It’s been quite a while since there has been significant discussion about a Netflix film appearing at Cannes. The reason being that Cannes’ rules claim that a film that plays in competition at the event has to have a theatrical rollout in France.
16.01.2024 - 08:07 / deadline.com
Box to Box Films, the production company behind Netflix’s Formula 1: Drive To Survive, has secured a multi-million dollar investment.
Deadline understands that private equity investor Bruin Capital has invested in the company. It’s not clear what stake Bruin has taken, but it’s believed to be a minority investment.
Box to Box, which is also behind series such as Netflix tennis series Break Point, golf series Full Swing and a new Apple TV+ show about Major League Soccer, is the latest documentary company, with an interest in sports, to score investment.
Peyton Manning’s Omaha Productions sold a stake to Peter Chernin’s The North Road Company and Boardwalk Pictures, which is behind Netflix’s NBA series The Long Game and Cheer, sold a stake to investment firm Shamrock Capital.
Box to Box was founded by Amy and Senna producer James Gay-Rees and Paul Martin, who produced HBO’s Maradona. The pair told Deadline last year about the investment search.
“For a long time, we’ve been growing quite organically. Whenever you get to a certain level, you have that perceived level of success from the outside and you start getting a lot of people asking questions about investment or a sale,” Martin told Deadline. “We just decided that it’s probably worth finding out if there was a partner out there that make sense, or some investment. It’s very early in that process, but we’ve definitely talked to a few people.”
The company has operations in London and LA as well as a presence in Paris, France, with its joint venture Quadbox. Gay-Rees is based in London and Martin is now in LA.
In addition to sports docs, it produced music documentary series 1971: The Year That Music Changed Everything and corporate true-crime series Wanted: The
It’s been quite a while since there has been significant discussion about a Netflix film appearing at Cannes. The reason being that Cannes’ rules claim that a film that plays in competition at the event has to have a theatrical rollout in France.
Naman Ramachandran Award-winning artist Justin Anderson’s debut feature “Swimming Home” has its world premiere in competition at International Film Festival Rotterdam. Variety has secured access to the first clip from the film. The film, an adaptation of Deborah Levy’s 2012 Man Booker Prize shortlisted novel, centers on poet Joe (Christopher Abbott) and war photographer Isabel (Mackenzie Davis), whose marriage is dying when Kitti (Ariane Labed), a naked stranger found floating in the pool at their sunny holiday villa in Greece, is invited to stay.
Elsa Keslassy International Correspondent French mini-major Pathé has acquired Les Films des Tournelles, the production company founded by Anne-Dominique Toussaint whose recent credits include Louis Garrel‘s Cesar-winning “The Innocent.” Besides Garrel, Les Films des Tournelles has worked with a flurry of auteurs on some of their most successful films, including Riad Sattouf’s “The French Kissers,” which won the Cesar for best first film in 2010; Nadine Labaki’s “Caramel”; Emanuele Crialese’s “Respiro”; Valeria Golino’s “Miele”; and Mona Achache’s “The Hedgehog.” “The Innocent” won two prizes at last year’s Cesar Awards and screened at Cannes on the 75th anniversary of the festival. Toussaint has also worked with Philippe Le Guay and Emmanuel Carrère.
A man from Wigan who started driving to AUSTRALIA in a truck with only his dog for company found love just a fortnight into his trip. Bobby Bolton, 31, fell head over heels after meeting a 'good looking' French woman on a hilltop in Saint-Tropez.
So, here we are in mid-January, and though we’re staring down the barrel of a tough year ahead, it’s not all wintry doom and gloom on an international box office (and combined global) level.
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Elsa Keslassy International Correspondent Newen Connect has closed a raft of sales on “Kina & Yuk,” a live action family adventure from the team behind “Ailo’s Journey,” ahead of the Unifrance Rendez-Vous showcase. Directed by Guillaume Maidatchevsky (“Ailo’s Journey”), the feature is a wild arctic tale following two foxes who are separated by the melting polar ice and must overcome a number of dangers in the hope of being reunited and raise a family together. The movie was released in French theaters by UGC on Dec.
Refresh for latest…: Warner Bros/Village Roadshow/Heyday Films’ Wonka continues its sweet run, crossing the $500M mark globally this weekend. The worldwide cume through Sunday is $505.3M including $329.1M from the international box office and with Korea, which has a fondness for Hollywood musicals, still to release at the end of the month.
EXCLUSIVE: German director Wim Wenders has scored his best box office performance in 15 years with Japan-set, comeback feature Perfect Days, according to collated figures released by sales agent The Match Factory.
In a lull for specialty openings early in the new year, three foreign-language films are taking a shot. The Settlers, winner of the Cannes Un Certain Regard FIPRESCI Prize, and Inshallah A Boy are Cannes alumns and Oscar submissions from, respectively, Chile and Jordan (neither short-listed in a competitive field). Driving Madeleine is a crowd pleasing French film.
You might hear the title, Driving Madeleine (French title: Une Belle Course), and then read the logline about a driver taxiing a 92-year old woman around Paris and instantly think “Aha! It is a French Driving Miss Daisy!” Well, having absolutely nothing to do with that 1989 Best Picture Oscar winner that so memorably starred Jessica Tandy and Morgan Freeman, the two films do have something in common. They are both irresistibly cast with exceptional veteran stars who each grab the heart and never let go.
EXCLUSIVE: Channel 4 has organized a U.S.-UK student exchange program for its latest project from The Great British Bake Off producer Love Productions.
10 years on from her explosive breakthrough in Martin Scorsese’s The Wolf of Wall Street, Margot Robbie has had the moment of her career with Barbie, a project she shepherded to the screen as a producer long before she claimed the lead role. After more than a billion dollars at the box office, Barbie has entered the zeitgeist, and Robbie is ready to take a victorious breath, finds Joe Utichi.
Nick Vivarelli International Correspondent Italy’s box office revenue rose in 2023 to €495 million ($542,000) while the country’s admissions tally reached 70.5 million, representing a roughly 60% increase compared with 2022. Though Italian moviegoing figures – announced Wednesday in Rome by national box office compiler Cinetel – mark a substantial leap forward, they are still down roughly 23% compared with the country’s average box office intake during the period between 2017 and 2019. Prior to the pandemic, the benchmark of a good year was considered 100 million admissions.