By Ray Pride Pride@moviecitynews.com

FOCUS FEATURES ACQUIRES CANNES OPENING NIGHT FILM EVERYBODY KNOWS STARRING PENÉLOPE CRUZ AND JAVIER BARDEM

[pr] [Focus comcast zoomed logo]

FOCUS FEATURES ACQUIRES CANNES OPENING NIGHT FILM EVERYBODY KNOWS STARRING PENÉLOPE CRUZ AND JAVIER BARDEM

FOR IMMEDIATE RELEASE

CANNES, May 9th, 2018– Focus Features chairman Peter Kujawski announced today that Focus has acquired the Cannes Film Festival’s opening night film Everybody Knows (Todos Los Saben).  Focus Features will distribute the film in the U.S., Canada, UK, Australia, New Zealand, South Africa, India, select Asian territories and the Middle East, apart from Iran.  Focus had previously acquired rights in Spain last year.

On the heels of his second Academy-Award® winner The Salesman following his first for A Separation, Asghar Farhadi wrote and directed this Spanish-language psychological thriller starring Penélope Cruz, Javier Bardem and Ricardo Darín.  The film follows Laura (Cruz) on her travels from Argentina to her small home town in Spain for her sister’s wedding, bringing her two children along for the occasion.   Amid the joyful reunion and festivities, the eldest daughter is abducted. In the tense days that follow, various family and community tensions surface and deeply hidden secrets are revealed.

“Asghar is a world-class filmmaker whose work transcends language,” said Focus chairman Peter Kujawski.  “Matching his talents with these emotionally charged performances from Penelope, Javier and Ricardo will leave audiences captivated.”

Everybody Knows is produced by Alexandre Mallet-Guy of Memento Films and Álvaro Longoria of Morena Films.

UTA Indie Film Group and Memento Films International negotiated the deal on behalf of the filmmaking team. Farhadi is represented by UTA.

Focus Features acquires and produces specialty films for the global market, and holds a library of iconic movies from fearless filmmakers.  Current and upcoming domestic releases from Focus include Jason Reitman’s new comedy Tully, starring Charlize Theron and written by Diablo Cody; Won’t You Be My Neighbor?, director Morgan Neville’s documentary on Mister Rogers; Lenny Abrahamson’s atmospheric thriller The Little Stranger; Joel Edgerton’s coming-of-age and coming-out drama Boy Erased, about a boy’s true-life experience at a conversion therapy program, starring Lucas Hedges, Nicole Kidman and Russell Crowe; Mary, Queen of Scots with Saoirse Ronan as Mary and Margot Robbie as Elizabeth I; On the Basis of Sex, the real-life drama of Supreme Court Justice Ruth Bader Ginsburg staring Felicity Jones and Armie Hammer; Laure de Clermont-Tonnerre’s directorial debut Mustang; and Spike Lee’s new film BlacKkKlansman.

Focus is part of Universal Filmed Entertainment Group (UFEG), which produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment.  UFEG’s global division also includes Universal Pictures, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television and Awesomeness.  UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience.  NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

For more information visit www.focusfeatures.com

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