Wild Bunch has concluded several deals on its slate following last week’s European Film Market (EFM).
Buyers concentrated on completed projects or “anything that resembles a genre or mainstream film with a big cast” at the EFM, according to Wild Bunch’s Vincent Maraval
He added that, as with the AFM, albeit more worryingly in Berlin, there is a strong pull-back from classic quality films. He said: “The value of quality has ceded its place to the value of product which is not very healthy because it doesn’t reflect the current economic situation of the independent market. It is only the consequence of the success of 3D - which sells regardless of its quality - or of the success of films like Paranormal Activity even though Blair Witch already demonstrated that, ten years after Cannibal Holocaust, these films are simply a recipe that can be repeated every ten years.”
In line with buyers appetite for completed fare, Wild Bunch sold Zhang Yimou’s A Woman A Gun And A Noodle Shop (pictured) in 16 territories including France (Metropolitan), the UK (Momentum), Scandinavia (Cinema Mondo), Spain (Golem), Israel (Shani) and the Middle East (Teleview). Discussions with distributors in Italy and Germany are ongoing.
Michael Winterbottom’s The Killer Inside Me, which has been pre-sold nearly everywhere and which recently went to IFC Films for the US, is under discussion in Germany. Wild Bunch has chosen to hold off on Japan and Hong Kong for the Hong Kong International Film Festival, where the film is screening. This is also due to the limited number of Japanese buyers, just eight this year, who attended Berlin.
Shari Springer Berman and Robert Pulcini’s The Extra Man further sold to Benelux (Imagine), Hungary (Cinetel) and CIS (Russian Report), among others. Kim Chapiron’s Dog Pound was sold to the UK’s Optimum Releasing, Scanbox Entertainment in Scandinavia, MultiVision in Indonesia and Paradisio Entertainment in Benelux.
Documentary The Revelation Of The Pyramids went to 16 countries including Canada (Remstar), Spain (Vertigo), the UK (Optimum), Mexico (Quality), Columbia (Babilla), Korea (Thomas Entertainment), Taiwan (CMC) and China (Champs Lis) among others.
Christopher Morris’ satire Four Lions found buyers in 16 territories as well, including Canada (E1 Entertainment), Spain (Alta Films), Italy (Videa-CDE), Iceland (Greenlight), former Yugoslavia (MCF), Israel (Shani), India (WEG), Singapore (Cathay) and South Africa (Video Vision).
Pre-sales on Jerome Salle’s The Burma Conspiracy were strong with the film going to Romania (Independenta), the Middle East (Teleview), Indonesia (Multivision), China (Champs Lis), Bulgaria (Pro Films), Ukraine (Aurora), Portugal (Lusomondo), Germany (Wild Bunch) and Benelux (Cineart).
Xavier Beauvois’ Of Gods And Men had pre-sales in Benelux (Imagine), Spain (Golem), Portugal (Lusomondo), Romania (Independenta) and the Middle East (Teleview). Antony Cordier’s Happy Few found homes in nine territories including Germany (Atlas), Spain (Festival Films), Israel (Shapira) and Singapore (Festive).
Leila, from director Audrey Estrougo, sold in Bulgaria (Pro Films), Hungary (DMC), Czech Republic (Hollywood Classics), South Africa (Video Vision) and Korea (Mars), among several others. Pierre Salvadori’s Full Treatment sold in Switzerland (Frenetic), Spain (Golem), Portugal (Lusomondo), the Baltic States (Acme) and China (Champs Lis).
Finally, Sam Gabarski’s A Distant Neighborhood went to Spain (Golem), Italy (Bim), Australia (Transmission) and China (Champs Lis).