By MCN Editor editor@moviecitynews.com

IFC MIDNIGHT AND FORTISSIMO FILMS SEAL NORTH AMERICAN DISTRIBUTION DEAL FOR AWARD-WINNING HONG KONG SLASHER ‘DREAM HOME’

Posted Wednesday, October 27th, 2010 - Comments Off on IFC MIDNIGHT AND FORTISSIMO FILMS SEAL NORTH AMERICAN DISTRIBUTION DEAL FOR AWARD-WINNING HONG KONG SLASHER ‘DREAM HOME’
Be Sociable, Share!

IFC MIDNIGHT AND FORTISSIMO FILMS SEAL NORTH AMERICAN DISTRIBUTION DEAL FOR AWARD-WINNING HONG KONG SLASHER ‘DREAM HOME’

New York, NY (October 27, 2010) – IFC Midnight, the genre label of IFC Films, announced today that the company is acquiring North American rights to the thriller DREAM HOME. Directed by Pang Ho-Cheung (ISABELLA – Silver Bear Winner, Berlin Film Festival 2006, EXODUS – Best Cinematography, San Sebastian Film Festival 2007) and starring award-winning actress and rock star Josie Ho (EXILED, BUTTERFLY, CONTAGION and THE COURIER).  Anthony Wong (THE MUMMY: THE TOMB OF THE DRAGON EMPEROR, INFERNAL AFFAIRS), Eason Chan (LADY COP & PAPA CROOK, TRIVIAL MATTERS), Michelle Ye Suen (VENGEANCE, ACCIDENT), Lawrence Chou (FOREST OF DEATH, RE-CYCLE), Derek Tsang (OCEAN FLAME, AV), Juno Mak (TRIVIAL MATTERS), Sin Lap Man (EXODUS), and veteran actors Wong Ching (BLOOD BROTHERS) and Lo Hoi Pang (PTU) round off the cast.  IFC Midnight will release the film theatrically and on VOD in early 2011.

DREAM HOME was filmed entirely in Hong Kong and tells the story of a young woman who goes over the edge when she discovers that she can no longer afford the home of her dreams.  She has to work hard at two full-time jobs, and she even goes as far as stealing customer data to sell to other companies. However, no matter how much she toils, she cannot earn enough to keep up with the ever-increasing values of Hong Kong’s real estate. With her father terminally ill and medical expenses rising, she decides to make a fateful choice for her family: to let her father die and cash in his insurance. When even the insurance money proves to not be enough, it dawns on her: in order to get what she wants, she realizes she must take matters into her own hands. Even if it means getting her hands seriously bloody.

The deal was brokered by Fortissimo’s Senior VP, Sales and Acquisitions Winnie Lau with Elizabeth Nastro, Director of Acquisitions & Co-Productions for IFC Films.

Jonathan Sehring, President of IFC Films said, “Pang Ho-Cheung has made a deliciously sinister film and is a remarkable new filmmaker coming out of the world of Asian cinema.  We are thrilled to be working with our friends at Fortissimo once again here too.”

On making the announcement Lau commented, “It’s great that the IFC Films team appreciates these innovative and fresh talents from Hong Kong. It’s clear that there is a growing audience for these types of horror films in North America.”

DREAM HOME had a successful run in Hong Kong theatres which was followed by being awarded the Bronze Audience prize for Best Asian Film at the Canadian Fantasia Festival. Josie Ho has also recently been awarded the Best Actress Award for her role at the Sitges International Film Festival where the film also received the Best Special Effects Make-Up award.

The film made its US premiere at the 2010 Tribeca Film Festival.

About the Director

Born in 1973, Pang Ho-Cheung is one of Hong Kong’s most acclaimed young directors. He made his name in the international circuit with ISABELLA, which was awarded the Silver Bear at Berlin Film Festival 2006, and EXODUS, Best Cinematography winner at San Sebastian Film Festival 2007. Pang’s other credits include the four-time Golden Horse Awards-nominated TRIVIAL MATTERS and MEN SUDDENLY IN BLACK, winner of the Best New Director Award at the 23rd Hong Kong Film Awards. He has also won two Hong Kong Golden Bauhinia Best Screenplay awards for BEYOND OUR KEN and YOU SHOOT, I SHOOT.

bout Fortissimo Films

Fortissimo Films is an international film, television and video sales organization specializing in the production, presentation, promotion and distribution of unique, award winning and innovative feature films from independent film makers from all over the world. For more information, please see www.fortissimofilms.com

About IFC Films

Established a decade ago, IFC Films – a division of Rainbow Media’s IFC Entertainment – is the leading U.S. distributor of independent and foreign film. Its unique day and date distribution model makes independent films available to a national audience by releasing them simultaneously in theaters as well as on cable’s On Demand platform and through Pay-Per-View, reaching nearly 50 million homes. IFC Films’ “IFC Midnight” label, launched in 2010, offers the very best in international genre cinema, including horror, sci-fi, thrillers, erotic arthouse, action and more.  Some of the company’s successes over the years have included MY BIG FAT GREEK WEDDING, Y TU MAMA TAMBIEN, TOUCHING THE VOID, ME AND YOU AND EVERYONE WE KNOW, 4 MONTHS, 3 WEEKS AND 2 DAYS, GOMORRAH, CHE, SUMMER HOURS, IN THE LOOP, ANTICHRIST, THE HUMAN CENTIPEDE, JOAN RIVERS: A PIECE OF WORK, and WORDPLAY. IFC Films has worked with established and breakout auteurs including Steven Soderbergh, Gus Van Sant, Spike Lee, Richard Linklater, Miranda July, Lars Von Trier, Gaspar Noe, Todd Solondz, Cristian Mungiu, Susanne Bier, Olivier Assayas, Jim McKay, Larry Fessenden, Gregg Araki, Jacques Rivette, Claude Chabrol, as well as more recent breakouts such as Andrea Arnold, Mia Hansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche.

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on IFC MIDNIGHT AND FORTISSIMO FILMS SEAL NORTH AMERICAN DISTRIBUTION DEAL FOR AWARD-WINNING HONG KONG SLASHER ‘DREAM HOME’

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon