Singapore-India Gender Focused Company Mumba Devi Sets ‘Grand Sugar Daddy’ EFM Screening, Unveils Slate (EXCLUSIVE)

Emily Longeretta Amid a bit of drama surrounding HBO’s “The Idol,” the Weeknd-led series is in talks to debut at the Cannes Film Festival in May, multiple sources confirm to Variety. Star Abel “The Weeknd” Tesfaye previously attended Cannes Film Festival and is hopeful the show premieres there, according to one source, but the festival has not yet screened the drama, which has undergone a great number of changes behind the scenes. HBO is not commenting at this time. Though primarily a film festival, a handful of TV series have been brought to Cannes in the past, including “Twin Peaks: The Return” and “Top of the Lake: China Doll.”

While it's nothing new, and we're certainly not complaining, Harry Styles' name is inescapable right now.

EXCLUSIVE: Smokehouse TV and 101 Studios have made a multiyear overall deal for original scripted and unscripted content for television.

Aamu Film Company will invest in Jenni Jauri’s new production company Silmu Films, Variety has found out exclusively. Aamu, founded in 2001 and co-owned by Jussi Rantamäki and Emilia Haukka, has become a local arthouse powerhouse thanks to its festival-friendly slate, especially Juho Kuosmanen’s “The Happiest Day in the Life of Olli Mäki” and Golden Globe-nominated “Compartment No. 6,” awarded the Grand Prix in Cannes. “We had a good film with decent sales and we started to think about what we should do next,” Rantamäki said. “Aamu’s brand is simple and clear: we only work with a select few directors. We don’t want to change that; we don’t want to turn into a factory where you don’t know what is happening and with whom. So first we decided not to grow, and then realized we could invest in a new company instead.”

Naman Ramachandran India’s National Company Law Tribunal on Wednesday agreed to the beginning of insolvency proceedings against Zee Entertainment Enterprises Limited (ZEEL) and group company Siti Network, filed by IndusInd Bank. The bank is seeking payment over a default of INR890 million ($10.7 million). Siti and Zee are part of the Essel Group conglomerate. In 2021, Culver Max Entertainment (Sony) and ZEEL signed definitive agreements to merge and combine their linear TV networks, digital assets, production operations and program libraries. The merger is understood to be in the last stages of completion.

Prime Video has secured the return of Dave Bautista (Knock at the Cabin), Chloe Coleman (Avatar: The Way of Water), Kristen Schaal (What We Do in the Shadows), Ken Jeong (The Afterparty) and others for their My Spy sequel, My Spy: The Eternal City. Among the new additions to the ensemble in the second installment are Anna Faris (Mom), Craig Robinson (The Office) and Flula Borg (Pitch Perfect: Bumper in Berlin).

Naman Ramachandran Shout! Studios has acquired U.S. and Canada rights to Studiocanal and Working Title’s cross-cultural British romantic comedy “What’s Love Got to Do with It?” with a view to releasing it in late spring, it was revealed at Berlin’s European Film Market on Tuesday. Directed by veteran Indian filmmaker Shekhar Kapur (“Elizabeth”), “What’s Love Got to Do With It?” follows documentary-maker and dating app addict Zoe (Lily James), for whom swiping right has only delivered an endless stream of Mr Wrongs, to her eccentric mother Cath’s (Emma Thompson) dismay. For Zoe’s childhood friend and neighbor Kaz (Shazad Latif), the answer is to follow his parents’ example and opt for an arranged (or “assisted”) marriage to a bright and beautiful bride from Pakistan (Sajal Aly). As Zoe films Kaz’s journey from London to Lahore to marry a stranger, chosen by his parents, she begins to wonder if she might have something to learn from a profoundly different approach to finding love.

Naman Ramachandran Singapore-based film marketing and distribution firm Continental Entertainment Pte. Ltd. (CEPL), which holds global distribution rights for Bangladeshi auteur Mostofa Sarwar Farooki’s “Saturday Afternoon,” will release the film in the U.S. and Canada through Reliance Entertainment. The Bengali-and-English-language film takes its cue from the brutal terrorist attack on the Holey Artisan Bakery in Dhaka in 2016, which took place on a quiet Saturday afternoon and left more than 20 people dead. It had considerable festival play, winning awards at Fukuoka, Moscow and Vesoul. The film was initially banned and had finally been cleared for release in January after a four year struggle with the Bangladesh Film Censor Board. However Bangladesh’s Ministry of Information and Broadcasting appears to have taken a U turn and the situation remains fluid. Consequently, the film will open in the U.S. and Canada on March 10 before its Bangladesh release. It will also be released in other countries in subsequent months.

Patrick Frater Asia Bureau Chief The Vesoul International Film Festival of Asian Cinema has unveiled its 85-title lineup for the edition that starts later this month (February 28 to March 7, 2023). Elements include a 10-film competition section, a 10-film documentary film section, a tribute to the Turkish director Semih Kaplanoglu; a thematic section “Asian Diaspora Cinema” offering a panorama of works by directors from Asian countries living in exile; and a Philippines cinema sidebar. Fiction films in competition include: Azerbaijan’s “Cold as Marble,” by Asif Rustamov; China’s “In Our Prime,” by Liu Yulin; Korea’s “A Letter from Kyoto,” by Kim Min-ju; India’s: “Behind Veils,” by Praveen Morshhale; Iran’s “No End,” by Nader Saievar; Mongolia’s “The Sales Girl,” by Sengedorj Janchivdorj; The Philippines’s “Feast,” by Brillante Mendoza; Singapore’s “#LookAtMe,” by Ken Kwek; and Vietnam’s “Memento Mori: Earth,” by Marcus Vu Manh Cuong. The president of the jury is Lee Yong-kwan, president of the Busan film festival.

EXCLUSIVE: Neon is in pole position to win North American rights to Nicolas Cage and Maika Monroe horror-thriller Longlegs in the first sizeable domestic deal of this year’s EFM.

EXCLUSIVE: Black Bear International has closed a raft of international deals on EFM titles Longlegs and Fred & Ginger, we can reveal. The two projects were among the most in-demand with foreign buyers and the deals account for the lion’s share of each film’s budget.

Naman Ramachandran The U.K.’s MetFilm Sales has closed a raft of deals on Becky Hunter’s debut feature documentary “Fashioned Reimagined” at Berlin’s ongoing European Film Market (EFM). The film has sold to Sky (U.K, Germany, Italy) NonStop Entertainment (Scandinavia, Baltics), Avrotros (Netherlands), Flag Co. (Japan), LevelFilm (Canada), Spain (Movistar) and Israel (DBS). “Fashion Reimagined” follows fashion designer Amy Powney of cult label Mother of Pearl, who embarks on a three-year journey to create a sustainable clothing collection from field to finished garment, and transform her entire business. Raised off-the-grid in rural England by activist parents, Powney has always felt uneasy about the devastating environmental impact of her industry. When she wins the Vogue award for the Best Young Designer of the Year, Powney decides to use the prize money to create a sustainable collection and transform her entire business.

Manori Ravindran Executive Editor of International Vanessa Redgrave and Freida Pinto have boarded the family feature “The Boy at the Back of the Class,” based on the acclaimed children’s book. Directed by Stephen Herek (“101 Dalmations”), the film centers on a mysterious new boy called Ahmet who joins nine-year-old Alexa’s school. As Alexa learns that he is a refugee, separated from his family, she will do anything she can to help. With the adults out of the way, Alexa and her school friends come up with a daring plan to reunite Ahmet with his family – the start of an adventure that will take them all the way to Buckingham Palace. The film is penned by “A Street Cat Named Bob” screenwriter Tim John. Adam Rolston and David Braithwaite at Studio Pictures are producing. Nicola Pearcey of Picnik Entertainment and Paul Grindey are executive producing. Casting director is BAFTA nominee Carolyn McLeod.

Liza Foreman Hot on the tail of a recent slew of pickups and sales, Paris-based sales-producer-distributor Alief has snapped up international rights to the West African folktale “Mami Wata.”   North America rights to the film are represented by Marissa Frobes at CAA Media Finance. Alief is presenting the film to buyers and festival programmers at this week’s European Film Market in Berlin. The first film from a Nigerian-based director to play (and win an award) at Sundance, this visually striking feature took home the World Cinema Dramatic Special Jury Award for Cinematography for Brazilian DP Lílis Soares.

Leo Barraclough International Features Editor Uncork’d Entertainment has acquired the North American rights for suspense sci-fi thriller “I’ll Be Watching” from Iuvit Media Sales at the European Film Market in Berlin. The film has also been picked up by Falcon Films in the Middle East and North Africa, while Dolphin Medien has taken German-speaking territory rights. The film is directed by Erik Bernard (“Free Dead or Alive”), and stars “The 100” stars Eliza Taylor and Bob Morley, along with Bryan Batt (“12 Years a Slave”), David Keith (“An Officer and a Gentleman”), Hannah Fierman (“VHS”), and Seth Michaels (“Red Notice”).

Naman Ramachandran Singapore-based film production outfit Potocol, whose “Tomorrow is a Long Time,” by Jow Zhi Wei bowed at the Berlin Film Festival’s Generation 14plus competition, has revealed a diverse Asian slate. Potocol’s recent triumphs include Bangladeshi filmmaker Abdullah Mohammad Saad’s Cannes selection “Rehana Maryam Noor” and Indonesian director Makbul Mubarak’s Venice winner “Autobiography.” The company, led by Jeremy Chua who is currently at the Berlinale, has a growing reputation for championing the rise of young filmmakers from across Asia. Potocol has four films in post-production and several more in development. Nicole Midori Woodford’s debut feature “Last Shadow at First Light” is a supernatural road trip drama that follows a Singaporean teenager tracing the footsteps of her missing mother in Japan and explores the ripple effects of a traumatic event subconsciously buried within the family unit.

Leo Barraclough International Features Editor Russian documentary filmmaker Victor Kossakovsky and the production team behind his Oscar-shortlisted feature “Gunda” will follow up with the second instalment in his “Empathy Trilogy.” AC Independent will handle the North America sale and Cinephil will be selling international rights. They will be kicking off sales this week at the European Film Market in Berlin. The new film focuses on the health of the oceans and the effects of industrial fisheries. The “Empathy Trilogy,” of which “Gunda” formed the first part, looks at the sentience of non-human animals.

Naman Ramachandran India’s Clapstem Entertainment, led by director-producer Girish Malik and producer Amardeep S. Reen, has completed film “Band of Maharajas,” which is set for a market screening at Berlin’s European Film Market (EFM). Malik’s directorial debut, ecological drama “Jal” (2013), was in Busan’s New Currents competition. His sophomore feature, refugee and sports themed “Torbaaz” (2020), headlined by Bollywood star Sanjay Dutt, was a Netflix original film. His third film “Band of Maharajas” is the story of three clueless young folk musicians from a remote border village in India who undertake an unplanned and unusual journey to Pakistan that changes their lives and music. The film has the tagline “While countries divide us, music unites us.”

EXCLUSIVE: A hot package has just dropped late in the day at the EFM and has cooked up the first big deal on the ground in Berlin.

Ed Meza @edmezavar International exhibitors gathered at Berlin’s majestic Kino International on the eve of the Berlin Film Festival on Wednesday to discuss challenges and innovative concepts that are pulling audiences back into theaters. Opening the Berlinale edition of Cinema Vision 2030 conference, Christian Bräuer, chairman of Germany’s AG Kino – Gilde e.V. cinema association, which organized the event, said the country’s cinemas were “still suffering from the effects of the pandemic and we still find ourselves in a world in crisis, we feel the consequences of the war, such as the massive increase in energy prices.” He therefore welcomed the opportunity to hear about new ideas and business models that could bolster the sector.