By Ray Pride Pride@moviecitynews.com

IFC FILMS TAKES NORTH AMERICAN RIGHTS TO MIRA NAIR’S THE RELUCTANT FUNDAMENTALIST

 TORONTO, CANADA (September 13, 2012) – IFC Films announced today from the 2012 Toronto International Film Festival that the company is acquiring all North American rights to director Mira Nair’s THE RELUCTANT FUNDAMENTALIST starring Liev Schreiber, Kate Hudson, Kiefer Sutherland, and Riz Ahmed in the title roles.

Based on the best-selling novel of the same title by Mohsin Hamid, THE RELUCTANT FUNDAMENTALIST tells the story of a young Pakistani man (Ahmed) whose pursuit of corporate success on Wall Street leads him on a strange path back to the world he had left behind.  Toronto festival programmers wrote: “a boldly dramatic adaptation of a remarkable, timely novel, Mira Nair’s THE RELUCTANT FUNDAMENTALIST promises to be one of the most talked about films of the year. Mixing romance and tragedy with the classic arc of ambition thwarted, Nair brings Mohsin Hamid’s award-winning 2007 book to the screen with both passion and insight. She also delivers a cracking thriller.”

The Reluctant Fundamentalist made its world premiere at Opening Night of the Venice Film Festival before its North American premiere in Toronto. It was adapted by Bill Wheeler, with the Screen Story by Mohsin Hamid and Ami Boghani. Produced by Lydia Dean Pilcher under her Cine Mosaic banner, this is the latest Doha Film Institute financed film and is a Mirabai Films and Cine Mosaic production.

The rich visual style is supported by the cinematography of Declan Quinn, production designer Michael Carlin, Costume Designer Arjun Bhasin and Editor Shimit Amin. The music includes the eclectic world of Pakistani funk, a fusion score by iconoclastic Michael Andrews and a stunning new original song composed by Peter Gabriel.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “THE RELUCTANT FUNDAMENTALIST is the rare intelligent thriller that grapples with the issues of our times while remaining incredibly entertaining.  It features a terrific cast including Liev Schrieber, Kate Hudson and Kiefer Sutherland and a star-making performance by Riz Ahmed.  It is particularly thrilling to be reunited with the wonderful Mira Nair. “

Paul Miller, Head of Film Financing at DFI commented: “ We are proud to have supported Mira’s latest work that has been so warmly received by audiences in Venice and Toronto. The film’s unique mix of commercial thriller and cross-cultural themes of identity and understanding will help it connect with global audiences. We are pleased to have found itsNorth American home with IFC.”

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films and Hal Sadoff for DFI and Bart Walker of Cinetic Media on behalf of the filmmakers. It reunites IFC films with Nair, whose hit film MONSOON WEDDING was financed by the company.

Nair was born in Bhubaneswar, Orissa,India. Her feature films include SALAAM BOMBAY!, which won the Golden Camera and the Audience Award at Cannes. Her recent feature films include MONSOON WEDDING, VANITY FAIR, and THE NAMESAKE.

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

*                      *                      *                      *

About IFC FILMS

Established in 2000 and based in New York City, IFC Films is a leading U.S. distributor of quality talent-driven independent film.  Its unique distribution modelmakes independent films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes over the years have included My Big Fat Greek Wedding, Y Tu Mama Tambien, Touching the Void, 4 Months, 3 Weeks and 2 Days, Gomorrah, Che, Summer Hours, Antichrist, In the Loop, Antichrist, Wordplay, Cairo Time, Joan Rivers: A Piece of Work, Tiny Furniture and Carlos.  Over the years, 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, MiaHansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche. Recent releases include PEACE, LOVE, AND MISUNDERSTANDING starring Jane Fonda and Catherine Keener; and YOUR SISTER’S SISTER starring Emily Blunt and Mark Duplass.  Upcoming releases include Walter Salles’ Cannes competition film ON THE ROAD starring Kristen Stewart, Sam Riley and Garrett Hedlund (which will be released jointly with Sundance Selects) and Josh Radnor’s LIBERAL ARTS starring Elizabeth Olsen and Radnor.  IFC Films is a sister label to Sundance Selects and IFC Midnight, and is owned and operated by AMC Networks Inc.

About DFI

Doha FilmInstitute (DFI) is an independent cultural organisation established in 2010 to incorporate Qatar’s film initiatives under one banner; organically supporting the growth of the local film community by enhancing industry knowledge, cultivating film appreciation and contributing to the development of sustainable creative industries in Qatar. DFI’s year-round platforms include funding and production of local, regional and international films, educational programmes, film screenings, and the annual Doha Tribeca Film Festival (DTFF).

With culture, community, education and entertainment at its foundation, DFI serves as an all-encompassing film hub in Doha, as well as a resource for the region and the rest of the world. DFI is committed to supporting Qatar’s 2030 vision for the development of a knowledge based economy. DFI has established a number of strategic cultural partnerships with leading local and international organisations including Tribeca Enterprises, World Cinema Foundation, Maisha Film Lab, Katara Cultural Village and Giffoni Film Festival.

 

# # #

Be Sociable, Share!

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