CineLife Entertainment, the event cinema division of Spotlight Cinema Networks, has partnered with CBS Home Entertainment as the exclusive theatrical distributor throughout North America for two Peanuts features: A Boy Named Charlie Brown (1969) and Snoopy, Come Home (1972). This is the first time the digitally remastered films have been available for theatrical bookings since their original release dates.
Spotlight Cinema Networks, a cinema advertising company dedicated to luxury and art house theatres, has announced two promotions and a key hire. Bernadette McCabe has been hired as executive vice president, CineLife Entertainment; Ronnie Ycong has been promoted to executive vice president, exhibitor relations & operations; and Christine DelGuidice-Kraemer has been promoted to senior vice president, marketing.
Global content studio Gunpowder & Sky has acquired worldwide rights to Sebastian Jones and Ramez Silyan’s SXSW music documentary, Everybody’s Everything. The film follows the life and career of Lil Peep, the genre-bending rapper who was just rising to fame when he died of an accidental drug overdose at 21 years old. Dubbed the future of emo by Pitchfork, Gustav Åhr was influential in bringing emo and pop-punk to hip-hop through his mixtapes, released via SoundCloud. Ahr’s first mixtape, 2015’s Lil Peep Part One generated 4,000 plays in its first week.
Studio Canal, a subsidiary of Canal+ Group, has deployed Nagra’s NexGuard forensince watermarking technology to protect the international distribution of its content.
From the earliest days of feature length films until the 1980s, the movie going experience typically happened in a very large theatre with a really big screen. Faced with rising costs and increasing competition from television, exhibitors of that sad era cut their buildings into multi-screen complexes to increase ticket sales and maximize profits on concessions. Today, faced with a different set of economic realities, exhibitors around the world are increasingly responding by creating movie palaces that rival all but the most spectacular theatres of the turn of the last century. One trend at this year’s CinemaCon, which wrapped up last week, was the continuing rise of premium large format theatres. Another trend was the almost comical trashing of Netflix. PLF theatres and Netflix are both here to stay; we’ve been here before
Fathom Events has entered into a multi-year master distribution agreement with global independent film distributor 1091, formerly known as The Orchard. Under the agreement, 1091 and Fathom will work to curate and distribute compelling content, including sports and action/adventure films, to cinemas across the United States.
Deluxe Entertainment Services Group has signed a multi-year, strategic collaboration with Amazon Web Services to offer faster and at-scale solutions for content creators and distributors. Additionally, Deluxe selected AWS as the company’s primary cloud provider, fully integrating AWS services to enable end-to-end content solutions offered via the Deluxe One platform.
A highlight of this year’s CinemaCon, which wrapped up Thursday, April 4, at Caesars Palace in Las Vegas, was the announcement of the formation of the Cinity Cinema System, a joint effort between the Huaxia Film Distribution Company, Christie Digital Systems and GDC Technology to “develop, leverage and promote premium format movies driven by new, advanced configurations.” The announcement follows several years of debate in Hollywood and around the world regarding the best way to move forward with critical technology issues including high dynamic range, high frame rate, wide color gamut and immersive sound. Those issues were widely discussed at CinemaCon and we will have more to say about the show in the coming days. But the Cinity Cinema System announcement stands out because it feels like a watershed event. The question now is this: is Hollywood still the center of the motion picture industry or is that center shifting to China?
The International Union of Cinemas (UNIC) has called for films selected in competition at leading film festivals to receive a full theatrical release. Following the decision from the Berlinale Film Festival to include the Spanish original film Elisa y Marcela in its 2019 official selection, the association released the following statement:
Dark Dunes Productions and Taormina Films have partnered with filmmaker Sam Koji Hale to help realize Yamasong: March of the Hollows, a fantastical puppet vision, with a screenplay by novelist Ekaterina Sedia. The film was executive produced by Toby Froud (son of Brian and Wendy Froud) and Heather Henson (daughter of Jim Henson) and is being released February 15 in select theatres the United States, as part of an exclusive cinematic distribution partnership between Dark Dunes Productions, myCinema and Random Media.