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Stars: Samantha Morton, Naomie Ackie, Hector Hewer | Written by Asif Kapadia, Tony Grisoni | Directed by Asif Kapadia

It’s the year 2073, and the worst fears of modern life have been realised. Surveillance drones fill the burnt orange skies and militarised police roam the wrecked streets, while survivors hide away underground, struggling to remember a free and hopeful existence.

As a fan of both speculative fiction and thought-provoking documentaries, I was intrigued by 2073, the latest film from Asif Kapadia, best known for Senna and Amy. The film blends dystopian fiction with documentary elements, creating a chilling, hybrid vision of our near future.

Samantha Morton delivers a haunting performance as a mute survivor navigating a post-apocalyptic world. Her silence speaks volumes, forcing the audience to absorb the devastation around her. Interwoven with her journey are real-world interviews and archival footage tackling pressing global crises—climate change, authoritarianism, and technological overreach. The result...

Oscar-winning documentary filmmaker Asif Kapadia combines documentary and fiction in 2073, a hellish vision of a dystopian future based on current and past world events. He predicts a scorched Earth decimated by climate change, with a ruling class of one-percenters who use surveillance technology to violently crush dissent. The paper-thin narrative intercuts the travails of a fictionalized protagonist with archival news footage and commentary from noted journalists, activists, and political figures. Kapadia unabashedly employs a sledgehammer approach to preach liberal values while excoriating right-wing populism and libertarianism. 2073's heavy-handed doomsday prophesying will certainly rankle those with contrasting views, but there's no denying the validity of Kapadia's arguments.

Orange skies loom as fires burn out of control across a scarred national landscape. San Francisco rises out of the ashes as America's new capital and home to the wealthy elites that live in skyscrapers above the ruins. They dine on scrumptious meals grown...

A clunky fusion of sci-fi fiction and political documentary, Asif Kapadia’s 2073 shakes us into submission via a series of cursory rundowns of crumbling democracies, the weaponization of social media, rising xenophobia, and more. In summarily covering so many global crises, Kapadia’s film plays less like a galvanizing call to action than a shapeless and hollow piece of agitprop that inspires only the same paralyzing sense of fear and hopelessness that it accuses demagogues around the world of provoking in people.

Kapadia and editor Chris King have detailed the biographies of famous figures in compelling, well-structured documentaries—Dominic Senna in 2010’s Senna and Amy Winehouse in 2015’s Amy. By contrast, 2073, whose only coherent thesis is the belief that the world is going to shit, is dubious and throws structure to the wind. It tries to cover so much material that even the most abhorrent of tragedies are somewhat...

The intriguing 2073, a hybrid documentary and science fiction thriller produced by Neon and directed by Asif Kapadia, will land in theaters on December 27, 2024, it has been revealed. The film blends speculative storytelling with nonfiction reporting and serves as a warning against climate change, the dwindling of global democracy, and authoritarian states, among other societal ills. Starring Samantha Morton and Naomi Ackie (Blink Twice), 2073 is inspired by Chris Marker's landmark 1962 short film La Jete, in which a time traveler attempts to change past events in order to save his own dismal future.

The short also inspired Terry Gilliam's 1995 film 12 Monkeys, which starred Bruce Willis, Brad Pitt, and Madeleine Stowe. The release date has now been revealed courtesy of Variety, and you can check out the film's official logline is as follows:

"It's the year 2073, and the worst fears of modern life have been realized. Surveillance drones...

Neon has set a Dec. 27 release date and released the trailer for Asif Kapadia’s (“Amy”) “2073,” a speculative sci-fi documentary that serves as a warning for a potentially dismal reality that lurks 49 years in the future.

Per an official logline, the film takes place in the year “‘2073,’ and the worst fears of modern life have been realized. Surveillance drones fill the burnt orange skies and militarized police roam the wrecked streets, while survivors hide away underground, struggling to remember a free and hopeful existence. In this ingenious mixture of visionary science fiction and speculative nonfiction, Kapadia transports us to a future foreshadowed by the terrifying realities of our present moment. Samantha Morton (“In America”) plays a survivor besieged by nightmare visions of the past—a past that happens to be our present, visualized through contemporary footage interconnecting today’s global crises of authoritarianism, unchecked big tech, inequality and global climate change.

Neon has set a December 27 release for UK filmmaker Asif Kapadia’s docu-fiction hybrid and Venice world premiere 2073.

Samantha Morton and Naomi Ackie star in the film, inspired by Chris Marker’s 1962 featurette La Jetée about a time traveller who risks his life to save humanity.

Kapadia and Tony Grisoni co-wrote 2073, and Kapadia produced with George Chignell for Lafcadia Productions. Executive producers are Tom Quinn and Dan O’Meara for Neon, Emily Thomas, Dana O’Keefe, Emily Selinger, Ollie Madden, Farhana Bhula, Nicole Stott for Concordia Studio, Chris King, Eric Sloss, and John Sloss.

Double Agent, the joint venture created by New Regency and Black Bear,...

Neon has scheduled December 27th for the U.S. theatrical debut of ‘2073,’ a documentary that blends genres, crafted by Oscar-winning director Asif Kapadia, known for his work on ‘Amy.’ The release will be limited to select theaters across the country.

The movie stars Samantha Morton from ‘The Serpent Queen’ and Naomi Ackie of ‘Blink Twice.’ It draws inspiration from Chris Marker’s 1962 film ‘La Jetée,’ which tells the story of a time traveler determined to alter history and secure a better future for humanity.

Set in the year 2073, the film presents a dystopian future where society’s greatest fears have become reality. The sky is dominated by surveillance drones, and militarized police patrol devastated cities.

Survivors, forced underground, cling to memories of a once hopeful world. Morton’s character is tormented by visions of the past—our present—creating a narrative that links today’s pressing issues like authoritarianism,...

Neon announced on Monday that 2073, the new genre-bending documentary from Oscar winner Asif Kapadia (Amy), will be released in select U.S. theaters on December 27th. The studio also unveiled a new trailer, which you can view above.

Starring Samantha Morton (The Serpent Queen) and Naomi Ackie (Blink Twice), 2073 is inspired by Chris Marker’s 1962 featurette La Jetée about a time traveler who risks his life to change the course of history and save the future of humanity.

In the film, it’s the year 2073, and the worst fears of modern life have been realized. Surveillance drones fill the burnt orange skies and militarized police roam the wrecked streets, while survivors hide away underground, struggling to remember a free and hopeful existence. A blend of science fiction and speculative nonfiction, the film transports us to a future foreshadowed by the terrifying realities of our present moment. Morton plays a...

Senna and Amy filmmaker Asif Kapadia turns to dystopian filmmaking with 2073, starring Samantha Morton. Here’s our review:

Best known for his award-winning documentaries Senna, Amy and Diego Maradona, director Asif Kapadia has made something quite different with 2073 – a feature that blends dystopian fiction with archive footage to deliver a stark warning about humanity’s present course.

Samantha Morton provides a haunted-looking focal point as Ghost, a denizen of the dystopian New San Francisco in the titular year 2073. Although remaining silent in the film itself, Morton provides a soulful voiceover as Kapadia cuts from footage of her scrambling around the remains of a department store – her refuge from the militarised state patrolling the rest of the city – and sequences that show what led to our planet’s collapse.

Kapadia has previously said he was inspired by Chris Marker’s 1962 short film La Jetee when he made 2073, though in practice its...

In “Amy,” Asif Kapadia’s Oscar-winning gut-punch about pop icon Amy Winehouse (and to a lesser extent in biographical docs “Senna” and “Diego Maradona” too), the British director employs an emotional rhythm by which his subject’s tragic end seems foredestined right from the start. Perhaps “2073,” his new hybrid docufiction is a natural expansion of that impulse — a blend of archival footage, CG enhancement and speculative fiction that applies similar retroactive dismay to a cautionary tale about a near-future dystopia, and the current rising tide of everything-is-terrible that may bring it about.

Unfortunately, what is highly effective as a biographical rise-and-fall tactic is far less so as a means to make a grand statement about imminent societal collapse. It’s not clear quite who is going to be galvanized into action to avert catastrophe when according to “2073,” almost everything that will lead to civilization’s demise — from AI to climate...

The official poster and trailer for the new Neon film, 2073 has just been released. The film, which is directed by Asif Kapadia, has yet to receive an official release date.

Synopsis: It’s the year 2073, and the worst fears of modern life have been realized. Surveillance drones fill the burnt orange skies and militarized police roam the wrecked streets, while survivors hide away underground, struggling to remember a free and hopeful existence. In this ingenious mixture of visionary science fiction and speculative nonfiction, Academy Award®-winning filmmaker Asif Kapadia (Amy) transports us to a future foreshadowed by the terrifying realities of our present moment. Two-time Academy Award® nominee Samantha Morton plays a survivor besieged by nightmare visions of the past — a past that happens to be our present, visualized through contemporary footage interconnecting today’s global crises of authoritarianism, unchecked big tech, inequality, and global climate change. 2073 is an urgent,...

Drones fill the orange-tinted sky as citizens are forced to hide from authorities in Neon’s 2073 trailer. Directed by Oscar winner Asif Kapadia, 2073‘s trailer teases a terrifying world that is, unfortunately, not all that difficult to imagine. As the trailer declares, “This is not fiction. This is not a documentary. This is a warning.”

Neon offers this synopsis:

“It’s the year 2073, and the worst fears of modern life have been realized. Surveillance drones fill the burnt orange skies and militarized police roam the wrecked streets, while survivors hide away underground, struggling to remember a free and hopeful existence. In this ingenious mixture of visionary science fiction and speculative nonfiction, Academy Award-winning filmmaker Asif Kapadia transports us to a future foreshadowed by the terrifying realities of our present moment. Two-time Academy Award nominee Samantha Morton plays a survivor besieged by nightmare visions of the past—a past...

Eulogizing the 1960s in a haze of marijuana smoke, psychotropic apparitions, ether vapors, and coke sweats, Terry Gilliam’s adaptation of Hunter S. Thompson’s brilliant, notorious 1971 novel Fear and Loathing in Las Vegas has aged startlingly well. Picked up by Gilliam when fellow cinematic madman Alex Cox dropped out, the project was long thought to be the most preposterous screen adaptation ever mounted—an impossibly addled switchback ride through the death rattles of the 1960s, compacted and then stretched out like silly putty over a three-day fever dream in the heart of Sin City.

For Gilliam, the sheer outrageousness of the dystopian Freedomland that Thompson had found or hallucinated about out in the desert while covering the Mint 400 motorcycle race for Sports Illustrated presented a perfect outlet for his giddy, often disturbing brand of inventiveness, and, indeed, Fear and Loathing stands as the Monty Python alum’s last completely successful work.

First Look

U.K. broadcaster Channel 4 has released a first look image of its new comedy series, “Big Mood” (working title), produced by Fremantle‘s Dancing Ledge Productions. The six-part series explores the intricacies of female friendship when confronted with the complexities of serious mental illness.

Starring in the show are Nicola Coughlan and Lydia West. Joining the ensemble cast are Niamh Cusack, Eamon Farren, Luke Fetherston, Kate Fleetwood, Rob Gilbert, Rebecca Lowman, Sally Phillips, Ukweli Roach, and Amalia Vitale. The cast also includes Olu Adaeze, Max Bennett, Skylar Betteridge, David Bedella, Tim Downie, Ron Donachie, Sarah Durham, Lara Grace Ilori, Neil Edmond, Amy Gledhill, Maddie Grace Jepson, Tom Rhys Harries, Layla-Belle Matthews, Simon Meacock, David Mumeni, David Newman, Freya Parker, Shuna Snow, Sid Sagar, Stephen Sobal, Lottie Tolhurst, Isobel Thom and Robin Weaver.

Joanna Page, best known for her roles in “Love Actually” and “Gavin and Stacey,” will make a guest appearance,...

Speakers include BFI London Film Festival director Kristy Matheson, Film4’s Farhana Bhula and The British Blacklist’s Akua Gyamfi.

US producer Anthony Bregman, incoming BFI London Film Festival director Kristy Matheson and leading UK execs are among the speakers confirmed for the second edition of the Sundance Film Festival: London industry programme.

The Sundance Institute will once again be partnering with Picturehouse for this year’s event, which takes place at London’s Picturehouse Central from July 6-9.

Bregman will deliver the keynote talk. He premiered three features at the Sundance Film Festival in January: Flora And Son, Eileen and You Hurt My Feelings,...

Michael Winterbottom has devoted much of his filmmaking career to revisiting real-life events through works blurring the boundaries between documentary and drama to various degrees.

The filmmaker shed light on his approach in a recent Doha Film Institute (Dfi) masterclass, going behind the scenes of Welcome To Sarajevo, 24 Hour Party People, In This World, The Road To Guantanamo, A Might Heart and Eleven Days In May.

“It’s a continuum, even if you’re filming a fantasy film in a studio on a green screen there is an element of document to that. You’re recording that moment of the act of performance,” he said when quizzed on his attitude towards documentary versus fiction.

“Equally, even in a documentary like Eleven Days… you’re trying to shape that story, so it’s a continuum,” he added, referring to the 2022 documentary commemorating 68 children killed in Israeli bombing raids over Gaza...

Less Is More (Lim), a European development scheme for limited-budget feature films has unveiled its selection of 16 projects, four of which are from Ukrainian writers and filmmakers.

The initiative is backed by the Media Programme of the European Union. The French national board (Cnc) has come on board to support this year’s special spotlight on Ukrainian projects, alongside the Terrarium, a platform for Ukrainian screenwriters.

The programs, which develops first, second and third feature projects, is organized by the Groupe Ouest, a film org created in 2006 in Brittany, in Northwest France, and headed by Antoine Le Bos and Charlotte Le Vallégant.

Commenting on the lineup, Le Bos said the “darkness of the geopolitical context of 2023 pushes us to redefine what films are made for.” “Our selection team has been pushed to look at all the projects received this autumn with new lenses,” Le Bos continued. He said “the nature...

Watching Terry Gilliam's 1998 film "Fear and Loathing in Las Vegas," based on the novel by Hunter S. Thompson is, in 2022, a fraught experience. 

For one, a viewer must contend with their views of star Johnny Depp, recently exposed in a high-profile domestic abuse case. Additionally, director Terry Gilliam has, in recent years, said some notorious things in the press. In 2020, he called #MeToo a "witch-hunt," he once downplayed the crimes of Harvey Weinstein, and, all the way back in 2009, signed a petition pleading to exonerate Roman Polanski. This was all in addition to reports of Gilliam terrifying a young Sarah Polley on the set of "The Adventures of Baron Munchausen." Polley, however, has since given her blessing to enjoy the movie. 

Additionally, "Fear and Loathing in Las Vegas" is -- by design -- incredibly difficult to watch. It's a noisy, chaotic film with two protagonists who are constantly zonked...

The conference will form the centrepiece of the festival’s industry programme.

The FIlmfest München is traditionally the last opportunity for the German filmmaking community to meet up before the summer break, and this year’s edition has an industry programmed with a pronounced international dimension.

One of this year’s highlights is the two-day Cine CoPro Conference (June 29-30 ), hosted by the Filmfest and the Bavarian regional film fund Fff Bayern, in which around 40 German and UK producers, directors and screenwriters will come together to discuss opportunities for co-production between the two countries.

“he first thing that needs to...

Gilliam’s epic travails filming Don Quixote are well worth seeing again – and should be on the syllabus at every film school

The creative heroism of Terry Gilliam is saluted once again in this 20-year-anniversary rerelease of Lost in La Mancha, the documentary by Keith Fulton and Louis Pepe about Gilliam’s incredible ordeal in the late 90s in trying to make a movie version of Don Quixote: a salutary warning about the physical and mental nightmare of independent film-making. Gilliam’s leading man, veteran French star Jean Rochefort, suffered a herniated disc midway through shooting and was unable to carry on, dealing a death blow to an under-funded, over-ambitious production already traumatised by biblical floods that swept away their equipment in the Spanish desert, Nato jets overhead which ruined the soundtrack, and insurers who wouldn’t pay out on Rochefort’s illness and became the obstructive legal owners...

TorinoFilmLab also reveals the five writers for its recently launched SeriesLab Talents.

Projects from Belgium, Germany, Romania, Serbia and the UK are among the selected nine for SeriesLab, a training programme for international TV series projects by TorinoFilmLab (Tfl) running from June-October.

This year’s cohort is made up of 11 female and 12 male filmmakers who will develop innovative series projects with support from a group of industry tutors and story editors led by Italian screenwriter Nicola Lusuardi.

Upon completion of the programme, the cohort will present their final projects at the Mia market in Rome.

The series includes And Then...

Have you ever been mesmerized by a magician on the big screen? Magic has always been a popular topic for movies, and there have been some great ones.

Hollywood has always been fascinated by the world of magic and illusion. From the early days of cinema, magicians have been appearing on the silver screen, performing their tricks for the amusement of moviegoers.

13 Movies About Twins You Can’t Miss

In recent years, there has been a renewed interest in magic in movies, with several films exploring the theme of magic and its place in the modern world.

These movies offer a unique perspective on the world of magic and provide audiences with an insight into the fascinating world of magicians.

They are also entertaining and often humorous, providing viewers with an enjoyable way to escape from the everyday world. Whether you are interested in the history of magic or want...

Tfl has also unveiled the 10 writers picked for the inaugural edition of its SeriesLab – Talents scheme.

The TorinoFilmLab (Tfl) has unveiled the 20 new projects selected for its 2022 ScriptLab, and the 10 writers picked for the inaugural edition of its SeriesLab – Talents scheme.

The ScriptLab is a nine-month scriptwriting programme involving feature films at an early stage of development. This year’s iteration focused on comedies, with eight of the 20 projects written by women.

Composed of two week-long residential workshops, one in Turin and one in Finland, as well as three online modules, the ScriptLab also feeds in to TorinoFilmLab annual industry event the Tfl Meeting.

Eleven of the projects are debut features.

European development programme Less Is More (Lim) has selected 16 feature film projects for its 2022 scheme, plus the 12 ‘development angels’ who will follow the development of the projects, and four tutors who will provide guidance to the selected teams.

Among the titles are Bethan, the debut feature of UK writer-director Zillah Bowes; and Deborah Viegas’ Brazilian-Portuguese debut feature Young Woman Seen From Behind.

Scroll down for the full list of projects, filmmakers and development angels

Eleven of the 16 films are from debut filmmakers, with four from second-time directors and one – Christian Volckman’s Herself – from a third-time filmmaker.

Exclusive: Charlotte Colbert, the filmmaker and multimedia artist whose feature directorial debut She Will won the Locarno Film Festival’s Golden Leopard for Best First Feature, has signed with Gersh for representation, Co-President David Gersh announced today.

“Charlotte is a visionary writer/ director,” said Gersh, “and is one of the most original and exciting new filmmakers to emerge.”

Colbert’s Locarno thriller tells the story of Veronica Ghent (Alice Krige), who after a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse Desi (Kota Eberhardt). She discovers that the process of such surgery opens up questions about her very existence, leading her to start to question and confront past traumas. The two then develop an unlikely bond as mysterious forces give Veronica the power to enact revenge within her dreams.

She Will has been acquired for domestic distribution by IFC Films and will be released this spring.

The physical event is taking place in Portugal from October 4-10.

Shooting intimate scenes responsibly, sustainability in filmmaking a writing masterclasses from screenwriter Tony Grisoni and novelist and screenwriter Irvine Welsh, and filmmaker Isabel Coixet are among the highlights of this year’s Fest New Directors New Films industry programme taking place this week in Portugal. Fest is running as a physical event from October 4-11 in the coastal town of Espinho with the industry programme running Oct 4 - 10.

UK actor and intimacy co-ordinator Joshua Okpala, whose most recent work includes TV shows This Is Going To Hurt and Anatomy Of A Scandal,...

Now in its fourth edition, the showcase is funded and run by the BFI and the British Council, in partnership with BBC Film and Film4.

New films from Harry Wootliff, the directors of Notes On Blindness and Yardie star Aml Ameen are among the titles selected for this year’s Great 8, the annual Cannes buyers’ showcase of UK films from emerging directors.

The selected filmmakers will present unseen footage from their films to international buyers and festival programmers online on June 17. All eight films are in post-production and will be available to buyers at the pre-Cannes screenings virtual market (June...

Exclusive: Rocket Science is launching world sales ahead of the Cannes market on under-the-radar UK psychological thriller She Will, the debut film from UK artist and filmmaker Charlotte Colbert with an original score from Black Swan and Requiem For A Dream composer Clint Mansell.

Starring are Alice Krige (Carnival Row), Kota Eberhardt (X-Men: Dark Phoenix), Malcolm McDowell (A Clockwork Orange), Rupert Everett (The Happy Prince), Jon McCrea (Cruella) and Amy Manson (The Nevers).

Currently in the final stages of post-production, the Brit List screenplay charts the story of Veronica Ghent (Krige) who after a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse Desi (Eberhardt). There she discovers that the process of such surgery opens up questions about her very existence, leading her to start to question and confront past traumas. The two develop an unlikely bond as mysterious forces give Veronica the power to enact revenge within her dreams.

Claire Foy is a busy actress.

Just weeks after the news that she will lead the cast of A Very English Scandal Season 2, it has been announced that she will also lead the eight-part BritBox drama, Marlow.

According to Deadline, the series follows "two warring families pitted against each other amid the unsettling and indelible landscape of the Thames Estuary."

Foy will play Evie Wyatt, who returns to the Edgelands, where she lost her father to a firestorm 15 lost years ago, seeking answers and revenge.

The project is eyeing a fall shoot for a 2022 premiere on BritBox.

Tony Grisoni (Southcliffe) and Simon Maxwell (Deep State) are shepherding the project.

“I’m delighted to be a part of this compelling thriller. Tony and Simon’s scripts are so evocative of place and redolent with atmosphere – and the twists, turns and mysteries at the heart of this drama are utterly gripping," Foy said of her casting.

The eight-episode series is from Motive Pictures, Endeavor Content.

Claire Foy will lead the cast of Marlow, a new thriller series commissioned by UK subscription service BritBox.

The series will be produced by UK firm Motive Pictures and Motive’s US backer Endeavor Content. Production will get underway this autumn in the UK, with the show scheduled to premiere exclusively on BritBox for UK subscribers in 2022.

It is created by Tony Grisoni and Motive’s Simon Maxwell, with the pair serving as executive producers alongside Foy.

In Marlow, Foy will play Evie Wyatt, a woman from the Thames Estuary in southern England,...

Claire Foy will lead the cast of BritBox’s 8×60 UK thriller series Marlow from Motive Pictures and Endeavor Content.

The project comes from BAFTA-winner Tony Grisoni (Southcliffe) and Simon Maxwell (Deep State). It centers on two warring families pitted against each other amid the unsettling and indelible landscape of the Thames Estuary. Foy will play Evie Wyatt, who returns to the Edgelands, where she lost her father to a firestorm 15 lost years ago, seeking answers and revenge.

The show will shoot in the fall and will screen on BritBox in 2022.

Maxwell was previously Head of International Drama at Channel 4 and set up Motive Pictures in 2019 with Endeavor backing.

Claire Foy said, “I’m delighted to be a part of this compelling thriller. Tony and Simon’s scripts are so evocative of place and redolent with atmosphere – and the twists, turns and mysteries at the heart of this drama are utterly gripping.

“The Crown” star Claire Foy is set to lead a new thriller from streamer BritBox U.K.

Eight-part thriller “Marlow,” from Motive Pictures and Endeavor Content, centers on feuding families the Marlows and the Wyatts, who have existed in the “Edgelands” of the Thames Estuary for centuries.

Foy stars as Evie Wyatt, who was born and bred in the Estuary and returns to the Edgelands — the place she lost her father to a firestorm 15 years ago — in search of answers. However, drawn back into conflict with the Marlow clan, Evie finds herself in a battle with its ageing patriarch, Tom Marlow.

The very British thriller draws on “ancient tales of revenge and fate” as well as local myths and legends. The series, which is due to go into production this fall, is created by BAFTA-winning screenwriter Tony Grisoni (“Southcliffe”) and Simon Maxwell (“Deep State”), who will both executive produce alongside Foy.

Record numbers of industry attendees from 46 countries virtually attended Nordic Film Market at TV Drama Vision.

Goteborg’s industry activities attracted a record 734 delegates for the Nordic Film Market and 566 for TV Drama Vision, from across 46 countries. Like the festival, the industry programme was held online for the first time this year due to the pandemic.

One hot film project being pitched at script stage was Stranger, which unites Danish production company Motor with Poland’s Opus Film (Ida). Mads Hedegaard will make his fictional feature directorial debut with the film, which he co-writes with Jesper Fink (Margrete-Queen Of The...

A trio of high-profile Scandinavian producers – Thomas Gammeltoft (“Terribly Happy”), Sofie Wanting Hassing (“Ida”) and Ole Søndberg (“Wallander”) – are launching TrueContent Entertainment, an ambitious independent production and distribution company based in Copenhagen.

The company is a reboot of Sweet Chili Entertainment, a digital distribution company founded by Wanting Hassing and joined by Gammeltoft in Jan. 2020 after he stepped down from the Copenhagen Film Fund, rolling off a seven-year tenure. Søndberg, an industry veteran who founded Yellow Bird and executive produced “Wallander” and the “Millennium” franchises, joined TrueContent Entertainment in 2018 as executive producer. Wanting Hassing and Gammeltoft will serve as co-CEOs.

Financially backed by independent private capital, TrueContent Entertainment will work as a talent-driven company, bringing on board top-notch creatives who will set up individual production companies to develop their own projects, ranging from films to series, including documentaries, as well as source third-party projects. These banners will be subsidiaries of...

Stars: Jonathan Pryce, Adam Driver, José Luis Ferrer, Ismael Fritschi, Juan López-Tagle, William Miller, Will Keen, Jason Watkins, Paloma Bloyd, Olga Kurylenko, Joana Ribeiro | Written by Terry Gilliam, Tony Grisoni | Directed by Terry Gilliam

Terry Gilliam’s’ long-delayed rendition of The Man Who Killed Don Quixote has taken over twenty-eight years to come to fruition, but alas, after multiple delays, a stroke and, a lawsuit against a release, Gilliam’s film has finally been released for all to see, albeit in an incredibly diluted and sadly quiet fashion. For a film that has almost killed three cast members involved in a life span of thirty years any film of such high esteem and high calibre ought to be worth viewing alone for the pain and pressure that went into realising such a project, but unfortunately, The Man Who Killed Don Quixote is all seemingly inconsequential.

The Man Who Killed Don Quixote...

Stars: Jonathan Pryce, Adam Driver, José Luis Ferrer, Ismael Fritschi, Juan López-Tagle, William Miller, Will Keen, Jason Watkins, Paloma Bloyd, Olga Kurylenko, Joana Ribeiro | Written by Terry Gilliam, Tony Grisoni | Directed by Terry Gilliam

Terry Gilliam’s’ long-delayed rendition of The Man Who Killed Don Quixote has taken over twenty-eight years to come to fruition, but alas, after multiple delays, a stroke and, a lawsuit against a release, Gilliam’s film has finally been released for all to see, albeit in an incredibly diluted and sadly quiet fashion. For a film that has almost killed three cast members involved in a life span of thirty years any film of such high esteem and high calibre ought to be worth viewing alone for the pain and pressure that went into realising such a project, but unfortunately, The Man Who Killed Don Quixote is all seemingly inconsequential.

The Man Who Killed Don Quixote...

American Animals and Three Identical Strangers outfit Raw has hired Sara Murray from UK producer Studio Lambert to serve in the newly created role of head of scripted TV.

Murray will be tasked with growing the company’s TV scripted division. At Studio Lambert, which like Raw is owned by All3Media, she was an executive producer on upcoming ten-part Amazon/Virgin Media series The Feed by Channing Powell

(The Walking Dead), and worked on shows including Girl On A Wire by Thomas Martin (Tin Star).

Raw’s TV scripted development slate includes projects with Clio Barnard, Lucy Kirkwood, Tom Edge and Juliette Towhidi, alongside Bart Layton’s first scripted TV commission. The firm is also currently in production on factual series for Netflix, CNN and Discovery.

Murray was previously script editor on Andrew Davies’ ITV drama Dr Zhivago, TV development producer on hit Channel4 series Top Boy by Ronan Bennett...

Comedies, docs and a Bollywood title are among the Easter and Passover weekend’s packed roster of new specialty releases. The heavy number of limited openers comes just ahead of next weekend’s rollout of Avengers: Endgame, which will mark mostly a pause for new specialties. Terry Gilliam’s long-awaited The Man Who Killed Don Quixote, starring Adam Driver and Jonathan Pryce, begins its regular theatrical run following a one-night showing in hundreds of locations around the country last week. The Film Arcade is bowing fellow comedy Family, starring Taylor Schilling and directed by feature first-timer Laura Steinel. Counterprogramming the religious holiday weekend, Magnolia is opening Sundance doc Hail Satan? with an exclusive New York run before heading to L.A. next weekend. Zeitgeist Films/Kino Lorber is launching doc Be Natural: The Untold Story of Alice Guy-Blaché by Pamela B. Green and narrated by Jodie Foster exclusively in L.

It’s been plagued by endless delays, natural disasters, dying actors, greedy financiers and good old-fashioned Icarus-level hubris. It’s been called one of the most cursed film productions ever. Most folks assumed that Terry Gilliam’s “Don Quixote” project would never, ever be made, much less see the light of day. (This demographic included the director himself.) And, having finally slouched its way to completion and a contested premiere at Cannes in 2018, The Man Who Killed Don Quixote knows that an against-the-odds backstory is as much a marketing tool...

Terry Gilliam’s “The Man Who Killed Don Quixote,” is finally getting some good news.

The film will now get a theatrical release along with its previously announced video-on-demand release at the end of this week on April 19, distributor Screen Media announced Monday. “Don Quixote” was at first only available to be seen as part of a one-night-only theatrical event on April 10 from Fathom Events, but the success of that screening prompted a wider theatrical release.

“The Man Who Killed Don Quixote” will roll out in New York, Los Angeles, San Francisco, Austin, Texas and other top markets starting April 19. The film will also be released on all major VOD platforms on the 19th as well and will continue to expand theatrically throughout the spring and beyond.

Also Read: Terry Gilliam Feels a 'Huge Emptiness' Waiting for Him Now That 'Don Quixote' Is Finally Finished

In an interview with TheWrap,...

Updated, 10:32 A.M: Following its one-night-onl screenings last week, Terry Gilliam’s long-gestating The Man Who Killed Don Quixote will begin its North American theatrical rollout Friday. Screen Media said the pic will hit screens in Los Angeles, New York, San Francisco, Austin and other top markets day-and-date with its all-platform VOD bow. The pic will continue to expand its treatrical rollout through the spring and beyond, the distributor said.

Previously, December 17: Screen Media has picked up North American rights to Terry Gilliam’s long-in-the-works drama The Man Who Killed Don Quixote, starring Adam Driver, Jonathan Pryce, Stellan Skarsgard, Olga Kurylenko and Jordi Molla.

Screen Media, in partnership with event cinema specialist Fathom Events, is planning a theatrical release for March 2019. The deal was negotiated by Seth Needle, Svp of Worldwide Acquisitions at Screen Media with the filmmakers.

The film had its world premiere as the Closing Night...

Terry Gilliam’s near-mythical movie finally arrives on the screen. Was it worth the wait?

We’ve all experienced that sensation of something sounding or looking good in our heads -- a note we wanted to write to someone, a story we wanted to pen, perhaps even a film we wanted to make -- and then the disappointment of it actually coming to existence on the page or screen and the thing not being exactly how we envisioned it in the seclusion of our minds.

In a strange way, Terry Gilliam’s The Man Who Killed Don Quixote -- a film that the maverick director of Brazil and 12 Monkeys has been attempting to make for three decades -- engenders the same sensation in the viewer. After all these years, and with the movie’s almost legendary status as the one that kept getting away, one can’t help but wonder if all the time,...

Terry Gilliam has tried to make his film “The Man Who Killed Don Quixote” for over two decades and barring some final unforeseen tragedy, his film will open in theaters on April 10 for one night only as part of a release with Screen Media and Fathom Events.

It’s the classic production from hell, complete with on-set injuries, lost funding, natural disasters and outsized ambitions worthy of the hero of Miguel de Cervantes’ classic novel. Even after it wrapped, a lawsuit threatened to derail the film from screening at Cannes, and Amazon Studios pulled out of a deal to distribute the film in the U.S.

So the irony isn’t lost on anyone that Gilliam’s quest to make a movie about Don Quixote has been nothing if not quixotic. Here’s a not-so-brief timeline of every step on the road to Gilliam getting his film made.

Also Read:...

It’s been 30 years since Terry Gilliam first dreamt of making a movie about the foolish, windmill-chasing knight Don Quixote — and it’s been roughly 29 years since it became his nightmare. As the tragicomic documentary Lost in La Mancha proved, Gilliam’s Quixote picture is the dictionary definition of a cursed movie, plagued by financial troubles, ailing actors and noisy fighter jets flying overhead. But now he’s finally broken the spell, and The Man Who Killed Don Quixote last year received a marathon standing ovation at Cannes.

Although the filmmaker,...

You’d be forgiving for thinking I’m pulling your leg and telling a belated April Fool’s Day joke when I talk about having seen The Man Who Killed Don Quixote. The long time passion project of Terry Gilliam has seemed so cursed and impossible to get off the ground, it even inspired a well received documentary in Lost in La Mancha. Having started work on this outing back in the late 1980’s, it’s been a full lifetime bringing The Man Who Killed Don Quixote to life. This week, it’s finally going to be available for public consumption, in part through Fathom Events. Those of you who have long been curious about it can rest easy…it’s good! The film is an adventure with a mix of comedy and drama elements thrown in, as only Gilliam can put forth. Toby (Adam Driver) is a deeply cynical but highly regarded director.

Throughout his career as a director, Terry Gilliam has aimed to portray the outlandish and disorderly in imaginative, transportive ways. His greatest achievements are less about narrative coherence than an emotional attachment to a character’s eccentric journey through various stages of bewilderment. His long-burning passion project The Man Who Killed Don Quixote–finally seeing the light of day some 30 years later–clearly aims to be an epic descent into chaos, but the adventure often has trouble conveying a sense of entertaining spectacle to go along with the frivolous bafflement.

Starting things off right in the casting department, Adam Driver plays Toby Grisoni, a jaded director of glitzy ad spots who, ten years prior, made a black-and-white student film titled The Man Who Killed Don Quixote nearby the Spanish village he and his crew are now occupying. While making a new commercial also featuring the characters of Don Quixote and Sancho Plaza,...

Madman director Terry Gilliam, director 12 Monkeys, Time Bandits, Brazil, The Adventures of Baron Munchausen, and so many others is Finally releasing his passion project, The Man Who Killed Don Quixote in April and a new trailer has dropped for it.

The screenplay is written by Terry Gilliam and Tony Grisoni, based on the original novel by Miguel de Cervantes y Saavedra.

Synopsis:

The Man Who Killed Don Quixote tells the story of a deluded old man who is convinced he is Don Quixote, and who mistakes Toby, an advertising executive, for his trusty squire, Sancho Pan...

Terry Gilliam’s The Man Who Killed Don Quixote is finally making its way to theaters after an arduous journey — and they have a new trailer to prove it. The film, which made its world premiere at the 2018 Cannes Film Festival, will play via via Screen Media and Fathom Events in over 700 U.S. cinemas and select Canadian locations for one night April 10 with exclusive bonus features.

The Man Who Killed Don Quixote is the story of Toby (Adam Driver), a cynical advertising director, who finds himself trapped in the outrageous delusions of an old Spanish shoe-maker (Jonathan Pryce) who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth – a film that changed the hopes and dreams of a small Spanish village forever. The surreal heartfelt...

On April 10, 2019, North American audiences will get the first look at Terry Gilliam's long-awaited film The Man Who Killed Don Quixote, co-starring Adam Driver and Jonathan Pryce. Over 25 years in the making, the film had its world premiere at the 2018 Cannes Film Festival. The film will play in over 700 U.S. cinemas and select Canadian locations for one night on Wednesday, April 10, 2019, with exclusive bonus features.

Presented by Fathom Events and Screen Media Films, The Man Who Killed Don Quixote is the story of Toby (Adam Driver), a cynical advertising director, who finds himself trapped in the outrageous delusions of an old Spanish shoe-maker (Pryce) who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth - a film that changed the hopes and dreams of a small Spanish village forever.

Screen Media finally released a trailer Monday for Terry Gilliam’s long-delayed film, “The Man Who Killed Don Quixote,” a passion project that has taken the director nearly two decades to get to the screen.

The film stars Jonathan Pryce as the title character alongside Adam Driver, Stellan Skarsgård, Olga Kurylenko and Jordi Mollà. Driver plays a frustrated filmmaker and disillusioned advertising executive who becomes pulled into a world of time-jumping fantasy when a Spanish cobbler (Pryce) who believes he is Don Quixote mistakes Toby for his trusted squire Sancho Panza. Pulled further into the cobbler’s world, Toby gradually becomes unable to tell his dreams from reality.

In 2018, Gilliam lost a legal dispute when a French court ruled that he would have to pay one of the film’s former producer, Paulo Branco, €10,000 for breach of contract. Branco also sought an injunction to prevent “Don Quixote” from being released...