Fast-expanding Scandi production group Anagram, credited for the first Disney+ Nordic original series “To Cook a Bear” and hit series “Thin Blue Line,” has taken a stake in Helsinki-based Just Republic, becoming the largest owner of the Finnish production outfit, Variety has just learned.
Recently founded by producer Sasu Norhomaa and creator/writer Jemina Jokisalo – formerly at Solar Republic – the banner is in the limelight at Canneseries with the porn biz comedy “Money Shot,” due to world premiere April 9 at the TV festival’s short form competition.
With this acquisition, Newen Studios-owned Anagram, has added Finland to its Swedish and Norwegian production divisions and consolidated its position as a heavyweight provider of quality films, series and live entertainment in the Nordics.
“Our aim is to be a true pan-Nordic operation,” said Miira Paasilinna, Anagram COO and Anagram Sweden’s managing director. “We are active in Sweden and Norway and...
Recently founded by producer Sasu Norhomaa and creator/writer Jemina Jokisalo – formerly at Solar Republic – the banner is in the limelight at Canneseries with the porn biz comedy “Money Shot,” due to world premiere April 9 at the TV festival’s short form competition.
With this acquisition, Newen Studios-owned Anagram, has added Finland to its Swedish and Norwegian production divisions and consolidated its position as a heavyweight provider of quality films, series and live entertainment in the Nordics.
“Our aim is to be a true pan-Nordic operation,” said Miira Paasilinna, Anagram COO and Anagram Sweden’s managing director. “We are active in Sweden and Norway and...
- 4/8/2024
- by Annika Pham
- Variety Film + TV
Newen Connect has signed a pact with international sales company The Yellow Affair to have the company handle global distribution for independent films produced by Newen Studios.
Newen Studios and Yellow Affair are already related though Anagram, which is label of Newen and a shareholder Yellow Affair, along with Visiorex, Helsinki-filmi and Marianna Films. Newen, meanwhile, is owned by France’s leading commercial network group. The European banner handles co-production, co-financing and international sales through its commercial arm, Newen Connect.
Unveiled during the Goteborg Film Festival, the three-year deal will see Newen Connect continue handling mainstream titles and French movies, while The Yellow Affair will focus on indie pics produced by Newen Studios’ international labels under the new brand The Yellow Affair by Newen Connect.
The inaugural roster of the new label include Constanze Klaue’s “Punching the World,” produced by Denmark’s Nimbus and Germany’s Flare Films, based...
Newen Studios and Yellow Affair are already related though Anagram, which is label of Newen and a shareholder Yellow Affair, along with Visiorex, Helsinki-filmi and Marianna Films. Newen, meanwhile, is owned by France’s leading commercial network group. The European banner handles co-production, co-financing and international sales through its commercial arm, Newen Connect.
Unveiled during the Goteborg Film Festival, the three-year deal will see Newen Connect continue handling mainstream titles and French movies, while The Yellow Affair will focus on indie pics produced by Newen Studios’ international labels under the new brand The Yellow Affair by Newen Connect.
The inaugural roster of the new label include Constanze Klaue’s “Punching the World,” produced by Denmark’s Nimbus and Germany’s Flare Films, based...
- 1/31/2024
- by Elsa Keslassy and Annika Pham
- Variety Film + TV
Women in Film and Television International has appointed Dr. Susan Liddy as its new president.
The former chair of Women in Film and Television Ireland will step into the role that has been occupied by Swedish producer Helen Granqvist since 2018. The pair will work together for the coming months as co-presidents until Liddy assumes the helm in August 2023.
Welcoming Dr. Liddy to her new role, Ms.Granqvist said: “I’m looking forward to sharing the leadership of Wifti with Dr. Liddy during the transition period. Susan is a researcher and I am a practitioner but we are both activists who work strategically for change. I couldn’t wish for someone better to take over the leadership for Wifti!”
Speaking about her appointment, Liddy said: “I’m honored to be chosen to lead Wifti in the years ahead and I look forward to working with our international colleagues, in uniting chapters and affiliated organisations,...
The former chair of Women in Film and Television Ireland will step into the role that has been occupied by Swedish producer Helen Granqvist since 2018. The pair will work together for the coming months as co-presidents until Liddy assumes the helm in August 2023.
Welcoming Dr. Liddy to her new role, Ms.Granqvist said: “I’m looking forward to sharing the leadership of Wifti with Dr. Liddy during the transition period. Susan is a researcher and I am a practitioner but we are both activists who work strategically for change. I couldn’t wish for someone better to take over the leadership for Wifti!”
Speaking about her appointment, Liddy said: “I’m honored to be chosen to lead Wifti in the years ahead and I look forward to working with our international colleagues, in uniting chapters and affiliated organisations,...
- 11/21/2022
- by Manori Ravindran
- Variety Film + TV
Newen, the Paris-based international production and distribution group owned by France’s leading commercial network TF1, has acquired a majority stake in the Scandinavian outfit Anagram.
Anagram, which was founded in 2002 by comedians Anders Jansson and Johan Wester, has offices in Sweden and Norway that mainly produce TV drama, comedy and live entertainment through subsidiary Anagram Live. Some of the banner’s best-known content include “Thin Blue Line” and “My Life as a Comedian,” which premiered at Toronto.
The acquisition was unveiled by Newen Studios CEO Romain Bessi, Anagram executives Mats Alders and Miira Paasilinna. During the lengthy presentation, Newen highlighted the latest work from its major labels around the world, including Ringside Studios (U.K.), Pupkin (Netherlands), Capa Drama (France), De Mensen (Belgium) and Kubik Films (Spain).
Newen is already established in Scandinavia through Nimbus, the high-profile Danish production company.
Bessi, who succeeded Bibiane Godfroid as CEO of Newen Group in January,...
Anagram, which was founded in 2002 by comedians Anders Jansson and Johan Wester, has offices in Sweden and Norway that mainly produce TV drama, comedy and live entertainment through subsidiary Anagram Live. Some of the banner’s best-known content include “Thin Blue Line” and “My Life as a Comedian,” which premiered at Toronto.
The acquisition was unveiled by Newen Studios CEO Romain Bessi, Anagram executives Mats Alders and Miira Paasilinna. During the lengthy presentation, Newen highlighted the latest work from its major labels around the world, including Ringside Studios (U.K.), Pupkin (Netherlands), Capa Drama (France), De Mensen (Belgium) and Kubik Films (Spain).
Newen is already established in Scandinavia through Nimbus, the high-profile Danish production company.
Bessi, who succeeded Bibiane Godfroid as CEO of Newen Group in January,...
- 10/6/2022
- by Elsa Keslassy
- Variety Film + TV
Newen Studios has pushed into the Scandinavian scripted market with the acquisition of a majority stake in Nordic film and TV company Anagram.
The news was unveiled earlier today at a press conference for the TF1-owned giant, which was led by recently-promoted Newen Studios CEO Romain Bessi.
Bessi said Newen has taken a “very meaningful shareholding,” accounting for “well over 50” of the company, which was founded in 2002 by comedians Anders Jansson and Johan Wester and is comprised of Anagram Sweden, Anagram Norway and Anagram Live.
Anagram makes film, TV and theater, most recently producing the likes of Svt’s Thin Blue Line and feature My Life as a Comedian, which premiered at TIFF. Within TV, it produces drama, comedy and entertainment.
Bessi was joined on stage by Anagram’s Mats Alders and Miira Paasilinna to briefly discuss the acquisition – its second scripted in Scandinavia after Nimbus – during a lengthy press conference.
The news was unveiled earlier today at a press conference for the TF1-owned giant, which was led by recently-promoted Newen Studios CEO Romain Bessi.
Bessi said Newen has taken a “very meaningful shareholding,” accounting for “well over 50” of the company, which was founded in 2002 by comedians Anders Jansson and Johan Wester and is comprised of Anagram Sweden, Anagram Norway and Anagram Live.
Anagram makes film, TV and theater, most recently producing the likes of Svt’s Thin Blue Line and feature My Life as a Comedian, which premiered at TIFF. Within TV, it produces drama, comedy and entertainment.
Bessi was joined on stage by Anagram’s Mats Alders and Miira Paasilinna to briefly discuss the acquisition – its second scripted in Scandinavia after Nimbus – during a lengthy press conference.
- 10/6/2022
- by Max Goldbart
- Deadline Film + TV
CEO Karoliina Dwyer and head of sales Steven Bestwick will be based in London
Sales company The Yellow Affair has appointed Karoliina Dwyer as CEO and Steven Bestwick as head of sales & business development. They will both be based in London.
Dwyer was previously the company’s head of sales and acquisitions before moving to work with the Tribeca Film Festival and Kino Lorber in New York. She takes over from previous CEO Miira Paasilinna, who now becomes chairman of The Yellow Affair’s board. She recently joined Anagram Sweden as managing director.
Steven Bestwick had been at the UK-based...
Sales company The Yellow Affair has appointed Karoliina Dwyer as CEO and Steven Bestwick as head of sales & business development. They will both be based in London.
Dwyer was previously the company’s head of sales and acquisitions before moving to work with the Tribeca Film Festival and Kino Lorber in New York. She takes over from previous CEO Miira Paasilinna, who now becomes chairman of The Yellow Affair’s board. She recently joined Anagram Sweden as managing director.
Steven Bestwick had been at the UK-based...
- 6/28/2018
- by Wendy Mitchell
- ScreenDaily
Mika Kaurismaki’s costume epic is set in 1633.
Us distributor Wolfe Releasing has snapped up all rights to Mika Kaurismaki’s costume epic The Girl King. A theatrical release is planned for the autumn of 2015 followed by VOD, DVD, and Svod dates.
The film is a co-production between Finland, Canada, Germany, and Sweden. It is scripted by Canadian writer Michel Marc Bouchard (Tom at the Farm, Lilies). The film stars Malin Buska (Easy Money) in the title role alongside Sarah Gadon, Michael Nyqvist, Lucas Bryant, Laura Birnand Martina Gedeck.
The Girl King is the story of Queen Christina of Sweden. Crowned in 1633 at the age of six and raised as a prince, Queen Christina was an enigmatic and brilliant young leader who fought conservative forces to revolutionize Sweden while falling in love and exploring her awakening sexuality.
The deal was negotiated by Jim Stephens, president of Wolfe Releasing, and Miira Paasilinna, CEO of international...
Us distributor Wolfe Releasing has snapped up all rights to Mika Kaurismaki’s costume epic The Girl King. A theatrical release is planned for the autumn of 2015 followed by VOD, DVD, and Svod dates.
The film is a co-production between Finland, Canada, Germany, and Sweden. It is scripted by Canadian writer Michel Marc Bouchard (Tom at the Farm, Lilies). The film stars Malin Buska (Easy Money) in the title role alongside Sarah Gadon, Michael Nyqvist, Lucas Bryant, Laura Birnand Martina Gedeck.
The Girl King is the story of Queen Christina of Sweden. Crowned in 1633 at the age of six and raised as a prince, Queen Christina was an enigmatic and brilliant young leader who fought conservative forces to revolutionize Sweden while falling in love and exploring her awakening sexuality.
The deal was negotiated by Jim Stephens, president of Wolfe Releasing, and Miira Paasilinna, CEO of international...
- 5/14/2015
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Coverage of International Sales Agents (ISAs) has resumed for the Toronto International Film Festival. This segment covers inspirational companies that have officially selected films in the festival. SydneysBuzz features ISAs, as they play an instrumental and necessary role in helping filmmakers to share their visions and voices with the world.
The Yellow Affair, based in Stockholm and Helsinki, will be at the Toronto International Film Festival with two official selections: "They Have Escaped" (Vanguard Selection) and "The Grump" (Contemporary World Cinema). The company has two additional new films including Big News From Grand Rock" and "Fell".
The Yellow Affair has been around for nearly five years, and 2014 was its fifth year at the Cannes Film Festival as well. The Yellow Affair's CEO and International Sales Agent Miira Paasilinna started the company with Aleksi Bardy, a producer at Helsinki Filmi, a Finnish production company.
Miira shares her company’s nontraditional 50/50 profit model, her background, and her views on changes in the industry:
How did you start The Yellow Affair?
I founded the company together with the chairman of the board, Aleksi Bardy, who’s a producer at Helsinki Filmi. From the beginning, we’ve worked very closely with them. Before that, I was working at Non-Stop Sales, a Swedish sales outfit.
When I was working with Aleksi, he proposed this new type of business plan for international sales. I thought it was appealing, as it benefitted the producers much more than the traditional model. That was the reason we started the company.
How is your model different?
Basically, we call it the 50/50 model. The idea is that the producers get money from the first penny, so there’s no cost off the top. There’s no hidden cost, and things that can be allocated to films without producers having any control. They immediately get 50% of everything. As the sales agent, we get 50% up to a certain level. Let’s say the film does really well - we can’t demand 50% of sales forever. We don’t play with costs as other sales agents do, so that’s been a very important principle for us. Our producers really like that, because it’s a transparent model. We are proud to work with our producers and work very closely with them, rather than just doing it on our own.
We do work with the traditional model with some of our bigger films. It's often up to the producers and what they’re most comfortable with, but once they look at the numbers, they really like the 50/50 model.
Were you always in sales?
I have a background in TV production. I’ve been a producer and a director, and I had a small production company while doing that. I'm also an economist, so I actually have a business background. I have a masters degree in economics, and a bachelor’s degree in media. Sales is a good way to combine creativity with business. That’s one reason why I wanted to do film sales. I first was kind of geared more to becoming a producer, but then I realized that I like the marketing, selling and pitching of films. The tempo is a bit faster, and instead of handling just a few films, you have a big slate of films. I really enjoy that part.
What types of films do you represent?
Our catalog is mostly art house, festival driven films of high production quality. We carry films from about twenty countries, so we’re not just geared up with Scandinavian films, even though we’re based in Helsinki and Stockholm. The combination of good quality film that we can also sell and bring to festivals is important for us.
We’re getting into the bigger budget films at the moment. Our first larger scale film is "The Girl King", an English language period piece by Mika Kaurismäki. Its world-class cast includes Malin Buska, Sarah Gadon, Michael Nyqvist, Hippolyte Girardot and Martina Gedeck. It's in postproduction at the moment.
How do you feel about the changes of business in the industry?
Looking at all my years in sales, the prices have definitely gone down for art house films. I see that it’s difficult for distributors; they're making less money, and so we are making less money as well. From our point of view, it’s important to be really selective and know what type of films to really take in. I think it’s a very difficult market, but I’m happy to say that we’ve been getting income from VOD sales. When there was a drop in DVD sales, VOD sales started to pick up, and there are now some ok deals out there for digital rights.
I think there’s a bit of a lull now, and things are changing. There are some incentives that have been negatively affected in the European film business, and we could already see the reflection of this at Berlin and Cannes this year, as sales for smaller films were more difficult.
The award winning festival films do have a place in the market, and they can have nice theatrical release. The windows are just getting shorter at the same time. It’s an interesting challenge, but one has to be awake and alert all the time to move with the market.
The Yellow Affair, based in Stockholm and Helsinki, will be at the Toronto International Film Festival with two official selections: "They Have Escaped" (Vanguard Selection) and "The Grump" (Contemporary World Cinema). The company has two additional new films including Big News From Grand Rock" and "Fell".
The Yellow Affair has been around for nearly five years, and 2014 was its fifth year at the Cannes Film Festival as well. The Yellow Affair's CEO and International Sales Agent Miira Paasilinna started the company with Aleksi Bardy, a producer at Helsinki Filmi, a Finnish production company.
Miira shares her company’s nontraditional 50/50 profit model, her background, and her views on changes in the industry:
How did you start The Yellow Affair?
I founded the company together with the chairman of the board, Aleksi Bardy, who’s a producer at Helsinki Filmi. From the beginning, we’ve worked very closely with them. Before that, I was working at Non-Stop Sales, a Swedish sales outfit.
When I was working with Aleksi, he proposed this new type of business plan for international sales. I thought it was appealing, as it benefitted the producers much more than the traditional model. That was the reason we started the company.
How is your model different?
Basically, we call it the 50/50 model. The idea is that the producers get money from the first penny, so there’s no cost off the top. There’s no hidden cost, and things that can be allocated to films without producers having any control. They immediately get 50% of everything. As the sales agent, we get 50% up to a certain level. Let’s say the film does really well - we can’t demand 50% of sales forever. We don’t play with costs as other sales agents do, so that’s been a very important principle for us. Our producers really like that, because it’s a transparent model. We are proud to work with our producers and work very closely with them, rather than just doing it on our own.
We do work with the traditional model with some of our bigger films. It's often up to the producers and what they’re most comfortable with, but once they look at the numbers, they really like the 50/50 model.
Were you always in sales?
I have a background in TV production. I’ve been a producer and a director, and I had a small production company while doing that. I'm also an economist, so I actually have a business background. I have a masters degree in economics, and a bachelor’s degree in media. Sales is a good way to combine creativity with business. That’s one reason why I wanted to do film sales. I first was kind of geared more to becoming a producer, but then I realized that I like the marketing, selling and pitching of films. The tempo is a bit faster, and instead of handling just a few films, you have a big slate of films. I really enjoy that part.
What types of films do you represent?
Our catalog is mostly art house, festival driven films of high production quality. We carry films from about twenty countries, so we’re not just geared up with Scandinavian films, even though we’re based in Helsinki and Stockholm. The combination of good quality film that we can also sell and bring to festivals is important for us.
We’re getting into the bigger budget films at the moment. Our first larger scale film is "The Girl King", an English language period piece by Mika Kaurismäki. Its world-class cast includes Malin Buska, Sarah Gadon, Michael Nyqvist, Hippolyte Girardot and Martina Gedeck. It's in postproduction at the moment.
How do you feel about the changes of business in the industry?
Looking at all my years in sales, the prices have definitely gone down for art house films. I see that it’s difficult for distributors; they're making less money, and so we are making less money as well. From our point of view, it’s important to be really selective and know what type of films to really take in. I think it’s a very difficult market, but I’m happy to say that we’ve been getting income from VOD sales. When there was a drop in DVD sales, VOD sales started to pick up, and there are now some ok deals out there for digital rights.
I think there’s a bit of a lull now, and things are changing. There are some incentives that have been negatively affected in the European film business, and we could already see the reflection of this at Berlin and Cannes this year, as sales for smaller films were more difficult.
The award winning festival films do have a place in the market, and they can have nice theatrical release. The windows are just getting shorter at the same time. It’s an interesting challenge, but one has to be awake and alert all the time to move with the market.
- 9/5/2014
- by Erin Grover
- Sydney's Buzz
Once again the European Film Promotion’s (Efp) Film Sales Support (Fss) initiative will come to Toronto to link sales companies from all over Europe to a great array of buyers from across the globe. Supported by the Media Programme of the European Union, Fss has now been aiding the European film industry fro the last 10 years.
"Toronto has and is an important informal market and an important festival for European films, the distributors see the films in a different mood, more quietly, the public screenings are working well. It is a key place to launch a film or to complete previous sales on films that were in Cannes, Venice, Locarno...” (Loïc Magneron, Wide)
“Tiff is a major pillar of the annual festival calendar. Aside from a proliferation of North American buyers, it also attracts top tier international distributors so a favorable reception at Tiff can significantly increase a film's commercial prospects”. (Andrew Orr, Independent)
Due to the limited amount of resources, only 52 out of the 60 films submitted to the Efp will receive financial support to be marketed during the Tiff, which runs from September 5 to 15. This year alone, 372 films total, over 150 from Europe, will screen at the festival many of which will see their world or international premiers there.
Supported films and companies at Tiff 2013
Alpha Violet (France), rep. Virginie Devesa The Summer of Flying Fish (El Verano de los Peces Voladores) by Marcela Said, France, Chile, 2013
Arri Worldsales (Germany), rep. Moritz Hemminger Exit Marrakech by Caroline Link, Germany, 2013 Home from Home (Die Andere Heimat) by Edgar Reitz, Germany, France, 2013
Athens Filmmakers' Co-Operative (Greece), rep. Venia Vergou Wild Duck by Yannis Sakaridis, Greece, 2013
Bac Films Distribution (France), rep. Clémentine Hugot The Strange Color of Your Body's Tears (L'Entrange Couleur Ded Larmes De Ton Corps) by Hélène Cattet & Bruno Forzani, Belgium, Luxembourg, France, 2013
Beta Cinema (Germany), rep. Tassilo Hallbauer Le Grand-Cahier by János Szász, Germany, Hungary, Austria, France, 2013
Blonde S. A. (Greece), rep. Fenia Cossovitsa Standing Aside, Watching (Na Kathese Kai Na Kitas) by Yorgos Servetas, Greece, 2013
Capricci Films (France), rep. Julien Rejl Story of My Death (Historia De La Meva Mort) by Albert Serra, Spain, France, 2013 The Battle of Tabato (A Batalha De Tabato) by João Viana, Portugal, Guinea-Bissau, 2013
Celluloid Dreams (France), rep. Hengameh Panahi Those Happy Years (Anni Felici) by Daniele Luchetti, Italy, 2013
Cité Films (France), rep. Raphaël Berdugo Faith Connections (Faith Connections) by Pan Nalin, France, India, 2013
Doc & Film International (France), rep. Daniela Elstner, Alice Damiani Violette by Martin Provost, France, Belgium, 2013 South is Nothing (Il Sud E'Niente by Fabio Mollo, Italy, France, 2013
Dogwoof (United Kingdom), rep. Ana Vincente Inreallife by Beeban Kidron, UK, 2013
Ealing Metro International (United Kingdom), rep. Natalie Brenner, Will Machin Half of a Yellow Sun by Biyi Bandele, UK, 2013 The Stag by John Butler, Ireland, 2013
Embankment Films (United Kingdom), rep. Tim Haslam Le Week-End by Roger Michell, UK, 2013
Eyeworks Film & TV Drama (The Netherlands), rep. Maarten Swart The Dinner (Het Diner) by Menno Meyjes, The Netherlands, 2013
Fantasia Ltd (Greece), rep. Nicoletta Romeo The Daughter (I Kori) by Thanos Anastopoulos, Greece, Italy, 2013
Film Factory Entertainment (Spain), rep. Vicente Canales Cannibal (Canibal) by Manuel Martín Cuenca, Spain, 2013 Zip & Zap and the Marble Gang (Zipi & Zape y el Club de la Canica) by Oskar Santos, Spain, 2013
Films Boutique (Germany), rep. Jean-Christophe Simon Walesa. Man of Hope (Walesa) by Andrzej Wajda, Poland, 2013
Films Distribution (France), rep. Nicolas Brigaud-Robert, François Yon Eastern Boys by Robin Campillo, France, 2013 Under the Starry Sky (Des Etoiles) by Dyana Gaye, France, Senegal, 2013
Heretic (Greece), rep. Giorgos Karnavas The Eternal Return of Antonis Paraskevas (I Aionia Epistrofi Tou Antoni Paraskeva) by Elina Psykou, Greece, 2013
Independent Film Sales (United Kingdom), rep. Karina Gechtman, Abigail Walsh The Sea by Stephen Brown, UK, Ireland, 2013 Starred Up by David Mackenzie, UK, 2013
Latido Films (Spain), rep. Miren Zamora Honeymoon (Libanky) by Jan Hrebejk, Czech Republic/Slovak Republic, 2013
LevelK (Denmark), rep. Tine Klint Sex, Drugs & Taxation (Spies Og Glistrup) by Christoffer Boe, Denmark, 2013
Linel Films (United Kingdom), rep. Aran Hughes To The Wolf (Sto Lyko) by Aran Hughes & Christina Koutsospyrou, Greece, UK, France, 2013
Minds Meet (Belgium), rep. Tomas Leyers I'm The Same I'm An Other by Caroline Strubbe, Belgium, The Netherlands, 2013
MK2 (France), rep. Victoire Thevenin Hotel (Hotell) by Lisa Langseth, Sweden, Denmark, 2012
Mpm Film (France), rep. Pierre Menahem For Those Who Can Tell No Tales by Jasmila Žbanić, Bosnia and Herzegovina, Germany, 2013
Negativ s.r.o. (Czech Republic), rep. Zuzana Bielikova Miracle (Zazrak) by Juraj Lehotský, Czech Republic, Slovakia, 2013
Pathé Distribution (France), rep. Muriel Sauzay The Finishers by Nils Tavernier, France, 2013 Quai d'Orsay by Bertrand Tavernier, France, 2013
Pausilypon Films (Greece), rep. Menelaos Karamaghiolis J.A.C.E. - Just Another Confused Elephant by Menelaos Karamaghiolis, Greece, Portugal, Macedonia, Turkey, 2012
Picture Tree International (Germany), rep. Andreas Rothbauer Mary Queen of Scots by Thomas Imbach, Switzerland, 2013 Metalhead (Malmhaus) by Ragnar Bragason, Iceland, Norway, 2013
PPProductions (Greece), rep. Thanassis Karathanos Septmeber by Penny Panayotopoulou, Greece, Germany, 2013
Pyramide International (France), rep. Agathe Mauruc Giraffada by Rani Massalha, France, Germany, Italy, 2013
Rezo (France), rep. Laurent Danielou, Sebastien Chesneau The Station (Blutgletscher) by Marvin Kren, Austria, 2013 Abuse of Weakness (Abus De Faibless) by Catherine Breillat, France, Belgium, Germany, 2013
The Match Factory (Germany), rep. Michael Weber, Thania Dimitrakopoulou The Police Officer's Wife (Die Frau Des Polizisten) by Philip Gröning, Germany, 2013 Qissa (Quissa) by Anup Singh, Germany, India, The Netherlands, France, 2013
The Yellow Affair (Sweden), rep. Miira Paasilinna Heart of a Lion (Leijonasydan) by Dome Karukoski, Finland, 2013
TrustNordisk (Denmark), rep. Susan Wendt, Nicolai Korsgaard Pioneer (Pioner) by Erik Skjoldbjaerg, Norway, 2013 We Are The Best (Vi Ar Bast!) by Lukas Moodysson, Sweden, 2013
Wide (France), rep. Loic Magneron Bobo by Ines Oliveira, Portugal, 2013
Wide House (France), rep. Garreau Geoffrey Ain't Misbehavin, A Marcel Ophuls Journey (Un Voyageur) by Marcel Ophuls, France, 2013
Wild Bunch (France), rep. Vicent Maraval, Gary Farkas Going Away (Un Beau Dimanche) by Nicole Garcia, France, 2013 A Promise (Une Promesse) by Patrice Leconte, France, Belgium, 2013...
"Toronto has and is an important informal market and an important festival for European films, the distributors see the films in a different mood, more quietly, the public screenings are working well. It is a key place to launch a film or to complete previous sales on films that were in Cannes, Venice, Locarno...” (Loïc Magneron, Wide)
“Tiff is a major pillar of the annual festival calendar. Aside from a proliferation of North American buyers, it also attracts top tier international distributors so a favorable reception at Tiff can significantly increase a film's commercial prospects”. (Andrew Orr, Independent)
Due to the limited amount of resources, only 52 out of the 60 films submitted to the Efp will receive financial support to be marketed during the Tiff, which runs from September 5 to 15. This year alone, 372 films total, over 150 from Europe, will screen at the festival many of which will see their world or international premiers there.
Supported films and companies at Tiff 2013
Alpha Violet (France), rep. Virginie Devesa The Summer of Flying Fish (El Verano de los Peces Voladores) by Marcela Said, France, Chile, 2013
Arri Worldsales (Germany), rep. Moritz Hemminger Exit Marrakech by Caroline Link, Germany, 2013 Home from Home (Die Andere Heimat) by Edgar Reitz, Germany, France, 2013
Athens Filmmakers' Co-Operative (Greece), rep. Venia Vergou Wild Duck by Yannis Sakaridis, Greece, 2013
Bac Films Distribution (France), rep. Clémentine Hugot The Strange Color of Your Body's Tears (L'Entrange Couleur Ded Larmes De Ton Corps) by Hélène Cattet & Bruno Forzani, Belgium, Luxembourg, France, 2013
Beta Cinema (Germany), rep. Tassilo Hallbauer Le Grand-Cahier by János Szász, Germany, Hungary, Austria, France, 2013
Blonde S. A. (Greece), rep. Fenia Cossovitsa Standing Aside, Watching (Na Kathese Kai Na Kitas) by Yorgos Servetas, Greece, 2013
Capricci Films (France), rep. Julien Rejl Story of My Death (Historia De La Meva Mort) by Albert Serra, Spain, France, 2013 The Battle of Tabato (A Batalha De Tabato) by João Viana, Portugal, Guinea-Bissau, 2013
Celluloid Dreams (France), rep. Hengameh Panahi Those Happy Years (Anni Felici) by Daniele Luchetti, Italy, 2013
Cité Films (France), rep. Raphaël Berdugo Faith Connections (Faith Connections) by Pan Nalin, France, India, 2013
Doc & Film International (France), rep. Daniela Elstner, Alice Damiani Violette by Martin Provost, France, Belgium, 2013 South is Nothing (Il Sud E'Niente by Fabio Mollo, Italy, France, 2013
Dogwoof (United Kingdom), rep. Ana Vincente Inreallife by Beeban Kidron, UK, 2013
Ealing Metro International (United Kingdom), rep. Natalie Brenner, Will Machin Half of a Yellow Sun by Biyi Bandele, UK, 2013 The Stag by John Butler, Ireland, 2013
Embankment Films (United Kingdom), rep. Tim Haslam Le Week-End by Roger Michell, UK, 2013
Eyeworks Film & TV Drama (The Netherlands), rep. Maarten Swart The Dinner (Het Diner) by Menno Meyjes, The Netherlands, 2013
Fantasia Ltd (Greece), rep. Nicoletta Romeo The Daughter (I Kori) by Thanos Anastopoulos, Greece, Italy, 2013
Film Factory Entertainment (Spain), rep. Vicente Canales Cannibal (Canibal) by Manuel Martín Cuenca, Spain, 2013 Zip & Zap and the Marble Gang (Zipi & Zape y el Club de la Canica) by Oskar Santos, Spain, 2013
Films Boutique (Germany), rep. Jean-Christophe Simon Walesa. Man of Hope (Walesa) by Andrzej Wajda, Poland, 2013
Films Distribution (France), rep. Nicolas Brigaud-Robert, François Yon Eastern Boys by Robin Campillo, France, 2013 Under the Starry Sky (Des Etoiles) by Dyana Gaye, France, Senegal, 2013
Heretic (Greece), rep. Giorgos Karnavas The Eternal Return of Antonis Paraskevas (I Aionia Epistrofi Tou Antoni Paraskeva) by Elina Psykou, Greece, 2013
Independent Film Sales (United Kingdom), rep. Karina Gechtman, Abigail Walsh The Sea by Stephen Brown, UK, Ireland, 2013 Starred Up by David Mackenzie, UK, 2013
Latido Films (Spain), rep. Miren Zamora Honeymoon (Libanky) by Jan Hrebejk, Czech Republic/Slovak Republic, 2013
LevelK (Denmark), rep. Tine Klint Sex, Drugs & Taxation (Spies Og Glistrup) by Christoffer Boe, Denmark, 2013
Linel Films (United Kingdom), rep. Aran Hughes To The Wolf (Sto Lyko) by Aran Hughes & Christina Koutsospyrou, Greece, UK, France, 2013
Minds Meet (Belgium), rep. Tomas Leyers I'm The Same I'm An Other by Caroline Strubbe, Belgium, The Netherlands, 2013
MK2 (France), rep. Victoire Thevenin Hotel (Hotell) by Lisa Langseth, Sweden, Denmark, 2012
Mpm Film (France), rep. Pierre Menahem For Those Who Can Tell No Tales by Jasmila Žbanić, Bosnia and Herzegovina, Germany, 2013
Negativ s.r.o. (Czech Republic), rep. Zuzana Bielikova Miracle (Zazrak) by Juraj Lehotský, Czech Republic, Slovakia, 2013
Pathé Distribution (France), rep. Muriel Sauzay The Finishers by Nils Tavernier, France, 2013 Quai d'Orsay by Bertrand Tavernier, France, 2013
Pausilypon Films (Greece), rep. Menelaos Karamaghiolis J.A.C.E. - Just Another Confused Elephant by Menelaos Karamaghiolis, Greece, Portugal, Macedonia, Turkey, 2012
Picture Tree International (Germany), rep. Andreas Rothbauer Mary Queen of Scots by Thomas Imbach, Switzerland, 2013 Metalhead (Malmhaus) by Ragnar Bragason, Iceland, Norway, 2013
PPProductions (Greece), rep. Thanassis Karathanos Septmeber by Penny Panayotopoulou, Greece, Germany, 2013
Pyramide International (France), rep. Agathe Mauruc Giraffada by Rani Massalha, France, Germany, Italy, 2013
Rezo (France), rep. Laurent Danielou, Sebastien Chesneau The Station (Blutgletscher) by Marvin Kren, Austria, 2013 Abuse of Weakness (Abus De Faibless) by Catherine Breillat, France, Belgium, Germany, 2013
The Match Factory (Germany), rep. Michael Weber, Thania Dimitrakopoulou The Police Officer's Wife (Die Frau Des Polizisten) by Philip Gröning, Germany, 2013 Qissa (Quissa) by Anup Singh, Germany, India, The Netherlands, France, 2013
The Yellow Affair (Sweden), rep. Miira Paasilinna Heart of a Lion (Leijonasydan) by Dome Karukoski, Finland, 2013
TrustNordisk (Denmark), rep. Susan Wendt, Nicolai Korsgaard Pioneer (Pioner) by Erik Skjoldbjaerg, Norway, 2013 We Are The Best (Vi Ar Bast!) by Lukas Moodysson, Sweden, 2013
Wide (France), rep. Loic Magneron Bobo by Ines Oliveira, Portugal, 2013
Wide House (France), rep. Garreau Geoffrey Ain't Misbehavin, A Marcel Ophuls Journey (Un Voyageur) by Marcel Ophuls, France, 2013
Wild Bunch (France), rep. Vicent Maraval, Gary Farkas Going Away (Un Beau Dimanche) by Nicole Garcia, France, 2013 A Promise (Une Promesse) by Patrice Leconte, France, Belgium, 2013...
- 9/7/2013
- by Carlos Aguilar
- Sydney's Buzz
Sales agents and experts pulled no punches at the Sept. 26 Helsinki International Film Festival panel Focus on Film Sales, giving opinions and advice filmmakers beyond Finland might be smart to heed. Here are a few takeaways: Stop dreaming of big money and minimum guarantees. "The marketing situation is a catastrophe in some territories," said The Yellow Affair managing director sales Miira Paasilinna. "We used to get for an arthouse film for Poland 20,000. Now it's 2,000. Some people think we're still back there two or three years ago. We haven't bounced back." "I don't think
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- 9/29/2012
- by Tim Appelo
- The Hollywood Reporter - Movie News
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