lineup at Mubi next month has been unveiled, featuring films by Claude Chabrol, Paulo Rocha, Ulrich Köhler, and more. Five years ago, Foxtel commissioned a re-imagining of Joan Lindsay’s novel Picnic at Hanging Rock However, the process of bringing back an old favourite is not always a smooth one.
The local and international popularity of both series – Heartbreak High was sold to more than 80 countries in the ’90s and Packed to the Rafters to a number of European and Asian territories, as well as South Africa – makes them appealing for platforms like Netflix and Amazon with global audiences. Whereas one picks up the story of a family six years after their last outing, the other will reimagine a world from before the turn of the century, sharing only its title and young adult genre with the original. The premiere of Amazon’s Back to the Rafters last month and the impending production of Netflix’s Heartbreak High offer insight into how international platforms approach local IP with cultural resonance. What does it mean when global streamers reboot Aussie classics?
See full article at The Guardian - Film News Hitching a ride, Lukas is invited to stay with Vova ( Viktor Zhdanov), a middle-aged potterer living with his mother and daughter in a capacious ramshackle construction on the banks of the Dnieper river. On his return, both car and foreigners have vanished. He’s escorting an SUV full of foreign delegates when it breaks down and he wanders off in search of a mobile signal. It appears and disappears at will.” A light, unfathomable absurdity governs this 2018 fiction debut by Ukrainian documentarian Roman Bondarchuk, set in the area around the city of Kherson a sun-roasted steppe north of the Crimea where Organisation for Security and Cooperation in Europe (Osce) interpreter Lukas ( Serhiy Stepansky) becomes stranded. Roman Bondarchuk handles this strange tale about an interpreter left stranded with some locals with deadpan poise “That’s our wandering buoy. Volcano review – spoon-glueing Ukrainian adventure takes a surreal turn But the retiring agent he’ll replace smirks that this particular assignment is no promotion, and that Claudio “wouldn’t be the first stranger to get his ass kicked there.” After a long bus ride from Montevideo, he alights in the sleepy burg, Having just “solved” a big claim case for his employer, Santa Marta Insurance Co., the appraiser is rewarded with a remote border town as his own dedicated claims territory. Martin Slipak, whose harried, clean-cut Everyman recalls the likes of Paul Rudd or Ben Stiller here, plays ambitious young white-collar worker Claudio Tapia. Remake rights might also prove a viable commodity. That might have gone as dark as something like “ The Wicker Man” or “ Wake in Fright.” Diego Fernandez Pujol’s second feature (following “Darwin’s Corner” eight years ago) has been a home-turf theatrical hit, though as an export item its pleasing but modest impact is more likely to attract home-format sales. ‘Broken Glass Theory’ Review: Comic Intrigue in an Uruguayan Backwater Keenan made his screen debut at the age of fourteen as the title character in the Australian children’s series Lockie Leonard, based on Tim Winton’s novels, He has also featured on the film side in such titles as Nim’s Island, The True History of the Kelly Gang, Strangerland, Australia Day, Hard Target 2, Is This the Real World and Drift. The actor will next be seen in the ABC series Barons, along with a show based on the 2002 Bali bombings, which is currently in production. Keenan is an Aacta Award nominee who recently appeared in Jane Campion’s acclaimed Netflix pic The Power of the Dog and Justin Kurzel’s award winner Nitram. Exclusive: Sean Keenan ( The Power of the Dog), Shannon Berry (The Wilds) and Tyroe Muhafidin (Amazon’s Lord of the Rings)-a trio of up-and-coming actors out of Australia-have signed with Brave Artists Management’s Karli Doumanis for representation.