By Ray Pride

Kino Lorber Signs Multi-Year Deal with Carlotta Films US for Home Entertainment Distribution in U.S.

NEW YORK, NY – SEPTEMBER 18, 2014 – Kino Lorber is proud to announce that it has signed a multi-year distribution deal with Carlotta Films US as home entertainment distributor in the U.S. for packaged and digital media. The first release under the new distribution deal will be Charles Lane’s acclaimed modern silent film and landmark independent classic Sidewalk Stories in October, on Blu-ray, DVD and VOD.

Carlotta Films is committed to promoting film history by bringing audiences the best in recent independent films and classic revivals. Recent and upcoming theatrical releases from Carlotta include Sidewalk Stories; Mauvais Sang, the award-winning film from Leos Carax and starring Juliette Binoche; Orson Welles’ acclaimed Shakespeare adaptation Othello; Boy Meets Girl, directed by Leos Carax and winner of the Award of the Youth at the 1984 Cannes Film Festival; and Mr. X, a documentary about the mysterious and enigmatic filmmaker Leos Carax directed by Tessa Louise-Salomé.

The deal was negotiated by Kino Lorber CEO Richard Lorber and Carlotta Films founder and manager Vincent Paul-Boncour. “We’re proud and happy to work closely with Kino Lorber, Richard Lorber and his talented team, to bring to American audiences our releases on DVD, Blu-ray and VOD. Sharing a similar philosophy about repertory, Kino Lorber is the perfect match for Carlotta Films US. In parallel with our activity as a theatrical distributor, our video releases will extend the life of our films, of our acquisitions and the work we have been doing for 18 years in France (and now in the US) on cinema history,” said Vincent Paul-Boncour.

Richard Lorber said, “Vincent has built a distinguished and enviable brand in France. We’re honored to partner with a label of such curatorial distinction, extending it to the U.S.  Carlotta and Kino Lorber converge in our vision and will strongly complement each other as we advance the cause of quality cinema in North America.”


About Carlotta Films:

As an independent company, CARLOTTA FILMS has been promoting heritage cinema in France for 18 years: re-releasing restored classic films, cult films from the 70s & 80s, and also working specifically with young audiences.

Since its creation, CARLOTTA FILMS has steadily developed and supported every technological evolution, and released or re-released heritage films, using every medium: theatrical distribution, festivals, DVD and Blu-ray editions, its own VoD platform (, VoD distribution on major platforms, and more recently also an International Sales Section specialized in Independent Heritage Film.

With its work on Cinema History, the discovery of new horizons and new audience, CARLOTTA FILMS has decided to create its own company in the US, CARLOTTA FILMS US, in order to develop, with the same spirit as in France, an active distribution, specialized in revivals, with releases in theaters, as well as on DVD, Blu-ray, VoD, and TV in North America.

CARLOTTA FILMS US wishes to position itself in a complementary way to the already-existing independent American companies, who are doing a great job on Cinema History (both in theaters and DVD/Blu-ray); to do important work on independent revivals and especially, but not only, French films, particularly from the ’70s, ’80s and ’90s, and to work on all media, starting with theatrical releases, festivals, then DVD/Blu-ray/VoD and TV.

And to create, from one side of the Atlantic to the other, bridges — links about Cinema History between France and America, with similar, different and new audiences.

About Kino Lorber:

With a library of 1,000 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including five Academy Award® nominated films in the last seven years. In addition, the company brings over 70 titles each year to the home entertainment market with DVD and Blu-ray releases under its five house brands, distributes a growing number of third party labels, and is a direct digital distributor to all major platforms including iTunes, Netflix, HULU, Amazon, Vimeo, Fandor and others.

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