Ryan Kampe’s New York-based sales company has come on board to handle international sales excluding Canada ahead of the Toronto world premiere.
Wiebke von Carolsfeld’s Canada-Ireland drama stars Taylor Schilling and Aidan Quinn and charts a relationship between a young woman and a disgraced professor.
Stay filmed in Connemara and Montreal last summer. von Carolsfeld adapted the screenplay from Aislinn Hunter’s novel of the same name.
Martin Paul-Hus, David Collins, Andrew Boutilier and Martina Niland produced and eOne holds Canadian rights.
Visit Films’ current slate includes The Wait, Flex is Kings, Upstream Color and Exhibition.
Wiebke von Carolsfeld’s Canada-Ireland drama stars Taylor Schilling and Aidan Quinn and charts a relationship between a young woman and a disgraced professor.
Stay filmed in Connemara and Montreal last summer. von Carolsfeld adapted the screenplay from Aislinn Hunter’s novel of the same name.
Martin Paul-Hus, David Collins, Andrew Boutilier and Martina Niland produced and eOne holds Canadian rights.
Visit Films’ current slate includes The Wait, Flex is Kings, Upstream Color and Exhibition.
- 9/3/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
HollywoodNews.com: The Producers Guild of America (PGA) announced today the five winning film projects of the inaugural International Co-Production Showcase (CoProShow) competition, which is taking place in connection with the second annual Produced By Conference (Pbc) on June 4-6, 2010 at Twentieth Century Fox Studios. Reaching across film, television and new media industries, Pbc is a rare educational forum involving acclaimed producers, including countless Academy Award®-winning filmmakers and Emmy® winners, as well as the next generation of creative entrepreneurs.
The goal of the CoProShow, which was developed by the PGA’s International Committee, is to provide international film producers with a unique opportunity to engage in an open dialogue with their U.S. counterparts. Open to international film producers (non-us residents) with a screenplay synopsis for a feature-length project currently under development, the CoProShow represents the first co-production showcase competition to be held in Hollywood. Of the numerous submissions,...
The goal of the CoProShow, which was developed by the PGA’s International Committee, is to provide international film producers with a unique opportunity to engage in an open dialogue with their U.S. counterparts. Open to international film producers (non-us residents) with a screenplay synopsis for a feature-length project currently under development, the CoProShow represents the first co-production showcase competition to be held in Hollywood. Of the numerous submissions,...
- 5/12/2010
- by HollywoodNews.com
- Hollywoodnews.com
The Producers Guild of America on Tuesday named two Australian films and three others from countries around the world as winners in its inaugural International Co-Production Showcase, taking place in connection with the second annual Produced By Conference on the Fox lot.
CoProShow aims to "provide international film producers with a unique opportunity to engage in an open dialogue with their U.S. counterparts," the PGA said.
Winners included:
-- "66 Degrees North" (Iceland) -- Producers: Edwina Forkin and Richard Scobie; the story of an afflicted sea captain with a grim secret who is offered a second chance at life.
-- "The Adventure of Kokochin" (China) -- Producers: Tim Baker and Jing Jin; the true story of Princess Kokochin, daughter of Chinese emperor Kublai Khan, who travels to Persia with Marco Polo, is sold into a slave house, and then escapes back to China along the Silk Road.
-- "The Fourth Knot" (Victoria,...
CoProShow aims to "provide international film producers with a unique opportunity to engage in an open dialogue with their U.S. counterparts," the PGA said.
Winners included:
-- "66 Degrees North" (Iceland) -- Producers: Edwina Forkin and Richard Scobie; the story of an afflicted sea captain with a grim secret who is offered a second chance at life.
-- "The Adventure of Kokochin" (China) -- Producers: Tim Baker and Jing Jin; the true story of Princess Kokochin, daughter of Chinese emperor Kublai Khan, who travels to Persia with Marco Polo, is sold into a slave house, and then escapes back to China along the Silk Road.
-- "The Fourth Knot" (Victoria,...
- 5/11/2010
- by By Carl DiOrio
- The Hollywood Reporter - Movie News
2009 Genie Awards 2009 Academy of Canadian Cinema & Television’s Genie Award nominations: Feb. 10, 2009 2009 Genie Award winners: Ottawa, April 4, 2009 ("*" denotes the winner in each category) Best Motion Picture / Meilleur Film Amal - David Miller, Steven Bray Ce qu’il faut pour vivre / The Necessities of Life - Bernadette Payeur, René Chénier Normal - Andrew Boutilier, Carl Bessai * Passchendaele - Niv Fichman, Francis Damberger, Paul Gross, Frank Siracusa Tout est Parfait / Everything is Fine - Nicole Robert Best Documentary / Meilleur Documentaire Infiniment QUÉBEC - Jean-Claude Labrecque, Yves Fortin, Christian Medawar My Winnipeg - Guy Maddin, Phyllis Laing, Jody Shapiro * Up The Yangtze - Yung Chang, Mila Aung-Thwin, John Christou, Germaine Ying-Gee Wong Best Direction / Meilleure RÉALISATION Richie Mehta - Amal Lyne Charlebois - Borderline * Benoit Pilon - Ce qu’il faut pour vivre / The Necessities of Life Carl Bessai - Normal Yves-Christian Fournier - Tout est Parfait / Everything is Fine Performance By...
- 4/5/2009
- by Deborah Arthur
- Alt Film Guide
Pusan International Film Festival
BUSAN, South Korea -- Like the high-profile Reservation Road and White Night (also screening at PIFF), Normal tracks the after-effects of a devastating accident. Constructed like an interconnected character piece a la Short Cuts or Crash, the film doesn't have as much finesse as the former, but is a good deal less manipulative than the latter.
Carl Bessai's latest is intermittently affecting, though too often it wallows in soap opera. Carrie-Anne Moss' dramatic star turn could generate interest for a limited release in its native Canada and possibly on the festival circuit. Theatrical distribution elsewhere seems a long shot.
Catherine (Moss) is the grieving mother of teenager Nicky, traumatized to the point of near paralysis following his death in a drunk-driving accident. She's distanced herself from her husband and neglected her younger son Brady (Cameron Bright, Birth) for two years. Jordie was Nicky's best friend, just out of juvenile detention, and living once again with his overbearing father Carl (Michael Riley) and his young wife Elise (Camille Sullivan). Professor Walt Callum Keith Rennie), who has an autistic brother and a failing marriage, is overwhelmed with guilt at causing the accident that killed Nicky.
For most of its running time, Normal unfolds as a series of vignettes, some vivid and compelling. Catherine's anger and suffering are palpable, as is her family's frustration. Their weariness with her extended mourning is understandable too. The troubled Jordie, with his own burden to bear, is equally believable in his unfocused rage, and Walt's resigned responsibility toward his brother rings true.
When Jordie begins an affair with his stepmother, it's straight out of daytime television, and adds a good dose of unnecessary sordidness to narrative. Not to be outdone, Walt gets in on the sexy plot turns as well, with a student. It's here that Normal steps into the realm of melodrama in its attempt to investigate life in an affluent and white Vancouver suburb.
From the beginning, it's clear that the grief-stricken Catherine and the guilt-ridden Walt are on the sort of collision course. This results in mutual redemption, yet the catharsis is only mildly satisfying.
Bessai gets the strongest performances from Moss, the underrated Rennie (possibly best known now as the Cylon Leoben on Battlestar Galactica) and Zegers, who makes a cliche character believable. Normal functions best as a series of snapshots about lingering guilt, the desire for redemption, and the dangers in allowing grief. But as a whole, Normal isn't quite convincing.
NORMAL
A Mongrel Media, Raven West Films, Submission Films production
Credits:
Director: Carl Bessai
Screenwriters: Travis McDonald, Carl Bessai
Producers: Andrew Boutilier, Carl Bessai
Executive producers: Stephen Hegyes, Shawn Williamson, Phil Hunt, Compton Ross
Director of photography: Carl Bessai
Production designer: Nancy Mossop
Music: Clinton Shorter
Co-producer: Rajvinder Uppal
Costume designer: Michele Maillet
Editor: Lisa Binkley
Cast:
Catherine: Carrie-Anne Moss
Jordie: Kevin Zegers
Walt: Callum Keith Rennie
Dale: Andrew Airlie
Brady: Cameron Bright
Dennis: Tygh Runyan
Abby: Allison Hossack
Sherri: Lauren Lee Smith
Running time --100 minutes
No MPAA rating...
BUSAN, South Korea -- Like the high-profile Reservation Road and White Night (also screening at PIFF), Normal tracks the after-effects of a devastating accident. Constructed like an interconnected character piece a la Short Cuts or Crash, the film doesn't have as much finesse as the former, but is a good deal less manipulative than the latter.
Carl Bessai's latest is intermittently affecting, though too often it wallows in soap opera. Carrie-Anne Moss' dramatic star turn could generate interest for a limited release in its native Canada and possibly on the festival circuit. Theatrical distribution elsewhere seems a long shot.
Catherine (Moss) is the grieving mother of teenager Nicky, traumatized to the point of near paralysis following his death in a drunk-driving accident. She's distanced herself from her husband and neglected her younger son Brady (Cameron Bright, Birth) for two years. Jordie was Nicky's best friend, just out of juvenile detention, and living once again with his overbearing father Carl (Michael Riley) and his young wife Elise (Camille Sullivan). Professor Walt Callum Keith Rennie), who has an autistic brother and a failing marriage, is overwhelmed with guilt at causing the accident that killed Nicky.
For most of its running time, Normal unfolds as a series of vignettes, some vivid and compelling. Catherine's anger and suffering are palpable, as is her family's frustration. Their weariness with her extended mourning is understandable too. The troubled Jordie, with his own burden to bear, is equally believable in his unfocused rage, and Walt's resigned responsibility toward his brother rings true.
When Jordie begins an affair with his stepmother, it's straight out of daytime television, and adds a good dose of unnecessary sordidness to narrative. Not to be outdone, Walt gets in on the sexy plot turns as well, with a student. It's here that Normal steps into the realm of melodrama in its attempt to investigate life in an affluent and white Vancouver suburb.
From the beginning, it's clear that the grief-stricken Catherine and the guilt-ridden Walt are on the sort of collision course. This results in mutual redemption, yet the catharsis is only mildly satisfying.
Bessai gets the strongest performances from Moss, the underrated Rennie (possibly best known now as the Cylon Leoben on Battlestar Galactica) and Zegers, who makes a cliche character believable. Normal functions best as a series of snapshots about lingering guilt, the desire for redemption, and the dangers in allowing grief. But as a whole, Normal isn't quite convincing.
NORMAL
A Mongrel Media, Raven West Films, Submission Films production
Credits:
Director: Carl Bessai
Screenwriters: Travis McDonald, Carl Bessai
Producers: Andrew Boutilier, Carl Bessai
Executive producers: Stephen Hegyes, Shawn Williamson, Phil Hunt, Compton Ross
Director of photography: Carl Bessai
Production designer: Nancy Mossop
Music: Clinton Shorter
Co-producer: Rajvinder Uppal
Costume designer: Michele Maillet
Editor: Lisa Binkley
Cast:
Catherine: Carrie-Anne Moss
Jordie: Kevin Zegers
Walt: Callum Keith Rennie
Dale: Andrew Airlie
Brady: Cameron Bright
Dennis: Tygh Runyan
Abby: Allison Hossack
Sherri: Lauren Lee Smith
Running time --100 minutes
No MPAA rating...
- 10/8/2007
- The Hollywood Reporter - Movie News
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