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Sundance Selects Acquires SXSW Winner ‘Gimme The Loot’

Sundance Selects Acquires SXSW Winner 'Gimme The Loot'

Sundance Selects has acquired North American and Latin American rights to Adam Leon’s SXSW winner “Gimme The Loot.”

The film won the Grand Jury Prize for Best Narrative Feature at the 2012 South by Southwest Film Festival and will screen at New Directors/New Films this weekend.

Check out Indiewire’s warm review of the film here.

Full press release below.

New York, NY (March 19, 2012) – Sundance Selects announced today that the company is acquiring North American and Latin American rights to GIMME THE LOOT which was written and directed by Adam Leon.  The film won the Grand Jury Prize for Best Narrative Feature at the 2012 South by Southwest Film Festival and will screen at New Directors/New Films this weekend.  It was produced by Natalie Difford, Dominic Buchanan, Jamund Washington and stars newcomers Tashiana Washington,Ty Hickson, Meeko, Zoe Lescaze and Sam Soghor.

In GIMME THE LOOT, Malcolm and Sofia, two determined teens from the Bronx, are the ultimate graffiti-writers. When a rival gang buffs their latest masterpiece, they must hatch a plan to get revenge by tagging an iconic NYC landmark, but they need to raise $500 to pull off their spectacular scheme. Over the course of two whirlwind, sun-soaked summer days, Malcolm and Sofia travel on an epic urban adventure involving black market spray cans, illicit bodegas, stolen sneakers, a high stakes heist, and a beautiful, stoned girl whose necklace is literally their key to becoming the biggest writers in the City.

Jonathan Sehring, President of Sundance Selects/IFC Films, said:  “In the tradition of our recent SXSW pickups including WEEKEND, TINY FURNITURE and MEDICINE FOR MELANCHOLY, GIMME THE LOOT introduces a major new talent with a big future.  We all fell in love with this infectious, charming crowd pleaser.  We’re excited to work with Adam Leon and his producers Natalie Difford, Dominic Buchanan and Jamund Washington and to introduce Tashiana Washington and Ty Hickson to audiences.”

Adam Leon, said: “We’re absolutely thrilled to be working with Sundance Selects. It’s extremely gratifying that our gang of misfits, all of whom took on tremendous sacrifices and poured their hearts into making this film, have found a home at such a prestigious company. We’re so excited to share this movie with a larger audience and are deeply thankful to everyone at Sundance Selects.”

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Josh Braun of Submarine.


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Did Jonathan Sehring see the same film that I, along with others, just saw at MoMA New Directors?

Just don't get what lens these executives — predominantly and obviously white — are seeing through. Are they gaging the authenticity and zeitgeist of "urban culture" through the reactions of hipster audiences at SXSW, and then, do a hail mary and think somehow it'll resonate in platform release? If so, they're sadly mistaken.

This was one of the more disappointing experiences I've had in recent memory. A film that markets itself about urban-graffiti writers and their adventures had essentially nothing, visually, at least to do with graffiti. A story with dialogue that had the artifice of "authentic" but felt like the filmmaker's fantasy of "ghetto talk" — but then again, with so many F-bombs thrown left and right, you could nary hear another word uttered.

And don't get me started on the narrative: after all, who cares about classic narrative structure where protagonists fight through obstacles to achieve something. In this film, they we're set up to believe that but they get nothing….it sputters, there's no obstacle, no conflict, long drawn up, irrelevant scenes and a petty "central conflict;" random "shots of the city" to give it that motley-montage feel but feels more like someone who enjoyed "stealing" shots of the city just for the sake of it. But hey, why not — it just about tossed out every other mantra for solid, tight, structured, well paced narrative.

Compare this to other recents (and by no means, classics are they either, but at least they were honest and technically and narratively more proficient): Rahmin Bahrani, Peter Sollett, even Ryan Fleck.


who don't love a movie by a white boy that uses the n word a million times. i know i do.

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