Month: February 2022

Olivia Mascheroni has joined Verve Ventures. She will be part of a growing independent sales and financing team that is led by Amy Beecroft and Ross Putman. Mascheroni most recently served as director of Ddvelopment at Madre Venturers, a venture capital firm, and served as executive of new media at The Blacklist prior to that.

Josh Brolin has a bone to pick with the Academy after it nominated “Dune” for 10 Oscars but shut out filmmaker Denis Villeneuve from the director category. “Dune” landed in the best picture race and earned nominations in every individual crafts category, which made Villeneuve’s omission one of the biggest nomination snubs of the year.

FESTIVAL The 36th edition of BFI Flare: London LGBTQIA+ Film Festival will open with Alli Haapasalo’s “Girl Picture” and close with Kevin Hegge‘s documentary “Tramps!” “Girl Picture,” which won the World Cinema Dramatic Audience Award at Sundance in January and will screen at the Berlinale next week, follows three girls at the cusp of womanhood.

Since 2018, Spain’s film and TV industries has gone through a revolution. Accustomed to the success of standout movie auteurs – Almodóvar, Amenabar and Trueba – for two decades or more Spain has blown U.S. shows out of its domestic free-to-air primetime and been one of the world’s most successful exporter of fiction TV formats. Now, Spain’s place

Post-COVID, Spanish sales companies look poised for a comeback to the global scene. Although, as Berlin’s EFM has gone virtual once again, their long-awaited physical reunion with the international industry will have to wait until Cannes… hopefully. An argument for optimism: Spanish-language films continue gaining ground on the global market, especially as platforms boom. Standout examples include Galder

The success of Spain’s regional talent peppers the country’s record-setting Berlinale presence. Both movies in Competition – Isaki Lacuesta’s “One Year, One Night” and Carla Simón’s “Alcarrás” – are made by Catalan directors and are Catalan co-productions. From the Panorama section, “Lullaby” is a Basque and Lois Patiño, whose short “El sembrador de estrellas” competes

For the third year in a row, Spain trails only France in the number of animated projects set to pitch in March at Bordeaux’s 2022 Cartoon Movie, a key international event for the artform. Spanish producers will bring 10 feature projects to the event, including two from Lorena Ares and Carlos Fernández de Vigo in “Moonbeam” and “DinoGames,”

Spain has two films in this year’s main competition at the Berlinale, and a record haul of films participating across all sections. Similarly, the country boasts an impressive list of productions looking for buyers at the festival’s EFM. Below, a list of standouts from Spain looking to make moves on the global market. “Prison 77” (Alberto Rodríguez) A

The European Film Market studio in Berlin, used to shoot many of the virtual event’s online sessions, has been temporarily shut down following a break-in on Thursday night. Sources tell Variety that key pieces of equipment were stolen from the Berliner Freiheit studio near Potsdamer Platz — the festival’s busy hub in central Berlin —

Cannes’ Marché du Film, the world’s biggest film market, is set to change leadership in 2023 with its long-time, charismatic executive director Jerome Paillard due to exit after this year’s edition. Guillaume Esmiol has been named co-executive director for this edition and will fully take over in 2023. Esmiol joined the Marché du Film in

The trailer for Gu∂mundur Arnar Gu∂mundsson’s teen drama “Beautiful Beings” has debuted ahead of the film’s world premiere at the Berlin Film Festival on Friday. The film, which plays in Panorama, is being sold by Jan Naszewski’s New Europe Film Sales. “Beautiful Beings” was shot by Sturla Brandth Grøvlen, the cinematographer on Oscar winner “Another

As the first film from the director of “Amélie” in nearly a decade, “Bigbug” is kind of a big deal. Sadly, it’s also a big disappointment — easily the most obnoxious Netflix original in some time, owing to the company’s trust in a director whose overactive imagination demands some kind of boundaries. At precisely the