By Ray Pride Pride@moviecitynews.com

IFC FILMS ACQUIRES U.S. RIGHTS TO LARS VON TRIER’S “THE HOUSE THAT JACK BUILT”

Posted Thursday, May 25th, 2017 - Comments Off on IFC FILMS ACQUIRES U.S. RIGHTS TO LARS VON TRIER’S “THE HOUSE THAT JACK BUILT”
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[PR] CANNES, FRANCE (May 25, 2017) – IFC Films announced today that they are acquiring U.S. rights to Lars Von Trier’s THE HOUSE THAT JACK BUILT.  The film stars Matt Dillon, Bruno Ganz, Uma Thurman, Riley Keough and Siobhan Fallon Hogan.  THE HOUSE THAT JACK BUILT is produced by Louise Vesth for Zentropa Group in co-production with Film i Väst, Copenhagen Film Fund, Slot Machine, with support from Danish Film Institute, Swedish Film Institute, Nordisk Film & TV Fond, CNC, Film- und Medienstiftung NRW, Eurimages, The Media Programme of the European Union, and in cooperation with DR, Nordisk Film Distribution, Concorde Filmverleih, Potemkine, Les Films du Losange, SVT. IFC Films also released Von Trier’s 2009 film ANTICHRIST.
USA in the 1970s. We follow the highly intelligent Jack through 5 incidents and are introduced to the murders that define Jack’s development as a serial killer. We experience the story from Jack’s point of view. He views each murder as an artwork in itself, even though his dysfunction gives him problems in the outside world. Despite the fact that the final and inevitable police intervention is drawing ever near (which both provokes and puts pressure on Jack) he is – contrary to all logic – set on taking greater and greater chance
“Lars von Trier is an unparalleled cinematic provocateur and one of the world’s great auteurs. It’s great to be working with old friends and colleagues such as Lars, Peter Aalbaek Jensen and the entire Trust team – we are anticipating audiences will see a Matt Dillon they have never dreamed of before,” said Jonathan Sehring and Lisa Schwartz, co-presidents of IFC Films/Sundance Selects
Co-founder of Zentropa and executive producer Peter Aalbæk Jensen says: “The lovely people at IFC have always been generous. Now also money-wise! We celebrate this and the life-long relationship with Jonathan & Co by delivering a smashing film by notorious, Lars von Trier.”
The deal for the film was negotiated by Arianna Bocco from Sundance Selects/IFC Films with TrustNordisk on behalf of the filmmakers.
TrustNordisk is handling international sales.
IFC Films is a sister label to Sundance Selects and IFC Midnight 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. Recent releases include Olivier Assayas’ PERSONAL SHOPPER starring Kristen Stewart, Robin Swicord’s WAKEFIELD starring Bryan Cranston and Jennifer Garner, Kelly Reichardt’s CERTAIN WOMEN starring Laura Dern, Kristen Stewart, Michelle Williams and Lily Gladstone and Matthew Brown’s THE MAN WHO KNEW INFINITY starring Jeremy Irons and Dev Patel . Some of the company’s notable releases over the years have included Richard Linklater’s BOYHOOD starring Ellar Coltrane, Patricia Arquette, Ethan Hawke and Lorelei Linklater, which was nominated for six Academy Awards including Best Picture; Michael Winterbottom’s THE TRIP TO ITALY starring Steve Coogan and Rob Brydon; Joel Zwick’s MY BIG FAT GREEK WEDDING; Michael Moore’s FAHRENHEIT 9/11; Lena Dunham’s TINY FURNITURE; Noah Baumbach’s FRANCES HA; and Alfonso Cuaron’s Y TU MAMA TAMBIEN. IFC Films is a sister label to Sundance Selects 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