London-based Dcd Rights is launching a brand-new eight-hour second season of Spanish-Portuguese crime thriller “Dry Water.”
A slice of Galician and Portuguese Noir, “Dry Water” marks part of a pioneering push by Spain’s Portocabo, producer of Movistar Plus smash hit “Hierro,” to take classic free-to-air scripted in its native Galicia, north-west Spain, into a premium TV age.
The MipTV launch comes as HBO has boarded “Dry Water” season two, now set up as a co-production between Spain’s Portocabo and Portugal’s SPi with the participation of Portuguese public broadcaster Rtp, HBO Spain & Portugal and Tvg Galicia, the state TV in Galicia.
In a pre-MipTV deal made via Dcd Rights, the first series of “Dry Water,” launched at 2019’s Mipcom, has just been acquired by Ivi for its feed of 15 countries across Russia, Cis and the Baltic states. The first series of the thriller was previously picked up in Spain,...
A slice of Galician and Portuguese Noir, “Dry Water” marks part of a pioneering push by Spain’s Portocabo, producer of Movistar Plus smash hit “Hierro,” to take classic free-to-air scripted in its native Galicia, north-west Spain, into a premium TV age.
The MipTV launch comes as HBO has boarded “Dry Water” season two, now set up as a co-production between Spain’s Portocabo and Portugal’s SPi with the participation of Portuguese public broadcaster Rtp, HBO Spain & Portugal and Tvg Galicia, the state TV in Galicia.
In a pre-MipTV deal made via Dcd Rights, the first series of “Dry Water,” launched at 2019’s Mipcom, has just been acquired by Ivi for its feed of 15 countries across Russia, Cis and the Baltic states. The first series of the thriller was previously picked up in Spain,...
- 4/9/2021
- by Martin Dale and John Hopewell
- Variety Film + TV
Exclusive: Stephanie Vogt is set as a lead in Glória, Netflix’s upcoming historical spy thriller drama series from SPi productions and Rtp.
Written by Pedro Lopes and directed by Tiago Guedes, Glória takes place in the 1960s, at the height of the Cold War, in the small village of Glória do Ribatejo, where Raret is located, an American broadcasting center that broadcasts Western propaganda to the Eastern Bloc. João Vidal, an engineer from families linked to the Estado Novo, but recruited by the Kgb, will take on several high-risk espionage missions that could change the course of Portuguese and world history.
Vogt will play Anne. The wife of James, Anne comes from a wealthy and liberal family. She is a Harvard grad in International Relations, recruited by the CIA.
The ensemble cast includes Portuguese and international actors, including Miguel Nunes, Carolina Amaral, Victoria Guerra, Afonso Pimentel, Adriano Luz, Joana Ribeiro,...
Written by Pedro Lopes and directed by Tiago Guedes, Glória takes place in the 1960s, at the height of the Cold War, in the small village of Glória do Ribatejo, where Raret is located, an American broadcasting center that broadcasts Western propaganda to the Eastern Bloc. João Vidal, an engineer from families linked to the Estado Novo, but recruited by the Kgb, will take on several high-risk espionage missions that could change the course of Portuguese and world history.
Vogt will play Anne. The wife of James, Anne comes from a wealthy and liberal family. She is a Harvard grad in International Relations, recruited by the CIA.
The ensemble cast includes Portuguese and international actors, including Miguel Nunes, Carolina Amaral, Victoria Guerra, Afonso Pimentel, Adriano Luz, Joana Ribeiro,...
- 2/15/2021
- by Denise Petski
- Deadline Film + TV
Netflix may get most of the attention, but it’s hardly a one-stop shop for cinephiles who are looking to stream essential classic and contemporary films. Each of the prominent streaming platforms caters to its own niche of film obsessives.
From chilling horror fare on Shudder, to the boundless wonders of the Criterion Channel, and esoteric (but unmissable) festival hits on Film Movement Plus and Ovid.tv, IndieWire’s monthly guide highlights the best of what’s coming to every major streaming site, with an eye towards exclusive titles that may help readers decide which of these services is right for them.
Here’s the best of the best for January 2020.
“Midsommar”
Despite its ritualistic terrors, slasher-inspired structure, and “Hostel”-like affinity for butchering self-obsessed American tourists, “Midsommar” is clearly a film that uses horror tropes as a means to an end. The sun-blasted story of a grieving young woman...
From chilling horror fare on Shudder, to the boundless wonders of the Criterion Channel, and esoteric (but unmissable) festival hits on Film Movement Plus and Ovid.tv, IndieWire’s monthly guide highlights the best of what’s coming to every major streaming site, with an eye towards exclusive titles that may help readers decide which of these services is right for them.
Here’s the best of the best for January 2020.
“Midsommar”
Despite its ritualistic terrors, slasher-inspired structure, and “Hostel”-like affinity for butchering self-obsessed American tourists, “Midsommar” is clearly a film that uses horror tropes as a means to an end. The sun-blasted story of a grieving young woman...
- 1/13/2020
- by David Ehrlich
- Indiewire
"How long have you been here?" Alfama Films has debuted an official trailer for the French drama Never Ever, adapted from Don DeLillo's novel The Body Artist, directed by French filmmaker Benoît Jacquot. The film is playing at the Toronto Film Festival now and just premiered at the Venice Film Festival before this. Mathieu Amalric stars as a "self-centered" filmmaker who falls for a beautiful body artist performing at the same gallery where his own film is screening. He runs off with her to his mansion and starts a passionate love affair, but of course their romance doesn't last. Also starring the lovely Julia Roy as Laura, Jeanne Balibar, Victória Guerra and Elmano Sancho. This seems like yet another French romantic film with passion and desire and beauty driving the story, though I'm curious if there is some weird, freaky twist in it. Here's the first festival trailer (+ poster...
- 9/13/2016
- by Alex Billington
- firstshowing.net
Andrzej Żuławski. Photo by Isabelle Vautier.How does one translate into film the books by Witold Gombrowicz, who ranks among the greatest modernists of the 20th century? Few have actually dared. Whereas Peter Lilienthal’s adaptation for television of Pornografia (Die Sonne angreifen, 1971) has been all but consigned to oblivion, the famed Polish director Jerzy Skolimowski went on a 17-year hiatus following his failed adaptation of Ferdydurke (30 Door Key, 1991). However, the opposite holds true for Andrzej Żuławski, who came out of a 15-year pause to adapt for the screen Gombrowicz’s fourth novel Cosmos (1965), also his last and most complex. Unfortunately, it became a farewell work for Żuławski as well. What kind of cosmos is it? First and foremost, it’s the bizarre microcosm of a boarding house where the young writer Witold (Jonathan Genet) arrives with his friend Fuchs (Johan Libéreau) in tow to finish his novel The Haunted.
- 3/13/2016
- by Boris Nelepo
- MUBI
If there’s any way to synthesize the many pieces that form the bull-in-a-china-shop filmmaking that is Andrzej Żuławski‘s Cosmos, an adaptation of Witold Gombrowicz‘s novel, consider its status as his first feature in fifteen years. Might some sense of long-awaited release account for its why and how — the intensity of its performances, the force of its camera moves, the sharpness in its cuts, the bombast of its emotions? I’m inclined to think so, but it’s possible I’m only proposing this in search of a “what” — what’s going on, what he was thinking, and what we’re meant to take from any and all of it. Answers, if they do come at all, will only gradually present themselves, and they won’t arrive via exposition or, with some exception, clearly stated themes. A filmmaker who values the power of shock, but not necessarily thrills for thrills’ sake,...
- 11/23/2015
- by Nick Newman
- The Film Stage
Reaching back into the pantheon of war movies over the course of film history, there are countless films about Vietnam, WWII, The Civil War, and the Revolutionary War. Amongst that pantheon, it’s difficult to pick out a film about the Napoleonic Wars… though did we need to? Not exactly. Valeria Sarmiento’s Lines of Wellington, a project she took over from her late husband, director Raúl Ruiz (whose finished film, Night Across The Street, is also in the Nyff 2012 Main Slate), takes place during the Napoleonic War in 1810 Portugal, as the Portuguese sided with the British against the French. With nearly a three-hour running time, the film attempts to cover a broad spectrum of characters and history. It definitely looks great, with impressive production values and a somewhat A-List cast, but ultimately it is too expansive not to be a miniseries (a longer cut of the film will air as a miniseries in Portugal). The film...
- 10/10/2012
- by Caitlin Hughes
- FilmSchoolRejects.com
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