Having impressed with Peter Hengl’s “Family Dinner,” a 2022 Tribeca world premiere, Vienna-based Capra Film is developing an ever expanding slate of movies and series which establishes it as a growing genre force to keep track of in Europe.
Founded in 2015 by producer Lola Basara and writer-director Hengl, Capra Film was the only production-house to have two titles at October’s Sitges Fanpitch, where Hengl’s “Krampusnacht” won a Fantasia-Frontières Award, consisting of an invitation to Frontières, Fantasia’s vibrant industry platform, running July 26-29.
As a potential follow-up, Hengl is developing “Bug Boy,” a teenage body horror creature feature. Also in the Capra hopper are period horror film “Dracu,” from Schlegel, horror film “In the Moorland,” by Michael Winiecki, TV series “Newfall,” from Stefano Nurra, and vampire film “Thirst,” by Paul Ertl.
“Krampusnacht”
“We are a young Austrian production company committed to creating high quality genre feature films with...
Founded in 2015 by producer Lola Basara and writer-director Hengl, Capra Film was the only production-house to have two titles at October’s Sitges Fanpitch, where Hengl’s “Krampusnacht” won a Fantasia-Frontières Award, consisting of an invitation to Frontières, Fantasia’s vibrant industry platform, running July 26-29.
As a potential follow-up, Hengl is developing “Bug Boy,” a teenage body horror creature feature. Also in the Capra hopper are period horror film “Dracu,” from Schlegel, horror film “In the Moorland,” by Michael Winiecki, TV series “Newfall,” from Stefano Nurra, and vampire film “Thirst,” by Paul Ertl.
“Krampusnacht”
“We are a young Austrian production company committed to creating high quality genre feature films with...
- 7/17/2023
- by John Hopewell
- Variety Film + TV
Nicole Dade and Leah Purcell.
As a development producer, writer, script editor and assessor, Nicole Dade is pondering the future of storytelling once the pandemic has passed.
Among the questions she is mulling over: What stories do we want to tell when we have no idea what we or the world will look like?
How will stories resonate with the themes that the world is facing now? How can those themes be embedded in existing work or in creating new work? Is there still a place for feature length drama?
While she doesn’t pretend to have the answers, she is gratified to see Screen Australia and state agencies divert more funding for development.
“While there is opportunity, it is still extraordinarily competitive,” Dade, who spent four years as a development executive at Screen Australia, tells If. “It is a time to be bold and brave about the stories we now tell.
As a development producer, writer, script editor and assessor, Nicole Dade is pondering the future of storytelling once the pandemic has passed.
Among the questions she is mulling over: What stories do we want to tell when we have no idea what we or the world will look like?
How will stories resonate with the themes that the world is facing now? How can those themes be embedded in existing work or in creating new work? Is there still a place for feature length drama?
While she doesn’t pretend to have the answers, she is gratified to see Screen Australia and state agencies divert more funding for development.
“While there is opportunity, it is still extraordinarily competitive,” Dade, who spent four years as a development executive at Screen Australia, tells If. “It is a time to be bold and brave about the stories we now tell.
- 4/6/2020
- by The IF Team
- IF.com.au
‘H is for Happiness.’
For producer, director, writer and distributor Robert Connolly, the clear challenge for Australian filmmakers is to create cinema works that speak to the issues the world is facing.
For writer-director Kiah Roache-Turner and his producer brother Tristan Roache-Turner, the solution to the declining indie market lies partly in developing multiple projects with various producers.
Coupled with that is the brothers’ willingness to spend hundreds of hours working with distributors to sell each film and push for more screens.
Producer Julie Ryan laments the increasing trend by some government agencies to encourage producers to pitch feature projects to streaming services rather than via the traditional sales agent/distributor model.
“I am not against having my film released on a streaming service but there isn’t any incentive for them to invest upfront and replace the market funds that were traditionally covered by the sales agent advance and Australia-New Zealand distribution guarantee,...
For producer, director, writer and distributor Robert Connolly, the clear challenge for Australian filmmakers is to create cinema works that speak to the issues the world is facing.
For writer-director Kiah Roache-Turner and his producer brother Tristan Roache-Turner, the solution to the declining indie market lies partly in developing multiple projects with various producers.
Coupled with that is the brothers’ willingness to spend hundreds of hours working with distributors to sell each film and push for more screens.
Producer Julie Ryan laments the increasing trend by some government agencies to encourage producers to pitch feature projects to streaming services rather than via the traditional sales agent/distributor model.
“I am not against having my film released on a streaming service but there isn’t any incentive for them to invest upfront and replace the market funds that were traditionally covered by the sales agent advance and Australia-New Zealand distribution guarantee,...
- 1/15/2020
- by The IF Team
- IF.com.au
2019 Screen Tank participants: (Top Row L-r): Nicole Dade, Linda Micsko, Rachel Higgins, Jasmin Tarasin, Charis Orchard, Robbie Miles, Shannon Wilson. (Bottom Row L-r): Sarah de Possesse, Kate Separovich, Tricia-Lyn Morosin, Gabrielle McKinlay, Georgina Jenkins.
Professional women’s collective Dame Changer has announced four projects selected for its accelerator program, Mentor To Market: TV series Edge of the Woods, Family Happiness and Last Frontier, and feature film Blackbirds.
Recipients were selected from a group of 12 teams that participated in Dame Changer’s workshop program Screen Tank in May, which gave insights into financing, sales, marketing, festival and distribution strategies from senior industry specialists, and involved a project market review session. At the conclusion, the teams pitched their projects to distributors in one-on-one meetings and received constructive feedback.
The program was facilitated by film and distribution consultant Beatrice Neumann, Oscar-nominated writer/producer Meg LeFauve; producer of The Babadook, Cargo and...
Professional women’s collective Dame Changer has announced four projects selected for its accelerator program, Mentor To Market: TV series Edge of the Woods, Family Happiness and Last Frontier, and feature film Blackbirds.
Recipients were selected from a group of 12 teams that participated in Dame Changer’s workshop program Screen Tank in May, which gave insights into financing, sales, marketing, festival and distribution strategies from senior industry specialists, and involved a project market review session. At the conclusion, the teams pitched their projects to distributors in one-on-one meetings and received constructive feedback.
The program was facilitated by film and distribution consultant Beatrice Neumann, Oscar-nominated writer/producer Meg LeFauve; producer of The Babadook, Cargo and...
- 7/1/2019
- by jkeast
- IF.com.au
Leah Purcell on stage in The Drover’s Wife (Photo credit: Belvoir)
Leah Purcell aims to start shooting the feature film adaptation of her play ‘The Drover’s Wife’ next September after pitching the project to major players in Hollywood.
Purcell and her producing partner Bain Stewart met with a raft of executives including reps of Fox Searchlight, Endeavour Content, Netflix’s film and television divisions and Amazon Prime on a visit to La as part of Screen Australia’s Talent USA initiative marking 25 years of Indigenous screen production.
Stewart and Purcell’s Oombarra Productions, who will produce with Bunya Productions’ David Jowsey and Greer Simpkin and Monumental Pictures’ Alison Owen, are looking to cover a significant gap in the budget of The Drovers Wife: The Legend of Molly Johnson from Us-based financiers.
“Screen Australia gave us the perfect entrée for key meetings,” Stewart tells If. “There was a lot...
Leah Purcell aims to start shooting the feature film adaptation of her play ‘The Drover’s Wife’ next September after pitching the project to major players in Hollywood.
Purcell and her producing partner Bain Stewart met with a raft of executives including reps of Fox Searchlight, Endeavour Content, Netflix’s film and television divisions and Amazon Prime on a visit to La as part of Screen Australia’s Talent USA initiative marking 25 years of Indigenous screen production.
Stewart and Purcell’s Oombarra Productions, who will produce with Bunya Productions’ David Jowsey and Greer Simpkin and Monumental Pictures’ Alison Owen, are looking to cover a significant gap in the budget of The Drovers Wife: The Legend of Molly Johnson from Us-based financiers.
“Screen Australia gave us the perfect entrée for key meetings,” Stewart tells If. “There was a lot...
- 11/15/2018
- by The IF Team
- IF.com.au
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