Distribution

Roadside Attractions has taken domestic rights for To The End, the follow-up film from Rachel Lears (Knock Down The House), and set a Dec. 9 theatrical-only release date. The deal was announced by Co-Presidents Howard Cohen and Eric d’Arbeloff. The film, which premiered at Sundance, covers three years of both hope and crisis leading to
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Widespread optimism months ago that domestic box office might readily return to pre-Covid levels has given way to a new sense of pragmatism about the movie business. This year’s tally will far surpass last year’s $4.5 billion haul, but it will certainly fall billions short of 2019’s $11.4 billion in receipts, and all bets are
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Sony Pictures Classics has announced October-December release plans for The Return of Tanya Tucker; Salavatore: Shoemaker Of Dreams; The Son; Living; and Turn Every Page. Additionally, it said, One Fine Morning, written and directed by Mia Hansen-Løve and starring Léa Seydoux, and Davy Chou’s Return To Seoul, which were both acquired out of Cannes, will
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EXCLUSIVE: Universal Pictures International is forming a new partnership with Emirates-based Majid Al Futtaim Distribution which will see the latter release Universal movies in Saudi Arabia and other GCC countries (Bahrain, Kuwait, Oman, Qatar, UAE) and Egypt. In Lebanon and Cyprus, Uni will retain its longstanding distribution relationship with Four Star Films. The new deal,
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Two premiere screenings of rock documentary Freakscene: The Story Of Dinosaur JR grossed over $19K this weekend with a single Saturday show at iconic music venue The Opera House in Williamsburg, Brooklyn taking in north of $17K. Independent distributor Utopia worked with Murmrr, which produces live music events, and art shingle Mondo, which created a
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What does the international box office and cinema landscape look like in an emerging post-pandemic world? That was the gist of an executive roundtable at CineEurope in Barcelona today. Among the key takeaways: the relationship between exhibition and distribution and a need for more collaboration in terms of reaching consumers. With so much content available
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Here’s something no one saw coming at CinemaCon, unless you could decipher the three-hour block Sony reserved for its presentation: The studio surprised those who braved the mid-pandemic Las Vegas confab tonight with a screening of Jason Reitman’s Ghostbusters: Afterlife.  The pic hits theaters on Veterans Day, Nov. 11. In the follow-up to the classic 1984
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Sony, which was last seen at CinemaCon in 2018, brought the confab back to post(ish)-pandemic life today. Its President of the Motion Picture Group, Josh Greenstein, took center stage and reiterated the Culver City lot’s “commitment to protecting and preserving the theatrical window.” That drew a great roar from the Caesar’s Palace Colosseum crowd. Despite
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The Delta Variant, streaming wars and surging piracy loom large as CinemaCon launches Sunday at Caesars Palace in Las Vegas, the first in-person gathering of theaters owners and Hollywood studios since the pandemic struck 18-months ago. The virus has slashed registered attendees to circa 2,000 from 3,500 pre-pandemic, with a sizeable European contingent entirely shut
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EXCLUSIVE: Mooky Greidinger, CEO of Cineworld, the world’s second-biggest exhibition circuit and owner of Regal Cinemas, says he’s satisfied with this past weekend’s $80M domestic theatrical box office opening for Disney/Marvel’s Black Widow. But he also tells Deadline he remains “convinced” that with an exclusive theatrical window, “we could have brought in maybe $110M, maybe
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Watching Wayne Wang’s Coming Home Again, set for a virtual release (online, but through individual theaters) by Outsider Pictures on Oct. 23, delivered a jolt. Like getting nicked by a live wire. The picture is so small–shot in just over three weeks on a micro-budget. So personal: The story is about a young Korean-American man
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France’s National Film Center, the CNC, has taken measures to relax the country’s notoriously strict windows policy during the coronavirus pandemic. A reduction from the traditional four-month delay between theatrical release and DVD or TVOD was earlier granted for all titles that were already in cinemas on March 14, while movies whose release was set
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Editors’ Note: With full acknowledgment of the big-picture implications of a pandemic that has already claimed thousands of lives, cratered global economies and closed international borders, Deadline’s Coping With COVID-19 Crisis series is a forum for those in the entertainment space grappling with myriad consequences of seeing a great industry screech to a halt. The
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“The impact in 2020 from Corvid-19 (coronavirus) on the motion picture business cannot be overstated,” a finance source recently told us. That’s as the closure of cinemas in China alone is approaching a loss of $2B to the global box office, while the disease has now seen spikes in Korea and Italy. What looked in
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