was the most dramatic, Gilliam has been painfully close to finishing the film countless times, as the project has constantly evolved with new players ever since he was promised $20 million in 1989 to tell his adapted version of Miguel de Cervantes’ novel. Just last year, the film was completed with the help of Amazon Studios — which pulled out days before the film premiered in Cannes, leaving Gilliam once again searching for a home. Now, the filmmaker...
- 4/9/2019
- by Chris O'Falt
- Indiewire
German director Robert Schwentke is directing the English-language project.
John Malkovich has signed to star as Roman philosopher Seneca in Robert Schwentke’s English-language feature project Seneca – On The Creation Of Earthquakes. The film will explore Seneca’s relationship with the infamous Emperor Nero who he mentored since childhood.
Malkovich previously starred in Schwentke’s action comedy Red in 2010.
Seneca – On The Creation Of Earthquakes is being produced by Berlin-based producer Frieder Schlaich of Filmgalerie 451. The film has already secured backing from the cultural production funding programme of State Minister for Culture and Media, and the Medienboard Berlin-Brandenburg, and broadcaster Zdf/Arte.
John Malkovich has signed to star as Roman philosopher Seneca in Robert Schwentke’s English-language feature project Seneca – On The Creation Of Earthquakes. The film will explore Seneca’s relationship with the infamous Emperor Nero who he mentored since childhood.
Malkovich previously starred in Schwentke’s action comedy Red in 2010.
Seneca – On The Creation Of Earthquakes is being produced by Berlin-based producer Frieder Schlaich of Filmgalerie 451. The film has already secured backing from the cultural production funding programme of State Minister for Culture and Media, and the Medienboard Berlin-Brandenburg, and broadcaster Zdf/Arte.
- 3/27/2019
- by Martin Blaney
- ScreenDaily
Screen Media finally released a trailer Monday for Terry Gilliam’s long-delayed film, “The Man Who Killed Don Quixote,” a passion project that has taken the director nearly two decades to get to the screen.
The film stars Jonathan Pryce as the title character alongside Adam Driver, Stellan Skarsgård, Olga Kurylenko and Jordi Mollà. Driver plays a frustrated filmmaker and disillusioned advertising executive who becomes pulled into a world of time-jumping fantasy when a Spanish cobbler (Pryce) who believes he is Don Quixote mistakes Toby for his trusted squire Sancho Panza. Pulled further into the cobbler’s world, Toby gradually becomes unable to tell his dreams from reality.
In 2018, Gilliam lost a legal dispute when a French court ruled that he would have to pay one of the film’s former producer, Paulo Branco, €10,000 for breach of contract. Branco also sought an injunction to prevent “Don Quixote” from being released...
The film stars Jonathan Pryce as the title character alongside Adam Driver, Stellan Skarsgård, Olga Kurylenko and Jordi Mollà. Driver plays a frustrated filmmaker and disillusioned advertising executive who becomes pulled into a world of time-jumping fantasy when a Spanish cobbler (Pryce) who believes he is Don Quixote mistakes Toby for his trusted squire Sancho Panza. Pulled further into the cobbler’s world, Toby gradually becomes unable to tell his dreams from reality.
In 2018, Gilliam lost a legal dispute when a French court ruled that he would have to pay one of the film’s former producer, Paulo Branco, €10,000 for breach of contract. Branco also sought an injunction to prevent “Don Quixote” from being released...
- 2/25/2019
- by Beatrice Verhoeven
- The Wrap
Despite producing only around 15 feature films per year, Portuguese cinema has consistently won significant festival prizes.
In 2018, awards for Portuguese films included Cannes’ Critics’ Week winner, “Diamantino” by Gabriel Abrantes and Daniel Schmidt, and “The Dead and the Others” by João Salaviza and Renée Nader Messora, which took a Special Jury Prize at Cannes’ Un Certain Regard.
Portuguese filmmakers have survived through a mixture of dedication, creative ingenuity and co-productions. Amid economic crisis, in 2012, the situation seemed dire, with Portugal’s National Film and Audiovisual Institute (Ica) unable to open any funding lines.
However a 2012 film law, revised in 2014, provided new revenues for the Ica by introducing levies on subscription TV services. As a result, the Ica has been able to channel significant additional funding into the domestic industry, including new support programs for TV series and animation features.
Investment obligations for domestic broadcasters have also been upped including reinforced commitments for public broadcaster,...
In 2018, awards for Portuguese films included Cannes’ Critics’ Week winner, “Diamantino” by Gabriel Abrantes and Daniel Schmidt, and “The Dead and the Others” by João Salaviza and Renée Nader Messora, which took a Special Jury Prize at Cannes’ Un Certain Regard.
Portuguese filmmakers have survived through a mixture of dedication, creative ingenuity and co-productions. Amid economic crisis, in 2012, the situation seemed dire, with Portugal’s National Film and Audiovisual Institute (Ica) unable to open any funding lines.
However a 2012 film law, revised in 2014, provided new revenues for the Ica by introducing levies on subscription TV services. As a result, the Ica has been able to channel significant additional funding into the domestic industry, including new support programs for TV series and animation features.
Investment obligations for domestic broadcasters have also been upped including reinforced commitments for public broadcaster,...
- 2/9/2019
- by Martin Dale
- Variety Film + TV
U.S. audiences will finally get the chance to see Terry Gilliam’s long-delayed film “The Man Who Killed Don Quixote,” a passion project that has taken the director nearly two decades to get to the screen.
Screen Media acquired the North American rights to “The Man Who Killed Don Quixote” and, barring yet another unforeseen mishap, it is planning a March 2019 theatrical release in partnership with Fathom Events, the company announced Monday.
The film stars Jonathan Pryce as the title character alongside Adam Driver, Stellan Skarsgård, Olga Kurylenko and Jordi Mollà. Driver plays a frustrated filmmaker and disillusioned advertising executive who becomes pulled into a world of time-jumping fantasy when a Spanish cobbler (Pryce) who believes he is Don Quixote mistakes Toby for his trusted squire Sancho Panza. Pulled further into the cobbler’s world, Toby gradually becomes unable to tell his dreams from reality.
Also Read: 'The Man Who Killed Don Quixote...
Screen Media acquired the North American rights to “The Man Who Killed Don Quixote” and, barring yet another unforeseen mishap, it is planning a March 2019 theatrical release in partnership with Fathom Events, the company announced Monday.
The film stars Jonathan Pryce as the title character alongside Adam Driver, Stellan Skarsgård, Olga Kurylenko and Jordi Mollà. Driver plays a frustrated filmmaker and disillusioned advertising executive who becomes pulled into a world of time-jumping fantasy when a Spanish cobbler (Pryce) who believes he is Don Quixote mistakes Toby for his trusted squire Sancho Panza. Pulled further into the cobbler’s world, Toby gradually becomes unable to tell his dreams from reality.
Also Read: 'The Man Who Killed Don Quixote...
- 12/17/2018
- by Brian Welk
- The Wrap
Screen Media has picked up the North American rights to Terry Gilliam's long-awaited The Man Who Killed Don Quixote.
The deal film follows Amazon Studios earlier pulling out of an agreement for U.S. distribution amid a legal dispute with now-former producer Paulo Branco. Screen Media, teaming with Fathom Events, plans a domestic theatrical release in March 2019.
"Terry Gilliam is a true auteur and his latest film does not disappoint. It is the perfect pairing of a film with a filmmaker, the story of Don Quixote, a man who believes in things that seemingly no one else believes ...
The deal film follows Amazon Studios earlier pulling out of an agreement for U.S. distribution amid a legal dispute with now-former producer Paulo Branco. Screen Media, teaming with Fathom Events, plans a domestic theatrical release in March 2019.
"Terry Gilliam is a true auteur and his latest film does not disappoint. It is the perfect pairing of a film with a filmmaker, the story of Don Quixote, a man who believes in things that seemingly no one else believes ...
- 12/17/2018
- The Hollywood Reporter - Movie News
Screen Media has picked up the North American rights to Terry Gilliam's long-awaited The Man Who Killed Don Quixote.
The deal film follows Amazon Studios earlier pulling out of an agreement for U.S. distribution amid a legal dispute with now-former producer Paulo Branco. Screen Media, teaming with Fathom Events, plans a domestic theatrical release in March 2019.
"Terry Gilliam is a true auteur and his latest film does not disappoint. It is the perfect pairing of a film with a filmmaker, the story of Don Quixote, a man who believes in things that seemingly no one else believes ...
The deal film follows Amazon Studios earlier pulling out of an agreement for U.S. distribution amid a legal dispute with now-former producer Paulo Branco. Screen Media, teaming with Fathom Events, plans a domestic theatrical release in March 2019.
"Terry Gilliam is a true auteur and his latest film does not disappoint. It is the perfect pairing of a film with a filmmaker, the story of Don Quixote, a man who believes in things that seemingly no one else believes ...
- 12/17/2018
- The Hollywood Reporter - Film + TV
PlacentaAs the final days of the 26th Curtas Vila do Conde were getting closer, feelings of melancholy hovered over most of us. We were near the end of a full week of good short films, exhibits, concerts and riveting talks between filmmakers eager to discuss cinema, gathering around a table after a late screening, amid filmmakers, film critics, aspiring film critics, academics and one medical doctor. We talked movies. We also talked spectacles, Greek mythology, medical nomenclature and grammar, until an interesting conclusion that’ll take for my opening: “Why are we here, for the films or for the people?” We were at a film festival, so the answer might seem self-evident. Curtas is one of the most reputable in the country, going strong for 26 consecutive years. Portugal’s short films have been punching far above their weight in recent years and the reason is certainly connected with how this...
- 9/2/2018
- MUBI
Terry Gilliam’s “The Man Who Killed Don Quixote” is still in need of a U.S. distributor, but in the meantime the movie is opening in markets around the world, most recently in Belgium and the Netherlands. To celebrate the film’s international roll out, Gilliam has started a poster contest on his official Facebook page.
Since July 27, Gilliam has been debuting gorgeous one-sheets for “The Man Who Killed Don Quixote” on social media and asking his nearly 500,000 followers to weigh in with their reactions to the artwork in the comments section. The filmmaker announced he plans to put together a ballot once all the posters are revealed and have fans pick the winning poster.
“Don Quixote” stars Jonathan Pryce as a delusional older man who is convinced he is the title character. After he mistakes a young advertising executive (Adam Driver) to be his loyal squire Sancho Pancho,...
Since July 27, Gilliam has been debuting gorgeous one-sheets for “The Man Who Killed Don Quixote” on social media and asking his nearly 500,000 followers to weigh in with their reactions to the artwork in the comments section. The filmmaker announced he plans to put together a ballot once all the posters are revealed and have fans pick the winning poster.
“Don Quixote” stars Jonathan Pryce as a delusional older man who is convinced he is the title character. After he mistakes a young advertising executive (Adam Driver) to be his loyal squire Sancho Pancho,...
- 7/31/2018
- by Zack Sharf
- Indiewire
Terry Gilliam says the legal battle over the rights to The Man Who Killed Don Quixote will not prevent the film's long-awaited release.
Nearly a quarter of a century in the making, the film that premiered at Cannes and screened out of competition Wednesday at the Karlovy Vary Film Festival in the Czech Republic, has been dogged with challenges worthy of Cervante's noble hero.
After false starts and many rewrites, ex-Monty Python member Gilliam finally completed the film only for a legal dispute with a now former Portuguese producer Paulo Branco to threaten to derail it.
Branco's threats ...
Nearly a quarter of a century in the making, the film that premiered at Cannes and screened out of competition Wednesday at the Karlovy Vary Film Festival in the Czech Republic, has been dogged with challenges worthy of Cervante's noble hero.
After false starts and many rewrites, ex-Monty Python member Gilliam finally completed the film only for a legal dispute with a now former Portuguese producer Paulo Branco to threaten to derail it.
Branco's threats ...
The plot thickens — again. After losing his trial in the Paris Court of Appeals last week, Terry Gilliam also appeared to have lost the rights to his long-in-the-making passion project “The Man Who Killed Don Quixote.” Former producer Paulo Branco claimed both victory and the rights to the film, which premiered at Cannes last month, but now Gilliam’s producer Mariela Besuievsky is firing back: “We have the rights of ‘Don Quixote’ and it will be released all over the world,” she tells El Español in a new interview.
Branco “had the option to buy, but never exercised that right of purchase,” Besuievsky adds in her translated conversation. Branco and Gilliam have been embroiled in a protracted legal battle over “Don Quixote,” which Gilliam has been laboring to make in one form or another for 25 years; Johnny Depp was originally attached to star, but the version that was finally completed...
Branco “had the option to buy, but never exercised that right of purchase,” Besuievsky adds in her translated conversation. Branco and Gilliam have been embroiled in a protracted legal battle over “Don Quixote,” which Gilliam has been laboring to make in one form or another for 25 years; Johnny Depp was originally attached to star, but the version that was finally completed...
- 6/22/2018
- by Michael Nordine
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe acrimonious legal battle between producer Paulo Branco and director Terry Gilliam over the rights to The Man Who Killed Don Quixote has reached a perilous stage, and it's beginning to look pretty bad for the dream project of the beleaguered auteur, who a French court has ruled no longer owns the film. American philosopher Stanley Cavell has died at the age of 91. As Charles Petersen wrote for n+1 in a 2013 profile, "Cavell was among the first philosophers to take film seriously"—and few who have encountered his writing on cinema haven't looked at the art in a new way. We heartedly recommend Pursuits of Happiness: The Hollywood Comedy of Remarriage.Recommended VIEWINGAfter a stint in Hollywood resulting in far-flung films ranging from The Time Traveler's Wife and Red to Insurgent, German director Robert Schwentke...
- 6/20/2018
- MUBI
Simon Brew Feb 25, 2019
Terry Gilliam's movie, The Man Who Killed Don Quixote, is coming to theaters for one night only.
Terry Gilliam’s The Man Who Killed Don Quixote is finally coming to theaters—but for one night only. Fathom Events and Screen Media Films is bringing The Man Who Killed Don Quixote to over 700 U.S. cinemas and select Canadian locations on April 10th. The screening will include "bonus features," as well.
“It took more than two and a half decades to make and moviegoers have just one chance to experience this film in all its glory on the big screen," said Fathom Events CEO Ray Nutt. "We are thrilled to provide audiences the opportunity to experience this highly anticipated content in the best way possible, larger-than-life and alongside fellow fans."
The Man Who Killed Don Quixote stars Adam Driver as Toby, a cynical advertising director, and Jonathan Pryce...
Terry Gilliam's movie, The Man Who Killed Don Quixote, is coming to theaters for one night only.
Terry Gilliam’s The Man Who Killed Don Quixote is finally coming to theaters—but for one night only. Fathom Events and Screen Media Films is bringing The Man Who Killed Don Quixote to over 700 U.S. cinemas and select Canadian locations on April 10th. The screening will include "bonus features," as well.
“It took more than two and a half decades to make and moviegoers have just one chance to experience this film in all its glory on the big screen," said Fathom Events CEO Ray Nutt. "We are thrilled to provide audiences the opportunity to experience this highly anticipated content in the best way possible, larger-than-life and alongside fellow fans."
The Man Who Killed Don Quixote stars Adam Driver as Toby, a cynical advertising director, and Jonathan Pryce...
- 6/18/2018
- Den of Geek
Terry Gilliam’s latest legal battle over his passion project “The Man Who Killed Don Quixote” has come to an end, and he’s been ordered to pay his former producer for breach of contract, The Hollywood Reporter reports.
This weekend, a French court ruled that Gilliam will have to pay €10,000 to Paulo Branco, the former producer on the movie who sued the “Monty Python” co-creator for breach of contract. Branco also sought an injunction to prevent “Don Quixote” from being released and from premiering at the Cannes Film Festival, though he was denied that request. Gilliam will therefore be able to distribute the film.
Gilliam argued that the contract was voided when Branco and his company, Alfama Films, failed to provide funding for the film’s production, giving him the right to find other producers for the project.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote...
This weekend, a French court ruled that Gilliam will have to pay €10,000 to Paulo Branco, the former producer on the movie who sued the “Monty Python” co-creator for breach of contract. Branco also sought an injunction to prevent “Don Quixote” from being released and from premiering at the Cannes Film Festival, though he was denied that request. Gilliam will therefore be able to distribute the film.
Gilliam argued that the contract was voided when Branco and his company, Alfama Films, failed to provide funding for the film’s production, giving him the right to find other producers for the project.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote...
- 6/17/2018
- by Jeremy Fuster
- The Wrap
After a decades-long production process that saw several failed iterations and even a documentary about its making, Terry Gilliam’s “The Man Who Killed Don Quixote” appeared to have a happy ending when it finally premiered at Cannes last month. Mixed reviews followed, and now Gilliam has lost a protracted court battle over the rights to his long-delayed passion project: The Paris Court of Appeal has ruled in favor of former producer Paulo Branco, who sued Gilliam over rights to the project.
The filmmaker has also been ordered to pay Branco’s Alfama Films €10,000 in fees. He previously won a case that allowed him to screen “Don Quixote” at Cannes, though the victory was short-lived. ”The ruling means that the rights to the film belong to Alfama. Any exploitation of the film up until now has been completely illegal and without the authorisation of Alfama,” Branco told Screen Daily.
The filmmaker has also been ordered to pay Branco’s Alfama Films €10,000 in fees. He previously won a case that allowed him to screen “Don Quixote” at Cannes, though the victory was short-lived. ”The ruling means that the rights to the film belong to Alfama. Any exploitation of the film up until now has been completely illegal and without the authorisation of Alfama,” Branco told Screen Daily.
- 6/16/2018
- by Michael Nordine
- Indiewire
Terry Gilliam's The Man Who Killed Don Quixote has lost its latest legal battle.
Following its world premiere as Cannes closing night film, a French court ruled that Gilliam will have to pay €10,000 ($11,600) in damages to former producer Paulo Branco.
However, the decision should put to bed the dispute between Gilliam and Branco of Alfama Films in France. The two have been tied up in court for months, as Branco sued for breach of contract and sought an injunction to block the release of the film as well as its screening in Cannes. That ...
Following its world premiere as Cannes closing night film, a French court ruled that Gilliam will have to pay €10,000 ($11,600) in damages to former producer Paulo Branco.
However, the decision should put to bed the dispute between Gilliam and Branco of Alfama Films in France. The two have been tied up in court for months, as Branco sued for breach of contract and sought an injunction to block the release of the film as well as its screening in Cannes. That ...
- 6/15/2018
- The Hollywood Reporter - Movie News
Terry Gilliam's The Man Who Killed Don Quixote has lost its latest legal battle.
Following its world premiere as Cannes closing night film, a French court ruled that Gilliam will have to pay €10,000 ($11,600) in damages to former producer Paulo Branco.
However, the decision should put to bed the dispute between Gilliam and Branco of Alfama Films in France. The two have been tied up in court for months, as Branco sued for breach of contract and sought an injunction to block the release of the film as well as its screening in Cannes. That ...
Following its world premiere as Cannes closing night film, a French court ruled that Gilliam will have to pay €10,000 ($11,600) in damages to former producer Paulo Branco.
However, the decision should put to bed the dispute between Gilliam and Branco of Alfama Films in France. The two have been tied up in court for months, as Branco sued for breach of contract and sought an injunction to block the release of the film as well as its screening in Cannes. That ...
- 6/15/2018
- The Hollywood Reporter - Film + TV
Surprise twist in the long-running battle between Paulo Branco and Terry Gilliam over rights to ‘The Man Who Killed Don Quixote’
The Paris Court of Appeal has ruled in favour of producer Paulo Branco in the latest twist in the case over who owns the rights to UK director Terry Gilliam’s turbulent production The Man Who Killed Don Quixote, which premiered at the Cannes Film Festival in May.
The appeals court judge ruled a contract drawn up and signed by Branco and Gilliam in 2016 – confirming the Portuguese producer’s rights to Gilliam’s long-gestated film – remained intact.
Friday’s...
The Paris Court of Appeal has ruled in favour of producer Paulo Branco in the latest twist in the case over who owns the rights to UK director Terry Gilliam’s turbulent production The Man Who Killed Don Quixote, which premiered at the Cannes Film Festival in May.
The appeals court judge ruled a contract drawn up and signed by Branco and Gilliam in 2016 – confirming the Portuguese producer’s rights to Gilliam’s long-gestated film – remained intact.
Friday’s...
- 6/15/2018
- by Melanie Goodfellow
- ScreenDaily
French actress-director Fanny Ardant, feted this week at the Transilvania Intl. Film Festival with lifetime achievement honors, said her latest role, portraying the free-spirited mother of a “square” son in “Ma Mere Est Folle,” presented her with a dilemma. “I have only daughters, not a son,” she told Variety, “so for me men are still a mystery.”
The production, directed by Diane Kurys and just wrapped following a shoot in Belgium and the Netherlands, is the story of a relationship between a mother with great imagination and “a very square boy.” The role gave the veteran actress a chance “to learn how to know your own soul,” Ardant says. Although her character shares much with Ardant’s life and work in stage and film, she explains that the only real way to grasp what raising a boy is like is to experience it.
Working with Kurys was a great experience,...
The production, directed by Diane Kurys and just wrapped following a shoot in Belgium and the Netherlands, is the story of a relationship between a mother with great imagination and “a very square boy.” The role gave the veteran actress a chance “to learn how to know your own soul,” Ardant says. Although her character shares much with Ardant’s life and work in stage and film, she explains that the only real way to grasp what raising a boy is like is to experience it.
Working with Kurys was a great experience,...
- 6/2/2018
- by Will Tizard
- Variety Film + TV
Updated And Corrected: Following its contentious world premiere at the Cannes Film Festival, Terry Gilliam’s “The Man Who Killed Don Quixote” has been acquired from French sales company Kinology by Italy’s M2 Pictures, which is planning to release it on Italian screens this fall.
“Don Quixote,” which stars Adam Driver, Jonathan Pryce, and Stellan Skarsgård, screened earlier this month as the Cannes closer after a French court threw out a request by producer Paulo Branco to block the premiere.
The film was also released on the same day by French distributor Ocean Films on about 300 screens in France thanks to a separate ruling that Kinology maintains has removed any and all impediments to the film’s French and international distribution.
Branco’s disputation over the rights to the film did, however, did prompt Amazon to pull out as the film’s distributor in the U.S.
Reviews for...
“Don Quixote,” which stars Adam Driver, Jonathan Pryce, and Stellan Skarsgård, screened earlier this month as the Cannes closer after a French court threw out a request by producer Paulo Branco to block the premiere.
The film was also released on the same day by French distributor Ocean Films on about 300 screens in France thanks to a separate ruling that Kinology maintains has removed any and all impediments to the film’s French and international distribution.
Branco’s disputation over the rights to the film did, however, did prompt Amazon to pull out as the film’s distributor in the U.S.
Reviews for...
- 5/29/2018
- by Nick Vivarelli
- Variety Film + TV
Against all odds, “The Man Who Killed Don Quixote” was finally screened to the public last Friday at the Cannes Film Festival. Regardless of the content of the film, the fact that Terry Gilliam was able to produce a finished product is a miracle unto itself. But just because Gilliam was able to share his work doesn’t mean the legal battle and bad blood between him and ex-producer Paulo Branco is water under the bridge.
- 5/21/2018
- by Charles Barfield
- The Playlist
After a three-decade production ordeal Gilliam has delivered a sun-baked fable of money, madness and the movie business – and done so with trademark infectious charm
Terry Gilliam has brought to Cannes his long-gestated and epically delayed movie version of Miguel de Cervantes’ Don Quixote, a biblical ordeal of wrecked sets, collapsed funding and bad luck that has outlived two of the actors once cast – John Hurt and Jean Rochefort – and which has been attended by colossal legal acrimony and brinkmanship right up to the red-carpet steps themselves, as the former backer Paulo Branco sought to injunct its showing here as closing gala. A French court found against Branco last week, but its screening here has been prefaced by a solemn lawyerly announcement respecting Mr Branco’s future claims. It’s a backstory of enormous drama, well told in Keith Fulton and Louis Pepe’s documentary Lost in La Mancha, all...
Terry Gilliam has brought to Cannes his long-gestated and epically delayed movie version of Miguel de Cervantes’ Don Quixote, a biblical ordeal of wrecked sets, collapsed funding and bad luck that has outlived two of the actors once cast – John Hurt and Jean Rochefort – and which has been attended by colossal legal acrimony and brinkmanship right up to the red-carpet steps themselves, as the former backer Paulo Branco sought to injunct its showing here as closing gala. A French court found against Branco last week, but its screening here has been prefaced by a solemn lawyerly announcement respecting Mr Branco’s future claims. It’s a backstory of enormous drama, well told in Keith Fulton and Louis Pepe’s documentary Lost in La Mancha, all...
- 5/18/2018
- by Peter Bradshaw
- The Guardian - Film News
Terry Gilliam is closing the 2018 Cannes Film Festival with the world premiere of “The Man Who Killed Don Quixote,” which is a major miracle considering it has taken the director two decades of development issues and legal battles to get the film made and ready for release. The long-delayed “Don Quixote” production is one of the most famous in film history, and Gilliam is happy to finally be putting it behind him.
“That this film is out in the world is all I really care about,” Gilliam told Deadline about the long road to the film’s Cannes premiere. “I don’t give a shit anymore. My opinion doesn’t count. I just want people to see the thing. And what I’d like, more than anything, is for it to become a commercial success. It would make life easier on the next one. The last couple of films I...
“That this film is out in the world is all I really care about,” Gilliam told Deadline about the long road to the film’s Cannes premiere. “I don’t give a shit anymore. My opinion doesn’t count. I just want people to see the thing. And what I’d like, more than anything, is for it to become a commercial success. It would make life easier on the next one. The last couple of films I...
- 5/18/2018
- by Zack Sharf
- Indiewire
At the start of Terry Gilliam’s The Man Who Killed Don Quixote, a title card appears. “And now, after more than 25 years in the making… and unmaking… a Terry Gilliam film.” The history behind the director’s tortured attempt to adapt Miguel de Cervantes’ seminal novel is the stuff of legend, beginning in 1989. He first got it into production in 2000, when Jean Rochefort and Johnny Depp were cast as Don Quixote and his squire Sancho Panza. The derailing of that shoot through set flooding, insurance wrangles and Rochefort’s ill health became the subject of Keith Fulton and Louis Pepe’s Lost in La Mancha, which remains to this day one of the most important documentaries about the filmmaking process.
Shooting was finally complete on The Man Who Killed Don Quixotelast June. In this successful iteration, Jonathan Pryce plays Quixote with Adam Driver cast as Toby, a firebrand film...
Shooting was finally complete on The Man Who Killed Don Quixotelast June. In this successful iteration, Jonathan Pryce plays Quixote with Adam Driver cast as Toby, a firebrand film...
- 5/18/2018
- by Joe Utichi
- Deadline Film + TV
As the festival reaches its midpoint, regulars are divided over the success of this year’s business.
As the festival reaches the midpoint of the main weekend, Cannes regulars are divided over how much business there is to be done in the market this year.
Foot traffic in the Riviera, Lérins and Palais was notably far slower than usual earlier in the week. It was possible to get bookings at short notice in even the most exclusive restaurants. Many attendees questioned the decision to start the market a day earlier than usual.
Jerome Paillard, executive director of the Marché, explained...
As the festival reaches the midpoint of the main weekend, Cannes regulars are divided over how much business there is to be done in the market this year.
Foot traffic in the Riviera, Lérins and Palais was notably far slower than usual earlier in the week. It was possible to get bookings at short notice in even the most exclusive restaurants. Many attendees questioned the decision to start the market a day earlier than usual.
Jerome Paillard, executive director of the Marché, explained...
- 5/13/2018
- by Geoffrey Macnab
- ScreenDaily
Film given permission to open in France after bitter legal battle.
The simultaneous French theatrical release of Terry Gilliam’s The Man Who Killed Don Quixote, coinciding with its premiere as the closing night film of the Cannes Film Festival, will go ahead as planned, its French distributor Ocean Films Distribution has confirmed to Screen.
The picture’s release had been in doubt amid an ongoing, acrimonious legal battle between Paris-based Portuguese producer Paulo Branco and producers at France’s Kinology as well as Tornasol Films and Carisco Producciones in Spain over who owns rights to the production.
Ocean Films...
The simultaneous French theatrical release of Terry Gilliam’s The Man Who Killed Don Quixote, coinciding with its premiere as the closing night film of the Cannes Film Festival, will go ahead as planned, its French distributor Ocean Films Distribution has confirmed to Screen.
The picture’s release had been in doubt amid an ongoing, acrimonious legal battle between Paris-based Portuguese producer Paulo Branco and producers at France’s Kinology as well as Tornasol Films and Carisco Producciones in Spain over who owns rights to the production.
Ocean Films...
- 5/10/2018
- by Melanie Goodfellow
- ScreenDaily
Updated with festival statement, more detail: Following yesterday’s court decision to allow the closing-night screening of Terry Gilliam’s The Man Who Killed Don Quixote, Cannes Film Festival organizers today released an official statement on the matter — one that calls out Paulo Branco who had been seeking an injunction.
Gilliam’s labor of love has been the subject of a rights tussle, and Cannes termed moves by Branco a “campaign of attempted intimidation.” It added, “contrary to what the Brancos have continued to claim (among other slanderous attacks and lies), the Festival de Cannes has never placed itself above the law nor has it attempted to force through a decision.” (Read the full statement below.)
The festival “is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public.”
Separately today, French film body the Cnc...
Gilliam’s labor of love has been the subject of a rights tussle, and Cannes termed moves by Branco a “campaign of attempted intimidation.” It added, “contrary to what the Brancos have continued to claim (among other slanderous attacks and lies), the Festival de Cannes has never placed itself above the law nor has it attempted to force through a decision.” (Read the full statement below.)
The festival “is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public.”
Separately today, French film body the Cnc...
- 5/10/2018
- by Nancy Tartaglione
- Deadline Film + TV
Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’
Organizers for the 2018 Cannes Film Festival have confirmed that Terry Gilliam’s film, “The Man Who Killed Don Quixote,” will screen during the festival’s closing night on May 19 — and praised the Paris court decision allowing it to happen.
“Since Tuesday, cinema has regained its rights,” organizers said in a statement. “The Festival is a unique forum for freedom of expression. It will remain so.”
Hours after Amazon Studios dropped “The Man Who Killed Don Quixote,” a French court decided on Wednesday to dismiss a producer’s bid to stop the film from screening at Cannes.
“The Festival de Cannes, which throughout the case has repeatedly expressed its loyalty and support for the creators, is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public,” the statement said.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Gilliam has been trying to make the film for decades with several failed attempts. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
“We are very pleased that this unique — and in some ways agonizing — work in the career of the great director Terry Gilliam will be unveiled for the first time to journalists, festival-goers and professionals from around the world, gathered together in the Grand Ampitheatre Lumiere,” added the statement.
The Festival has stood by the film in the past, saying, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’ At TheWrap...
“Since Tuesday, cinema has regained its rights,” organizers said in a statement. “The Festival is a unique forum for freedom of expression. It will remain so.”
Hours after Amazon Studios dropped “The Man Who Killed Don Quixote,” a French court decided on Wednesday to dismiss a producer’s bid to stop the film from screening at Cannes.
“The Festival de Cannes, which throughout the case has repeatedly expressed its loyalty and support for the creators, is pleased to see that justice will allow the presentation of this work, whose director surely deserves to see it finally presented to the public,” the statement said.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
Gilliam has been trying to make the film for decades with several failed attempts. Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
“We are very pleased that this unique — and in some ways agonizing — work in the career of the great director Terry Gilliam will be unveiled for the first time to journalists, festival-goers and professionals from around the world, gathered together in the Grand Ampitheatre Lumiere,” added the statement.
The Festival has stood by the film in the past, saying, “The trouble were caused on this last occasion by the actions of a producer who has shown his true colours once and for all during this episode and who has threatened us, via his lawyer, with a ‘humiliating defeat.'”
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Read original story Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’ At TheWrap...
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
Day 2 of the Cannes Film Festival was filled with screenings, most noteworthy being the showing of the Kenyan film “Rafiki,” but Terry Gilliam was the talk of the town when his film scored a huge legal victory on Wednesday.
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
A Paris court ruled that his long-in-the-works film “The Man Who Killed Don Quixote” could screen on the festival’s closing night despite a suit by a producer seeking to stop it. At the same time, however, the film lost its North American distributor, Amazon Studios, and Gilliam himself suffered a minor stroke over the weekend.
“Rafiki” made history on Wednesday when it became the first Kenyan film to screen at the festival. And Russia’s “Leto” also screened, but filmmaker Kirill Serebrennikov introduced it in absentia given that he is still under house arrest in his home country.
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
Thursday sees competition films “Sorry Angel” and “Cold War” screening.
See below for Wednesday’s roundup:
“The Man Who Killed Don Quixote” Wins
Terry Gilliam was victorious on Wednesday, when a French judge decided to throw out a producer’s bid to stop the film from screening at the Cannes Film Festival.
The film, which Gilliam has tried to make for decades with several failed attempts, can now screen during the festival’s closing night.
Producer Paulo Branco, who was attached to “Don Quixote” but left after preproduction disputes, sought to block the Cannes closing-night screening. His lawyer issued a statement claiming that Gilliam needs Branco’s permission to screen the film.
But a court in Paris ruled Wednesday that the Cannes screening could proceed on May 19 as planned, so long as it’s preceded by a statement affirming Branco’s claims to the film rights. Branco will also be reimbursed for legal expenses.
Also Read: Terry Gilliam's 'Don Quixote' Loses Amazon as Us Distributor, Wins Court Fight to Screen as Cannes Closer
However, Amazon Studios on Wednesday pulled out of its deal to distribute Gilliam’s film in North America because of producers’ failure to deliver it, an individual with knowledge of the situation told TheWrap. The distributor had been an eyeing a fall release.
The film stars Adam Driver as a 21st-century marketing executive named Toby who toggles between modern times and 17th-century Spain, where Don Quixote (Jonathan Pryce) mistakes him for his trusted squire, Sancho Panza.
Like Quixote, Toby becomes consumed by the illusory world and unable to distinguish his dreams from reality. The tale culminates in a phantasmagorical finale where Toby takes on the mantle of Don Quixote de la Mancha.
Kenya’s “Rafiki” Debuts
The first-ever Kenyan film to be included in the festival, titled “Rafiki,” debuted at Cannes on Wednesday.
Many people were moved by its political storytelling. TheWrap’s Steve Pond wrote in his review, “Second-time director Wanuri Kahiu, one of a larger-than-usual contingent of female directors in the main selection, has crafted a modest, at times striking drama that is perhaps more notable for what it represents than what it is.”
The film was banned in its home country due to its Lgbt love story, with the Kenya Film Classification Board saying that homosexual scenes were illegal in Kenya.
Also Read: 'Rafiki' Film Review: African Gay Romance Is a First for Cannes
#Rafiki is – in terms of filmmaking – somewhat conventional. But in terms of representation politics & storytelling it‘s an important & well made glimpse into Kenya, it‘s people and society. And the 2 protagonists are strong leads. Takes a lot of Chuzpe to make this film. #cannes
— Beatrice Behn (@DansLeCinema) May 9, 2018
Rafiki falls apart narratively but great style, talented director and liked one of the leads quite a bit. Important gay film for Kenya. #Cannes2018
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Rafiki: definitely a first film, but it’s got a vital political utility and these leads have chemistry out the wazoo. It’s not Cannes unless there’s a movie with blacklighting!
— Charles Bramesco (@intothecrevasse) May 9, 2018
“Black Panther” Lights Up the Beach at Night
“Black Panther” was screened at night at the Cinema de la Plage — and what a beautiful setting to see one of the most talked-about films of the year.
A Cannes crowd has gathered for a nighttime screening of Black Panther on the beach pic.twitter.com/BAX6Q575Yn
— Kyle Buchanan (@kylebuchanan) May 9, 2018
Yo @MarvelStudios made it to #Cannes2018 Outdoor beach screening of Black Panther. Overflow on public beach behind it. pic.twitter.com/64nX7yQ8Cl
— Gregory Ellwood (@TheGregoryE) May 9, 2018
Russia’s “Leto” Debuts
Kirill Serebrennikov’s film “Leto” screened at the festival while the director himself still remains under house arrest in Russia on charges of corruption.
The film received mixed early reviews. One viewer described the film as “cinematic brilliance,” while another called it “exceptional.”
TheWrap’s Steve Pond wrote in his review that “‘Leto’ is the wildest and most bracing film to screen in the main competition so far this year. Part fond remembrance of an early-’80s Leningrad rock scene and part glam-rock fever dream, ‘Leto’ asks an audience to surrender to excess and at times to silliness, and it richly rewards them for doing so.”
Leto aka Summer (Serebrennikov '18) is an exceptional, and exceptionally morose, movie about internal conflict amidst social upheaval. An urgent cry for the present moment. No way this isn't winning something… #Cannes2018 #Cannes
— The Habitus (@habituspod) May 10, 2018
Cinematic brilliance @Festival_Cannes #Leto #KirillSerebrennikov #coupdecoeur https://t.co/JvOcDsDXdO
— Julia Effertz (@JuliaEffertz) May 10, 2018
Kirill Serebrennikov's Leto is not a Jared Leto biopic, but it's closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his. https://t.co/KOzce3PNE1
— Guy Lodge (@GuyLodge) May 10, 2018
Read original story Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory At TheWrap...
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
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