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Rights Round Up Cannes 2010 by International Sales Agent: A-C

Rights Round Up Cannes 2010 by International Sales Agent: A-C

One of the most popular reports I publish is the Rights Roundup to show the trade who sold what to whom during the market (Cannes in this case). The ISAs (international sales agents) are all linked to their own websites. I wish all of the distribution companies who pick up the films for their territories (there are about 40 territories) and all the titles were also linked, but I lack the manpower to do the job 100% so only some are linked to their own company websites, or in the case of titles, to IMDbPro Title Pages. This reports allows sales agents to gauge their competitors, see who is buying similar types of films, and it allows buyers (distributors in this case) to see what similar acquisitions are being made by similar companies in other parts of the world and to have instant access to the sellers and buyers or to more details in the titles themselves.


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The Cannes Marche du Film Rights Roundup in which international sales agents have licensed rights to the following films to the following distributors is a is a work in progress. It is not yet complete but it is time to allow buyers and sellers to see who has acquired what from whom, to move in on the titles for their territories, to compare buyers of similar films to their own clientele, etc.. The correct links to contacts will be inserted as we progress, and we will continue to add deals until it is time for Toronto and the other fall de facto markets to begin their sales.

– Companies link to their own websites.
– Film titles link mostly to IMDbPro. If you don’t have a subscription, it might be worth getting one.
– Film titles might link to Cinando as the website of the Cannes Market is increasingly linking titles and companies, including the distributors themselves to the films they are selling, buying and even producing and marketwise, this is valuable information.

Readers can let me know which links they prefer. Cinando has added a very important new feature which shows the Distributors [hotlinked] who have the rights to films listed in the Market. IMDb also has such a feature which can be seen when you go into a title’s “Company Credits” and you can see if the rights for a territory have been sold and what other films the designated distributors have, something which might dovetail in nicely with your company’s own tastes. If you are an International Sales Agent (which IMDb sometimes calls Sales Representative and which I call an ISA), you can see a competitor’s title and what Distributors have acquired it. I am so glad to see that Cinando has moved into this area and hopefully the International Sales Agents realize the value such rights information adds even while upping the competitive ante. Given a level playing field, the smart players will prevail. I am in favor of revealing who the buyers / distributors are…their own websites and publicity needs are in accord with this transparency even if International Sales Agents do not like revealing who their clients are for fear their competitors will steal them away.

Here is the A to Z of the ISAs’ sales centering around Cannes.

6 Sales sold Miffy the Movie to Warner Bros. for Benelux, Noori for So. Korea and Kino Swiat for Poland. Thilms for the Middle East. 4 films from the Saul Zaentz library including Amadeus, One Flew Over the Cuckoo’s Nest, The Unbearable Lightness of Being and The Mosquito Coast sold to Lusomundo for Portugal, RSI for Switzerland, Tohokushinsha for Japan pay TV, Telefilms SA for Latin America TV and Daro Films for Eastern European tV. France 3 bought Cuckoo for France and Arte bought Amadeus, The Unbearable Lightness and The Mosquito Coast for France.

Accento Films closed an all rights deal for Two Eyes Staring

with So. Korea’s KT&G Sangsangmadang. Several European territories are showing interest as well and U.S. companies are looking at remake rights.

Altadena sold Travellers to High Fliers for U.K.

Archstone licensed Universal Squadrons to Kaleidoscope for U.K.

Arclight licensed Mental to Universal for U.K., Australia/ N.Z. CAA packaged Mental and is handling North American rights. Altitude went to Anchor Bay for distribution in the U.S., the U.K. and Australia/ New Zealand. Alliance has Canada. Red Hill went ot SPWAG (Sony) for U.S. Transmission has Australia/ N.Z. Concorde TMG has German speaking territories, Pyramide for France, DeAPlaneta for Spain, Mikado for Italy, Icon for Australia/ N.Z., Forum for Israel, Italia for the Middle East, Filmopolis for Greece/ Cyprus, Aqua Pinema for Turkey, Samfilm for Iceland and Modus Vivendi for Eastern Europe.

Arrow licensed Hugh Hefner: Playboy, Activist and Rebel to NonStop for Scandinavia. Rights had already gone to Phase 4 for U.S. and to Kinosmith for Canada.

Aspect Film has presold Fading of the Cries to Film Depot for Australia/ N.Z. and licensed award winning Self Medicated to Lionsgate for U.K., 21st Century Pictures for Australia. The North American DVD release was April 20th, following its theatrical release there by the now defunct ThinkFilm who also had the international rights, prior to Aspect’s acquiring it for international sales. Blood Night went to LionsGate/ Grindstone for U.S, Anchor Bay for Canada, Australia & New Zealand, High Fliers for U.K. and H.O.M. Vision for Benelux. Badland also went to High Fliers for U.K. and H.O.M. Vision for Benelux, as well as Front Row for Middle East. Front Row also took Food Matters. Blood Night and Food Matters went to Tiberius for Germany in pre-Cannes deals. Aspect Film picked up rights to Neighbor in Cannes and closed a deal with High Fliers for U.K. Lionsgate will be releasing the film in North America on July 27th.

AV Pictures sold Primal to IFC for the U.S. and to Anolis for Germany.

Bankside♀ licensed The Door to went to Megacom for Ex-Yugoslavia. Concorde TMG already has German speaking territories as a coproducer. Freestyle Releasing will handle the U.S. theatrical release of Bran Nue Dae. Cinemarket’s Peter D Graves will oversee marketing in conjunction with Steven Raphael’s Required Viewing. Omnilab Media, the film’s producer is also in the P&A financing arena. Outcast went to Vertigo for U.K., Shooting Stars for the Middle East, Hopscotch for Australia/ N.Z., Filmopolis for Greece. U.S. buyers are in discussion.

Bavaria licensed How I Ended This Summer to Film Movement for North America. Life Above All went to Sony Pictures Classics for North America. Senator has Germany and ARP has France.

BBC Worldwide licensed Stones in Exile, a one-hour doc which just aired on BBC 1 in the U.K. and on Jimmy Fallon’s late night show on NBC U.S. last week to Belgium (VRT), Russia (Channel 1), Australia (ABC), Spain (Canal Plus), France (France 5), Holland (VPRO), Sweden (SVT), Norway (NRK), Uplink for Japan, Canvas for Belgium, National Broadcasting Company (NBC) for U.S. TV, Yleisradio (YLE) for Finland TV. Sales are also lined up for Latin America, Brazil, Germany and Israel but had not yet signed off on them.

Beta Cinema licensed Taiwanese filmmaker Arvin Chen’s gangster story Au Revoir Taipei,

which had its world premiere in the Forum at this year’s Berlinale, to South Korea’s Sejong Communications and a U.S. deal is being negotiated. There is strong interest from U.S. buyers for Lila Lila and the documentary Keep Surfing which was released by Prokino in 44 German cinemas last week. Vincent Wants To Sea (Vincent Will Meer) went to Israel (LEV Cinemas/Shani Film) and South Korea (Sejong Communications). Bon Appetit went to Aya Pro (Japan), Vivarto (Poland) and Mountain Pictures (South Korea). It is screening in U.S. for buyers currently. Hollywood Classic Entertainment of the Czech Republic and Slovakia picked up Uli Edel’s rapper biopic Electro Ghetto (Die Zeiten Ändern Dich) and other East European territories are negotiating. Jerry Cotton, which was released in German cinemas by Constantin Film earlier this year, went to Japan (New Select) and Mainland China (New View Media). My Best Enemy (Mein bester Feind), now in post, a Filmauro production who has it for Italy, went to the U.K. (Metrodome), Mainland China (ERG Media) and the Czech Republic/Slovakia (Hollywood Classic Entertainment). China’s ERG Media picked up Agnieszka Holland’s Second World War drama Hidden. RAI Cinema prebought Italian rights to The End Is My Beginning (Das Ende ist mein Anfang) which is now in post.

Bleiberg Entertainment licensed Beatdown, Circle of Pain, and Life Blood to Artificial Eye for U.K. Madman of Australia took My Suicide. Vendetta Films of Australia took Small Town Saturday Night, Beatdown, Circle of Pain, Adam Resurrected (Jeff Goldblum & Willem Dafoe), The Trotsky (Jay Baruchel) & Bart Got a Room (William Macy). MediaPro of Romania took Iceman. Horizon Int’l of Turkey acquired Iceman & The Trotsky. K&E Entertainment of So. Korea bought Kirot. Lap TV of Latin America acquired Pearblossom, Small Town Saturday Night, Dark Mirror, My Suicide & The Vicious Kind (Adam Scott & Brittany Snow). NonStop of Scandinavia acquired Adam Resurrected. Paradiso of Benelux acquired Adam Resurrected. Eagle Films of Middle East acquired Trotsky, My Suicide, Killer by Nature (Ron Perlman & Armand Assante). Wild Bunch of Germany acquired Beatdown & Circle of Pain. Playarte of Brazil acquired Killer by Nature. Sahamongkol of Thailand acquired Life Blood & Dark Mirror.

Breakaway Media licensed Passenger Side for U.S. to Strand” title=”Strand”>Strand Releasing.

Celluloid Dreams ♀ licensed Margarethe von Trotta’s ♀ Vision to Zeitgeist forU.S. Brendan and the Secret of the Kells went to GKIDS for U.S. in pre-Cannes deals. E1 took on Canadian and U.K. rights to Norwegian Ninja. Gaga took rights for Japan to Apart Together. Outrage went to NonStop for Scandinavia. Mao’s Last Dancer went to ATO for U.S. ATO (Art Takes Over) was a financing and production company in New York founded in 2002 by rocker Dave Matthews and run by CEO Temple Fennell. It will release 4 to 6 movies a year through its new partnership with IDP, the distribution wing of Samuel Goldwyn Films. Other principals include Jonathan Dorfman, Peter Newman and Greg Johnson. Former Cinetic Media exec Sarah Lash will head acquisitions. 20th Century Fox Home Entertainment will distribute on DVD, Blu=ray, VOD and digital download. If I want to Whistle, I Whistle has sold to Film Movement for U.S., Artificial Eye for U.K., Why Not for France, Wild Bunch Benelux for Belgium, Luxemburg and Holland, to United King Film Distribution for Israel and Vertigo Films for Spain. Şerban’s debut won the Silver Bear – The Jury Grand Prix and the Alfred Bauer Prize in Berlin 2010. The film is a Romanian-Swedish co-production between Strada Film, Film i Väst and The Chimney Pot. It was funded by the Romanian National Centre for Cinema (, the Swedish Film Institute ( and Post Republic Berlin (, and was pre-sold to Romanian Television. The project won The Magic Box Service Award at CineLink, at the 2008 Sarajevo IFF, and the CineLink Work in Progress Award at Sarajevo IFF in August 2009. It also received the Hubert Bals Fund Award for Development at the Rotterdam International Film Festival.

Celsius licensed Freakanomics to Magnolia for No. America.

Cinema Management Group licensed SXSW audience award winner Brotherhood (See TOH for further background on this film) to Phase 4 Films for North America, SPWAG (Sony) for the U.K.; Ascot Elite for German speaking territories; KT&G Sangsangmadang for South Korea; Golden Village for Singapore; Videx for pay TV in Latin America; Eagle Entertainment for Australia and New Zealand; and Front Row Entertainment for the Middle East. Blood Out went to Eagle Pictures for Australia and New Zealand; IPA Asia Pacific for Thailand and Vietnam; Pratama for Indonesia; Videx, the licensing entity for Ledafilmin Argentina for pay TV in Latin America; Vision Film in Poland; Film Pop for Turkey; Cinetel in Hungary; and North American Pictures for the Czech and Slovak Republics, Svensk Filmindustri acquired rights for Scandinavia and Front Row Entertainment signed up for the Middle East. Talks are ongoing with Italy and Brazil.

Brotherhood directed by Will Canon starring Lou Taylor Pucci, Audience Award Winner SXSW

CMG’s The Perfect Host, which premiered at Sundance, sold to French Connection Films for France; Festival Films for Spain; All Interactive” title=”All Interactive Media”>All Interactive Media for Australia/New Zealand; Bejing Asian Culture for China; Front Row Entertainment for the Middle East; Videx, the licensing entity for Ledafilmin Argentina for pay TV in Latin America; and Jaguar Films for all international airline rights. Lionsgate/ Grindstone has all rights for U.S./ Canada and Lionsgate U.K. has the U.K. Gasland, which won the documentary Special Jury Prize at Sundance, sold to: Mongrel Media for Canada; Dogwoof for the U.K./ Ireland; French Connection Films in France; Sena for Iceland; Palace Pictures in Australia/New Zealand; Golden Village for Singapore; and Front Row in the Middle East.

Cinemavaul presold the final film in the Theo Van Gogh trilogy, Somewhere Tonight, to Lusomundo for Portugal, HBO for Eastern European PTV, Digiturk for Turkey, Maywin Media for Russia and CIS, Spentzos for Greece, Solopan for Poland, Rialto for Switzerland, ETV for South Africa, DBS for Israel TV and Peace Arch for Canada.

Cinephil♀ licensed Film Unfinished♀ to Oscilloscope for U.S. in a pre-Cannes deal.

Cinetic sold A&E Indie’s untitled Eliot Spitzer doc to Magnolia for U.S.


The buyers bought and the sellers have long folded their tents and moved on, but the sales continue, and will continue until Toronto brings a new batch of films, thus inaugurating the fall season of buying which culminates at the AFM in November. During the upcoming season we shall see the effect of the devalued Euro on buying and selling.

The judgment on the market: Sales and even pre-sales are up though prices are down. Buying is up in some territories, but down in others, most notably in Japan for outside product. Japan seems to have become an inward-looking territory, one North American sales excutive said. Eastern Europeans are happy with their sales, the young French producers are less so. Buying is more active in Poland, South Korea and Mexico this year according to Jerome Paillard as quoted in Film Francais. U.S. indies are rather flat and the U.S. buyers are hesitant to buy. The larger name titles of U.S. sales agents are selling and preselling well. Where 15 to 20 years ago U.S. accounted for 90% of the international box office, and then 10 years ago for 50%, and in 2008, 30 to 40%, now it sometimes has no share at all in a film’s boxoffice. Aside from theatrical sales, vod and hybrid forms of distribution are making quick but not high $ level inroads. Revenue shares will reapportion themselves as time goes on. Genre films (7-8% of the tiles in the market) were popular and there was an increase of documentaries in the selection. Attendance was up 1%.

The largest countries, called the BRIC territories (Brazil, Russia, India, China), are making moves to expand buying, producing and selling to the rest of the world. If Russia and China’s activities continue in this direction it will allow for greater growth in the business. India seems the most committed to this and Brazil seems to be quieter.

Money is flowing once again though not at the 2008 levels. If the American Film Market in 2008 made US$700 million as was stated by IFTA at the time, then by extrapolation, Cannes in 2008 made US$1 billion and the European Film Market in Berlin made US$500 million in transactions in rights trading and coproduction deals. Jerome Paillard of the Cannes market has stated that the attendance levels this year are back up to 2008 levels. While that does not mean prices are as high as in 2008, at least commerce is picking up. Edward Noeltner of CMG notes that it was a busy market for him but where one company was once the buyer of 3 titles, now it is only buying 1 which means 3 times the amount of work is required to move titles.

To a large degree, the action at the Cannes market reflected the state of supply and demand. With a slowdown in worldwide film production over the last 18 months, buyers must replenish their inventory. Among these buyers are the studios who have cut back on their own production and are in need of product which has allowed high end presales to suddenly emerge again.

Presales remain down but not out. Because of the world’s finance crises of 2009 not much went into production and banks are still wary of backing production, though wealthy individuals seem to be coming forward. CAA also holds the torch leading wealthy individuals’ equity investments into larger independent films.

Cannes has infused the marketplace an optimism that in the second half of 2010 the pace will quicken.

The Rights Roundup enables distributors,international sales agents, programmers and financiers to keep track of current market activities during and for a certain time after the event. The links to the international sales agents’ (ISAs) and distributors’ own websites enable readers to go deeper into the companies, thus pulling back the curtain on the international film business. Titles are linked to IMDbPro because to date it is the only place a paying public can see at a glance which companies (look under Company Credits) are involved in the international sales and distribution – as well as in the production – of the title.

From those Company Credits, one can also see the rest of the company’s lineup of films – whether in actual distribution, on offer, in development, or in the library/ catalog – all invaluable information for the business of film. For the real market going film professional however, only Cinando offers the best of market information, from locations to screenings and all the most current and accurate company contact information. And of course, for the known and approved buyers (distributors), the ISA gives further access to the film, its corollary materials, etc.

Contentfilm licensed The Winning Season to NonStop for Scandinavia and the Baltics. I Knew It Was You went to Oscilloscope for North America.

Coproduction Office sold Le Quattro Volte to Filmes da Mostra for Brazil. Tender Son – The Frankenstein Project went to Megacom for Ex-Yugoslavia.

Corsan struck a multi-title distribution deal withAnchor Bay for the U.S., U.K. and Australia/ N.Z. which will include The Devil’s Double starring Dominic Cooper and Ludivine Sagnier, The Box Collector and heist thriller The Hessen Affair with Billy Zane. (Anchor Bay does not hold Australian rights for The Hessen Affair, nor does it hold U.S. rights for The Devil’s Double. North American rights are available). Also included is romantic comedy Meant To Be directed by Paul Breuls himself (the owner of Corsan World Sales and Corsan Productions) and the Roland Joffe directed epic romance Singularity to shoot this summer. In certain cases Corsan may provide p&a budgets towards the releases, which will go out as platform releases and expand wide in subsequent weeks.

Crimson Wolf Productions licensed No. American rights to Eyeborgs to Image in a pre-Cannes deal.

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