Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Welcome !

Enjoy the best of both worlds: Portal for Film & Festival News, exploring the best of the festivals community.  

An adventure exploring, from dreams to reality, the emerging talents in our community.

Launched in 1995, relentlessly connecting films to festivals, reporting and promoting festivals worldwide.

A brand new website will soon be available. Covid-19 is not helping, stay safe meanwhile.

For collaboration, editorial contributions, or publicity, please send us an email here

User login

|FRENCH VERSION|

RSS Feeds 

Martin Scorsese Masterclass in Cannes

Best Trailers for November 2020

 

FilmNewYork


#"/
The Ultimate Guide To Film, Video and Entertainment In New York City

feed

Market Wrap Up For European Cinema

 
With 2009 coming to a close, which represented a challenge to the specialty distribution market in North America (and everywhere else), French cinema was the sole bright light in what has become a shrinking market for European quality film. While there were some celebrated films from Germany (The Baader Meinhof Complex), Spain (Broken Embraces), Italy (Gomorrah) and the UK (Bright Star, Hunger), their overall box office performances were considered very modest. The BBC co-production An Education has grossed more than $8 million to date, with a continuing theatrical career ahead, particularly if its star Carey Mulligan is the recipient of Best Actress honors in the weeks ahead.

European films must, out of necessity, rely on positive critical acclaim and strong word of mouth. With the clout of critics (particularly newspaper and magazine film scribes) being diluted and the inability of specialty films to stay in theaters long enough for wider audiences to discover them, this has been a difficult one-two punch that has diminished the performance of the films in the North American film. Add to that the recent closures of seveal specialty studio distribution divisions and the economic challenges of independent distributors, and the landscape is definitely a challenging one.

However, several films from France, long a favorite for American audiences, have bucked the trend and done quite well. The most successful foreign language film of the year, Coco Before Chanel, has grossed over $6 million at the American box office. Of the eight foreign-language films that have grossed over $1 million at the box office, most were either full-on French productions (including The Class and Summer Hours) or French co-productions (Sin Nombre, Gomorrah and Departures). The newest Almodovar film, Broken Embraces, a French/Spanish co-production, is still in theaters and has grossed over $1.5 million in less than six weeks (although it will probably not make as much as the Spanish director's previous Volver).

French filmas have also figured strongly in end of the year critics prizes, including a nod to Yolande Moreau as Best Actress by the Los Angeles Film Critics Association for her role in Seraphine as a naive, underappreciated artist and Summer Hours, which picked up Best Foreign Film trophies from the Boston, New York, Los Angeles and Washington DC film critics.

Hopes are high for French cinema in 2010, with the opening next month of A Prophet, director Jacques Audiard's hard-hitting prison film, which won the Grand Jury Prize at the Cannes Film Festival and recently won the Best Actor prize at the European Film Awards. The film, which will be released in North America by Sony Pictures Classics, is also nominated for Golden Globe and Independent Spirit Awards and just might be on the Oscar shortlist when the nominations are announced in a few weeks.

Hopes are high that with the American economy staging a modest comeback and the increased revenues to be realized by day-and-date simultaneous releases in theaters and on video-on-demand cable and satellite systems, that a continuing stream of quality European films will continue to reach the American public. These are definitely challenging times but the continued high quality of European cinema finds its own water marks.
Sandy Mandelberger, Film New York Editor

Links

The Bulletin Board

> The Bulletin Board Blog
> Partner festivals calling now
> Call for Entry Channel
> Film Showcase
>
 The Best for Fests

Meet our Fest Partners 

Following News

Interview with AFM Director

 

Interview with Cannes Marche du Film Director 

 

Interview with the Parasite director

Brad Pitt and Leonard Maltin Interviewed

Filmfestivals.com dailies live coverage from


> Live from India
> Live from LA
> IFFI Goa
> Lost World Film Festival
> Locarno
> Toronto
> Venice
> San Sebastian
> BFI London

> Film Festival Days
> AFM
> Tallinn Black Nights

> Palm Springs Film Festival
> Kustendorf
> Rotterdam
> Sundance
Santa Barbara Film Festival SBIFF
> Berlin 
> Fantasporto
Amdocs
Houston WorldFest
 
Cannes / Marche du film online

Useful links for the indies:

Big files transfer
> Celebrities / Headlines / News / Gossip
> Clients References
> Crowd Funding
> Deals

> Festivals Trailers Park
> Film Commissions 
> Film Schools
> Financing
> Independent Filmmaking
> Motion Picture Companies and Studios
> Movie Sites
> Movie Theatre Programs
> Music/Soundtracks 
> Posters and Collectibles
> Professional Resources
> Screenwriting
> Search Engines
> Self Distribution
> Search sites – Entertainment
> Short film
> Streaming Solutions
> Submit to festivals
> Videos, DVDs
> Web Magazines and TV

A question for Jennifer Aniston from Richard Hobert winner at SBIFF 2020 :

Top 3 Tech Innovations in Film History

> Other resources
+ SUBSCRIBE to the weekly Newsletter
+ Connecting film to fest: Marketing & Promotion
Special offers and discounts
Festival Waiver service
 

User images

About FilmNewYork

Mandelberger Sandy
(International Media Resources)

The Ultimate Guide to the New York Film, Video and New Media Scene.

United States



View my profile
Send me a message
gersbach.net