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Nymphomanic sold to Canada, Hungary

TrustNordisk has pre-sold Lars von Trier’s upcoming erotic feature to Canada and Hungary, following major deals in the UK and US.

Nymphomanic, starring Charlotte Gainsbourg and Stellan Skarsgard, has been picked up by Canadian distributor Mongrel Media and Hungary’s Vertigo.

For full production information

Nymphomanic

Mongrel Media president Hussain Amarshi said: “I am thrilled to finally have a Lars von Trier film at Mongrel Media.  Lars is the most daring filmmaker in the world and we love his phenomenal talent at pushing the boundaries of cinema”.

At this month’s EFM, TrustNordisk continued sales of the film, which is currently in post-production and will have two versions available – hardcore and softcore.

Territories secured include:

  • US (Magnolia Pictures)
  • Australia/NZ (Transmission Films)
  • France (Les Films du Losange)
  • UK/Ireland (Artificial Eye)
  • Benelux (Wildbunch)
  • Greece/Cyprus (Seven Films)
  • Germany/Austria (Concorde)
  • CIS (Central Partnership)
  • Czech Republic/Slovakia (AeroFilms)
  • Ex-Yugoslavia (Cinemania Groupicon)
  • Poland (Gutek Film)
  • Estonia (Estin Film)
  • Lithuania/Latvia (Acme Film)
  • Romania (Independenta Films´97)
  • Bulgaria (Art Fest Ltd)
  • Brazil (California Films)
  • Hong Kong (Parkway Management).

Alongside Gainsbourg and Skarsgård, the international ensemble cast also includes  Stacy Martin, Shia LaBeouf, Jamie Bell, Christian Slater, Uma Thurman and Willem Dafoe.

The film, about a sexually-obsessed woman who recounts her erotic adventures to a bachelor, is produced by Louise Vesth for Zentropa Entertainments in co-production with Bettina Brokemper for Zentropa International Köln, Marianne Slot for Slot Machine and Bert Hamelinck for Caviar.

It has been supported by The Danish Film Institute, Filmstiftung Nordrhein-Westfalen, Eurimages, Deutscher Filmförderfonds, Nordic Film & TV Fond, Centre national du cinéma et de l’image animée, Belgian Tax Shelter and Flanders Audiovisual Fund and in cooperation with DR and Film i Väst and with participation from Arte, Canal+ and The West Danish Film Fund and with development support of the Media Programme.

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