Flix Premiere Close Up Magazine - June 2017

FLIX PREMIERE Close-Up

Flix Premiere’s CEO Martin Warner announces $50MM investment to create Flix Premiere Original productions THE HOME OF AWARD-WINNING CINEMA

TABLE OF CONTENTS

1 Welcome Readers:

The purpose of this magazine is to share with our movie-goers, the industry and our partners updates about what is happening at Flix Premiere each month. We aim to highlight and explore the upcoming month’s film premieres in each market, to announce new developments on our platform and to provide a CEO update about the exciting current and future plans at Flix Premiere.

Happy reading!

IN THIS ISSUE: This Month’s Premiere Snapshot Learn about our exclusive new premieres showing each week pg. 2 - This month’s US Premiere snapshot pg. 3 - This month’s UK Premiere snapshot

Close Up: Premiere Feature Reviews A chance to immerse yourself in the wonderful stories premiering each week pg. 4 - Scottish Mussel – Starring: Martin Compston, Talulah Riley, Joe Thomas pg. 5 - Sugar – Starring: Shenae Grimes-Beech, Marshall Allman, Corbin Bleu pg. 6 - The Paper Store – Starring: Stef Dawson, Penn Badgley, Richard Kind

Scottish Mussel

pg. 7 - The Last Treasure Hunt – Starring: Art LaFleur, Jeff Grace pg. 8 - Cast No Shadow – Starring: Joel Thomas Hynes

re The Pap er Sto

Cast No Shadow

pg. 9 - Spear – Directed By: Stephen Page pg. 10 - Other People’s Children – Starring: Diane Gaeta Marshall-Green, Chad Michael Murray, Michael Mosley, Alexandra Breckenridge pg. 11 - The Idealist – Starring: Peter Plaugborg, Søren Malling

CEO’S Corner

- pg. 12

The man behind Flix Premiere’s vision shares his view on how he plans to Democratize Cinema

Flix Premiere at Cannes Film Festival

- pg. 13

Flix Premiere returns from yet another successful Cannes Festival.

Learn more about the new films and partnerships acquired

THIS MONTH’S PREMIERE SNAPSHOT

2

US MARKET

Starring: Martin Compston, Talulah Riley, Joe Thomas

June 2, 2017 - 7pm EST

Starring: Stef Dawson, Penn Badgley, Richard Kind

June 9, 2017 - 7pm EST

Starring: Joel Thomas Hynes

June 16, 2017 - 7pm EST

Directed by: Stephen Page

June 23, 2017 - 7pm EST

Starring: Peter Plaugborg, Søren Malling

June 30, 2017 - 7pm EST

3

THIS MONTH’S PREMIERE SNAPSHOT UK MARKET

Starring: Shenae Grimes-Beech, Marshall Allman, Corbin Bleu

June 3, 2017 - 7pm GMT

Starring: Starring: Art LaFleur, Jeff Grace

June 10, 2017 - 7pm GMT

Starring: Stef Dawson, Penn Badgley, Richard Kind

June 17, 2017 - 7pm GMT

Starring: Diane Gaeta Marshall-Green, Chad Michael Murray, Michael Mosley, Alexandra Breckenridge

June 24, 2017 - 7pm GMT

GIVE THE GIFT OF CINEMA

SEND YOUR FRIENDS AND FAMILY A FREE MOVIE AND GET ONE FOR YOURSELF! FIND OUT MORE ABOUT OUR MOVIE GIFTING SERVICE WWW.FLIXPREMIERE.COM

Close Up: Premiere Feature Review

4

US Premiere JUNE 2 - 7PM EST

Scottish Mussel

A

n endangered species, the well-executed romantic comedy is much like the rare namesake of Scottish Mussel. Which happens to be a delightful exemplar of the genre.

Combining wit, the intrigue that accompanies boy meeting girl, and the Scottish countryside in a leading role, Scottish Mussel is a hidden pearl.

Ritchie (Martin Compston) is an apathetic and disillusioned resident of Glasgow who moves to the highlands in an attempt to get rich quick by poaching valuable Scottish pearls Enter Beth (Talulah Riley), a gorgeous British conservationist dedicating her life to the preservation of the freshwater pearl mussel, and the resulting tension is both heartfelt and comical.

Beth is frustrated by the local community’s disinterest in conservation and its riverbeds being constantly besieged by pearl thieves.

Can Ritchie leverage Beth’s mussel knowledge to strike it rich and get ahead in life, or will she challenge him to grow in unexpected ways?

Combining wit, the intrigue that accompanies boy

The film, however, does not rely solely on strong performances by a small group of leading actors, but flourishes in a parade of small parts and supporting roles that lend local color and levity to the plot–from an eccentric pearl jeweler to a local strong-arm mafia boss.

Scottish Mussel offers a platter of entertaining characters to its viewer.

meeting girl, and the Scottish countryside in a leading role, Scottish Mussel

Scottish Mussel’s comedy emanates

is a hidden pearl.

from its qualities as an ensemble piece.

In spite of its status as a rom-com, Scottish Mussel’s comedy emanates from its qualities as an ensemble piece.

Ritchie sets out to steal pearls accompanied by his friends Danny (Joe Thomas) and Fraser (Paul Brannigan), who provide laughs performing the unglamorous grunt work of pearl harvesting while Ritchie comfortably gathers intel at the conservation center, drawing ever-closer to Beth.

So too does Beth’s colleague, Ethan (Morgan Watkins), present humor as an enthusiastic Yankee would-be heartthrob whose romantic interest in Beth is matched only by his passion for protecting wildlife.

This breakthrough feature written, directed, and starred in by Riley, is especially charming in the way it interweaves the romantic comedy with the themes of conservation and preservation.

These ultimately become a matter of community responsibility and national pride. The result is a light-hearted, feel-good film that shows how personal interests connect to the greater good.

It achieves this while showcasing both the Scottish highlands and riverbeds in gorgeous landscape cinematography. No wonder the Edinburgh International Film Festival presented it as a “Best of the Fest” selection.

Close Up: Premiere Feature Review

5

Sugar

UK Premiere JUNE 3 - 7PM GMT

A

udiences are familiar with Los Angeles as the “city of stars,” the place made of dreams. Hollywood is associated with celebrity, wealth, and glamour in the popular imagination. It takes a bold film to challenge and disturb that vision of LA. Sugar, by Rotimi Rainwater, is such a picture, unafraid to push audiences beyond the status quo and into the life of a group of homeless adolescents.

Sugar (Shenae Grimes) is a young woman with a traumatic and mysterious past, whose present is consumed by the preoccupations of daily survival on the streets of Los Angeles.

But she does not have to face life entirely on her own.

Marshall (Marshall Allman), her boyfriend, and the young Ronnie (Austin Williams) are the members of her new chosen family.

The beaches and skateboard parks of Venice are their domain. A pizza is a feast and an empty shopping cart a source of entertainment. Through their eyes we learn about the ebb and flow, the rough rhythm of life on the streets.

..the heart of the film stems from its honest, unblinking observations of its characters and the dialogue they share, which likely underlines the bonds real-life homeless people form. Matthew Huntley, Box Office Prophets

People come and go with such volatility there.

The sudden reappearance of a member of Sugar’s family–a ghost from her past–troubles the delicate balance of their mutual codependence to that point that it is unclear if the makeshift family will survive.

A touching drama that challenges our ideas about family and our sense of what constitutes a home, Sugar’s greatest achievement might be that it takes the familiar streets of Hollywood and beaches of Venice and estranges them to the viewer.

We suddenly see the underbelly of LA sparkle–including the murky waters of the Los Angeles River–and are forced to consider the life of a population that the majority constantly overlooks, pretending that they simply do not exist.

'Sugar' A great film about homeless youth in Venice, California. Sharon Abella, Indiewire

Grimes, Allman, and Williams offer poignant performances, providing depth to characters damaged by their past lives and doing what they can to make the best of today.

Angus Macfadyen presents an affable, loving, and well-intentioned Uncle Gene.

The overall effect is a portrait of the ways in which family can be forged by affinity, and social life can persist even in the most unfavorable conditions.

Sugar is a courageous film that is not to be missed.

Close Up: Premiere Feature Review

6

US Premiere JUNE 9 - 7PM EST UK Premiere JUNE 17 - 7PM GMT

The Paper Store

R

evenge may be a dish best served cold, but there is nothing frigid about Nicholas Gray’s vendetta drama, The Paper Store.

Passion, ambition, betrayal, and retribution are all on the menu in this brassy and heady feature.

Annalee Monegan (Stef Dawson) plays a professional college essay writer. Priced out of finishing her own undergraduate education, the highly capable Annalee churns out papers in all subjects as a hired gun for desperate, lazy, or otherwise preoccupied co-eds.

When work introduces her to the enigmatic Sigurd Rossdale (Penn Badgley), her comfortable routine is quickly disturbed, as he demands more of her time and all manner of attention. Sharing a love for film and a sense of arousal brought about by the contemplation of big ideas, their relationship evolves into one of intense co-dependence until it is punctuated by betrayal.

What ensues is a revenge drama that eschews quick moral judgments. Rather, it manages through this heated pair to paint a picture of an entire higher education system in which cheating and cold pragmatism are the pervasive rule rather than the exception.

The talented pair [Stef Dawson & Penn Badgley] have an intuitive handle on the nature of dialogue and the sexual tension between them is both convincing and believable. Donna Kelly, Frankly, My Dear UK

One of the film’s great strengths is its writing, which should come as no surprise as its screenplay was adapted from a play penned by Gray’s wife, Katharine Clark Gray, and co-written by the couple.

The dialogue has deliberate shades of poetry, characteristic of an exhilarating theatrical piece.

Stef Dawson is an impeccable Annalee, balancing fiery righteous indignation, brilliant turns of phrase and observation, and restrained displays of fragility.

Penn Badgley strikes a handsome and elusive Sigurd, asserting a manipulative personality and then retreating to warmth, cleverness, and concern.

Richard Kind effortlessly completes something of a backward trio as the “Alternative Cinema” Professor Marty Kane, who inserts himself in the conflict between Annalee and Sigurd. Together they make a highly skilled set of lead actors, with particularly compelling chemistry emerging between Dawson and Badgley.

Based on a play written by the [Katharine Gray], [Nicholas and Katharine Gray] expertly adapted the work for the screen, producing a gem of a character study in the process. Linn Grey, Los Angeles Film Review

But such flirtations with lyricism are explosively paired with a fast-cutting, masterfully framed, and well-paced film aesthetic to great effect.

With it’s academic backdrop, it’s hard not to see the film as a contemporary riff on a Who’s Afraid of Virginia Woolf, replete with an updated perspective on higher ed and an even more blunt and raw look at the couple.

Whatever its influences, The Paper Store is sure to score a good mark of its own.

Close Up: Premiere Feature Review

7

UK Premiere JUNE 10 - 7PM GMT

The Last Treasure Hunt

Casey Nelson and Kate Murdoch, in addition to being the film’s stars, co-wrote the screenplay of The Last Treasure Hunt.

F

amilies sometimes unmoor and drift apart, like a vessel lost at sea. Recovering them, if they indeed can be restored, requires an intentional effort, a willful journey. The destination is uncertain but the path ahead can only be forged together.

In The Last Treasure Hunt, older brother Oliver (Casey Nelson) and sister Lucy (Kate Murdoch) find themselves forced to face one another after a year of keeping their distance.

... the film relies on mature writing,

Perhaps as a result of this collaboration, their chemistry as brother and sister feels particularly genuine and the display

strong performances, and contemporary music to tell its story. Renee Schonfeld, Common Sense Media

The Last Treasure Hunt, Patrick Biesemans’ feature directorial debut, is an engaging examination of a family that looks at the

The unexpected death of their father has brought them back to the small island they called home.

influences parents can have on their

Growing up, their dad would tell them tall tales about discovering sunken pirate ships and their riches.

Imagine the stress of confronting old family grudges and the loss of a father, compounded by yet another hurdle delaying a clean break that would put all of that pain in the past.

Every year he would prepare a treasure hunt for them, and its winner would earn a prize and the glory of the hunt.

The audience of The Last Treasure Hunt is granted a front-row seat to the often irrational but never-unprovoked universal spectacle of sibling resentment.

Sensing the mistrust and estrangement that has set them all at odds, their father prepared one final treasure hunt for them to complete together in his will–a treasure hunt that would lead his children to their inheritance after his death.

The result is a gradual unraveling of the family history that has led Oliver and Lucy to such a low point in their relationship, and the question of whether one final journey together–or a last treasure hunt–can impact the course of their charted futures, far away from one another.

children’s worldview and the ugliness tof sibling rivalry. Ernie Trinidad, Film Pulse

The plot is designed in such a way that as they go about collecting clues and evidence that might ultimately lead them to the prize of their inheritance, we the audience also pick up hints and perspective that lends to our understanding of the characters and the story.

The ultimate result is a heartfelt film unafraid to explore the discomforting elements of family. The Last Treasure Hunt lives up to its namesake as a hidden gem.

Close Up: Premiere Feature Review

8

Cast No Shadow

US Premiere JUNE 16 - 7PM EST

C

hildren fear monsters lurking in dark corners, under the bed, nightfall, and getting lost in dense woods. Are these anxieties purely irrational, sound byproducts of evolution, or inaccessible projections of the dark side of a cruel adult world?

Cast No Shadow insists on no particular answer to these mysteries, but probes our childhood fears in a crisp fantasy drama with social relevance. Jude (Percy Hynes-White) is an imaginative young troublemaker who is convinced a troll lurks in a coastal mountain grotto near his home.

Certain that such monsters can be bribed with gold, he collects a chest full of “treasures” painted in shiny ore in case of an emergency. But for all of his concern with supernatural horrors, Jude faces a set of very real troubles at home and in his local community.

Living with an abusive father who is frequently in trouble with the law, and under intense scrutiny for his own youthful delinquency, Jude’s present and future look bleak.

Only the eccentric Alfreda (Mary-Colin Chisholm), a widower who skips church and has a reputation as an old hag in the town, seems to take a genuine interest and concern in the boy. What escape is there from his fears, his pressing problems at such a young age?

[This year we] saw the release of another masterpiece - Christian Sparkes’ psychological thriller Cast No Shadow about a troubled teenager coming-of age in a turbulent environment. Georgi, The Sky Kid

Cast No Shadow’s location shooting in Newfoundland is superb. From ocean vistas to dense forest and rolling plains, the landscapes add beautiful rich depth to the film’s fantasy world.

Such a magical yet dark setting confronting a youth makes the film highly evocative of Guillermo Del Toro’s celebrated Pan’s Labyrinth.

So too does the agency and realism that the film grants Jude’s character while it manages brutal episodes of violence with deliberate and remarkably-timed gestures toward the fantastic In other words, like Del Toro, director Christian Sparkes has the remarkable talent of representing harsh realities while creatively evoking youthful escapism..

Mary-Colin Chisholm’s Alfreda is understated,empathetically moving, and entirely convincing.

She deserves high praise for the role.

It’s hard to walk away from the film and not revel in one of the best perfomances by a young actor you are likely to ever see. Percy Hynes White plays Jude to near perfection. Chris Newell, The Muse

Percy Hynes-White offers a tour de force performance as the unfortunate Jude. In the tradition of the best child actors, he channels a convincing and sympathetic rapscallion worthy of New Wave cinema.

Overall, Cast No Shadow is a beautiful and moving film about the difficulties of childhood, dark fears and secrets, and the inner-battles we all must wage. Do not miss out on Cast No Shadow.

Close Up: Premiere Feature Review

9

US Premiere JUNE 23 - 7PM EST

Spear

A

sweeping cliffside ocean vista opens to a tribal rite of initiation. The young Djali sets aside his modern clothing, is bathed, and then painted with mud.

Spear invites its audience on his journey of rebirth that is, simultaneously, a return to ancestral roots and an interrogation of an unbalanced contemporary social order.

Djali’s story is told through modern dance, mesmerizing percussive music, and stunning landscapes, which make this Aussie feature a singular cinematic experience.

Director Stephen Page’s breakthrough film effortlessly transposes his acclaimed choreography to the cinematic medium.

As Artistic Director of the Bangarra Dance Theatre troupe for over 26 years, his life’s work has been to give expression to the Aboriginal experience.

Extending this mission in a personal way, Spear features the Bangarra troupe, incorporates indigenous music composed by Page’s brother, and stars his son as a youth torn between an ancient culture and a hostile modern one.

This tension between the poles of split and hybrid identity permeates the film.

The camera shifts from isolated seaside rock and the plains of the Outback to urban cityscapes.

Similarly, indigenous dancers and those of European ancestry blend contemporary and tribal dance. Man transforms to animal.

Australia’s history of settler colonialism and the domination of Aboriginal peoples

by White Europeans are held up to a mirror.

While it is difficult to definitively understand the meaning behind this complex marriage of dance and chant with its diverse imagery and striking settings, one thing is certain: Stephen Page’s Spear is a unique piece of cinema.

Louise Keller, Urban Cinefile

Djali belongs neither fully to the world of his native ancestors, nor to modern Australia.

Such conflict animates the dance sequences that tell his story and keep the viewer alert to variations of perspective.

[Page’s artistic filming technique] allows us to focus on the shaping of bodies and images as they flow through each tableau, seeing love, adulthood and battle through the eyes of a boy becoming a man as expressed through movement.

Robert Bell, Exclaim!

What is personal for Djali clearly has broader, national resonance.

It is precisely a multi-faceted perspective that the film suggests is necessary to cast upon popular representations of Aboriginal people in twentieth-century Australian culture, to reevaluate the real harm that they perpetuate.

Spear is visually stunning from its first ocean landscape to its last.

Jennifer Irwin’s costume design, with its play of contrasts and hybridity, boldly captures the rift between competing identities that is central to the piece.

David Page’s original score also musically fuses the traditional and the contemporary, adding a surrealist undercurrent to the images.

The overall result is a lyrical film, with a rhythm and fluid visual style worthy of the dance it delightfully showcases.

Close Up: Premiere Feature Review

10

UK Premiere JUNE 24 - 7PM GMT

Other People’s Children

Other People’s Children, scripted by Adrienne Harris, plays out like a particular type of fantasy romance novel brought to the screen. Chris Evangelista, Cut Print Film

I

n order to escape problems or deny an unpleasant reality, we sometimes throw ourselves into new passions and discover alternative dilemmas. The artist is a figure that is especially susceptible to manic bouts of enthusiasm in the popular imagination.

Other People’s Children offers a raw chronicle of one such episode of adolescent escape brought about by a major life event. Samantha (Sam) Trassler (Diane Marshall-Green) is a burgeoning filmmaker, rocked by the sudden death of her father, a famous painter.

Intended to be the subject of her first documentary, his death sent her on a four-month fugue to the east coast, leaving behind her roommate, Josh (Michael Mosley), without a word of warning.

Other People’s Children is an edgy film with a matching soundtrack.

Upon her return to the west coast, Sam takes solace in alcohol and anonymous sex before dedicating herself to a new film project–a documentary about homeless youth in Los Angeles.

Unafraid of facing the messy aspects of family and romantic relationships, it plunges into a period of personal crisis accompanied by the inevitable bad choices that follow.

While underlying sexual tension between between Sam and Josh remains, she falls in love with one of the subjects of her documentary, P.K. (Chad Michael Murray). The latter lives in an abandoned warehouse with a group of homeless friends.

Diane Marshall-Green plays a remarkably measured Sam, conveying her whimsy without falling into the trap of becoming bogged down by scattered flights of fancy.

Chad Michael Murray offers a layered and intriguing P.K., taking audiences through the full development of a surprising character arch.

Michael Mosley plays a self-assured Josh who, while sometimes jarringly blunt with Sam, offers objective views of her actions and situation.

..there’s a poignancy and sincerity in how close the lead characters come to ”rescuing” each other that lends the film a rooting interest.

Dennis Harvey, Variety

Of special interest is the film Sam is making within the film–an exploration of the perspective of homeless youth.

Other People’s Children identifies and pokes self-aware fun at some of the pitfalls of documentary filmmaking.

The questions Sam asks are trite and the responses superficial, until she learns to go deeper by training her camera on a subject for an extended period of time, allowing them to discuss their experience at their own pace.

What is perhaps most refreshing about Liz Hinlein’s feature is that it manages to be a film about filmmaking that does not get lost in a mystical, naïve, or spiraling vision of the creative process.

Other People’s Children offers gorgeously framed moments of personal reflection, quiet pensiveness, and debaucherous abandon. It has the unique quality of being impeccably well-crafted and, yet, it communicates the gritty coarseness of bohemia.

Other artists and free spirits, or anyone who has forged through a period of loss and confusion need to see it.

Close Up: Premiere Feature Review

11

US Premiere JUNE 30 - 7PM EST

The Idealist

Seamlessly weaving authentic archival footage into the story of Brink’s gradual transformation of public understanding of the Thule crash, The Idealist represents an achievement in the genre of

A

n accident of nuclear proportions, the 1968 crash of a B-52 bomber with a hydrogen bomb payload outside of the US Military base in Danish-controlled Thule, Greenland, some twenty years later.

A reporter confronts Danish and American officials with lingering questions about the episode, but they would rather its memory remain swept away with the debris. Can he pull back the veil of bureaucratic secrecy to achieve and share the event’s truth with his fellow citizens, and, if so, at what personal cost?

Christina Rosendahl’s The Idealist is a historical drama that recounts real-life Danish journalist Poul Brink’s (Peter Plaugborg) investigation into the Thule nuclear incident.

When dozens of workers responsible for cleaning the wreckage of the bomber fall sick with mysterious cancers and symptoms of radioactive contamination, Brink goes to work.

He pushes the health department, survivors of the crash, an uncooperative Danish foreign minister, and a hostile American ambassador to find answers regarding why the men are ill and why nuclear warheads found themselves in Danish territory in the first place.

Unwavering and indefatigable, we follow Brink’s probe from its start to its end to great dramatic effect.

the docudrama.

It is a drama so captivating, that it is almost impossible to imagine it has happened for real. The sound design is a genre for itself. It’s electronic, vibrant, alarming and at times frightening.

Sandra Fij Van Draat, Cinema Scandinavia

Seamlessly weaving authentic archival footage into the story of Brink’s gradual transformation of public understanding of the Thule crash, The Idealist represents an achievement in the genre of the docudrama.

Cinema has an uncanny ability to impact our perspective of historical events, sometimes by condensing major historical landmarks into accessible stories.

But he does not shy away from the darker side of Brink’s idealism either. Plaugborg demonstrates the thin line between righteous tenacity and obsession.

It can also bring a forgotten piece of history back to life. The Idealist proceeds like the 2016 Oscar-winning film Spotlight, showcasing the excitement, the risks, the setbacks, and the breakthroughs that accompany tough investigative reporting.

There are moments when the pursuit of absolute truth risks slipping into a manic infatuation with its own ends.

Rosendahl’s use of historical footage makes the audience feel as if it is pursuing its own case on the crash, discovering bits of actual truth about the event as the film unfold.

Peter Plaugborg conducts a spectacular character study of Brink–relishing his victories, and embodying his diligence and sense of duty to revealing the truth at any cost

The Idealist is a compelling piece of historical fiction that sheds light onto a littlediscussed tragedy provoked by the generation-defining conflict of the Cold War. It does so while satisfying our appetite for solving a puzzle.

CEO’S CORNER

12

As a film buff, I have always been fascinated with film as a powerful medium to view the human condition. I

I want to democratise cinema

love great stories, interesting characters, and the emotive moments that make us think about our own lives. And now, with the addition of our Flix Premiere Originals initiative, our team will continue to look for talented film partners who also want to share these stories with the world.

Flix Premiere has always been about recognising the voices of all filmmakers. We have become the home of Award-Winning cinema, offering the very best stories from Independent film. Our movies are Exclusive to Flix Premiere, and by working with the

A warm welcome to our passionate moviegoers to the inaugural Flix Premiere Close

industry and at the film festivals we continue to show

Up magazine.

great stories that are often missed by the industry films that deserved to be seen, not because they have

In our first issue, I invite you to explore the upcoming film premieres available and to

won awards, but because they have a meaning to our

read their compelling feature reviews. In addition to our Premiere features, you can

lives. Creating a platform where more independent

expect updates on the company, our services and more through our issues released

movies can be seen is what I call democratising

monthly.

cinema - allowing worthy movies to have a voice.

As many of our readers know, we are huge supporters of film festivals, and in particu-

I hope you enjoy our first issue, and we look forward

lar the Festival de Cannes. In our third year at the festival, and on it's 70th Anniversa-

to continuing to serve this industry, ensuring these

ry, we decided to announce our intention to enter the Original productions market,

great movies are enjoyed throughout the world.

and continue to bring wonderful new stories onto the Flix Premiere platform.

I encourage you to read the Screen International story about this initiative, of which we were fortunate enough to feature the announcement on the cover of Screen magazine during the festival.

Martin Warner CEO and Founder

CAPTURING THE MAGIC OF CINEMA www.flixpremiere.com

CANNES FILM FESTIVAL

13

A wave of Original Productions coming soon to Flix Premiere As Flix Premiere wrapped up their third Cannes Film Festival on the eve of the firm's two year anniversary, Flix Premiere's own Martin Warner (CEO & Founder) appeared on the cover of SCREEN International magazine for the second time, announcing the firm’s expansion into Original Productions.

Flix Premiere announced the intention to deliver Original Productions to its service, with the expectation of initially announcing 5-10 productions through 2017 and 2018.

"This will enable us to get in earlier on films and get involved in marketing at an earlier stage", said Warner, whose Film Acquisition team was in full force on the Croisette for the third consecutive year.

96%

ABOUT OUR SERVICE

Our service is available in of US and UK households where you can access our service on an average of three devices!

We are available across 15 major platforms including;

69

638 Total territories acquired

DEVICES

Award-Winning films Exclusive to our platform Apple TV

200 over

theatrical Premieres available and

300

Chromecast

in General Release Pipeline

Amazon Fire

iOS, Android, Web

Roku

Samsung Sony, Panasonic, LG, Sharp

www.flixpremiere.com

Our service is available in the US and UK, and we are fast acquiring movie titles for territory expansion.

THE home of award-winning CINEMA

LONDON OFFICE

LOS ANGELES OFFICE

26 Dover Street London W1S 4LY

468 N Camden Drive, Suite 200, Beverly Hills, California 90210

T +44 2085 880618

T +1(310) 601 3168

Email: General: info@flixpremiere.com Film Partners: partners@flixpremiere.com Press: press@flixpremiere.com www.flixpremiere.com

Copyright 2017 All Rights Reserved