![]() Roadside Attractions has acquired North American rights excluding TV to the U.S. Rita Moreno: Just A Girl Who Decided To Go For It National Geographic Documentary Films acquired the world on Sally Aitken’s World Cinema Documentary Competition entry Playing With Sharks, about Australian marine conservationist Valerie Taylor.Ī24 picked up US rights to Ninja Thyberg’s Sundance World Cinema Dramatic competition and Cannes Label selection. Netflix paid $15m for worldwide rights to Rebecca Hall’s period drama. Good Deed Entertainment picked up North American rights to Marion Hill’s queer polyamorous romance that won the Next audience award.įilms Boutique licensed UK rights to Dogwoof on Word Cinema Documentary selection.Īmazon Studios acquired worldwide rights.Īnnapurna Pictures paid around $2m for North America on the drama and will distribute and market with a partner to be announced, likely to be MGM’s Orion Pictures. Kino Lorber acquired North America and Memento Films International licensed territories ICM Partners represented US rights and Films Boutique handled international sales. Dramatic Special Jury Award for Best Actor, as an ageing race jockey out to win one last title. Sony Pictures Classics pounced on worldwide rights to Clint Bentley’s entry starring Clifton Collins Jr, winner of the U.S. Cinephil closed international sales with the UK, France, and Australia. This week, Participant came on board to co-distribute. Neon acquired North American rights to Jonas Poher Rasmussen’s World Cinema Grand Jury Prize: Documentary winner. Match Factory holds international rights to the film, rumoured to be in the Berlinale line-up. Magnolia Pictures took North American rights to Dash Shaw’s Next Innovator Prize winner, an animation hybrid about the battle over a sanctuary for fantastic beasts. Dramatic Special Jury Award for Ensemble Cast, and Directing Award: U.S. Dramatic Competition grand jury and audience award winner. ![]() In a $25m Sundance record, Apple picked up the world on Siân Heder’s U.S. Neon picked up Jamila Wignot’s US Documentary Competition entry Ailey, about dancer and choreographer Alvin Ailey. Sundance deals to date, in alphabetical order: Sundance always has a long tail and deals will trickle in for weeks and months after the event, which officially ends on February 3.Īt time of writing buyers were circling Questlove’s documentary Summer Of Soul, Sean Ellis’s werewolf film Eight For Silver, Franz Kanz’s post-shooting massacre drama Mass, and Lyle Mitchell Corbine Jr.’s thriller Wild Indian, among others. Accessibility is especially important, Heder notes, because Hollywood doesn’t often spotlight authentic stories about deaf people.While there hasn’t been the usual post-opening weekend torrent of Sundance deals this year, business is getting done and Apple delivered a record $25m buy on feel-good multi-award winner CODA. Heder, who previously worked with Apple on the television show “Little America,” wanted to collaborate with the streamer because of its global reach. Some of its originals include Sofia Coppola’s “On the Rocks,” “Greyhound” with Tom Hanks” and the Academy Award-nominated animated adventure “Wolfwalkers.” ![]() It was produced by Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger and Jerome SeydouxĪpple TV Plus, which launched in 2019 and fielded the popular TV series “The Morning Show,” has been ramping up its film slate. Along with hearing actors Jones and Eugenio Derbez, the film features deaf actors Marlee Matlin, Troy Kotsur and Daniel Durant in key roles. For Heder, it was important that “CODA” (an acronym for Children of Deaf Adults) had inclusive casting. “CODA,” a remake of the French film “La Famille Belier,” captures the internal struggle of 17-year-old Ruby (Emilia Jones), who helps her deaf parents and brother run the family’s fishing business but dreams of going to music school and pursing a singing career. “Yet the movie brings this all off with such sincerity and precision, and the film is so enthrallingly well-acted, that you may come away feeling grateful that this kind of mainstream dramatic craftsmanship still exists.” “In many ways, it’s a highly conventional film, with tailored story arcs that crest and resolve just so, and emotional peaks and valleys that touch big fat rounded chords of inspiration,” he wrote. In Variety’s review of “CODA,” chief film critic Owen Gleiberman called the movie a “gem.” ![]()
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