U.K.-based production company and financier Fugitive has signed a wide-ranging partnership with South African independent producer Helena Spring for a diverse slate of projects.
Spring produced “Yesterday,” a 2005 Oscar nominee for South Africa in the foreign language category. The film was also nominated for a Primetime Emmy and an Independent Spirit Award.
The new partnership will see Fugitive’s Anthony Kimble work with Helena Spring Films to develop a slate of scripted titles for TV, as well as represent them in the international market for commissions and financing.
The slate includes “Neon Gold” (8 x 60′), a cyber thriller set in a Johannesburg of the future that blends a heist adventure tale with a coming of age story; “Common Purpose,” a limited series set in 1984 Apartheid South Africa that follows a group of young people who are jailed for a crime they did not commit; and 12-part AIDS drama “The Year of Facing Fire,...
Spring produced “Yesterday,” a 2005 Oscar nominee for South Africa in the foreign language category. The film was also nominated for a Primetime Emmy and an Independent Spirit Award.
The new partnership will see Fugitive’s Anthony Kimble work with Helena Spring Films to develop a slate of scripted titles for TV, as well as represent them in the international market for commissions and financing.
The slate includes “Neon Gold” (8 x 60′), a cyber thriller set in a Johannesburg of the future that blends a heist adventure tale with a coming of age story; “Common Purpose,” a limited series set in 1984 Apartheid South Africa that follows a group of young people who are jailed for a crime they did not commit; and 12-part AIDS drama “The Year of Facing Fire,...
- 7/20/2020
- by Naman Ramachandran
- Variety Film + TV
Chicago – It’s difficult to think of a more appropriate film to be released on the first day of Black History Month 2011 than Anthony Fabian’s under-appreciated gem, “Skin.” First screened on the festival circuit in 2008 before being rolled out for a super-limited theatrical run in Fall 2009, this moving and important fact-based drama never got the exposure it so richly deserved.
The reason why Clint Eastwood’s “Invictus” failed to move many younger viewers was the fact that it never allowed audiences to feel the decades of struggle in South Africa that preceded the miraculous moment of unity explored by its story. The film never even bothered to explain the meaning of the word, ‘apartheid.’ “Skin” may in fact be the perfect companion piece to Eastwood’s film, since it literally puts a human face on the period of legalized racism enforced by the country’s ruling white minority for nearly a half-century.
The reason why Clint Eastwood’s “Invictus” failed to move many younger viewers was the fact that it never allowed audiences to feel the decades of struggle in South Africa that preceded the miraculous moment of unity explored by its story. The film never even bothered to explain the meaning of the word, ‘apartheid.’ “Skin” may in fact be the perfect companion piece to Eastwood’s film, since it literally puts a human face on the period of legalized racism enforced by the country’s ruling white minority for nearly a half-century.
- 2/15/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Producer Dan Halsted and his Camelot Pictures has optioned Sena Jeter Naslund's fictional best seller Ahab's Wife, which Helena Kriel will adapt. Halsted is producing the project with Front Street Prods.' Jonas Goodman and Harvey Kahn and Little Giddings Inc.'s John O'Hurley, the latter of whom provided the mid-six-figure option for the book. Little Giddings' Greg Strangis and Camelot's Gary Gilbert are executive producing. Wife, published by William Morrow/HarperCollins in 1999, tells the tale of a young Kentucky girl who, looking for adventure, poses as a young boy to gain entrance on the whalers of Nantucket. After a harrowing accident and adrift at sea, she is rescued by Capt. Ahab, and thus begins a great love between them.
- 9/23/2003
- The Hollywood Reporter - Movie News
Based on the "Kama Sutra", the fourth-century guidebook for spiritual and physical lovemaking, filmmaker Mira Nair's "Kama Sutra: A Tale of Love" is a languid tease of a film.
Sumptuously mounted, with glowing cinematography and pulsating music, "Kama Sutra" is also a bit of a sanctimonious turnoff -- an unsatisfying blend of soap opera suds and pious sermonizing.
Viewers who expect a how-to-do-it for some of the 529 lovemaking positions in the fabled book will be disappointed by this Trimark release's philosophical approach. Viewers who wish to contemplate the essence of the relationship between the mind and the body will come away more satisfied.
Although set in 16th-century India, Nair's film glitters with New Age sophistry. Many of the film's thematic pronouncements and bubbles of wisdom seem gleaned from the enlightened pages of Cosmopolitan magazine or this week's "wellness" manifestoes, which is both good and bad.
Undeniably, part of Nair's philosophical stance here is that many of the ideas and practices of other time periods were more enlightened and in tune with human psychology than the crass processes of our current world, yet the dialogue is, at times, hilariously anachronistic and fortune-cookie simplistic.
Prisming the philosophical and sexual teachings of the "Kama Sutra" through a palace story of sexual intrigue, screenwriters Nair and Helena Kriel have created a mixed bag of teachings, titillation and twaddle. To a degree, the story is strictly Hindu Harlequin, as two girlhood friends -- a princess and a servant girl (Sarita Choudhury, Indira Varma) -- have their friendship torn apart by the latter's superior sexual skills.
Heaping it with predictable melodramatic intrigue -- the princess marries the king who yearns for the servant girl, all the while the servant girl goes ga-ga for the moony artist -- the writers nevertheless infuse it with nuggets of feminist wisdom. At its most articulate, the film addresses the unnatural competitiveness women engage in.
The sensual, dignified lead performances are the high points of "Kama Sutra". Varma, as the servant girl, embodies the ideal blend of body and spirit in her silken portrayal.
Playing the sullen princess, whose natural movements and disposition are in disharmony, Choudhury's sultry performance captures the dissonance of a woman whose spirits are out of sync with her physicality.
Sumptuously mounted, with glowing cinematography and pulsating music, "Kama Sutra" is also a bit of a sanctimonious turnoff -- an unsatisfying blend of soap opera suds and pious sermonizing.
Viewers who expect a how-to-do-it for some of the 529 lovemaking positions in the fabled book will be disappointed by this Trimark release's philosophical approach. Viewers who wish to contemplate the essence of the relationship between the mind and the body will come away more satisfied.
Although set in 16th-century India, Nair's film glitters with New Age sophistry. Many of the film's thematic pronouncements and bubbles of wisdom seem gleaned from the enlightened pages of Cosmopolitan magazine or this week's "wellness" manifestoes, which is both good and bad.
Undeniably, part of Nair's philosophical stance here is that many of the ideas and practices of other time periods were more enlightened and in tune with human psychology than the crass processes of our current world, yet the dialogue is, at times, hilariously anachronistic and fortune-cookie simplistic.
Prisming the philosophical and sexual teachings of the "Kama Sutra" through a palace story of sexual intrigue, screenwriters Nair and Helena Kriel have created a mixed bag of teachings, titillation and twaddle. To a degree, the story is strictly Hindu Harlequin, as two girlhood friends -- a princess and a servant girl (Sarita Choudhury, Indira Varma) -- have their friendship torn apart by the latter's superior sexual skills.
Heaping it with predictable melodramatic intrigue -- the princess marries the king who yearns for the servant girl, all the while the servant girl goes ga-ga for the moony artist -- the writers nevertheless infuse it with nuggets of feminist wisdom. At its most articulate, the film addresses the unnatural competitiveness women engage in.
The sensual, dignified lead performances are the high points of "Kama Sutra". Varma, as the servant girl, embodies the ideal blend of body and spirit in her silken portrayal.
Playing the sullen princess, whose natural movements and disposition are in disharmony, Choudhury's sultry performance captures the dissonance of a woman whose spirits are out of sync with her physicality.
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