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DAILY NEWS: “Home Movie” Deal; Frameline News; German Films in Berlin; and Films Transit Growth

DAILY NEWS: "Home Movie" Deal; Frameline News; German Films in Berlin; and Films Transit Growth

DAILY NEWS: "Home Movie" Deal; Frameline News; German Films in Berlin; and Films Transit Growth

with articles by Eugene Hernandez/indieWIRE and Mark Rabinowitz

>> Code Red Gets Smith’s “Home Movie”

(indieWIRE: 01.29.02) — Code Red, the partnership between Cowboy Pictures and Antidote Films, has acquired worldwide rights to Chris Smith‘s
documentary, “Home Movie.” The film will be released this April and will be
packaged with Jeff Krulik & John Heyn‘s cult-classic doc, “Heavy Metal
Parking Lot

Described in a prepared statement yesterday as a “loving look at the five
most unusual homes in contemporary America and their eccentric inhabitants,”
Smith’s “Home Movie” (his latest film following “American Movie“) screened
at Sundance last year. John Sloss negotiated the deal on behalf of the film.

Cowboy has acquired the North American rights to “Heavy Metal Parking Lot,”
the hilarious look at Judas Priest fans interviewed in the parking lot
outside a suburban Maryland concert facility in 1985. Krulik has since
followed the infamous film with such sequels as, “Neil Diamond Parking Lot
and “Harry Potter Parking Lot.”

Other Code Red releases include “George Washington,” “Fat Girl,” and the
upcoming Shohei Imamura film, “Warm Water Under a Red Bridge.” [Eugene Hernandez]

>> Frameline Fest Expands to 18 Days

(indieWIRE: 01.29.02) — Frameline, San Francisco’s International Gay &
Lesbian Film Festival
, has announced that it will expand to 18 days for its
26th edition this year. The expansion will allow organizers to increase
capacity by 50,000 people over the festival, set to run June 13 – 30, 2002.
This year the fest welcomed more than 83,000 attendees, according to
organizers. The number of films accepted, or programming slots, will not be
increased as part of the expansion.

“Each year we experience so many sell-outs and we want to provide
festivalgoers with more opportunities to see these one-of-a-kind films that
they may never have the chance to see anywhere else,” commented Frameline
Executive Director Michael Lumpkin in a prepared statement. “At the same
time, we want to help filmmakers show their films to as wide of an audience
as possible.” [Eugene Hernandez]

>> Berlin Adds German Cinema Section

(indieWIRE: 01.29.02) — Organizers of the upcoming Berlinale have unveiled
plans for a new section of the 2002 Festival (running Feb. 6 – 17, 2002).
Dubbed Perspektive Deutsches Kino (Perspective of German Cinema), the
program will offer ten films that offer a window into German cinema.

Nightly beginning February 7th, the Festival’s CinemaxX 1 in Potsdamer Platz
will house the series. It will open with a collection of ten shorts made on
a low, fixed budget and presented under the banner “99 Euro-films.” One of
the shorts, Manfred Walther‘s “80000 Shots” uses time-lapse photography to capture the redevelopment of the Potsdamer Platz area of the city.

Features screening in the series include work by Katalin Godros
(“Mutanten“), Almut Getto (“Fickende Fische“), Eike Besuden & Page Balke
(“Verruckt nach Paris“), Christoph Gampl (“Planet B – The Antman“), Thomas Frick (“Detective Lovelorn“), and Thomas Imbach (“Happiness Is A Warm Gun“). Three other films set to screen are documentaries, including Antje Kruska & Judith Keil’s “Der Glanz von Berlin,” Stanislaw Mucha’s “Absolut Warhola,” and Katja Baumgarten’s “Mein kleines Kind” (My Little One).
[Eugene Hernandez]

For more information on the Berlinale

>> Films Transit Expansion

(indieWIRE: 01.29.02) — According to IFFR (International Film Festival
Rotterdam) publication The Daily Tiger, Jan Rofekamp‘s Canadian sales
company Films Transit International has launched an Amsterdam-based European arm, to be headed by Barbara Truyen.

Truyen has already sold two films this week to German company WDR-ARTE: Sami Saif-Phie‘s “Family” (Denmark) and Christian Frei‘s “War Photographer” (Switzerland). Neither film is screening at the IFFR. [Mark Rabinowitz in Rotterdam]

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