Marking a new milestone for the Dominican Republic’s budding film industry, Dominican helmer-scribe-producer Dilia Pacheco is directing the first Romanian-Dominican co-production, “Vlad,” based on a treatment by Pacheco.
Pacheco credits the magic and serendipity of Cannes where she met Romanian producer Iuliana Tarnovetchi, producer and managing partner of Alien Film, on the red carpet for “The House that Jack Built.”
“When I found out Iuliana was Romanian, I told her about my project about Vlad the Impaler that I had been developing for more than 15 years,” she said.
“She was surprised how much I, a Dominican, knew about this historical Romanian figure,” said Pacheco. In a few weeks, Pacheco will be traveling to Romania to prep for the feature, which is slated to shoot on location in the country by 2020. Tarnovetchi is hiring a screenwriter to co-develop the project, budgeted at $3 million.
In “Vlad,” Pacheco hopes to provide a...
Pacheco credits the magic and serendipity of Cannes where she met Romanian producer Iuliana Tarnovetchi, producer and managing partner of Alien Film, on the red carpet for “The House that Jack Built.”
“When I found out Iuliana was Romanian, I told her about my project about Vlad the Impaler that I had been developing for more than 15 years,” she said.
“She was surprised how much I, a Dominican, knew about this historical Romanian figure,” said Pacheco. In a few weeks, Pacheco will be traveling to Romania to prep for the feature, which is slated to shoot on location in the country by 2020. Tarnovetchi is hiring a screenwriter to co-develop the project, budgeted at $3 million.
In “Vlad,” Pacheco hopes to provide a...
- 5/16/2018
- by Anna Marie de la Fuente
- Variety Film + TV
When the U.K.’s Channel 4 aired French series “Les Revenants” in primetime in 2013 it was a watershed moment; a non-English language series playing in the primetime schedule of one of the U.K.’s big free-tv broadcasters. A horde of Scandi invaders also made their way onto international TV screens, as Sarah Lund’s knitwear in Dr’s “The Killing” became watercooler chat for the drama cognoscenti.
English-language markets that had shunned “foreign” production had opened to “international” drama. Starz has now bought a Norwegian drama and HBO will run an Italian-language series. The success of the latter’s “My Brilliant Friend” will establish if global fare can edge further into the mainstream, or will remain the preserve of the streamers and specialists.
“Over the last decade the international drama market has evolved from one dominated by sales of English, particularly U.S., finished, 13×1-hour series, to one where any show,...
English-language markets that had shunned “foreign” production had opened to “international” drama. Starz has now bought a Norwegian drama and HBO will run an Italian-language series. The success of the latter’s “My Brilliant Friend” will establish if global fare can edge further into the mainstream, or will remain the preserve of the streamers and specialists.
“Over the last decade the international drama market has evolved from one dominated by sales of English, particularly U.S., finished, 13×1-hour series, to one where any show,...
- 4/7/2018
- by Stewart Clarke
- Variety Film + TV
Spanish drama production has evolved quickly in the past few years, while the proliferation of Svod platforms is revolutionizing the sector. Ott distribution has helped push some Spanish series onto not only continental screens, but also global TVs.
Take, for example, Alex Pina’s “La Casa de Papel,” produced by Vancouver Media for Atresmedia, and acquired worldwide by Netflix. Its Dalí-inspired aesthetic has been celebrated at Brazil’s Carnival and Saudi soccer matches.
Netflix has now commissioned Spanish drama series (such as Bambú’s “The Cable Girls”) and made early investments in others (such as Rtve’s “The Department of Time,” Atresmedia’s “The Cathedral of the Sea”).
Spanish fiction has “always been a quality product,” says Mediapro head of content Javier Méndez. Now, “the world is discovering Spanish fiction through its presence on new global platforms.”
Beyond Spain, the main target is Latin America.
In February, Movistar Plus — Telefonica...
Take, for example, Alex Pina’s “La Casa de Papel,” produced by Vancouver Media for Atresmedia, and acquired worldwide by Netflix. Its Dalí-inspired aesthetic has been celebrated at Brazil’s Carnival and Saudi soccer matches.
Netflix has now commissioned Spanish drama series (such as Bambú’s “The Cable Girls”) and made early investments in others (such as Rtve’s “The Department of Time,” Atresmedia’s “The Cathedral of the Sea”).
Spanish fiction has “always been a quality product,” says Mediapro head of content Javier Méndez. Now, “the world is discovering Spanish fiction through its presence on new global platforms.”
Beyond Spain, the main target is Latin America.
In February, Movistar Plus — Telefonica...
- 4/7/2018
- by Emiliano De Pablos
- Variety Film + TV
Abner Benaim, one of Panama’s leading helmers – whose recent features include 2009 comedy “Chance” and 2014 docu “Invasion” – is attending Iff Panama for the fest’s closing film, “Ruben Blades Is Not My Name,” which world premiered in South by Southwest (SXSW) where it won the audience prize, in the 24 Beats Per Second section.
The trailer, launched in March, has been a viral hit, with over 1 million views on Facebook.
Benaim reveals that the picture has already secured a wide theatrical release in Panama, with distribution deals covering Central America, the Caribbean, Colombia and Argentina and is about to close with Mexico. He says that the producers are currently considering offers from U.S. distributors and digital platforms and from international sales agents.
“Ruben Blades” is a co-production between Benaim’s company, Apertura Films, and Argentina’s Gema Films, run by Gema Juarez Allen, together with Ciudad Lunar in Colombia (“Embrace of the Serpent...
The trailer, launched in March, has been a viral hit, with over 1 million views on Facebook.
Benaim reveals that the picture has already secured a wide theatrical release in Panama, with distribution deals covering Central America, the Caribbean, Colombia and Argentina and is about to close with Mexico. He says that the producers are currently considering offers from U.S. distributors and digital platforms and from international sales agents.
“Ruben Blades” is a co-production between Benaim’s company, Apertura Films, and Argentina’s Gema Films, run by Gema Juarez Allen, together with Ciudad Lunar in Colombia (“Embrace of the Serpent...
- 4/5/2018
- by Martin Dale
- Variety Film + TV
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