By MCN Editor editor@moviecitynews.com

IFC MIDNIGHT NABS NORTH AMERICAN RIGHTS TO MANUEL CARBALLO’S EXORCISMUS AND MIGUEL ANGEL VIVAS’ KIDNAPPED

Posted Friday, November 5th, 2010 - Comments Off on IFC MIDNIGHT NABS NORTH AMERICAN RIGHTS TO MANUEL CARBALLO’S EXORCISMUS AND MIGUEL ANGEL VIVAS’ KIDNAPPED
Be Sociable, Share!


New York, NY (November 5, 2010) – IFC Midnight, the genre label of IFC Films, announced today that the company is acquiring North American rights to two films: Manuel Carballo’s supernatural chiller EXORCISMUS and Miguel Angel Vivas’ powerful and shocking home invasion flick KIDNAPPED. Both films will be released through the IFC Midnight label theatrically and on their video on demand platform in early 2011.

In Carballo’s intense supernatural horror film EXORCISMUS, a rebellious young girl (Sophie Vavasseur) slowly discovers that she is possessed by a twisted, evil force. She is soon forced against her will to use extreme measures to free herself.  The film, which also stars acclaimed UK actors Jo-Anne Stockham and Stephen Billington, recently had its world premiere at the Sitges Fantastic Film Festival.

KIDNAPPED, which is shot documentary-style and was the winner of Best Horror Film and Best Director at this year’s Fantastic Fest, follows Jaime (Fernando Cayo) and Marta (Ana Wagener), a middle-aged couple with a teenage daughter named Isa (Manuela Vellés). As the family moves into a new home and gathers to celebrate, everyone’s evening is ruined when a gang makes a home invasion.

Jonathan Sehring, President of IFC Films said, “Both Manuel Carballo and Miguel Angel Vivas have crafted terrifyingly wonderful films to help keep everyone up at night. Their work exemplifies the type of cinema that IFC Midnight wants to be known for.”

The deals for both EXORCISMUS and KIDNAPPED were negotiated by Jeff Deutchman, Manager of Acquisitions & Productions for IFC Films with Vicente Canales and Carles Rojano from Filmax International.

Vicente Canales from Filmax International notes: “We are extremely proud to work with IFC and were delighted to close EXORCISMUS with them in Toronto. Our enthusiasm about this new deal for KIDNAPPED could not be greater. We have always had a great relationship with IFC and are very confident of what they can do with the two films. Both titles are perfect for IFC Midnight. ”

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, CAIRO TIME 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.

About Filmax International

Filmax International, Filmax group’s renowned international sales agency, is strongly positioned within the international film market with a portfolio of over 100 active clients, many of which have become long-term partners in the commercial film business.

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on IFC MIDNIGHT NABS NORTH AMERICAN RIGHTS TO MANUEL CARBALLO’S EXORCISMUS AND MIGUEL ANGEL VIVAS’ KIDNAPPED

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