By Ray Pride Pride@moviecitynews.com

BROAD GREEN ACQUIRES NORTH AMERICAN RIGHTS TO EDEN, MIA HANSEN-LØVE’S ACCLAIMED PORTRAIT OF ELECTRONIC DANCE MUSIC

Posted Tuesday, September 23rd, 2014 - Comments Off on BROAD GREEN ACQUIRES NORTH AMERICAN RIGHTS TO EDEN, MIA HANSEN-LØVE’S ACCLAIMED PORTRAIT OF ELECTRONIC DANCE MUSIC
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FILM TO SCREEN IN THE MAIN SLATE AT NEW YORK FILM FESTIVAL 

NEW YORK (September 23, 2014) –Broad Green Pictures (BGP) announced today that they have acquired North American distribution rights to acclaimed director Mia Hansen-Løve’s EDEN.  The announcement comes in advance of the film’s U.S. Premiere at the New York Film Festival and on the heels of it’s much buzzed about World Premiere at the Toronto Film Festival.  BGP previously acquired 99 Homes and SAMBA out of TIFF.

BGP plans to release the film in Spring 2015, capitalizing on the film’s overwhelming critical praise and potential for eventization, and creatively bringing it to both art-house and mainstream audiences.

The film is directed by Mia Hansen-Løve (GOODBYE FIRST LOVE, FATHER OF MY CHILDREN) and co-written with her brother Sven Hansen-Løve who’s life served as an inspiration for the film.  The film was produced by Charles Gillibert of CG Cinema (CLOUDS OF SILS MARIA).   EDEN stars Félix de Givry, Pauline Etienne, Vincent Macaigne with appearances by Brady Corbet, Laura Smet and  Greta Gerwig.

EDEN is an affecting trip into the electronic dance movement in Paris whose rhythms echo its textures and feeling.  The film follows Paul (Félix de Givry), a teenager in the underground scene of early-nineties Paris. Rave parties dominate that culture, but he’s drawn to the more soulful rhythms of Chicago’s garage house. He forms a DJ collective named Cheers (as, in a parallel storyline, two of his friends form one called Daft Punk, who float throughout the movie), and together he and his friends plunge into the ephemeral nightlife of sex, drugs, and endless music.  Shot by Denis Lenoir, Hansen-Løve’s film is a shimmering swirl of color, light and baselines – an intoxicating cocktail of euphoria and melancholy as alive as any nightclub.

Producer Charles Gillibert said, “We are proud to partner with the ambitious new distribution company, Broad Green Pictures, for the US release of EDEN after its strong reception at Toronto. They recognized the potential of the film and will help bring the highly acclaimed filmmaker Mia Hansen-Løve her biggest American audience yet.”

BGP founders and brothers, CEO Gabriel Hammond and Chief Creative Officer Daniel Hammond said, “Broad Green is excited to share this vivid true to life story with as wide of an audience as possible.  Mia has effectively captured this emotional journey through a familiar fleeting landscape of passionate youth.  It is both unique and poignant and it is relatable to anyone who has gone for broke while pursuing their dreams.”

The deal for EDEN was negotiated by Grégoire Melin and Ram Murali of Kinology on behalf of the filmmakers, and by Broad Green Pictures executives Asher Goldstein and Shawn Xu.

About Broad Green Pictures

Broad Green Pictures is building a studio infrastructure with a private company’s dexterity, providing it with an unparalleled creative palette and platform for innovation. With offices in Los Angeles and New York City, Broad Green provides filmmakers with a long-term creative home from script to screen making movies across budgets and genres. The company’s upcoming release and production slate includes the critically acclaimed 99 HOMES, TIFF 2014 People’s Choice Award first runner-up LEARNING TO DRIVE, Carlos Marques-Marcet’s award winning 10.000 KM, and BLUE RUIN helmer Jeremy Saulnier’s upcoming GREEN ROOM.

About CG Cinema

CG Cinema is a production company founded by Charles Gillibert focused on international directors development. In 2014 CG Cinema introduces its production “CLOUDS OF SILS MARIA” by Olivier Assayas selected at the Cannes Film festival ; “EDEN” by Mia Hansen-Løve selected at the Toronto & New York Film Festivals ; co-produces “FORSAKEN” (ex DESIERTO) by Jonás Cuarón (being edited). CG Cinema is now producing ” MUSTANG ” the first feature film by Deniz Gamze Ergüven, which is currently being shot in Turkey.

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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