By MCN Editor


HERE is premiering at both the Sundance Film Festival and Berlin International Film Festival in the coming weeks

London (January 21, 2011) – K5 International (, the sales division of K5 Media Group (, announced today that it has acquired world-wide sales rights to Braden King’s HERE, which is World Premiering this week in the U.S. Dramatic Competition Category at the 2011 Sundance Film Festival. HERE has also just been officially selected at the 2011 Berlin International Film Festival. The film will receive its International Premiere in the Berlinale’s prestigious Panorama section. Kevin Iwashina and Christine D’Souza of Preferred Content are jointly handling North American rights with K5.

HERE stars Ben Foster (THE MESSENGER, 3:10 TO YUMA, ALPHA DOG) and Lubna Azabal (INCENDIES, PARADISE NOW, BODY OF LIES, STRANGERS) and is directed and co-written by rising star Braden King.  The film is produced by Lars Knudsen and Jay Van Hoy, whose most recent film BEGINNERS, directed by Mike Mills and starring Ewan McGregor, premiered at the 2010 Toronto Film Festival and was subsequently acquired by Focus Features for a spring 2011 release.

HERE, the first American film produced in the country of Armenia, is a beautiful and finely textured love story in which Foster’s loner map-maker Will forges a passionate relationship with Azabal’s Gadarine who is returning to Armenia after years abroad. Foster and Azabal both deliver stunning performances that are by turns charming, intense and erotically-charged.

K5 founding partners Oliver Simon and Daniel Baur said, “Braden King is a genuine talent to watch and someone people will be desperately keen to follow. We were totally entranced by HERE. It is wonderfully assured and achieves an effortless combination of simplicity and complexity with this totally compelling, sexy and authentic love story at its heart.” K5´s sales and marketing chief Carl Clifton added, “Braden tells his story through beautiful images and an understated and totally truthful approach from his actors, while also managing to seamlessly layer everything with genuine insight and a reflection on the really big themes.”

Producers Lars Knuden and Jay Van Hoy said, “K5 and Preferred Content hit the ground running and their work has been impeccable. We’re thrilled that they’ve partnered together on HERE.  It’s ideal.  The premiere at Sundance is a homecoming for the film and it’s going to be a real event. And from here, we’re already looking forward to Berlin.”

HERE was developed through the Sundance Institute Feature Film Program where it won the NHK International Filmmakers Award

HERE and filmmaker Braden King also received an overwhelming level of film industry and art world support, including the exceptional number of grants, awards and honors outlined below.

Sundance Institute Cinereach Feature Film Fellowship (2010)
“The goal of this Fellowship is to identify and foster a new generation of leading film artists.”

Cannes Film Festival Atelier (2008)
HERE was one of fifteen projects (and one of only two U.S. projects) selected from around the world for the 2008 Cannes Film Festival Atelier.

Chicago Museum of Contemporary Art (2008)
Braden King’s Armenian research and location scout photographs were included in the recent exhibition “Mapping the Self” at the Chicago Museum of Contemporary Art.

Rockefeller / Renew Media / Tribeca Film Institute Fellowship (2008)
Braden King was awarded a 2008 Rockefeller / Renew Media Fellowship for HERE.

Sundance Institute: January and June Screenwriters Labs (2007)*
HERE was one of twelve projects selected for the January and June, 2007 Sundance Institute Screenwriters Lab.

Sundance Institute: June Directors Lab (2007)*
HERE was one of eight projects selected for the June, 2007 Sundance Institute Directors Lab.

Annenberg Feature Film Fellowship (2007)
Braden King was awarded an Annenberg Feature Film Fellowship for HERE.

Alfred P. Sloan Foundation Fellowship (2007)
Braden King was the 2007 Alfred P. Sloan Fellow for HERE.

Rotterdam Film Festival Cinemart Producer’s Lab (2007)
Producer Julia King was one of two U.S. producers selected for the Rotterdam Film Festival’s 2007 CineMart Producer’s Lab for HERE.

IFP / No Borders (2005)
HERE was selected for the prestigious No Borders section of the 2005 IFP Market.

Creative Capital Foundation (2005)
Braden King received a 2005 Creative Capital Grant to develop HERE.

About K5

About Preferred Content

Preferred Content is a film, television and digital production, finance and distribution advisory company founded by Kevin Iwashina and Ross Dinerstein in 2010. In its first year, Preferred Content has produced or executive produced 6 films, including the 2011 SXSW premiere THE DIVIDE, THE DAY, and BROTHERHOOD which will be released in theatres in February.  Preferred Content has already represented distribution rights to over 25 titles with films premiering at every major film festival and market.

About HERE

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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