By MCN Editor editor@moviecitynews.com

ALFONSO CUARÓN’S ROMA TO BE RELEASED THEATRICALLY IN OVER 600 THEATERS WORLDWIDE

Posted Friday, December 7th, 2018 - Comments Off on ALFONSO CUARÓN’S ROMA TO BE RELEASED THEATRICALLY IN OVER 600 THEATERS WORLDWIDE
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Hollywood, Calif. – (December 7, 2018) – Netflix confirmed today that Academy Award® winning director and writer Alfonso Cuarón’s ROMA, produced by Esperanto Filmoj and Participant Media, will be released in over 100 theaters in the United States and more than 500 theaters internationally in over 40 countries, curated by Netflix by territory around the release of the film on the service on December 14.

The theatrical presentation of the film began in the United States and Mexico on November 21, already selling out theatres in New York, Los Angeles, Mexico City, London and Toronto, among others.

The passion and pride from viewers in Mexico created a reported “ROMA fever,” leading to an increasing number of theaters reaching out to exhibit the film.  ROMA will be in nearly 100 theaters throughout the country this weekend.

This weekend the film will continue its expansion, hitting nearly 50 theaters in the US and over 200 theaters internationally.  The innovative roll-out allows consumers worldwide the opportunity to experience the film theatrically, both before and during the film’s global streaming release, where it will be available to over 130M people.

The film premiered earlier this year at the Venice Film Festival where it took home the Golden Lion for best film and has played in nearly 70 film festivals to great acclaim worldwide. The film has received numerous accolades, including recently being named Best Picture of the year by the New York Film Critics Circle, a prestigious award from the American Film Institute and 3 Golden Globe Award nominations. All of this further affirming that this timely story about human condition demands to be seen.

“We love this film and our goal is to bring this cinematic experience to audiences everywhere, and our theatrical plan, combined with the reach of our service, has made ROMA an event film and cultural moment,” said Scott Stuber, head of Netflix’s film group.  “ROMAhas played in festivals all over the world and we’re expanding our theatrical engagements, not only in major markets, but also in places like Honduras, South Africa, and Iceland.  When the film premieres on December 14, we will be in 600 theaters worldwide.”

“Alfonso and everyone at Participant believe strongly in the theatrical experience,” said David Linde, CEO of Participant Media. “Choice and increased audience diversity around the world are also very important, and this incredible combination of the two worlds is something very exciting.”

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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