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KINO LORBER ACQUIRES ALL US RIGHTS TO HONG SANG-SOO’S NEW FILM IN ANOTHER COUNTRY (2012), STARRING THE GREAT ISABELLE HUPPERT

Posted Thursday, May 24th, 2012 - Comments Off on KINO LORBER ACQUIRES ALL US RIGHTS TO HONG SANG-SOO’S NEW FILM IN ANOTHER COUNTRY (2012), STARRING THE GREAT ISABELLE HUPPERT
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FILM CURRENTLY IN COMPETITION AT CANNES FILM FESTIVAL 

New York, NY – May 23, 2012 – Kino Lorber is proud to announce the acquisition of all US rights to IN ANOTHER COUNTRY (2012), the latest film by South Korean master Hong Sang-soo (Night and Day, Woman is the Future of Man). Starring two-time, Best Actress winner (Cannes Film Festival) Isabelle Huppert (The Piano Teacher, Violette, White Material), the film stands as Mr. Hong’s first English-speaking production to date (with dialogue in Korean as well).
Currently in competition at this year’s Cannes Film Festival, IN ANOTHER COUNTRY features Ms. Huppert playing three different characters in three different story segments – all of them spanning from the imagination of a young film student called Wonju (Jung Yumi).

Playing three different French tourists visiting the same seaside resort (first as a famous film director, then as the wife of a motor-executive having an affair with a filmmaker, and then, as a wealthy and recently divorced housewife), Isabelle Huppert shines in another story-within-a-story narrative – as it is often the case with Mr. Hong’s films.

For Kino Lorber, IN ANOTHER COUNTRY represents another chance to work with the prestigious South Korean sales company Finecut, after the successful US release of Poetry (2010), which was written and directed by Lee Chang-dong (Oasis, Secret Sunshine). The deal was negotiated between Kino CEO Richard Lorber and Finecut CEO Youngjoo Suh.

“I have been a long time follower of Hong Sang-soo’s career,” wrote Richard Lorber, “and believe IN ANOTHER COUNTRY is a breakthrough film for him; it will please both his core art house base and attract new film lovers open to uniquely original cinema that balances heart and mind with refreshing visual style.”

“Together with Huppert, Hong Sang-soo has made a deceptively light-hearted picture that resonates playfully with potent ideas and probing emotions. Moreover, I’m confident that American audience won’t miss the chance to see the remarkable Isabelle Huppert reinvent her character in three different roles in a single film.”

Kino Lorber is planning to launch the film in the US festival circuit during late summer and fall – before a national theatrical rollout later this year.

About Kino Lorber:

With a library of 700 titles, Kino Lorber Inc. has been a leader in independent distribution for over 30 years, releasing over 20 films per year theatrically under its Kino Lorber, Kino Classics, Redemption Films, Horizon Movies and Alive Mind Cinema banners.

In addition, the Company brings over 60 titles each year to the home entertainment market with DVD and Blu-ray releases as well as digital distribution on over 15 internet platforms and VOD services.

Kino Lorber is currently releasing the French drama Elles, directed by Malgoska Szumowska and starring Juliette Binoche, and will open Yorgos Lanthimos’  Alps, the follow-up to the Academy Award-Nominated Dogtooth, on July 13 in New York City.

Other 2012 summer releases are the Palestinian and Israeli doc 5 Broken Cameras, slated to open on May 30 at New York’s Film Forum, Daniel Auteuil’s The Well-Digger’s Daughter, and the SXSW sensation Kumaré,

directed by Vikram Ghandi.

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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