Disney is going there, you guys.
As previously teased during the company's quarter one earnings call, the company is purging several titles from its streaming services, Disney+ and Hulu.
The practice has become common in recent months, with HBO Max leading the charge, wiping several projects from existence.
Undoubtedly, fans and creatives are struggling with the concept, but maybe some of the affected shows could show up elsewhere.
"We will be removing certain content from our streaming platforms and currently expect to take an impairment charge of approximately $1.5 to $1.8 billion," Disney's chief financial officer, Christine McCarthy, said during the earnings call.
Westworld, The Nevers, and other HBO fare popped back up on Fast services shortly after the controversial decision.
But for some shows, this could be the death knell that could be the difference whether new fans find them down the line.
Initially, people purchased physical media, and with the rise of streaming,...
As previously teased during the company's quarter one earnings call, the company is purging several titles from its streaming services, Disney+ and Hulu.
The practice has become common in recent months, with HBO Max leading the charge, wiping several projects from existence.
Undoubtedly, fans and creatives are struggling with the concept, but maybe some of the affected shows could show up elsewhere.
"We will be removing certain content from our streaming platforms and currently expect to take an impairment charge of approximately $1.5 to $1.8 billion," Disney's chief financial officer, Christine McCarthy, said during the earnings call.
Westworld, The Nevers, and other HBO fare popped back up on Fast services shortly after the controversial decision.
But for some shows, this could be the death knell that could be the difference whether new fans find them down the line.
Initially, people purchased physical media, and with the rise of streaming,...
- 5/19/2023
- by Paul Dailly
- TVfanatic
Los Angeles-based Menemsha Films has acquired North American rights from Italy’s Intramovies to Venice Critics’ Week title “Thou Shalt Not Hate,” ahead of the racial hatred-themed drama’s premiere Sunday on the Lido.
The film has also been picked up for Australia and New Zealand by Moving Story Entertainment.
Directed by Italian first-timer Mauro Mancini, “Thou Shalt Not Hate” (Non Odiare) stars Alessandro Gassman as Simone Segre, a renowned surgeon of Jewish origin who finds himself assisting a victim of a hit and run accident. When he discovers a Nazi tattoo on his chest, Segre abandons him to his destiny, but subsequently, the surgeon is filled with guilt, according to the film’s promotional materials.
Menemsha Films, a U.S. distributor of specialty titles such as British comedy “Dough,” is planning theatrical distribution of “Though Shalt Not Hate” in North America this fall/winter, Intra and Menemsha said in a joint statement.
The film has also been picked up for Australia and New Zealand by Moving Story Entertainment.
Directed by Italian first-timer Mauro Mancini, “Thou Shalt Not Hate” (Non Odiare) stars Alessandro Gassman as Simone Segre, a renowned surgeon of Jewish origin who finds himself assisting a victim of a hit and run accident. When he discovers a Nazi tattoo on his chest, Segre abandons him to his destiny, but subsequently, the surgeon is filled with guilt, according to the film’s promotional materials.
Menemsha Films, a U.S. distributor of specialty titles such as British comedy “Dough,” is planning theatrical distribution of “Though Shalt Not Hate” in North America this fall/winter, Intra and Menemsha said in a joint statement.
- 9/6/2020
- by Nick Vivarelli
- Variety Film + TV
The award-winning filmmaker is directing the first episode of a new female-driven show, whilst Mattias J Skoglund and Måns Månsson will co-direct the others. Swedish filmmaker Levan Akin is now working on his new project, an eight-part TV series entitled Dough. The show, co-written with Mattias J Skoglund and Sara Bergmark Elfgren, has just begun filming in Stockholm and is commissioned by Swedish pubcaster Svt. Akin is set to direct the opening episode, whilst Skoglund and Måns Månsson will co-direct the others. The news was reported by nordiskfilmogtvfond.com and other Swedish outlets. The plot revolves around two women from opposite ends of society. Malou (Helena af Sandeberg) is a business woman from Lidingö, obsessed with social status, but whose latest venture has gone wrong. When she comes across a bag containing 47 million Swedish crowns from a robbery, she opens a bakery to launder...
Exclusive: ChaiFlicks, which bills itself as the first streaming service devoted to Jewish and Israeli entertainment, is launching in North America on Wednesday.
The platform was founded by Neil Friedman and Heidi Bogin Oshin, who run Menemsha Films, and Bill Weiner, a former senior executive at New Regency.
Menemsha’s recent releases have included The Women’s Balcony, Gloomy Sunday, Dough, The Rape of Europa and 1945. They’re among the 150 films, documentaries, shorts and series available on ChaiFlicks, which costs $6 a month or $66 a year, with a 14-day free trial. It will be available on Roku, Amazon Fire TV, Apple iOS, Apple TV, Android and Android TV.
In an interview with Deadline, Friedman said the shifts in the industry had been pointing toward streaming for a while, but the fate of 1945 sealed the company’s plans to create its own service.
After successfully selling other films to Netflix, Menemsha...
The platform was founded by Neil Friedman and Heidi Bogin Oshin, who run Menemsha Films, and Bill Weiner, a former senior executive at New Regency.
Menemsha’s recent releases have included The Women’s Balcony, Gloomy Sunday, Dough, The Rape of Europa and 1945. They’re among the 150 films, documentaries, shorts and series available on ChaiFlicks, which costs $6 a month or $66 a year, with a 14-day free trial. It will be available on Roku, Amazon Fire TV, Apple iOS, Apple TV, Android and Android TV.
In an interview with Deadline, Friedman said the shifts in the industry had been pointing toward streaming for a while, but the fate of 1945 sealed the company’s plans to create its own service.
After successfully selling other films to Netflix, Menemsha...
- 8/11/2020
- by Dade Hayes
- Deadline Film + TV
Project will be partially shot in Turkey, with production to start in September 2021.
Levan Akin, the writer/director of Cannes 2019 hit And Then We Danced, is planning his next film, Passage, to be partially shot in Turkey.
Passage is now in development with production to start in September 2021. It will shoot in Istanbul and also in Georgia, which was the setting for And Then We Danced.
Akin is writing the script now and will spend more research time in Turkey. The Swedish Film Institute is supporting development.
Passage is described as “a story about love and longing for a place to belong.
Levan Akin, the writer/director of Cannes 2019 hit And Then We Danced, is planning his next film, Passage, to be partially shot in Turkey.
Passage is now in development with production to start in September 2021. It will shoot in Istanbul and also in Georgia, which was the setting for And Then We Danced.
Akin is writing the script now and will spend more research time in Turkey. The Swedish Film Institute is supporting development.
Passage is described as “a story about love and longing for a place to belong.
- 7/8/2020
- by 1100142¦Wendy Mitchell¦39¦
- ScreenDaily
Wartime drama wins best foreign film at Michael Moore’s Traverse City Film Festival.
Us-based specialty distributor Menemsha Films is targeting its fifth $1m-plus Jewish-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which just beat Oscar winner A Fantastic Woman and The Square to win the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan (pictured), will join an elite club that includes Menemsha titles Gloomy Sunday, The Rape Of Europa, Dough starring Jonathan Pryce, and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which...
Us-based specialty distributor Menemsha Films is targeting its fifth $1m-plus Jewish-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which just beat Oscar winner A Fantastic Woman and The Square to win the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan (pictured), will join an elite club that includes Menemsha titles Gloomy Sunday, The Rape Of Europa, Dough starring Jonathan Pryce, and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which...
- 8/6/2018
- by Jeremy Kay
- ScreenDaily
Wartime drama wins best foreign film at Michael Moore’s Traverse City Film Festival.
Us-based specialty distributor Menemsha Films is targeting its third $1m-plus Jewish and Israeli-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which just won the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan, will join an elite club that includes Menemsha titles Dough starring Jonathan Pryce and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which takes place at the end of the Second World War as two strangers dressed in...
Us-based specialty distributor Menemsha Films is targeting its third $1m-plus Jewish and Israeli-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which just won the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan, will join an elite club that includes Menemsha titles Dough starring Jonathan Pryce and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which takes place at the end of the Second World War as two strangers dressed in...
- 8/5/2018
- by Jeremy Kay
- ScreenDaily
Wartime drama wins best foreign film at Michael Moore’s Traverse City Film Festival.
Us-based specialty distributor Menemsha Films is targeting its third $1m-plus Jewish and Israeli-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which was just won the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan, will join an join an elite club that includes Menemsha titles Dough starring Jonathan Pryce and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which takes place at the end of the Second World War as two...
Us-based specialty distributor Menemsha Films is targeting its third $1m-plus Jewish and Israeli-themed release as Hungarian black and white drama 1945 cruised past $800,000 last week.
The wartime drama, which was just won the Best Foreign Fiction Film Founders Award at Michael Moore’s Traverse City Film Festival in Michigan, will join an join an elite club that includes Menemsha titles Dough starring Jonathan Pryce and Israeli hit The Women’s Balcony.
Ferenc Torok directed 1945, which takes place at the end of the Second World War as two...
- 8/5/2018
- by Jeremy Kay
- ScreenDaily
If there was any doubt about Wes Anderson’s continued draw as a contemporary auteur, “Isle of Dogs” removes them. His latest stop-motion epic boosted the dragging post-Oscar specialty market, opening in 27 theaters in six markets to a massive $1.5 million with a mighty per theater average of $58,000. The result came from a range of upscale theaters, not just core art houses. Fox Searchlight has a breakout.
On its third weekend, IFC’s comedy “The Death of Stalin” continues its strong run with over $1 million. Audiences that were flocking to award season contenders are carrying over to these two new releases. As the rest of the indie pack with more niche appeal play to more routine numbers, these box office breakouts are critical to the health of the specialized film community.
Opening
Isle of Dogs (Fox Searchlight) – Metacritic: 80, Festivals include: Berlin, South by Southwest 2018
$1,570,000 in 27 theaters; PTA (per theater average):...
On its third weekend, IFC’s comedy “The Death of Stalin” continues its strong run with over $1 million. Audiences that were flocking to award season contenders are carrying over to these two new releases. As the rest of the indie pack with more niche appeal play to more routine numbers, these box office breakouts are critical to the health of the specialized film community.
Opening
Isle of Dogs (Fox Searchlight) – Metacritic: 80, Festivals include: Berlin, South by Southwest 2018
$1,570,000 in 27 theaters; PTA (per theater average):...
- 3/25/2018
- by Tom Brueggemann
- Indiewire
MaryAnn’s quick take… There’s charm and wit in its fanciful depiction of the creative process, but the film downplays the social activism that Dickens fully embraced in his work. I’m “biast” (pro): love Dickens and A Christmas Carol
I’m “biast” (con): haven’t been the biggest fan of Dan Stevens
I have not read the source material
(what is this about? see my critic’s minifesto)
Did Charles Dickens really invent our modern observance of Christmas? Well… he certainly contributed to it, with his beloved 1843 novella A Christmas Carol bringing to it a spirit of family celebration and togetherness and moving the holiday away from its religious grounding to a more secular one focused on ecumenical kindness and generosity. But we also have Prince Albert to thank, for importing his German Yuletide customs — such as evergreens and Christmas trees — to England when he married...
I’m “biast” (con): haven’t been the biggest fan of Dan Stevens
I have not read the source material
(what is this about? see my critic’s minifesto)
Did Charles Dickens really invent our modern observance of Christmas? Well… he certainly contributed to it, with his beloved 1843 novella A Christmas Carol bringing to it a spirit of family celebration and togetherness and moving the holiday away from its religious grounding to a more secular one focused on ecumenical kindness and generosity. But we also have Prince Albert to thank, for importing his German Yuletide customs — such as evergreens and Christmas trees — to England when he married...
- 11/21/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
MaryAnn’s quick take… A wonderful portrait of life in a harsh, lonely place, and of romance as a prompt for personal growth and changing traditions. Raises the bar for British indies. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
God’s Own Country is being called “a Yorkshire Brokeback Mountain,” but I don’t think that’s fair to either movie. Yes, Country has a gay male protagonist, a gay relationship figures into the plot, and it’s set in a rural landscape. But this isn’t a story in which being gay is an obstacle to be overcome: no one seems to care or even much notice that young farmer Johnny (Josh O’Connor: Florence Foster Jenkins, The Program) likes guys. (Could that possibly be true in real-life Yorkshire farming communities? How marvelous if it were.
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
God’s Own Country is being called “a Yorkshire Brokeback Mountain,” but I don’t think that’s fair to either movie. Yes, Country has a gay male protagonist, a gay relationship figures into the plot, and it’s set in a rural landscape. But this isn’t a story in which being gay is an obstacle to be overcome: no one seems to care or even much notice that young farmer Johnny (Josh O’Connor: Florence Foster Jenkins, The Program) likes guys. (Could that possibly be true in real-life Yorkshire farming communities? How marvelous if it were.
- 9/1/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
A young drug dealer hatches a scheme to conceal his product in baked goods, with implausible consequences
Best filed alongside tandoori chicken pizza in the list of hybrid recipes that should never have left the kitchen, Dough is an overcooked comedy about a Jewish baker who employs a young Muslim assistant who also happens to be a drug dealer. With the accidental addition of a “special” ingredient, the challah is suddenly a lot more popular with a new and varied customer base. Jonathan Pryce and the very likable Jerome Holder, as Nat and Ayyash respectively, do their best with the painfully contrived material. But the fact remains that concealing drugs in low-cost bread products is the kind of half-baked idea that even the most inept dealer would reject as a business plan, and credibility issues contaminate the mixture along with the fistfuls of weed.
Continue reading...
Best filed alongside tandoori chicken pizza in the list of hybrid recipes that should never have left the kitchen, Dough is an overcooked comedy about a Jewish baker who employs a young Muslim assistant who also happens to be a drug dealer. With the accidental addition of a “special” ingredient, the challah is suddenly a lot more popular with a new and varied customer base. Jonathan Pryce and the very likable Jerome Holder, as Nat and Ayyash respectively, do their best with the painfully contrived material. But the fact remains that concealing drugs in low-cost bread products is the kind of half-baked idea that even the most inept dealer would reject as a business plan, and credibility issues contaminate the mixture along with the fistfuls of weed.
Continue reading...
- 6/4/2017
- by Wendy Ide
- The Guardian - Film News
Stars: Jonathan Pryce, Jerome Holder, Phil Davis, Ian Hart, Pauline Collins, Andrew Ellis, Malachi Kirby, Natasha Gordon, Melanie Freeman | Written by Jonathan Benson, Jez Freedman | Directed by John Goldschmidt
It has to be said that 2017 hasn’t been the best year when it comes to feeling good about the world. When everybody seems to be against helping out others, it seems timely that a film about two cultures coming together should at least raise a smile, and Dough manages this.
When aging Jewish baker Nat Dyan (Jonathan Pryce) takes on young Muslim Ayyash (Jerome Holder) as apprentice in his shop, at first, they don’t get on. When Ayyash accidentally drops cannabis into the bakery’s dough the bakery becomes very popular, building a bond between the two.
Dough walks a well-trodden path of movies where two people with differences are brought together when prejudices are taken away and friendship blooms.
It has to be said that 2017 hasn’t been the best year when it comes to feeling good about the world. When everybody seems to be against helping out others, it seems timely that a film about two cultures coming together should at least raise a smile, and Dough manages this.
When aging Jewish baker Nat Dyan (Jonathan Pryce) takes on young Muslim Ayyash (Jerome Holder) as apprentice in his shop, at first, they don’t get on. When Ayyash accidentally drops cannabis into the bakery’s dough the bakery becomes very popular, building a bond between the two.
Dough walks a well-trodden path of movies where two people with differences are brought together when prejudices are taken away and friendship blooms.
- 6/2/2017
- by Paul Metcalf
- Nerdly
MaryAnn’s quick take… Its message of interfaith understanding is an undeniably necessary one; too bad it’s delivered with the obvious broad humor of a sitcom Very Special Episode. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Elderly widower Nat (Jonathan Pryce: The White King) runs a kosher bakery in London’s East End, his decades-old family business the last holdout against a developer (Phil Davis: Mr. Holmes) who wants to turn the whole neighborhood into chain stores. But the bakery is failing, and unless Nat can turn things around, his life’s work is finished. Enter Ayyash (Jerome Holder: Honeytrap), the Sudanese refugee and wannabe pot dealer whom Nat reluctantly hires as an apprentice and assistant (no one else wants the job). Then, one day, hiding his stash in the dough — yeah: dumb — Ayyash accidentally invents pot challah bread,...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Elderly widower Nat (Jonathan Pryce: The White King) runs a kosher bakery in London’s East End, his decades-old family business the last holdout against a developer (Phil Davis: Mr. Holmes) who wants to turn the whole neighborhood into chain stores. But the bakery is failing, and unless Nat can turn things around, his life’s work is finished. Enter Ayyash (Jerome Holder: Honeytrap), the Sudanese refugee and wannabe pot dealer whom Nat reluctantly hires as an apprentice and assistant (no one else wants the job). Then, one day, hiding his stash in the dough — yeah: dumb — Ayyash accidentally invents pot challah bread,...
- 6/2/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
Roger Allam elevates a wonky country house mystery with a wholeheartedly verbose performance
Jonathan Pryce in Dough, Roger Allam here – it’s a week of under-filmed performers lending gravitas to light-middleweight material. John Jencks’ adaptation of the Stephen Fry novel is all Allam, all the time: when not grousing in voiceover, he can be witnessed sniping, letching and harrumphing in person as Ted Wallace, a blocked poet-turned-soused critic drawn into an altogether wonky country house mystery.
It’s a slight limitation that neither Wallace nor the audience really knows what he’s investigating – we’re mostly watching Allam scowling at the eccentrics passing through his eyeline – but it’s still a pleasure, and often a joy, to watch the star measuring out and savouring Fry’s rich wordplay like fingers of scotch. Even when the plotting gets clotted come the final reel, all that’s required is for Allam to...
Jonathan Pryce in Dough, Roger Allam here – it’s a week of under-filmed performers lending gravitas to light-middleweight material. John Jencks’ adaptation of the Stephen Fry novel is all Allam, all the time: when not grousing in voiceover, he can be witnessed sniping, letching and harrumphing in person as Ted Wallace, a blocked poet-turned-soused critic drawn into an altogether wonky country house mystery.
It’s a slight limitation that neither Wallace nor the audience really knows what he’s investigating – we’re mostly watching Allam scowling at the eccentrics passing through his eyeline – but it’s still a pleasure, and often a joy, to watch the star measuring out and savouring Fry’s rich wordplay like fingers of scotch. Even when the plotting gets clotted come the final reel, all that’s required is for Allam to...
- 6/1/2017
- by Mike McCahill
- The Guardian - Film News
Author: Richard Phippen
It’s incredibly hard to tell where the inspiration for Dough came from. A British-Hungarian co-production about a Jewish baker and an African immigrant sounds like the kind of script Stephen Frears or perhaps Mike Leigh would be taking on. At least they might have done, had the script explored the kind of themes that would gain the attention of such culturally smart filmmakers. Instead, Director John Goldschmidt appears to have been hired as a safe pair of hands to turn a light-hearted, if rather vacuous story into something that could reach a wider audience. And to be fair to Goldschmidt, he’s certainly made this accessible.
Nat Dayan (Jonathan Pryce) is an ageing Jewish baker, eking out a living from his small, family business in the heart of a dying suburban London street. With his right hand man taking the offer of a better paid job at the mini-market next door,...
It’s incredibly hard to tell where the inspiration for Dough came from. A British-Hungarian co-production about a Jewish baker and an African immigrant sounds like the kind of script Stephen Frears or perhaps Mike Leigh would be taking on. At least they might have done, had the script explored the kind of themes that would gain the attention of such culturally smart filmmakers. Instead, Director John Goldschmidt appears to have been hired as a safe pair of hands to turn a light-hearted, if rather vacuous story into something that could reach a wider audience. And to be fair to Goldschmidt, he’s certainly made this accessible.
Nat Dayan (Jonathan Pryce) is an ageing Jewish baker, eking out a living from his small, family business in the heart of a dying suburban London street. With his right hand man taking the offer of a better paid job at the mini-market next door,...
- 5/31/2017
- by Richard Phippen
- HeyUGuys.co.uk
Elderly in crisis, youngster who can help, drug being salvation and all sorts of drama bubbling around after use of drug – it’s a struggle to rid a particular TV show from the mind while watching this film, even when the protagonists spend more time in the kitchen than an Rv. That said, director John Goldschmidt’s latest, which also marks his return to the craft since 1987, would fill the small-screen mold with utter perfection. In some ways, staying in that state would have been enough for Dough.
But then comes Jonathan Pryce who makes a semi-compelling reason to shell out for the film at the cinema. The powerhouse actor, sporting a beard and kippah, commands every frame with a heartfelt turn as Nat Dayan, the owner of a family pastry joint not so hot in sales and longevity. While he makes his way to the store at 4 a.m.
But then comes Jonathan Pryce who makes a semi-compelling reason to shell out for the film at the cinema. The powerhouse actor, sporting a beard and kippah, commands every frame with a heartfelt turn as Nat Dayan, the owner of a family pastry joint not so hot in sales and longevity. While he makes his way to the store at 4 a.m.
- 5/29/2017
- by Nguyen Le
- The Cultural Post
Exclusive: The feel-good hit starring Jonathan Pryce, Pauline Collins and Jerome Holder struck a blow for the limited distribution space as it crossed the threshold in North America on June 14.
Neil Friedman’s Santa Monica-based distributor opened Dough in nine theatres in Florida on February 12 and kept the film exclusively in the state until it expanded nationwide on April 29.
The Menemsha chief is confident it will exceed $1m by some margin. “The film is booked in cinemas for new openings in not-yet-released locales for the remainder of the summer months and is still selling out shows at the cinemas it is presently playing,” he said.
The comedy centres on the owner of an ailing Jewish bakery whose business flourishes when his young Muslim apprentice drops marijuana into the mixing dough. John Goldschmidt directed.
“These are troubling times we are living in today and everybody is looking to escape the every day realities of the world’s problems...
Neil Friedman’s Santa Monica-based distributor opened Dough in nine theatres in Florida on February 12 and kept the film exclusively in the state until it expanded nationwide on April 29.
The Menemsha chief is confident it will exceed $1m by some margin. “The film is booked in cinemas for new openings in not-yet-released locales for the remainder of the summer months and is still selling out shows at the cinemas it is presently playing,” he said.
The comedy centres on the owner of an ailing Jewish bakery whose business flourishes when his young Muslim apprentice drops marijuana into the mixing dough. John Goldschmidt directed.
“These are troubling times we are living in today and everybody is looking to escape the every day realities of the world’s problems...
- 6/16/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Dough is a sweet, feel-good film from England that may not edge out Captain America at the box-office but offers what TV folks call counter-programming. It’s aimed at mature (read: older) moviegoers who favor simple, straightforward storytelling over special effects—which doesn’t and shouldn’t exclude younger viewers—and it delivers on its promise. It also offers a leading role to the great Jonathan Pryce (familiar to mass audiences from Game of Thrones). Pryce plays an Orthodox Jew who has inherited the neighborhood kosher bakery started by his immigrant father in 1947. He is proud to carry on a family tradition (even though his customer base is shrinking) and resentful that...
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[[ This is a content summary only. Visit my website for full links, other content, and more! ]]...
- 5/6/2016
- by Leonard Maltin
- Leonard Maltin's Movie Crazy
Dough is a warm-hearted little British dramedy starring Jonathan Pryce (“Pirates of the Caribbean”) as an old Orthodox Jewish baker who is struggling to keep his family’s bakery going, in a tough East End London neighborhood. When his assistant quits, Nat agrees to hire the teen-aged son of the bakery’s African immigrant cleaning lady, not realizing his new assistant is a Muslim.
While this is not a film for serious cinephiles, it has found an audience on the film festival circuit and is now making the leap to wider distribution. The gentle little cross-cultural comedic drama draws its appeal more from its likable characters and their believable relationships rather than its overly familiar plot or comedy, some of which is summed up in the film’s tagline “Dough: It’s not the only thing getting baked.” The charm of this crowd-pleaser is not the contrived humor or...
While this is not a film for serious cinephiles, it has found an audience on the film festival circuit and is now making the leap to wider distribution. The gentle little cross-cultural comedic drama draws its appeal more from its likable characters and their believable relationships rather than its overly familiar plot or comedy, some of which is summed up in the film’s tagline “Dough: It’s not the only thing getting baked.” The charm of this crowd-pleaser is not the contrived humor or...
- 4/29/2016
- by Cate Marquis
- WeAreMovieGeeks.com
Titled simply "Dough," the UK-Hungarian co-production, drected by John Goldschmidt from a script penned by Yehuda Jez Freedman and Jonathan Benson, is described as a cross-cultural comedy, set in London’s East End, and tells the story of an old Jewish baker (played by Jonathan Pryce) whose failing bakery business gets an unexpected boost when his young Muslim apprentice (played by Jerome Holder) accidentally drops cannabis into the dough. As the San Francisco Jewish Film Festival (where the film screened last year) states: "Food has always represented more than sustenance in Jewish culture, and its transformative power is on display in this...
- 4/7/2016
- by Tambay A. Obenson
- ShadowAndAct
The Star Wars actor took home the best actor prize, but stepped into a social media storm following comments made in his acceptance speech.
John Boyega took home the best Male Performance in Film prize at the annual Screen Nation awards, which aims to recognise black British talent in the UK film and TV sectors.
The Star Wars: The Force Awakens actor and former Screen Star Of Tomorrow was joined as a winner at the London event on Saturday [March 19] night by Nathalie Emmanuel, who won best Female Performance in Film for her roles in Fast & Furious 7 and Maze Runner: The Scorch Trials.
Dough and Jekyll & Hyde star Malachi Kirby, who has been cast in the forthcoming remake of Roots and is another former Screen Star, was presented with the Rising Star award.
Boyega was also nominated for the publicly-voted Favourite International Movie prize as the major UK talent in Jj Abrams’ Star Wars reboot, but was beaten...
John Boyega took home the best Male Performance in Film prize at the annual Screen Nation awards, which aims to recognise black British talent in the UK film and TV sectors.
The Star Wars: The Force Awakens actor and former Screen Star Of Tomorrow was joined as a winner at the London event on Saturday [March 19] night by Nathalie Emmanuel, who won best Female Performance in Film for her roles in Fast & Furious 7 and Maze Runner: The Scorch Trials.
Dough and Jekyll & Hyde star Malachi Kirby, who has been cast in the forthcoming remake of Roots and is another former Screen Star, was presented with the Rising Star award.
Boyega was also nominated for the publicly-voted Favourite International Movie prize as the major UK talent in Jj Abrams’ Star Wars reboot, but was beaten...
- 3/21/2016
- ScreenDaily
This year the Art House Convergence has seen a huge jump in attendance. Eleven years ago when Sundance initiated the Art House Convergence a small handful of arthouse theater owners were in attendance. Five years ago when I began coming, there were more exhibitors plus the distributors of art house cinema began to come to chat and discuss their offerings. The congenial mix of the two charmed me. It reminded me of the early days of Sundance in the late 80s when acquisitions execs all knew and liked each other and we were able to cover all the ground without stress.
This year there were so many more people - about 600 total - including vendors of everything an exhibitor must need plus a parallel event of the Film Festival Alliance, a great initiative of Ifp established in 2010 in which festivals get together to discuss mutual interests.
The confluence of the smaller regional festivals and the art house theaters is a natural fit since the festivals are held in the theaters and bring in the community, obviously a desired outcome of art house exhibitors. All that combined makes for a much larger event than ever before and points toward even greater growth for Ahc, something perhaps to be desired but also something which perhaps will not be quite so welcoming for newcomers as the earlier events.
The topics covered in the break out sessions are a large part about the logistics of U.S. art house operations from creating fan bases and membership. Another large part focuses on festival logistics from starting a film festival – and here I want to give a plug to Jon Gann, the founder of DC Shorts Film Festival for his new book, So, You Want to Start a Film Festival: Conversations with Top Festival Creators -- to the panel “Conversation with Sundance Senior Manager Adam Montgomery” in which Montgomery discussed Sundance’s process of accepting submissions, the work flow, planning, technology, usage tips and more.
Some awards by way of recognition to those who established indies as a going concern and are keeping it going through their hard work and devotion were Gary Meyer, founder of Landmark Theaters in 1975, Jan Klingenhofer and Chapin Cutter.
Niches and small business introducing themselves included the former Emerging Pictures executive Barry Rebo with his new startup CineConductor, along with his international partner Ymagis. The service for a $75 per month fee allows theaters to download unlimited DCPs (The Digital Cinema Package is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams.) from all distributors – an easy and cheaper way for theaters to show more films at various times during the week.
Barry Rebo of CineConductor says, “We had a terrific Art House Convergence. We arrived with 51 high profile arthouse members and left with close to 65, maybe more once we re-connect with ones now tied up at the actual festival.
Current venues are both evangelizing our value to new venues and lobbying rights holders to deliver their booked film via the CineConductor service rather than hard drives. It not only save the venues money it makes their day-to-day operations ever more efficient.
We also have two high profile international film agencies we are servicing via the portal - UniFrance’s ongoing Young French Cinema 2 and Tiff & TeleFilm Canada’s upcoming See The North series.
More information about CineConductor: Click this link.
Considering we only debuted the system - really a 'soft opening' - at last year’s Ahc and connected the first batch of venues beginning in June of ‘15 getting to 51 quality sites by the end of the first indicates the service is being seen as being both highly cost effective (venues join on a Network Access Fee basis - no charge for equipment and only $75.00 per month for Unlimited Dcp deliveries of Specialty Film & Event Cinema programs offered by their rights holder via CineConductor.
Rights Holders (Rh) - traditional distribution companies; international film advocacy groups; international sales agents; the filmmakers themselves pay nothing today to post on the CineConductor portal. They pay only $50.00 per feature Dcp delivery Includes Kdm if requested) and $10.00 per Dcp trailer set (flat and scope) once they accept an engagement directly from a participating venue. It’s a great deal for both the exhibition and distribution sides of the arthouse field.
For the broader arthouse community - exhibitors, distributors and audiences - our decision to go this way was based on our belief that by offering a flat fee, more valuable content is made available on more screens. More onscreen diversity will drive a more diverse audience. I’m happy to report it’s already working as planned.
What we have created is truly and international platform. My investor/ parent company, Ymagis, is Paris-based and operates all across Europe. See www.ymagis.com "
Another endeavor of note is Benjamin Oberman’s (Film Festival Flix) mountain climbing film “Citadel” around which he can mobilize literally millions of outdoors sports folk through organizations he has formed alliances with in every region of the U.S. This type of specialized distribution is one excellent way into the future! Compared to his development of this last year, he has moved miles ahead.
Another to watch is Bobbi Thompson as she creates pop-up theaters in studio spaces with art exhibition for adults with learning disabilities and other handicaps.
An example of the new types of festivals is that of Gary Meyer, always a pioneer from his launching of Landmark theaters, of animation showcases, of Telluride Film Festival programming to his newest, Eat Drink Films. Based in a San Francisco his site discusses film and food and hosts recently Real Food Media also announced the launch of its third-annual contest with a call for submissions of super-short films on underreported issues, unique change-makers and creative solutions to foster a broad, public conversation about solving our global food system’s most intractable problems – from hunger to diet-related illnesses to environmental crises.
And Ahc has gone international. Last year a few folks from France, Europa Cinemas and the U.S. in Progress in Poland (American Film Festival’s Ula Sniegowska) and in France (Adeline Monzier of Unifrance) were here. This year they are here again and joined by Brigitte Hubmann of Telefilm Canada with film packages available directly to theaters via Barry Rebo’s CineConductor, a model that German films and all other national film entities should emulate. Also attending this year is Europa International, a consortium of 40 European international sales agents from 13 European countries looking to find direct outlets to theaters without the distribution middleman. This will become increasingly important at Netflix swopes down on worldwide digital rights acquisitions. TrustNordisk’s head of sales, Susan Wendt from Denmark represented Europa International here.
Europa International’s panel presented European case studies on ways to attract new audiences in the era of social media with an eye toward directing young people towards “quality” cinema and fostering critical minds while forming partnership strategies included Justin Camileri of Euro Media Forum, Fatima Djoumer of Europa Cinemas, Matts Gillmor of Palladium, Elisa Giovannelli of Cineteca Bologna and Justyna Kociszewska of Kino Lab.
U.S. distributor Neil Friedman’s Menemsha Films is here with the Jonathan Pryce film “Dough” a funny and feel-good trans-cultural mix proving ‘you don’t have to be Jewish’ to love this film. Representing Menemsha at Ahc is former United King acquisitions executive from Israel, Oded Horowitz, who has now moved to California with his partner and their 6 year old twin girls. Diarah N’Daw-Spech of ArtMattan is here among now old friends managing to inject some diversity into a little too homogenous population of film lovers.
This place is full of 'our' people, that is, we-the-now-older generation who got this thing going in the 80s: those I mentioned above plus Paul Cohen, Ira Deutchman, Anne Thompson, Mj Pekos (Dada Films), Larry Greenberg (Momentum/ eOne), Richard Abramowitz (Abramarama), Cary Jones (IFC), Peter Baxter (Slamdance), Peter Becker (Janus) (who was a young one when we began but was there - and our sympathy to him for his father’s passing… whose colleague Jonathan Turrell whose father Saul in those days in print distribution at Janus Films was one of New York’s most colorful figures), Ron Diamond (Animation Show of Shows), Peter Belsito (SydneysBuzz), Mark Fishkin (California Film Institute), Christian Gaines (ArtPrize), Larry Kardish (Board member and former head of NY Film Society, Lincoln Center, now with Chatham Film Club), Greg Laemmle of Laemmle Theaters, Los Angeles’ preeminent indie arthouse started by his grandfather Carl Laemmle, former head of Universal (!), Richard Lorber (Kino Lorber), Scott Mansfield (monterey media), Mike Thomas (Theatre Properties) and Michael Donaldson (Donaldson & Callif).
After the panel “Why Critics Matter: A Conversation with Anne Thompson and Sam Adams” moderated by Ira Deutchman, a discussion of contemporary film criticism and its importance within the independent exhibition community created a flurry of comments on the Ahc newsletter which you can read along with other year round commentaries of importance by subscribing to Google Groups "Art House Convergence". Sam Adams himself writes,
“In a national survey covering 25 art house theaters and 20,000 patrons, Avenue Isr's Woody Smith said that reviews were the third-most important tool in drawing audiences to theaters, just behind recommendations from friends. (Most-effective, by a wide margin: trailers.) 41 percent of respondents listed print reviews among the most important factors, with online reviews at 35 percent, although the former number drops dramatically when limited to viewers 35 or younger.
Speaking anecdotally to me, many exhibitors told me that Rotten Tomatoes plays a huge role in what films audiences select. In one medium-sized market, the local paper, which no longer employs its own critics, uses the Tomatometer to decide which review to pull from the wire services: If it's "fresh," they run a positive review; if it's "rotten," they run a pan. By pretty much any measure, that's a huge dereliction of duty — not to mention incredibly lazy journalistic practice — but the good news is that same exhibitor sought me out later to tell me he going to start a criticism contest for local students, bringing back dialogue to a community that's lost an outlet for those voices.”
At Ahc with a new panel discussion, one most worthy of notice is Hollie Mahadeo, General Manager of Enzian Theater in Maitland Florida. Her initiative, Starting Young: Hooking Youth on Cinema, discussed cultivating the next generation of filmgoers and film lovers. Amy Averett of Alamo Drafthouse, Mats Gillmor of Palladium and Hollie Mahadeo of Enzian spoke of their successes in this crucial area.
Hollie has spent 17 years building a home for youth in cinema. Art houses do not generally think about kids because the ones working in them are usually young and single and the ones attending them are usually grandparents. As Hollie and her colleagues grew, they married and now have children and so are concerned with how cinema and their own children will interact. Six years ago their audience was all over 40 and so they began programming to get 20-somethings in.
Then they started courting the children with their Peanut Butter Matinees, programming films to appeal to the children and their parents, like “Neverending Story”. These monthly matinees work well for parents with children from five to ten years who would not ordinarily go to cinemas. The room seats 220 but is filled with tables and chairs so some play while others eat and others sit enraptured by the cinema. They have 1,200 screenings in a year and are a $3.5 million organization in all.
The Peanut Butter Matinee has a kid friendly menu, balloons to take away, raffles to take part in and the film, always projected digitally. It has grown to special holiday celebrations for Christmas, Halloween, Easter and the children have also grown. The events are free for children under 12; all others buy $8 tickets.
Amy of Alamo states that it is cheaper to bring kids to the movies than to hire a babysitter.
Enzion has also instituted a Filmmaking Camp, a summer day camp now in its seventh year. It began as a one-week camp for 10 kids but now has a four-week camp, Thirty-two kids go to a two-week session in Camp 1 and another 32 go to a second two-week session. They have temporary staff of two filmmakers who bring in the equipment and one head instructor, a teacher from a local film school and a counselor to help with the scheduling, meals, and other issues. There are volunteer filmmakers from college and a junior counselor program for kids too old to be campers but too young to be filmmakers (yet). The oldest graduate of the camp is now in high school and looking at film schools. The youngest camper is in the fifth grade. At the end of the camp there are at least two world premiers.
Now they also have youth acting Programs. For grades 2 through 12, classes are held after school twice a week.
All in all, the Ahc was full and fun. The cold was bitter and when we left to go down the road to Sundance, about half of us were nursing our first winter colds which made for an even more fun filled Sundance Film Festival…well for me at least, my low energy level was no match of the excitement of the festival this year.
This year there were so many more people - about 600 total - including vendors of everything an exhibitor must need plus a parallel event of the Film Festival Alliance, a great initiative of Ifp established in 2010 in which festivals get together to discuss mutual interests.
The confluence of the smaller regional festivals and the art house theaters is a natural fit since the festivals are held in the theaters and bring in the community, obviously a desired outcome of art house exhibitors. All that combined makes for a much larger event than ever before and points toward even greater growth for Ahc, something perhaps to be desired but also something which perhaps will not be quite so welcoming for newcomers as the earlier events.
The topics covered in the break out sessions are a large part about the logistics of U.S. art house operations from creating fan bases and membership. Another large part focuses on festival logistics from starting a film festival – and here I want to give a plug to Jon Gann, the founder of DC Shorts Film Festival for his new book, So, You Want to Start a Film Festival: Conversations with Top Festival Creators -- to the panel “Conversation with Sundance Senior Manager Adam Montgomery” in which Montgomery discussed Sundance’s process of accepting submissions, the work flow, planning, technology, usage tips and more.
Some awards by way of recognition to those who established indies as a going concern and are keeping it going through their hard work and devotion were Gary Meyer, founder of Landmark Theaters in 1975, Jan Klingenhofer and Chapin Cutter.
Niches and small business introducing themselves included the former Emerging Pictures executive Barry Rebo with his new startup CineConductor, along with his international partner Ymagis. The service for a $75 per month fee allows theaters to download unlimited DCPs (The Digital Cinema Package is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams.) from all distributors – an easy and cheaper way for theaters to show more films at various times during the week.
Barry Rebo of CineConductor says, “We had a terrific Art House Convergence. We arrived with 51 high profile arthouse members and left with close to 65, maybe more once we re-connect with ones now tied up at the actual festival.
Current venues are both evangelizing our value to new venues and lobbying rights holders to deliver their booked film via the CineConductor service rather than hard drives. It not only save the venues money it makes their day-to-day operations ever more efficient.
We also have two high profile international film agencies we are servicing via the portal - UniFrance’s ongoing Young French Cinema 2 and Tiff & TeleFilm Canada’s upcoming See The North series.
More information about CineConductor: Click this link.
Considering we only debuted the system - really a 'soft opening' - at last year’s Ahc and connected the first batch of venues beginning in June of ‘15 getting to 51 quality sites by the end of the first indicates the service is being seen as being both highly cost effective (venues join on a Network Access Fee basis - no charge for equipment and only $75.00 per month for Unlimited Dcp deliveries of Specialty Film & Event Cinema programs offered by their rights holder via CineConductor.
Rights Holders (Rh) - traditional distribution companies; international film advocacy groups; international sales agents; the filmmakers themselves pay nothing today to post on the CineConductor portal. They pay only $50.00 per feature Dcp delivery Includes Kdm if requested) and $10.00 per Dcp trailer set (flat and scope) once they accept an engagement directly from a participating venue. It’s a great deal for both the exhibition and distribution sides of the arthouse field.
For the broader arthouse community - exhibitors, distributors and audiences - our decision to go this way was based on our belief that by offering a flat fee, more valuable content is made available on more screens. More onscreen diversity will drive a more diverse audience. I’m happy to report it’s already working as planned.
What we have created is truly and international platform. My investor/ parent company, Ymagis, is Paris-based and operates all across Europe. See www.ymagis.com "
Another endeavor of note is Benjamin Oberman’s (Film Festival Flix) mountain climbing film “Citadel” around which he can mobilize literally millions of outdoors sports folk through organizations he has formed alliances with in every region of the U.S. This type of specialized distribution is one excellent way into the future! Compared to his development of this last year, he has moved miles ahead.
Another to watch is Bobbi Thompson as she creates pop-up theaters in studio spaces with art exhibition for adults with learning disabilities and other handicaps.
An example of the new types of festivals is that of Gary Meyer, always a pioneer from his launching of Landmark theaters, of animation showcases, of Telluride Film Festival programming to his newest, Eat Drink Films. Based in a San Francisco his site discusses film and food and hosts recently Real Food Media also announced the launch of its third-annual contest with a call for submissions of super-short films on underreported issues, unique change-makers and creative solutions to foster a broad, public conversation about solving our global food system’s most intractable problems – from hunger to diet-related illnesses to environmental crises.
And Ahc has gone international. Last year a few folks from France, Europa Cinemas and the U.S. in Progress in Poland (American Film Festival’s Ula Sniegowska) and in France (Adeline Monzier of Unifrance) were here. This year they are here again and joined by Brigitte Hubmann of Telefilm Canada with film packages available directly to theaters via Barry Rebo’s CineConductor, a model that German films and all other national film entities should emulate. Also attending this year is Europa International, a consortium of 40 European international sales agents from 13 European countries looking to find direct outlets to theaters without the distribution middleman. This will become increasingly important at Netflix swopes down on worldwide digital rights acquisitions. TrustNordisk’s head of sales, Susan Wendt from Denmark represented Europa International here.
Europa International’s panel presented European case studies on ways to attract new audiences in the era of social media with an eye toward directing young people towards “quality” cinema and fostering critical minds while forming partnership strategies included Justin Camileri of Euro Media Forum, Fatima Djoumer of Europa Cinemas, Matts Gillmor of Palladium, Elisa Giovannelli of Cineteca Bologna and Justyna Kociszewska of Kino Lab.
U.S. distributor Neil Friedman’s Menemsha Films is here with the Jonathan Pryce film “Dough” a funny and feel-good trans-cultural mix proving ‘you don’t have to be Jewish’ to love this film. Representing Menemsha at Ahc is former United King acquisitions executive from Israel, Oded Horowitz, who has now moved to California with his partner and their 6 year old twin girls. Diarah N’Daw-Spech of ArtMattan is here among now old friends managing to inject some diversity into a little too homogenous population of film lovers.
This place is full of 'our' people, that is, we-the-now-older generation who got this thing going in the 80s: those I mentioned above plus Paul Cohen, Ira Deutchman, Anne Thompson, Mj Pekos (Dada Films), Larry Greenberg (Momentum/ eOne), Richard Abramowitz (Abramarama), Cary Jones (IFC), Peter Baxter (Slamdance), Peter Becker (Janus) (who was a young one when we began but was there - and our sympathy to him for his father’s passing… whose colleague Jonathan Turrell whose father Saul in those days in print distribution at Janus Films was one of New York’s most colorful figures), Ron Diamond (Animation Show of Shows), Peter Belsito (SydneysBuzz), Mark Fishkin (California Film Institute), Christian Gaines (ArtPrize), Larry Kardish (Board member and former head of NY Film Society, Lincoln Center, now with Chatham Film Club), Greg Laemmle of Laemmle Theaters, Los Angeles’ preeminent indie arthouse started by his grandfather Carl Laemmle, former head of Universal (!), Richard Lorber (Kino Lorber), Scott Mansfield (monterey media), Mike Thomas (Theatre Properties) and Michael Donaldson (Donaldson & Callif).
After the panel “Why Critics Matter: A Conversation with Anne Thompson and Sam Adams” moderated by Ira Deutchman, a discussion of contemporary film criticism and its importance within the independent exhibition community created a flurry of comments on the Ahc newsletter which you can read along with other year round commentaries of importance by subscribing to Google Groups "Art House Convergence". Sam Adams himself writes,
“In a national survey covering 25 art house theaters and 20,000 patrons, Avenue Isr's Woody Smith said that reviews were the third-most important tool in drawing audiences to theaters, just behind recommendations from friends. (Most-effective, by a wide margin: trailers.) 41 percent of respondents listed print reviews among the most important factors, with online reviews at 35 percent, although the former number drops dramatically when limited to viewers 35 or younger.
Speaking anecdotally to me, many exhibitors told me that Rotten Tomatoes plays a huge role in what films audiences select. In one medium-sized market, the local paper, which no longer employs its own critics, uses the Tomatometer to decide which review to pull from the wire services: If it's "fresh," they run a positive review; if it's "rotten," they run a pan. By pretty much any measure, that's a huge dereliction of duty — not to mention incredibly lazy journalistic practice — but the good news is that same exhibitor sought me out later to tell me he going to start a criticism contest for local students, bringing back dialogue to a community that's lost an outlet for those voices.”
At Ahc with a new panel discussion, one most worthy of notice is Hollie Mahadeo, General Manager of Enzian Theater in Maitland Florida. Her initiative, Starting Young: Hooking Youth on Cinema, discussed cultivating the next generation of filmgoers and film lovers. Amy Averett of Alamo Drafthouse, Mats Gillmor of Palladium and Hollie Mahadeo of Enzian spoke of their successes in this crucial area.
Hollie has spent 17 years building a home for youth in cinema. Art houses do not generally think about kids because the ones working in them are usually young and single and the ones attending them are usually grandparents. As Hollie and her colleagues grew, they married and now have children and so are concerned with how cinema and their own children will interact. Six years ago their audience was all over 40 and so they began programming to get 20-somethings in.
Then they started courting the children with their Peanut Butter Matinees, programming films to appeal to the children and their parents, like “Neverending Story”. These monthly matinees work well for parents with children from five to ten years who would not ordinarily go to cinemas. The room seats 220 but is filled with tables and chairs so some play while others eat and others sit enraptured by the cinema. They have 1,200 screenings in a year and are a $3.5 million organization in all.
The Peanut Butter Matinee has a kid friendly menu, balloons to take away, raffles to take part in and the film, always projected digitally. It has grown to special holiday celebrations for Christmas, Halloween, Easter and the children have also grown. The events are free for children under 12; all others buy $8 tickets.
Amy of Alamo states that it is cheaper to bring kids to the movies than to hire a babysitter.
Enzion has also instituted a Filmmaking Camp, a summer day camp now in its seventh year. It began as a one-week camp for 10 kids but now has a four-week camp, Thirty-two kids go to a two-week session in Camp 1 and another 32 go to a second two-week session. They have temporary staff of two filmmakers who bring in the equipment and one head instructor, a teacher from a local film school and a counselor to help with the scheduling, meals, and other issues. There are volunteer filmmakers from college and a junior counselor program for kids too old to be campers but too young to be filmmakers (yet). The oldest graduate of the camp is now in high school and looking at film schools. The youngest camper is in the fifth grade. At the end of the camp there are at least two world premiers.
Now they also have youth acting Programs. For grades 2 through 12, classes are held after school twice a week.
All in all, the Ahc was full and fun. The cold was bitter and when we left to go down the road to Sundance, about half of us were nursing our first winter colds which made for an even more fun filled Sundance Film Festival…well for me at least, my low energy level was no match of the excitement of the festival this year.
- 2/2/2016
- by Sydney Levine
- Sydney's Buzz
Jewish Film Festival launches inaugural best debut feature prize; competition titles include Son Of Saul and Labyrinth Of Lies.
The 19th UK Jewish Film Festival (Nov 7-22) is to present a best debut feature award for the first time.
The jury, headed by Nfts (National Film and Television School) director Nik Powell, comprises actor Jason Isaacs (The Patriot), director Mike Newell (Donnie Brasco), producer Michael Kuhn (Being John Malkovich), actress Kerry Fox (The Dressmaker) and actress Sarah Solemani (Mrs Henderson Presents).
The winner, which will be announced at the festival’s closing gala on Nov 21, will be selected from a shortlist of five films: Son of Saul; Orthodox; The Farewell Party; Labyrinth Of Lies; and 5 To 7.
This year’s festival programme has also been revealed.
The opening film will be Nae Caranfil’s Closer To The Moon, the comedy drama starring Vera Farmiga and Mark Strong that won multiple prizes at this year’s Gopo Awards, Romania...
The 19th UK Jewish Film Festival (Nov 7-22) is to present a best debut feature award for the first time.
The jury, headed by Nfts (National Film and Television School) director Nik Powell, comprises actor Jason Isaacs (The Patriot), director Mike Newell (Donnie Brasco), producer Michael Kuhn (Being John Malkovich), actress Kerry Fox (The Dressmaker) and actress Sarah Solemani (Mrs Henderson Presents).
The winner, which will be announced at the festival’s closing gala on Nov 21, will be selected from a shortlist of five films: Son of Saul; Orthodox; The Farewell Party; Labyrinth Of Lies; and 5 To 7.
This year’s festival programme has also been revealed.
The opening film will be Nae Caranfil’s Closer To The Moon, the comedy drama starring Vera Farmiga and Mark Strong that won multiple prizes at this year’s Gopo Awards, Romania...
- 9/25/2015
- ScreenDaily
UK, international, Israeli and documentary titles revealed.
The UK Jewish Film Festival (Nov 7-22) has revealed its line-up for the 19th edition, which will take place across London and cities in England and Scotland.
A screening of Suffragette, from British-Jewish director Sarah Gavron, will follow the film’s European premiere as the opening film of the BFI London Film Festival on Oct 7. The period drama about women’s fight for the vote stars Carey Mulligan.
The programme also includes László Nemes’ Holocaust drama Son Of Saul, which won the Grand Prix at Cannes in May.
Other international titles set to play at the festival include Sarah Silverman starrer I Smile Back, Sundance title Experimenter with Winona Ryder and Peter Sarsgaard, and Romanian production Closer to the Moon, starring Mark Strong and Vera Farmiga.
The festival will also highlight a range of UK talent. Besides the aforementioned Suffragette, actor turned writer director David Leon will screen his debut...
The UK Jewish Film Festival (Nov 7-22) has revealed its line-up for the 19th edition, which will take place across London and cities in England and Scotland.
A screening of Suffragette, from British-Jewish director Sarah Gavron, will follow the film’s European premiere as the opening film of the BFI London Film Festival on Oct 7. The period drama about women’s fight for the vote stars Carey Mulligan.
The programme also includes László Nemes’ Holocaust drama Son Of Saul, which won the Grand Prix at Cannes in May.
Other international titles set to play at the festival include Sarah Silverman starrer I Smile Back, Sundance title Experimenter with Winona Ryder and Peter Sarsgaard, and Romanian production Closer to the Moon, starring Mark Strong and Vera Farmiga.
The festival will also highlight a range of UK talent. Besides the aforementioned Suffragette, actor turned writer director David Leon will screen his debut...
- 8/12/2015
- ScreenDaily
Culinary drama stars Jonathan Pryce.
Umedia International has sold all North American rights to comedy-drama Dough to Menemsha Films.
John Goldschmidt’s bakery-based drama stars Jonathan Pryce (Game of Thrones, GI Joe) and newcomer Jerome Holder, with a supporting cast including Pauline Collins, Phil Davis and Ian Hart.
Producers are Docler Entertainment’s György Gattyán and András Somkuti, Viva Films’ John Goldschmidt and Three Coloured Dog Films’ Wolfgang Esenwein. The film is a UK-Hungarian co-production.
Written by the late Yehuda Jez Freedman and Jonathan Benson, Dough tells the story of an old Jewish baker in London’s East End, whose failing business gets an unexpected boost when his young Muslim apprentice, also a part time cannabis dealer, accidentally drops his merchandise into the dough and the chollah starts to fly off the shelf.
The film also explores how people overcome prejudices to connect across divides of age, race and religion.
Dough will open...
Umedia International has sold all North American rights to comedy-drama Dough to Menemsha Films.
John Goldschmidt’s bakery-based drama stars Jonathan Pryce (Game of Thrones, GI Joe) and newcomer Jerome Holder, with a supporting cast including Pauline Collins, Phil Davis and Ian Hart.
Producers are Docler Entertainment’s György Gattyán and András Somkuti, Viva Films’ John Goldschmidt and Three Coloured Dog Films’ Wolfgang Esenwein. The film is a UK-Hungarian co-production.
Written by the late Yehuda Jez Freedman and Jonathan Benson, Dough tells the story of an old Jewish baker in London’s East End, whose failing business gets an unexpected boost when his young Muslim apprentice, also a part time cannabis dealer, accidentally drops his merchandise into the dough and the chollah starts to fly off the shelf.
The film also explores how people overcome prejudices to connect across divides of age, race and religion.
Dough will open...
- 7/3/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Browsing through the lineup of the San Francisco Jewish Film Festival (which was humorously accidental, given what happened because I did), I came across this feature film, titled simply "Dough," which will be the festival's opening night film, on July 23. A UK-Hungarian co-production, and drected by John Goldschmidt from a script penned by Yehuda Jez Freedman and Jonathan Benson, "Dough" is described as a cross-cultural comedy, set in London’s East End, and tells the story of an old Jewish baker (played by Jonathan Pryce) whose failing bakery business gets an unexpected boost when his young Muslim apprentice (played by Jerome Holder) accidentally...
- 7/2/2015
- by Tambay A. Obenson
- ShadowAndAct
He’s currently making a huge impression on Game Of Thrones, but Jonathan Pryce is headed back to the big screen for a genre the Brazil star knows all too well – dystopian drama. He’s joined a new film called The White King alongside Fiona Shaw. The pair is now part of a cast that already includes Agyness Deyn, Ross Partridge and Lorenzo Allchurch. Alex Helfrecht and Jörg Tittel are making their joint directorial debut with the film, adapting György Dragomán’s novel. The White King follows what happens when a precocious 12-year-old discovers that his father has been abducted and imprisoned by the totalitarian state they live in.Deyn will be the boy’s mother, forced to investigate a world of propaganda suffering a gangs to reunite her family. The cameras should be rolling this summer in Budapest. Pryce, when he’s not causing problems for the residents of King’s Landing,...
- 5/31/2015
- EmpireOnline
Ricky Gervais has confirmed that The Office's David Brent will be heading to the big screen with his own movie, Life on the Road.
So as we anticipate what Brent has been up to since the end of the BBC hit comedy, here's what the cast have done since:
Ricky Gervais
Ricky Gervais played the lead role as David Brent - the embarrassing, toe-curling and cringeworthy boss of company Wernham Hogg, devoid of self-awareness but poised with an unwavering love for the paper merchants he manages.
Gervais went on to create comedy Extras with Stephen Merchant, which was co-produced by the BBC and HBO and aired between 2005 and 2007. Gervais played ambitious actor Andy Millman, afflicted with a useless agent played by Merchant. Guest stars have included Patrick Stewart, Samuel L Jackson, Ben Stiller and Kate Winslet.
In 2009, Gervais starred in, wrote and directed his feature comedy debut The Invention of Lying.
So as we anticipate what Brent has been up to since the end of the BBC hit comedy, here's what the cast have done since:
Ricky Gervais
Ricky Gervais played the lead role as David Brent - the embarrassing, toe-curling and cringeworthy boss of company Wernham Hogg, devoid of self-awareness but poised with an unwavering love for the paper merchants he manages.
Gervais went on to create comedy Extras with Stephen Merchant, which was co-produced by the BBC and HBO and aired between 2005 and 2007. Gervais played ambitious actor Andy Millman, afflicted with a useless agent played by Merchant. Guest stars have included Patrick Stewart, Samuel L Jackson, Ben Stiller and Kate Winslet.
In 2009, Gervais starred in, wrote and directed his feature comedy debut The Invention of Lying.
- 8/6/2014
- Digital Spy
London’s biggest film export event returns with a new name and strong selection of upcoming titles.
This year’s London Screenings (June 23-26) marks the 11th edition of the capital’s biggest film export event and has been given a make-over for 2014.
It has dropped the previous title of the London UK Film Focus (Luff) and will introduce various new strands. But organisers are quick to point out this isn’t a case of reinventing the event - more of “buffing it up” after more than a decade.
“Everyone felt that after doing it for 10 years, maybe it was time for a bit of a facelift,” says Adrian Wootton, CEO of Film London, which organises the London Screenings.
The budget of around $330,000 is roughly the same as in previous years. The key difference is that the event, which generates an estimated $8m a year in international business for British films and sales agents, has secured...
This year’s London Screenings (June 23-26) marks the 11th edition of the capital’s biggest film export event and has been given a make-over for 2014.
It has dropped the previous title of the London UK Film Focus (Luff) and will introduce various new strands. But organisers are quick to point out this isn’t a case of reinventing the event - more of “buffing it up” after more than a decade.
“Everyone felt that after doing it for 10 years, maybe it was time for a bit of a facelift,” says Adrian Wootton, CEO of Film London, which organises the London Screenings.
The budget of around $330,000 is roughly the same as in previous years. The key difference is that the event, which generates an estimated $8m a year in international business for British films and sales agents, has secured...
- 6/23/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Exclusive: Battleship and Friday Night Lights star Taylor Kitsch is attached to star in thriller Exit 147, one of three new films being introduced by Umedia at the Afm.
In Exit 147, Kitsch stars as a sadistic cop who plays mind games with a young traveller who he stops driving through the desert one night.
Set to go into production in the second quarter of 2014, it is directed by Julian Jarrold, who recently made Hitchcock TV movie The Girl and is also known for comedy drama Kinky Boots and period biopic Becoming Jane.
Written by Travis Milloy (Pandorum), Exit 147 is a Umedia presentation of a Mandalay Vision production.
Umedia International, the sales arm of the Belgian film finance and production group, is also handling world sales on Dough.
The comedy-drama stars Jonathan Pryce as an old Jewish baker struggling to keep his business afloat until his young apprentice accidentally drops cannabis in the dough and sends...
In Exit 147, Kitsch stars as a sadistic cop who plays mind games with a young traveller who he stops driving through the desert one night.
Set to go into production in the second quarter of 2014, it is directed by Julian Jarrold, who recently made Hitchcock TV movie The Girl and is also known for comedy drama Kinky Boots and period biopic Becoming Jane.
Written by Travis Milloy (Pandorum), Exit 147 is a Umedia presentation of a Mandalay Vision production.
Umedia International, the sales arm of the Belgian film finance and production group, is also handling world sales on Dough.
The comedy-drama stars Jonathan Pryce as an old Jewish baker struggling to keep his business afloat until his young apprentice accidentally drops cannabis in the dough and sends...
- 11/6/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Lost in the Sun
Josh Duhamel is set to star in Trey Nelson's thriller "Lost in the Sun" for Cargo Entertainment. Filming begins in February in Texas.
Duhamel plays a small-time crook who kidnaps a teenage orphan and develops a powerful bond with the youngster as they embark on a string of robberies. [Source: Screen]
Anesthesia
Kristen Stewart, Sam Waterston, Glenn Close, Jessica Hecht, Corey Stoll, Gretchen Mol, Michael K. Williams, Gloria Reuben, Mickey Sumner, and K. Todd Freeman are all set to star in Tim Blake Nelson's indie drama "Anesthesia."
The story follows the various stories of New Yorkers whose lives converge after the violent mugging of a Columbia University philosophy professor. [Source: Playbill]
If You See Her
Sara Paxton and Janet Montgomery are set to star in Joan Carr-Wiggin's indie comedy-drama "If You See Her" at Paragraph Pictures.
Montgomery plays a cynical documentary filmmaker who returns to her hometown when her father becomes ill.
Josh Duhamel is set to star in Trey Nelson's thriller "Lost in the Sun" for Cargo Entertainment. Filming begins in February in Texas.
Duhamel plays a small-time crook who kidnaps a teenage orphan and develops a powerful bond with the youngster as they embark on a string of robberies. [Source: Screen]
Anesthesia
Kristen Stewart, Sam Waterston, Glenn Close, Jessica Hecht, Corey Stoll, Gretchen Mol, Michael K. Williams, Gloria Reuben, Mickey Sumner, and K. Todd Freeman are all set to star in Tim Blake Nelson's indie drama "Anesthesia."
The story follows the various stories of New Yorkers whose lives converge after the violent mugging of a Columbia University philosophy professor. [Source: Playbill]
If You See Her
Sara Paxton and Janet Montgomery are set to star in Joan Carr-Wiggin's indie comedy-drama "If You See Her" at Paragraph Pictures.
Montgomery plays a cynical documentary filmmaker who returns to her hometown when her father becomes ill.
- 11/6/2013
- by Garth Franklin
- Dark Horizons
Exclusive: Umedia handling sales on UK-Hungarian co-production.
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
- 10/14/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Exclusive: Umedia handling sales on UK-Hungarian co-production.
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
- 10/14/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Exclusive: Umedia handling sales on UK-Hungarian co-production.
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
Director John Goldschmidt has started principal photography in London on comedic drama Dough.
Umedia International handles world sales and will bring the project to market at Afm next month.
Yehudah Jez Freedman and Jonathan Benson wrote the script, about the unlikely friendship between an old Jewish baker trying to save his family bakery and a young Muslim refugee from Darfur trying to help his mother by selling cannabis.
Producers are György Gattyán, András Somkuti, Goldschmidt and Wolfgang Esenwein, with Bruno György and Geraldine East executive producing.
The cast feature Jonathan Pryce, Phil Davis, Ian Hart, Pauline Collins and Jerome Holder.
Goldschmidt’s Viva Films partnered with German producer Esenwein’s Three Coloured Dog Films to package and finance the project.
The project has been set up as an official UK-Hungarian co-production with Budapest-based Docler Entertainment fully financing.
Esenwein said: “We are extremely happy to be working with András and Bruno...
- 10/14/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
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