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SUNDANCE SELECTS TAKES US RIGHTS TO ABBAS KIAROSTAMI’S LIKE SOMEONE IN LOVE

Posted Sunday, May 27th, 2012 - Comments Off on SUNDANCE SELECTS TAKES US RIGHTS TO ABBAS KIAROSTAMI’S LIKE SOMEONE IN LOVE
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CANNES, FRANCE (May 27, 2012) – Sundance Selects announced today from the 2012 Cannes Film Festival that the company is acquiring all US rights to LIKE SOMEONE IN LOVE directed and written by former Palme d’Or winner Abbas Kiarostami (CERTIFIED COPY, THE TASTE OF CHERRY).  The film is an MK2 and Eurospace Production.  It stars Rin Takanashi, Tadashi Okuno and Ryo Kase.  It was produced by Marin Karmitz (MK2) and Kenzo Horikoshi (Eurospace), and associate produced by Nathanael Karmitz and Charles Gillibert.  LIKE SOMEONE IN LOVE made its world premiere in competition earlier in the week at the Cannes Film Festival.

In his follow-up to the stateside hit CERTIFIED COPY (which starred Juliette Binoche), Abbas Kiarostami’s returns with yet another dazzling cinematic puzzle.  An old man and a young woman meet in Tokyo.  She knows nothing about him.  He thinks he knows her.  He welcomes her into his home.  She offers him her body.  Soon it becomes apparent that the web that is woven between them in the space of 24 hours bears no relation to the circumstance of their encounter.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “It’s a great honor to continue our relationship with Abbas Kiarostami after our successful collaboration with him on CERTIFIED COPY.  His latest film is a beautiful, mysterious masterpiece that we hope to continue to build his following with in the US.  We are also clearly very happy to be working with our good friends at MK2 and also with Eurospace.”

IFC Films/Sundance Selects recently announced that it had acquired Walter Salles’ ON THE ROAD which is an MK2 production.  The film screened to acclaim earlier in the week at Cannes in Competition.  The two companies have previously collaborated on Gus Van Sant’s PARANOID PARK, Olivier Assayas’ SUMMER HOURS, Abbas Kiarostami’s CERTIFIED COPY and the upcoming Assayas’ film SOMETHING IN THE AIR.

Sundance Selects/IFC Films is already a major American presence at Cannes this year with several films already screening at the festival: Walter Salles’ competition film ON THE ROAD which the company acquired right before the festival began and will release jointly under IFC Films and Sundance Selects; Cristian Mungiu’s competition film BEYOND THE HILLS which is being releasedunder the Sundance Selects label; Adam Leon’s SXSW-winner GIMME THE LOOT which is also being released under Sundance Selects and is screening in Un Certain Regard; Rodney Ascher’s Sundance sensation ROOM 237 which was acquired for IFC Midnight and is screening at Director’s Fortnight; Ken Loach’s competition film THE ANGELS’ SHARE which Sundance Selects acquired during the festival; Ben Wheatley’s dark comedy SIGHTSEERS which is screening in Director’s Fortnight, and was acquired by IFC Films during the festival; and IM Sang Soo’s competition film THE TASTE OF MONEY which the company acquired yesterday for its IFC Midnight label.

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Victoire Thevenin of MK2 on behalf of the filmmakers.

Sundance Selects is a sister label to IFC Films and IFC Midnight, and is owned and operated by AMC Networks Inc

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About SUNDANCE SELECTS

Established in 2009 and based in New York City, Sundance Selects is a leading U.S. distributor of prestige films focusing on American independents, documentaries and world cinema. In 2011, the label distributed the year’s 3highest independently released documentaries including Werner Herzog’s CAVE OF FORGOTTEN DREAMS (also the highest grossing film of his career), Cindy Meehl’s BUCK and Wim Wenders’ Academy Award (r) nominated PINA.  The company also released the Dardennes Brothers THE KID WITH A BIKE which won the Grand Prix at Cannes and Abbas Kiarastami’s CERTIFIED COPY for which Juliette Binoche won the Best Actress at Cannes. Upcoming releases include:  Maiwenn’s POLISSE which won the Jury Prize in Cannes, David France’s HOW TO SURVIVE A PLAGUE,Adam Leon’s SXSW winner GIMME THE LOOT, Julia Loktev’s AFI winner THE LONELIEST PLANET, Alison Klayman’s Sundance Jury Prize winner AI WEIWEI:  NEVER SORRY; Olivier Assayas’ SOMETHING IN THE AIR and Walter Salles’ Cannes competition film ON THE ROAD starring Kristen Stewart, Sam Riley and Garrett Hedlund (which will be released jointly with IFC Films.  Sundance Selects is a sister label to IFC Films and IFC Midnight, and is owned and operated by AMC Networks Inc.

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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