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BARBIE AND OPPENHEIMER USHER IN SUMMER SEASON
MARKETING RULES FOR TWO BLOCKBUSTERS…
AS ASTEROID EXHIBITION MAKES A SHOW
A GRAN DAY OUT
HOME ENT SUBMISSIONS UP AT BBFC…
…VOD GREW TOO
SHARP AT STUDIOCANAL…
AS EVIL DEAD RISE ONCE MORE
WICKER NEARS RESTORED RELEASE
EARWIG HITS THE MARKET
AS THIRD WINDOW OPENS AGAIN
FRIGHTFEST UNVEILS 2023 LINE-UP
SIGNATURE TALKS Q3…
… AS POWERHOUSE IS ROCKIN’ AND ROLLIN
WARNER AND UNIVERSAL OPEN VAULT AGAIN
ERA TO NAME CHAMPIONS…
…AS BASE GOES TO THE PEOPLE
AT THE MOVIES
TRAILERS OF THE WEEK
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It was a good week for… cinemas as Barbie and Oppenheimer bring crowds flooding in…
It was a bad week for… Commiserations to all those affected by Network Releasing falling into liquidation…
We’ve been watching… It’s summer blockbuster season, so we’ve been to see some of this year’s biggies, including, thanks to Disney, the enjoyable romp that is Indiana Jones And The Dial Of Destiny, and also we’ve aught up with Tom Cruise and co in the equally exciting Mission: Impossible Dead Reckoning Part 1…
As the schools get ready to break up, the summer blockbuster season is in full flow, with a raft of innovative marketing backing some of the big event films lining up to appear in cinemas. And 2023 is certainly seeing some smart, clever campaigns and activity creating the perfect platform for theatrical and creating the awareness that will drive bums in to seats in cinemas and, beyond that, last through into home premieres and later physical and digital releases. Chief among these has, of course, been Warner’s exemplary campaign for its Barbie movie, which is ably backed by a wealth of partners, including toy giant Mattel. While there may still be caution over box office receipts in the UK, US and worldwide, there’s no doubting the power and might of major studio marketing.
It’s not just Barbie though - another behemoth arrived on the same day in the shaper of Christopher Nolan’s latest cerebral blockbuster Oppenheimer. This too has been supported by some smart and near omnipresent marketing from Universal. It’s another skilful promotion from the studio. What’s more, the event marketing for both and the way the two are vying for attention and yet at the same time each is creating demand for the other and the cinema-going experience; truly, it is an opening weekend that is making people choose one or the other, making the trip to the cinema essential and not an idea of “shall we go to the pictures or not”. As the Raygun was being completed, the box office figures started coming in and it looks as both achieved a huge success and, in the US at any rate, made for the fourth biggest weekend ever in terms of box office receipts, and the biggest in the post-pandemic era. And it’s good too to see Christopher Nolan not just talking about the film and seeing it in cinemas, as well as the IMAX experience, but also about the importance of physical media too, notably 4K and Blu-ray too. He said: “There’s much less compression, we control the colour, brightness and all these things. Streaming is like broadcasting a film, we don’t have much control on how it goes out.” You can see the full thing here. Far be it from us to tell studios what to do, but could a dual release date for Barbie and Oppenheimer (given both are distributed and sold through Warner) work in the same way and have a similar effect?
And while we’re at it, plaudits are due to the same studio, Universal, for its work on an excellent campaign for Asteroid City. As well as a huge presence in above the line terms, most notably outdoor, the studio also collaborated with London creative location 180 Strand on an exhibition celebrating the film and its world as created by director Wes Anderson. The exhibition features props, costumes and more from the film and is vast in both its scope and ambition, it truly makes the film seem even better. It follows a similar French Dispatch exhibition and, as one attendee told The Raygun: “Every film should come with its own exhibition like this.” It’s on for another week or so and we suggest you do what we did – pop along to see the film )we saw it at the Picturehouse Central, our favourite West End haunt) and walked straight to the exhibition to capture the film flavour.
Meanwhile Barbie was one of the stars of the ongoing Industry Trust’s Moments Worth Paying For campaign, pushing the benefits of seeing films legitimately at cinemas rather than snide illegal downloads or streams, and the organisation is continuing with the award-winning campaign. The latest thrust sees Gran Turismo, the forthcoming game to movie blockbuster, featured, with David Harbour, Orlando Bloom and Archie Madekwe all highlighting the benefits of seeing Gran Turismo legally. Liz Bales, Chief Executive at British Association for Screen Entertainment said: "Teaming up with Sony Pictures Entertainment for Gran Turismo once again spotlights an unparalleled cinematic experience that captivates fans. It’s fantastic to have this amazing group of stars highlight the premium cinema experience in a fun way that fans will love. For over a decade, the Moments Worth Paying For campaign has been at the core of BASE's educational initiatives. By harnessing the collective power of the creative community and collaborating with partners like DCM, Pearl & Dean, and ClearChannel, we remind audiences that films like Gran Turismo are best experienced first on the big screen, in cinemas everywhere.” Ian George, MD at Sony Pictures Entertainment said: “It’s great to work on large-scale films which are meant to be seen on the biggest screen possible. Sony’s new film Gran Turismo is an incredible true story brought into the spotlight by the magic of cinema; in the darkness of an auditorium, you feel every gear change, hear the amazing roar of supercharged engines, and off the road there’s those tender, human moments which fully absorb you in a way no other medium can offer. We are so happy to be working with BASE once again to showcase the value of the big screen experience and encourage friends and families to have a truly unmissable experience in their local cinema this Summer.” You can see it here https://youtu.be/mnq9cmZE2f4
Meanwhile, sad news in recent weeks from Network Releasing, the pioneering TV and film distributor, has fallen into receivership. Rumours had been swirling around for some time, with the company ailing since the tragic and untimely death of found Tim Beddows in 2022, It was a devastating blow that the company never truly recovered from, with Beddows long having been the inspiration for its releases, thanks in no small part to his vast film and television knowledge. In a lengthy statement to The Raygun, Juan Veloza, Beddows’ partner, outlined the sad news. He said: “With a heavy heart, we must confirm the liquidation of Network Distributing Ltd. For more than 25 years, and within long-standing agreements with ITV, Fremantle, Studiocanal, BBC, and some of the best content producers, filmmakers, and creatives in the UK and worldwide, Network released more than 4,000 titles, on physical, digital and cinemas.Its award-winning in-house restoration professionals alongside dedicated teams used their unique skills, passion and knowledge to sometimes devasting effect on staples of British screen culture: The Sweeney, The Professionals, The Woman in Black, Monty Python’s Flying Circus, The Prisoner, Gerry Anderson’s Supermarionation library, as well as hundreds of films, rare and previously unreleased titles under The British Film imprint, and hundreds more have all had the Network treatment and are now available to audiences everywhere. From its earliest release of public information films, the business developed a theatrical arm, a streaming platform with a distinctive experience and one of the earliest direct-to-consumer models, which was critical to Network’s success. It is a heart-wrenching moment to say goodbye to the company founded by my partner the moving image enthusiast and expert, Tim Beddows. However, his legacy and vision will continue to live on through the hundreds of thousands of hours of entertainment available physically and online worldwide.”
Continuing to discuss Network Releasing’s liquidation, Juan Veloza said: “Unfortunately, despite our best efforts, we have faced insurmountable challenges in the current economic climate. We have explored various avenues to sustain our operations, but regrettably, continuing our business was no longer viable. We would like to express our deepest gratitude to all our loyal customers, partners, suppliers, and associates who have placed their trust in us. Your unwavering support and loyalty have been the driving force behind our journey. We sincerely apologise for any inconvenience caused by this unfortunate turn of events. To our employees, we extend our heartfelt appreciation for being an integral part of the Network family. Your hard work, talent, and dedication have played a pivotal role in our achievements. We are actively assisting our employees in their transition and providing necessary support during this challenging time. As we embark on this new chapter, we want to express our gratitude to everyone who has been part of our journey. The memories we have shared and the relationships we have built will forever hold a special place in our hearts. We were overwhelmed by the love and heartfelt messages across social media, and we are immensely grateful to everyone who shared online. Once again, we extend our sincere gratitude for your support, and we bid farewell with a mixture of sadness and hope for what lies ahead.”
The BBFC has issued its annual report, alWAYS one of the most eagerly awaited dates on the industry calendar. As ever, the report always provides plenty of editorial opportunities for broadsheet and tabloid newspapers, with the national press traditionally flocking to the most complained about films section and more. Intriguingly, this year’s most talked about item in the report was the uprating of Watershed Down, the classic animated feature that traumatised a generation on its original release, but was given a PG rather than U for its recent BFI home entertainment release. Key elements to note included the fact there were 5527 titles submitted for video release win 2022, up from the previous year and the highest since 2017, although well down on 2012’s high of more than 9300. The report also noted: “[There was an] Increased presence of trusted BBFC guidance online – in 2022, we licensed 29 services to carry BBFC age ratings and/or BBFC data on a voluntary, best-practice basis. As of July 2023, this figure has grown to 33 brands and services. Among others, these platforms include Amazon Prime Video, Apple TV+, Curzon Home Cinema, Lionsgate+, Netflix, Pluto TV, Sky Store and YouTube Movies & TV.” The report also added: “In 2022, we saw a three per cent year-on-year increase in content that received a BBFC age rating eligible for use on VoD and streaming services, including Netflix (via our self-rating partnership). This represents over 18,600 film features, specials, TV episodes and seasons, and other added-value content made available with BBFC age ratings in 2022.
We’ll have more on the report in the next newsletter, breaking down into more detail, but in the meantime, further comment came from David Austin OBE, Chief Executive of the BBFC said: “Last year was a landmark year for the BBFC. We reached 110 years of classification and our iconic age ratings celebrated significant anniversaries. We also continued to cement our partnerships with VoD services – and our recently announced AI projects, which explore how new technology might be integrated into the compliance process, aim to deliver scale and enhanced efficiencies for our customers and the wider industry. I’m really excited about the opportunities this next chapter will bring.” Natasha Kaplinksy OBE, President of the BBFC added: “I’ve always used the BBFC for guidance for myself and my family, so I was delighted to join the organisation as President in 2022. It’s an exciting time to be part of the BBFC, as we’re currently consulting with over 10,000 people across the UK to explore how audience expectations are evolving. We will then reflect these changes in our Classification Guidelines, which set the foundation for all of our age rating decisions, including when older films are resubmitted and receive a new classification. I look forward to unveiling our findings in 2024.”
Welcome back then to Chris Sharp, whose extensive home entertainment career includes stints at the likes of Fremantle and Warner, and most recently at Fox, who is returning to the fray after taking up the role of head of home entertainment marketing at Studiocanal. Commenting on his arrival, the company’s John Rodden said: “Chris brings a wealth of experience and a huge passion for the home ent business. We're delighted that Chris is joining the team at such an exciting time in the company's evolution.” Sharp himself added: “I’m overjoyed to be part of the Studiocanal team and to have the opportunity to work on some fantastic new releases and one of the best catalogues available. It’s a studio that I’ve long admired and with the slate over the coming years, we’re looking forward exciting times ahead!” Among the first releases Sharp will be overseeing is Evil Dead Rise, which brings us on neatly to…
It’s one of the biggest horror releases of 2023, both in terms of UK box office as well as critical acclaim and Monday July 17 saw a physical release for the latest instalment in the seminal horror franchise Evil Dead in the shape of Evil Dead Rise. The film successfully transposes the location from the middle of nowhere as seen in previous outings dating right back to the early 1980s into the city, but it’s lost none of its power and most critics and horror cognoscenti see it as being a return to form for the series. It’s certainly one of the best horrors we’ve seen this year and features some of the kind of thrills that have made Evil Dead films a force to literally be reckoned with, moreover, it’s highly unlikely you’ll see more blood and gore in any other film, there’s buckets of the former and oodles of the latter in this. The physical release on Monday follows the July 14 digital download and June home premiere of the film, directed by Lee Cronin but boasting the involvement of series creator Sam Raimi and star Bruce Campbell as executive producers. It’s available in 4K Ultra HD, Blu-ray, DVD and Steelbook SKUs. Oh, and don’t just take our word for it, Empire and Total Film both gave it four star reviews, the former noting it was “shockingly inventive”, the latter adding it was "full of gory glory”. Comment on the release came from Studiocanal’s Mona Schlotter who said: “The return of the iconic horror franchise has been given a fresh, inventive twist by director Lee Cronin and is already a fan favourite – the film surpassed box office expectations and is the biggest selling 18 rated horror of the year based on PVOD sales. We’ve had great engagement from Lee, having been able to secure a globally exclusive commentary for the UK releases and supporting with numerous interviews and features. With a suitably creepy Steelbook to compliment the regular formats, Monday truly will be the Day of the Deadites!””
Sticking with Studiocanal and we spent our summer solstice at the Picturehouse Central for a suitably serendipitous pagan preview of the newly-restored The Wicker Man from Studiocanal, The film was airing as a one-nigh only event at cinemas around the country as art f the ongoing release strategy for the film, which lands on physical formats in September. And it really does look wonderful, the 4K treatment means the film has never looked this good and plaudits to all concerned in the work. The film was followed by edited highlights form the May Day preview of the 4K restoration at the same London venue we attended for the screening, which will feature as an extra on the release, offering a nice little taster for the disc. The screening was accompanied on the same day by a line of clothing and assorted ephemera from ultra-hip clothing company TSPTR (trust us) featuring imagery related to the film (including original US VHS adverts). And in a portent of what could happen to the release in September, much of it has sold out already.
Not one but two releases just out from the vibrant Anti-Worlds imprint, with the left-field label adding a brace of titles that fit perfectly within its uncategorisable output. The two include one of the production company's own titles, Earwig, a body horror that arrives after a successful theatrical release, and Argentinian tale Murder Me Monster. Both fit within the loose definition of horror, but, in keeping with the label's ethos, are not your average film. And both come with a raft of extras to heighten the importance of owning physical media. The label's Andy Starke said: “After a long spell in the theatrical world we’re really pleased to be back with two new collectors Blu-rays. Both are deep dives into the films and are asked with extras. Lucile Hadzihalilovic’s EARWIG is a film we co -produced so it has a place very close to our heart and we’re proud to be able to release it on a blu-ray that highlights its twilight world. our website has an exclusive O card version with brand new artwork. Argentinian director Alejandro Fadel’s psychological horror thriller MURDER ME MONSTER premiered at Cannes a few years back and this is its world blu-ray premiere- and also our deepest dive yet ever into a film with a whole host pf extras prepared by the crew - including a bonus medium length film! Its an incredible film and the disc presents it in the way we feel it deserves.”
Also just released is the latest from indie imprint Third Window Films, with an impressive box containing a selection of films from influential Japanese filmmaker Katsuhito Ishii. The box not only features six films from the director who is a favourite of Quentin Tarantino, but includes some that have never been released outside of Japan or film festivals. Here’s the company’s Adam Torel on the release, he said: “The Katsuhito Ishii set is something which has been years in the making. After previously releasing his films Taste of Tea and Funky Forest, sourcing and clearing the rights to his most well known titles Shark Skin Man & Peach Hip Girl and Party 7 took quite some time. Finally, we've managed to get the original negatives for both films, plus his never before seen mid-length Promise of August, and remaster them to look absolutely stunning in HD! Alongside those 3 films are 3 more of his which have never been released outside of festivals before with Hello Junichi, Sorasoi and the short Norioka Workshop, so a real 'collection' of his works from 1995-2022. Alongside loads of new bonus features, the Katsuhito Ishii Collection is a real deep dive into one of Japan's most underrated and unique, contemporary filmmakers.”
Some of our favourite imprints, including the likes of 101 Films and Signature, will be showing off their wares in this year's flagship FrightFest event and the organising team behind the annual horrorthon, the biggest genre film festival in the UK and as oft outlined here before, the perfect launchpad and platform for theatrical and home entertainment releases. It's sponsored this year by tech and entertainment company Pigeon Shrine and, as ever, takes place over five days and nights at London’s Cineworld in the heart of the capital’s Leicester Square. The opening film is from FrightFest favourite, director Joe Lynch, with his Suitable Flesh featuring another regular at the event, scream queen Barbara Crampton, with the film paying homage to 80s video favourite director Stuart Gordon and his films such as Re-Animator, offering up a Lovecraftian tale. The closer is from another FrightFest favourite in the shape of Jenn Wexler’s second film following festival hit The Ranger. Classic titles airing include a 10th anniversary showing of The Conjuring and a 50th anniversary screening of The Exorcist ahead of a raft of activity, including theatrical and home entertainment, for its golden jubilee in the autumn.This will be hosted by superfan (and former video trade press staffer) Mark Kermode. More on this and others in the coming weeks, but FrightFest director Alan Jones said: “FrightFesters will experience an amazing variety of films, in an eclectic line-up which serves as a powerful tool of democracy, activism, diversity, inclusivity and social awareness. As always, FrightFest is keen to show, through an open-minded philosophy, that the most unexpected and delightful discoveries happen when wide-ranging topics, different people and varied cultures come together in horror harmony.”
The third quarter of the year is now up and running and we’ve been talking to independent operator Signature about its current and forthcoming slate across theatrical and home entertainment, here’s the company’s Jeff Suter on what’s just come and what’s due from the company. He said: “We pride ourselves on our quality kids releases and we have multiple offerings first at the box office and then for Home Entertainment this summer including mischievous tooth fairy tale My Fair Troublemaker, fantastical live actioner The Secret Kingdom and superhero family fun Just Super. As always, we’ve a wide representation of genres in the quarter. First up in July is memory themed sci fi Cerebrum starring Steve Oram (Sightseers, The World’s End) and the fantasy martial arts spectacle Sakra starring the legendary Donnie Yen (John Wick, Ip Man). August sees the release of the star studded and dark comedy slasher Alone at Night, starring Pretty Little Liars’ Ashley Benson and featuring Pamela Anderson and Paris Hilton and the Icelandic set conspiracy thriller Operation Napoleon based on the multimillion selling novel of the same name starring Iain Glen (Game of Thrones, The Rig). We’re excited to be releasing It’s Always Sunny in Philadelphia alum Charlie Day’s Fool’s Paradise this August. It features a star studded cast including Jason Sudekis, Kim Jeong and Kate Beckinsale and the film marks Day’s writer and directorial film debut. This September Nicolas Cage is back in another amazing role - as a beach bum turned vigilante in The Retirement Plan and starring alongside him are Twilight’s Ashley Greene and Ron Perlman (Sons of Anarchy). Also in September we have the action-packed and testosterone fuelled King of Killers, starring Frank Grillo (The Grey). Rounding out the quarter is A Million Days, a sci fi epic featuring an all-British cast led by Simon Merrells (Lord Of The Rings: The Rings Of Power), Kemi-Bo Jacobs (The Great) and Hermione Corfield (Sea Fever).”
News from Powerhouse and its Indicator series, which has just unveiled its October releases, bringing together a brace of films from Euro-sleaze master Jean Rollin to market in the witching month. And, at the same time as getting news of its October plans, we thought we’d catch up with the company’s Sam Dunn about the year so far and its coming plans. He said:
"It's been an exciting year for Powerhouse so far. In addition to releasing a selection of all-time Hollywood greats (helmed by such giants as Ernst Lubitsch, Frank Capra, and John Huston), we've been publishing a number of ambitious box sets (each dedicated to a lesser-known corner of international cinema history – from British micro-budget director Michael J Murphy, to some of the finest 50s and 60s Mexican genre films, by way of the outré output of the Ormond Family and their close collaborator, Baptist minister Estus Pirkle). In amongst all of that, we've finally begun releasing 4K UHD editions, beginning with a series of exquisite new 4K HDR restorations of the work of celebrated French horror auteur Jean Rollin. The response, both here and in the US, has been fantastic, and this week's announcement of the latest entries in the series – 1975's Lips of Blood and 1979's Fascination – has been no exception, with pre-order numbers growing quickly. As we look ahead, we've got more exciting box sets lined up (including one with a Hollywood studio focus, and another with a vintage British flavour), as well as more UHD editions (both Rollin and otherwise), so there continues to be something for everyone."
Universal and Warner's groundbreaking imprint The Film Vault, aimed at building a library of some of the greatest films ever made, now a further quartet of titles is being added. And, what's more, after its 2022 UK launch, the imprint is going global, showing, once more, how these shores provide a fertile inspiration for distributors worldwide in terms of creativity and selling catalogue. As with the first batch, they set includes an acetate slip-cover, a rigid box with a clasp featuring newly commissioned artwork , with a digipak inside containing both a 4K of the film and a Blu-ray Disc. There’s also artcards, a poster, a plaque and, in some cases, an “in-world digital artefact” from the film. The four on offer are The Shawshank Redemption and 2001: A Space Odyssey in September and, a month later, Jaws and Apollo 13. In a joint statement, the two studios said “We at Warner Bros. Discovery and Universal Pictures Home Entertainment are incredibly excited to launch the second wave of our The Film Vault range, adding four more of our most iconic and beloved films. As true cinephiles ourselves, it’s been a pleasure collaborating with Vice Press again and we hope fans love the new artwork, packaging, and extras as much as we do. After the success of Wave 1, we listened closely to fan feedback and have paid special attention to making the packaging even more secure, and including posters of the brand-new key art in-pack. Whilst the first wave of The Film Vault titles was a UK exclusive, our ambitions have grown for the new titles so we are now rolling out globally, ensuring more fans around the world can access these amazing collections. We cannot wait for fans and collectors to get their hands on our new range and celebrate the films they love.”
ERA, the Digital Entertainment and Retail Association, is due to host its first ever summer party in Eastcheap Records in the City of London, with the invitation only event also introducing the Retail Champion Awards which will, the organisation said, “honour the outstanding achievements and contributions of individuals who have been inspirational and given exceptional support to ERA and its members”. Nominations are being encouraged, and they will close on Monday July 31. You can get the forms here. ERA CEO Kim Bayley said: “We are delighted to be hosting a Summer Party with our members and even more delighted to recognise and honour the outstanding contributions of those who have elevated the entertainment retail sector throughout their career. We can’t wait to bring everyone together for an evening of celebration and fun!”
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BASE has reminded everyone in the industry there’s not long left to vote in the People’s Choice awards for this year’s BASE Awards, due to take place in November. Less than two weeks, in fact, with the votes being tallied ahead of a second ballot for a shortlist later this summer. The two awards see one new one joining a second time gong, as the organisation noted, they are: “Entertainment Moment of the Year – The pivotal moments in popular culture that didn’t just trend for a day but remained in the public’s consciousness across the year – the moments that made audiences gasp, laugh, cry and cheer and Hidden Gem – The standout title that captured the audience's imagination, irrespective of sales.” Go here to register your vote
AT THE MOVIES
Former BFI executive Jane Giles, whose remit included the home entertainment arm of the organisation, has been covered here in the Raygun before, not least for her marvellous over-sized, bigger than your actual coffee table book celebrating London’s legendary Scala Cinema in King’s Cross. And, as noted here before, Giles, alongside Ali Catterall, has been working on a feature length documentary charting the history of the repertory arthouse cum fleapit, which kept cineastes and trash film fans happy in world before weird and obscure films were freely available on VHS. What’s more, many of the films aired at the cinema provided the blueprint for Palace Video’s seminal Palace Classics world cinema imprint, a groundbreaking label in VHS era home entertainment; the Scala was, of course, owned by Palace. And the film, SCALA!!!, also covered here previously, has now been signed by Giles’ former employers at the BFI for theatrical and later home entertainment releases. In the official statement, the BFI’s Director of Public Programme and Audiences Jason Wood said: “Recent events like the Sight and Sound Greatest Films of All Time poll and accompanying BFI Southbank programme and BFI Southbank’s Film on Film Festival have reminded us how much cinema culture matters. It did to me growing up in London in the 80s and 90s when it was a window to the world, and there was no greater view than from the Scala. The Scala showed that it was OK to like “entertainment”, the Avant-Garde and more risqué material. It all carried equal gravitas. Jane and Ali's film captures this and the sense of community that existed. It feels like being back in King’s Cross and is the perfect fit for the BFI. We're delighted to be collaborating on it.” Jane Giles and Ali Catterall, co-directors said: “Our debut is a big screen love letter not only to the white goddess of King’s Cross but to the dizzy highs and depraved lows of a universally relatable cinema-going experience. For many disaffected young people, the Scala was a film school, foundation stone, and family. A crucial part of our DNA. A lifeline. A place to come out and stay out, All-Night long. The BFI has been unwavering in its enthusiasm for this project and is the perfect partner to take the Scala phenomena to audiences UK-wide, where we hope new generations of filmgoers and filmmakers will be equally inspired by its incredibly strange story.”
Jane Giles and Ali Catterall later gave comment exclusively to The Raygun, noting: “The BFI really gets our subject matter and its potential to connect with audiences. They’re unafraid of the fact that it’s not a conventional documentary and already working up a brilliant plan for unleashing the film early next year, getting it into cinemas of all sizes, not just in London but throughout the regions and nations. SCALA!!! tells the story from the perspective of the audience who came there from all over the country, as you can tell from the diversity of interviewees in the film.” SCALA!!! received its world premiere at the Il Cinema Ritrovato festival in Bologna, Italy, and the directing duo added; “”on Sunday June 25 SCALA!!! had its World Premiere, fittingly in the Time Machine Documentaries section of Il Cinema Ritrovato in Bologna. Introducing the film to a full-house co-directors Jane Giles and Ali Catterall admitted they had no idea what the Italians would make of it, but after 96 minutes of laughter and tears were in no doubt as a 10-minute ovation continued through the end credits and beyond. “For days later, people were coming up to us in the street to say how much they loved the film,” said the co-directors, “and the people who felt most strongly about it were younger, European, usually female, which proves to us that the film really is working for audiences other than just those nostalgic few who were there at the time. It feels great to have a crowd-pleasing hit on our hands!”
TRAILERS OF THE WEEK
Ken and his tache are back…
The franchise that keeps on giving…
Sharksploitation explained…
Another belter from Pedro Pascal…
THE OBLIGATORY GDPR BIT
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