Box Office
Gross box office in the European Union (EU) and the U.K. grew by 70% in 2022 compared with 2021 – from €3 billion ($3.27 billion) to €5.1 billion ($5.57 billion), down by 28% on pre-pandemic levels. The numbers were revealed in the 2023 edition of Focus – World Film Market Trends, a report which is prepared each year for the Cannes film market.
Three U.S. films, “Top Gun: Maverick,” “Avatar: The Way of Water” and “Minions: The Rise of Gru” topped the European charts in 2022, selling 34.4 million, 30.6 and 30.2 million tickets throughout the calendar year respectively. Cinema attendance in the EU and the U.K. increased by 63% from 403 million tickets sold in 2021 to an estimated 657 million in 2022, representing 67% of the average pre-pandemic admission level registered between 2017 and 2019.
European films also performed well and market share for European films increased year-on-year from 26.8% to 28.4% in 2022, the report recorded. It also notes that film production in the EU and the U.
Gross box office in the European Union (EU) and the U.K. grew by 70% in 2022 compared with 2021 – from €3 billion ($3.27 billion) to €5.1 billion ($5.57 billion), down by 28% on pre-pandemic levels. The numbers were revealed in the 2023 edition of Focus – World Film Market Trends, a report which is prepared each year for the Cannes film market.
Three U.S. films, “Top Gun: Maverick,” “Avatar: The Way of Water” and “Minions: The Rise of Gru” topped the European charts in 2022, selling 34.4 million, 30.6 and 30.2 million tickets throughout the calendar year respectively. Cinema attendance in the EU and the U.K. increased by 63% from 403 million tickets sold in 2021 to an estimated 657 million in 2022, representing 67% of the average pre-pandemic admission level registered between 2017 and 2019.
European films also performed well and market share for European films increased year-on-year from 26.8% to 28.4% in 2022, the report recorded. It also notes that film production in the EU and the U.
- 5/12/2023
- by Naman Ramachandran
- Variety Film + TV
The Filipino thriller master Erik Matti is in Venice with “On The Job: The Missing 8”, the sequel to his action flick “On The Job” from Cannes Directors’ Fortnight in 2013. As for the previous film, the script was penned by Matti’s spouse Michiko Yamamoto, whose feeling for fine tuning and presenting many things happening at the same time leaves no confusion about who- and whydunnit, although the backside challenging 208′ of the film’s runtime will probably prove more fitting for the broader audience in the format in which is shown now – as a six episode HBO Asia mini-series.
“On The Job: The Missing 8” is screening at Udine Far East Film Festival
The story is, unlike the first film which was set in Manilla, based in the municipality of La Paz, in the seemingly safest community of the Philippines, ruled over and controlled by Pedring Eusebio (Dante Rivero), an...
“On The Job: The Missing 8” is screening at Udine Far East Film Festival
The story is, unlike the first film which was set in Manilla, based in the municipality of La Paz, in the seemingly safest community of the Philippines, ruled over and controlled by Pedring Eusebio (Dante Rivero), an...
- 4/29/2022
- by Marina D. Richter
- AsianMoviePulse
The Filippino thriller master Erik Matti is in Venice with “On The Job: The Missing 8”, the sequel to his action flick “On The Job” from Cannes Directors’ Fortnight in 2013. As for the previous film, the script was penned by Matti’s spouse Michiko Yamamoto, whose feeling for fine tuning and presenting many things happening at the same time leaves no confusion about who- and whydunnit, although the backside challenging 208′ of the film’s runtime will probably prove more fitting for the broader audience in the format in which is shown now – as a six episode HBO Asia mini-series.
The longest Venice main selection contender was screened towards the end of the festival to an already tired viewership that had previously sat through a huge chunk of films, and yet it managed to stand out as one of the more accomplished competition titles due to its interesting narrative, balanced tempo and...
The longest Venice main selection contender was screened towards the end of the festival to an already tired viewership that had previously sat through a huge chunk of films, and yet it managed to stand out as one of the more accomplished competition titles due to its interesting narrative, balanced tempo and...
- 9/15/2021
- by Marina D. Richter
- AsianMoviePulse
Scrappy filmmaking can sometimes deliver superb storytelling, as is proven by Erik Matti’s initially wobbly but increasingly gripping, increasingly thoughtful, increasingly increasing three-and-a-half-hour “On the Job: The Missing 8,” the prolific Filipino director’s Venice-competing sequel to the 2013 Cannes Directors’ Fortnight title “On the Job.” While the film unfolds more like the TV show it’s about to become, that’s hardly a diss these days. And in its current shape — due largely to screenwriter Michiko Yamamoto’s uncanny ability to keep multiple narrative balls in the air at once — it combines the immersive, occasionally spectacular pleasures of genre cinema with the greedy moreishness of longform TV models. It’s a sprawling, satisfying big-screen binge.
It also plays somewhat like a 209-minute dolly zoom: As the aperture widens on the intensely corrupt landscape of a society under strongman leadership, the focus also narrows onto one man’s painful ethical reawakening.
It also plays somewhat like a 209-minute dolly zoom: As the aperture widens on the intensely corrupt landscape of a society under strongman leadership, the focus also narrows onto one man’s painful ethical reawakening.
- 9/12/2021
- by Jessica Kiang
- Variety Film + TV
Erik Matti’s new original six-part Philippines series “On The Job” will premiere on HBO Go in Southeast Asia, Hong Kong and Taiwan in September and will also air later on the region’s HBO channel.
Select episodes from the series will screen in competition at the Venice Film Festival in September, the only Asian title in contention out of the 21 in the lineup.
HBO Go has also released a trailer.
The first two episodes of the series were shown as a film at the 2013 Cannes Film Festival, where was nominated for an Sacd Prize at Directors’ Fortnight. It went on to win several awards globally, including two at the Bucheon International Fantastic Film Festival.
Inspired by true events, “On The Job” centers around crime syndicates that temporarily release prison inmates to carry out political assassinations for those in power. However, the crime syndicates themselves are run by politicians. The...
Select episodes from the series will screen in competition at the Venice Film Festival in September, the only Asian title in contention out of the 21 in the lineup.
HBO Go has also released a trailer.
The first two episodes of the series were shown as a film at the 2013 Cannes Film Festival, where was nominated for an Sacd Prize at Directors’ Fortnight. It went on to win several awards globally, including two at the Bucheon International Fantastic Film Festival.
Inspired by true events, “On The Job” centers around crime syndicates that temporarily release prison inmates to carry out political assassinations for those in power. However, the crime syndicates themselves are run by politicians. The...
- 7/28/2021
- by Naman Ramachandran
- Variety Film + TV
In celebration of the 100 Years of Philippine Cinema, “Habambuhay” is a new, insightfully entertaining documentary series that commemorates the lives and efforts of the people behind and in front of the camera who helped shape the Philippine Movie Industry for a very long time.
It features exclusive interviews, rare archival footages, clips and photos that will help illuminate the fascinating stories behind the industry’s most significant contributors and biggest names in Philippine Cinema.
“Habambuhay” boasts a star-studded list that includes screen legends like Anita Linda, Luis Nepomuceno, Eddie Mesa, Rosemarie Gil, Gloria Romero, and Eddie Garcia, in the actor’s last in-depth interview before his untimely passing, as well as industry pillars such as Mother Lily Monteverde (Regal Entertainment), Charo Santos-Concio (Star Cinema), and Marichu Vera-Perez (Sampaguita Pictures).
Renowned filmmakers Peque Gallaga, Laurice Guillen, Lav Diaz, Brillante Mendoza, Jerrold Tarog, screenwriters Ricky Lee, Raquel Villavicencio, Rody Vera, and Philippine...
It features exclusive interviews, rare archival footages, clips and photos that will help illuminate the fascinating stories behind the industry’s most significant contributors and biggest names in Philippine Cinema.
“Habambuhay” boasts a star-studded list that includes screen legends like Anita Linda, Luis Nepomuceno, Eddie Mesa, Rosemarie Gil, Gloria Romero, and Eddie Garcia, in the actor’s last in-depth interview before his untimely passing, as well as industry pillars such as Mother Lily Monteverde (Regal Entertainment), Charo Santos-Concio (Star Cinema), and Marichu Vera-Perez (Sampaguita Pictures).
Renowned filmmakers Peque Gallaga, Laurice Guillen, Lav Diaz, Brillante Mendoza, Jerrold Tarog, screenwriters Ricky Lee, Raquel Villavicencio, Rody Vera, and Philippine...
- 7/9/2020
- by Don Anelli
- AsianMoviePulse
Ryuichi Sakamoto played at the opening ceremony with stars including Bai Baihe, Yang Kuei-mei, Jang Dong-gun and Hyun Bin on the red carpet.
The 23rd Busan International Film Festival (Biff) kicked off tonight (October 4) with a windy, star-studded red carpet and a piano performance from Asian Filmmaker of the Year award winner Ryuichi Sakamoto, amidst reports of an approaching typhoon.
Reinstated festival head Jay Jeon and chairman Lee Yong-kwan emphasised a return to “stability and harmony” after four years of conflict over freedom of expression issues that swept through South Korea, as well as Biff, as part of deposed president Park Geun-hye’s blacklisting efforts.
The 23rd Busan International Film Festival (Biff) kicked off tonight (October 4) with a windy, star-studded red carpet and a piano performance from Asian Filmmaker of the Year award winner Ryuichi Sakamoto, amidst reports of an approaching typhoon.
Reinstated festival head Jay Jeon and chairman Lee Yong-kwan emphasised a return to “stability and harmony” after four years of conflict over freedom of expression issues that swept through South Korea, as well as Biff, as part of deposed president Park Geun-hye’s blacklisting efforts.
- 10/4/2018
- by Jean Noh
- ScreenDaily
Eddie Romero dies: Filipino filmmaker best known for his exploitation horror and action movies Eddie Romero, one of most best-known Filipino filmmakers, died of prostate cancer on Tuesday, May 28. Romero was 88. Named a National Artist of the Philippines in 2003, Romero (born on July 7, 1924, in Dumaguete City) began his film career in the late ’40s, when The Philippines were still recovering from the devastation of World War II. His international reputation rests chiefly on his low-budget horror and action movies; usually Filipino / American co-productions made in collaboration with actor-producer John Ashley. Among those are the the horror sci-fier Brides of Blood (1968), featuring veteran Kent Taylor, Beverly Powers, tropical-island natives, and radioactively mutated human-eating plants; Beast of Blood (1971), featuring John Ashley and a headless monster; The Twilight People (1972), which has no connection to either Stephenie Meyer or the Cullen Clan — in the film, reminiscent of Erle C. Kenton’s Island of Lost Souls...
- 5/29/2013
- by Andre Soares
- Alt Film Guide
A lot has already been said and written about the historical inaccuracies of Mark Meily's El Presidente, how the glamour project dastardly re-portrayed historical figures to suit enlarged egos and their enlarged pockets. Andres Bonifacio (played with a notable lack of charm by Cesar Montano), the founder of the Philippine revolution who was tragically killed by his fellow men, is depicted as a severely sore loser. Antonio Luna (played, complete with gritting teeth, by Christopher de Leon), a top-ranking general of the revolutionary government who was murdered, is shown to be cruel, despotic and deserving of his embarrassing death as a matter of narrative logic. Emilio Aguinaldo (played with uncharacteristic and unbelievable nobility by Jorge Estregan), the titular president, reaps all the rewards of Meily's...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 1/28/2013
- Screen Anarchy
For my segments shown in Balitang America every Friday on The Filipino Channel, I made special movie reviews for "Noy" and "Sa 'Yo Lamang."
First, let's talk about "Noy." It's the Philippines entry for the Best Foreign Language Film competition at the Academy Awards. Will this Filipino independent film make the short list? One thing is for sure, Coco Martin heads an impressive ensemble cast. Take a look at my review:
Now, let's talk about "Sa 'Yo Lamang" starring Lorna Tolentino, Christopher de Leon, and once again, Coco Martin. It's directed by the award-winning Laurice Guillen ("Tanging Yaman") and it is Star Cinema's offering for its 17th year anniversary. Did I enjoy the film? Take a look:...
First, let's talk about "Noy." It's the Philippines entry for the Best Foreign Language Film competition at the Academy Awards. Will this Filipino independent film make the short list? One thing is for sure, Coco Martin heads an impressive ensemble cast. Take a look at my review:
Now, let's talk about "Sa 'Yo Lamang" starring Lorna Tolentino, Christopher de Leon, and once again, Coco Martin. It's directed by the award-winning Laurice Guillen ("Tanging Yaman") and it is Star Cinema's offering for its 17th year anniversary. Did I enjoy the film? Take a look:...
- 11/12/2010
- by Manny
- Manny the Movie Guy
The story of Laurice Guillen's Sa'yo Lamang is hardly new. An imperfect but seemingly stable family disintegrates into chaos as one by one, the family members figure serious conflicts and secrets, whether from the past or the present, conveniently unravel, threatening the sheen of normalcy that has sustained the family through the years. From Jeffrey Jeturian's low-budgeted but elegantly staged Sana Pag-ibig Na (Enter Love, 1998), to Wenn Deramas' lowbrow yet unpretentiously enjoyable Ang Tanging Ina (The Only Mother, 2003), to Joel Lamangan's middling and intolerably weepy Filipinas (2003), to Brillante Mendoza's highbrow and provocatively stirring Serbis (Service, 2008), the Filipino family has been exposed, crumbling in the midst of dire needs or expanding generation gaps or the simple passage of time.
The family, considered as an invaluable social element, is a persisting Filipino need. In the absence of it, a typical Filipino, in his desire to find personal comfort...
The family, considered as an invaluable social element, is a persisting Filipino need. In the absence of it, a typical Filipino, in his desire to find personal comfort...
- 9/3/2010
- Screen Anarchy
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