October 23, 2021

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China’s Hugoest Media has taken ‘The Tale of King Crab’ from Shellac

3 min read

Beijing-based distributor Hugoest Media has acquired Chinese distribution rights to Cannes directors’ Fortnight Player, The Tale of King Crab, the first feature of the fictional fiction of Italian filmmakers Alessio Rigo de Rigi and Matteo Jopis.

Hugoest Media plans to release a limited number of dramas in Chinese theaters by 2022.

The international sales force of Shellac in France terminated the contract with Hugoest Media. It adds to the North American pick-up by Oscilloscope Laboratories, negotiates with Thomas Ardenneu and Eagle Sepit of Shellac and announces “Crab King” at the Cannes Festival a week after its world premiere.

A widespread tale of tragedy and redemption, “The Tale of King Crab” is based on a vague local legend, the filmmaker of one man, Luciano, a man living in an Italian village in the late 1800s or early twentieth century. A “madman, an aristocrat, a saint and a drunkard.” The horrific tragedy of quarreling with the prince over the right of entry through an ancient gateway with the local landowner and his flight to Argentina’s Tiara del Fuego where Luciano finds a kind of liberation, a ruthless gold digger searches for a mythical treasure and the movie titular knuckle.

Acclaimed as one of the shots in the film and one of the inventions of this year’s Cannes festival, “The Tale of King Crab” is produced by Italian Ring Films, Augustina Costa Versi Volp Films and Wanka Sean’s Ezequiel Borovinski, two based Tomaso Bartani and Massimiliano Navara. Argentina, and Thomas Ordneu in Shellac, France.

Hugoest sources described their brand new acquisition as “an avant-garde legend with the beauty of classic Italian film.”

Lazy loaded pictures

The story of the King Crab
Courtesy of Volpe Films

Rationalizing the oscilloscope deal, sales to China continue “a long journey that takes our production workers from the depths of the Roman countryside to the islands in the southern tip of Argentina,” the manufacturers said in a joint statement. “It’s really an honor to know that this story will reach a new continent and a new market.”

Alessio Rigo de Righi and Matteo Zoppis hoped “the experience of this song, which took shape from distant legends, village voices and so on. [their] Collaborators, talk to Chinese visitors. ”

Founded in 2016, Hugoest has distributed more than 160 international earthhouse films in China, often leading major festivals such as “Cow (Can 2021),” Schoolgirl, “(Berlin 2020),” The Invisible Life of Eurydice Gusmo, 2019 Cannes Top On Specific Reserve Winner, and “Let the Sunshine In” (Cannes 2017).
Supporting women-centric stories, Hugoest has now launched an international sales event, which represents Earthhouse films and documentaries by talented Chinese directors.

Based on Marseilles, Shellac’s tents range from production, distribution, video versions and exhibitions. There is a string line in the films of emerging directors of established cinematographers such as Damien Manivel, Virgil Vernier, Roberto Minervini – such as Chantal Ackerman, Christy Pueu and Miguel Gomez.

Launched in 201 international, its international arm sells Christie Puy’s “Malmkrug”, Felipe Bragania’s “A Yellow Animal”, Manuel’s “Baby Isadora”, Ted Fend’s “Outside Sound” and Emily Assell’s debut, “Our Eternal Summer”.

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