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Puerto Rico, Dominican Republic, Philippines Lure film, TV shoot

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Puerto Rico, Dominican Republic, Philippines Lure film, TV shoot


To paraphrase the old saying, every cloud must have a silver lining. Indeed, for some Caribbean island regions, the COVID-19 pandemic has been a blessing to the audiovisual industry despite the loss of life. Two of the most tolerant in terms of movie incentives, the Dominican Republic and Puerto Rico, are expecting record booms.

“The number and scale of projects coming into the country has grown exponentially,” said Albert Martinez, COO of Lantica Media, which runs Pinewood Dominican Republic Studios. “A lot of the projects fascinated us because they opened earlier than the other locations.”

Among the first major productions filmed in the Dominican Republic was “Old”, which made the most of pinewood DR. It is a thriller from M. Night Shyamalan starring Gael Garcia Bernal.

The Dominican Republic’s Film Commission estimates overseas production costs of about $176 million by the end of the year, up from $35 million last year. Film director Mariana Vargas says hospitality and ancillary industries floated despite tourism stagnation as hotels and other amenities were taken over by production.

“Local shipping companies are building set trailers to meet growing demand,” Vargas said.

The Dominican Republic and Puerto Rico were open to visitors around June and have performed relatively well in the fight against the deadly coronavirus. Puerto Rico has just lifted a one-year curfew, and the Dominican Republic is currently pushing the time to a later date.

Puerto Rico’s tax incentive program provides a 40% production tax credit to businesses and individuals residing in Puerto Rico and a 20% tax credit on all payments to eligible non-residents. Preferential duty free from 4% to 100% leads to more savings. Because Puerto Rico is a US territory, US producers don’t have to fight visas, commercial barriers or other currency and banking systems, says film director Rosi Acosta.

The annual credit limit for businesses and individuals residing in Puerto Rico is currently $38 million per fiscal year, down from the original $50 million. “We are working both at the public and private levels to get this back to $50 million,” Acosta said.

Among the nine foreign photos taken recently in Puerto Rico is Randall Emmett’s “Wash Me in the River” with Robert De Niro, a local production led by “El Cuartito” by Marcos Carnevale and will be released in a limited edition in the US.

For the Dominican Republic, international productions spending a minimum of $500,000 are eligible for a 25% transferable tax credit on qualifying spend.

From 2019, the 27% withholding tax imposed on foreigners working in DR has been lowered to 1.5%, resulting in a surge in shooting. International producers are also exempt from 18% VAT tax. In addition, equipment imported for on-location shooting is exempt from customs duties. DR’s recent productions include Mark Wahlberg star “Arthur the King” and Jennifer Lopez’s “Shotgun Wedding”.

Located 218 miles southeast of Puerto Rico, the 36-square-mile island of Nevis has been a lifesaver for US/UK-based MSR media, which patrolled various locations until landing on this small island with no reported COVID-19 deaths. Under an extended multi-project, three-year production contract with the Nevis administration, the island provided access to multiple locations, hotel assistance, and prompt permission to shoot MSR Media’s project sequel, her third installment of the romantic comedy “Two Weeks in” Paradise”, scheduled to shoot in June.

“This new multi-year multi-film deal is really good news for Nevis,” says Premiere Mark Brantley. “Our government’s vision for the film industry stems from the need to diversify our tourism-dependent economy, and our partnership with MSR Media is paying off tremendously.”

Meanwhile, MSR Media has opened an acting academy in Nevis and is in talks to open a similar academy with the authorities of its sister island, St Kitts. Philippe Martinez of MSR Media said, “I’m impressed with the progress and technology we’ve seen so far, and we’re only seeing opportunities for the local community to grow as we shoot more titles.

The Cayman Islands signed similar multi-production deals with Productivity Media and Darius Films earlier this year. The pact started with Jonathan Sobol’s action drama ‘Baker’, a dark comedy ‘Blue Iguana’ starring Harvey Keitel and Ron Perlman.

On the other side of the world, the Philippines introduced a set of incentives when the pandemic struck. Among them is the Film Location Incentive Program (Flip), a program that offers eligible international projects a 20% cash rebate of up to 10 million pesos ($198,000) for eligible spend in their country. There is also a new film fund led by Intl. Co-Production Fund (ICOF) for Feature Films with Majority or Minority Co-production Agreements with the Philippines.

“We soft-launched Flip in the Asian film market as early as 2019 and had our first application cycle last year,” says Liza Diño, Chairman of the Philippine Film Development Council. Apply for a waiver of current restrictions on visitors. “Since then, five productions have received rebates in May 2021. The most notable of these projects is ‘Almost Paradise’, an American crime drama television series produced by Hollywood producer and director Dean Devlin.”





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Central Partnership, BF Films Partner on Horror Film ‘Schizophrenic’

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Central Partnership, BF Films Partner on Horror Film 'Schizophrenic'


Russian production and distribution powerhouse Central Partnership and Latin American film group BF Films announced their first co-production. Variety can be exposed.

“Schizophrenia” is a psychological horror film set in the real world of a serious mental disorder. Dark stories from real patients will be inspiring, and various schizophrenic symptoms, including conspiracy theories and altered reality perception, are part of the script.

The story was created by JP Jacobsen and the script is being written by Hernanny Perla (“Blink, “Revelation”, “Santería”), who has appeared twice on Hollywood’s blacklist. Perla is represented by Verve, Anonymous Content and attorney Marios Rush.

The film’s director and cast is currently scouting and will be announced in the coming months. The project will be filmed in English by an international team working in Russia at the end of 2021 or early 2022. Executive producers include Carlos Hansen, Partner and CEO of BF Films, Juliana da Cunha Jacobsen, Partner and Head of Acquisitions at the company, and Vadim Vereschagin, CEO of Central Partnership. .

“For over 15 years, we’ve been looking for the world’s best film projects and distributing them widely in Latin America,” Hansen said. “We know what works on our territory. Now is the time to work with our favorite international partners to develop and produce BF’s projects for the global market.”

Jacobsen said, “’schizophrenia’ is a vivid example of what BF Films is pursuing. “We all know that the horror genre is exploding around the world, and the challenge is to do something fresh to stand out in a complex market. This story has an interesting premise, two iconic female protagonists, and a lot of creative potential that we are sure will attract world-class talent.”

The film is distributed in Latin America by Central Partnership in Russia and BF Distribution. The company is also working as a partner to sell rights to other territories.

Vereshchagin said, “We are excited to start a new chapter in the history of Central Partnership and to start a joint project with our outstanding partner BF Distribution, one of the largest independent content distributors and creators in Latin America.” “’Schizophrenia’ makes a strong statement and is perfectly positioned to be a successful horror film. This story appeals to one of the most relatable human fears. It will be understood and felt by a wide audience not only in Russia and Latin America, but also around the world.”

The project was announced at the Key Buyers Event held online from June 8-10. Also on the slate of the Central Partnership during the KBE is “The World Champion” (pictured), a drama based on the legendary 1978 chess match between Soviet world champion Anatoly Karpov and dissident Viktor Korchnoi. the 1920s drama “December”, which follows the last days of Sergei Yesenin, a famous Russian poet and American dancer in love with Isadora Duncan; ‘Row 19’ is a psychological thriller centered on a young doctor and a 6-year-old daughter who is caught in a storm by her 6-year-old daughter on a red-eye flight.





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‘Love, Victor’ Season 2 Captures Parents’ Struggle to Accept Gay Son

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'Love, Victor' Season 2 Captures Parents' Struggle to Accept Gay Son


Spoiler warning: Don’t read if you haven’t seen season 2 of “Love, Victor” streaming on Hulu right now.

The second season of ‘Love, Victor’ (a spin-off series on the 2018 groundbreaking feature ‘Love, Simon’) begins where Atlanta teenager Victor Salazar (Michael Cimino) tells his parents he’s gay, where the first stops. Start. . After waiting a year, audiences will finally see how Armando (James Martinez) and Isabel (Ana Ortiz) react to their son’s announcement.

no scary – No tears or screams, no accusations or rejections. But at first, neither parent accepts who Victor is. Armando at least awkwardly asks about his girlfriend (i.e. an attempt to convince him that Victor can be with a girl) and wonders out loud when he decides he’s gay.

But Isabel remains silent. When Victor finally asks her to say something, she whitens.

“Well, I think I should get some rest,” she said, barely listening. “And we can talk about it tomorrow.”

When the episode ended 10 weeks later, Victor and Isabel still hadn’t talked about it. As the season begins, Armando attends a meeting of the local chapter of the LGBTQIA+ alliance support group led by Simon’s father Jack (Josh Duhamel), working to understand his son, while Isabel tries to accept the fact that Victor is gay. really struggling for

Co-showrunner Brian Tanen said, “It’s dishonest when he comes out and everything goes well. “In 2021, parents just want to hug their children and say that everything will be fine. But our job on this show was to tell a different opening story than what Simon had in the movie.” – Simon’s parents understood and embraced him almost immediately.

“Love, Victor” shows a different course, which is a bit more subtle. When Victor begins his first same-sex relationship with boyfriend Benji (George Sheer), Isabel doesn’t spend time with Benji, not to mention flinching and admitting that she’s dating her son.

Ortiz said about Isabel’s arc in season 2, “It’s going to sound a little weird, but I was actually a little excited when they told me,” Ortiz says. “It was really exciting to play. It was really different.”

In the stories that usually come up, a mother is someone who understands and is committed to her LGBTQIA+ children. Ortiz played the role perfectly as Hilda Suarez, fiercely protecting her young gay son Justin (Mark Indelicato) in ABC’s beloved telenovela “Ugly Betty.” So she enjoyed the twist.

“I thought Continuously” Ortiz says about the difference between Hilda and Isabel. “They are two sides of the same coin, right? Hilda will fight anyone who sees Justin in the eye. Isabel, on the other hand, thinks people are too clingy to her, her family, and to thinking of her as a mother. ‘How can you raise a gay son? If it were me, I wouldn’t make him gay. ‘ I’ve heard quite a bit from people in my community. ‘I do not know, no — Say he can’t be gay. Tell her you can’t do that. ‘”

Ortiz saw these dynamics at work within his family. She conveys how her late cousin Freddy devoted herself to her paternal grandmother Ramona, even though for a long time Ramona could not accept the fact that Freddy was gay. That dynamism helped inform Ortiz’s understanding of why it took Isabelle so long to support Victor.

“She’s not a monster,” Ortiz says. “She loves her son and loves her family. The road that got me in was to think about Freddie and Ramona and how much we all loved her in spite of its flaws. She was still there for Freddy, but there was always a little thing until it wasn’t there. Until the light changes.”

Ana Ortiz as Victor’s mother Isabel and George Sear as Victor’s boyfriend Benji in “Love, Victor”
Courtesy of Michael Desmond/Hulu

The “Love, Victor” writers also mined personal experiences that come to their parents as they craft Isabel’s journey this season. Postpone a difficult conversation with Victor to another day with Isabel’s initial reaction.

“The idea that there is no answer to people who don’t accept the idea that their parents are coming out right away is something we hear over and over,” Tanen says. “The idea that the parents are just hesitant and don’t want to say one side or the other is a bit shocking for A and B doesn’t want to say anything negative, but they are traveling.”

One of the biggest stubbornnesses between Victor and Isabel is Victor’s refusal to tell his brother Adrian (Mateo Fernandez) that he is gay. This is a development that stemmed from a small argument when “Love, Victor” first moved out of their home. From Disney Plus to Hulu Before Season 1

Tanen said this move helped the show, allowing Season 2 to portray the sex life of Victor and Benji in a rare, candid way, but decided that “Love, Victor” couldn’t be on a more “family-friendly” Disney Plus. “It sparked an interesting conversation in the writer’s room about whether LGBT issues are inherently more adult.”

“They are in some ways a discussion of sexuality, and sexuality is more of an adult subject,” he continues. “We wanted Isabel to think about whether it’s okay to have these conversations with the kids. Of course it is. This is a conversation about people. are.”

When Adrian learns that Victor is gay, he accepts it without thinking again, and Isabel faces the biggest obstacle between her and Victor: a lifelong commitment to the Catholic Church. Early in season 2, Isabel also asks her bride about Victor. He advises her to help her son get back to Jesus, that is, stop homosexuality.

“When Victor agrees to be reluctant to come out, she doesn’t want to hear it,” Tanen says. “Looking at her face, she wants the bride to turn her around on this matter. Her heart and mind are elsewhere.”

Later, when Adrian tells Isabel that the bride hinted that Victor’s soul is in danger, there is the same light switch moment Ortiz’s grandmother had with Ortiz’s cousin Freddy, and she marched into the bride’s room to announce him. do.

“I was brought up to believe in a lot of ugly things, Dad,” she says. “It seems like it will take me to forget the rest of my life, but I will.”

Ortiz liked the scene, but said the director had to keep reminding her to reverse her reaction. “My instinct is, ‘Free me!'” she said with a laugh. “But that’s not Isabel. She still conquers a lot more about it.” (Still, Tanen remembers “people clapping” after the scene ended while she was reading the table for the episode.)

Tanen, who’s been writing Ortiz’s scenes after “Ugly Betty,” wrote the second episode of the season, in which Isabel finally tells Victor the desperate story he wants to hear: “I accept you, Victor. I love every part of you.”

That kind of happy ending doesn’t reflect every parent’s reaction to their child’s sexuality, but Tanen says it fits the larger mandate for “Love, Victor” to avoid the trauma of coming out.

“We want to feel inspired and uplifted at the heart of the show,” he says. “It can be an emotion in a writer’s room when people recall their journey, but it can also be incredibly cathartic. And it’s also a chance to make some wishes come true. Even if it’s not perfect, it’s an opportunity to rewrite history to show the LGBT audience, ‘This is the way to go.'”

Even telling queer stories in place empathy can lead to unexpected places.

“It is now a little easier to talk to someone in the family. [homophobic] Look,” she says. “Before I go to dinner and have a screaming argument. Now I think we can talk to them and take a closer look at them from their side.”

“I think it’s really important to have those conversations. “Now everyone is so angry. I mean, the world is upside down. But when it comes to family, when it’s a loved one… You can keep these conversations calm. And you can watch the show with them and say, ‘Now we can talk about it.’”





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‘Catch up on Kardashian’ is over, but the marathon continues at E!

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'Catch up on Kardashian' is over, but the marathon continues at E!


After 20 seasons, the Kardashian-Jenner family signed “Keeping Up With the Kardashians,” with the series finale airing Thursday night heralding the end of the reality TV era. But that’s good news. Dolls: Long after the family moves to Hulu, fans can watch the “KUWTK” marathon on E!

E! reserves the rights to the juggernaut franchise Variety I found out that the NBCUniversal cable company owns the “Keeping Up” library and can continue to air episodes even if the family is deeply involved in their new contract with Hulu.

In addition to being able to air on E!, seasons 1 through 19 will continue to stream on Peacock and Hulu, with season 20 available on both services in 2022 under existing streaming deals.

Throughout the original run of “KUWTK,” the reality show was able to binge on Hulu. Hulu’s high engagement among its consumer base has proven to be a good synergy and is part of the reason families are moving to Disney-owned streaming services.

Kardashian-Jenners is expected to bring new shows to Hulu and Disney’s Star international streaming service starting later this year, but details about the content, format, or number of projects have not been announced. Announced in December 2020, the deal was set up with the families of Kris, Kim, Kourtney, Khloe, Kendall and Kylie.

“Keeping Up” aired in 2007 and revolutionized reality TV, popular culture, and celebrity definition. The flagship show ran 20 seasons and 9 spin-offs, featuring 440 episodes and approximately 20,000 hours of footage for a total of 38 seasons. E!’s smash hit “KUWTK” was a major player on Cabler in its final season, and as the series aired in 90 and 20 countries, it garnered an impressive audience and major advertising dollars not only domestically but also worldwide. other languages.

Last deal the Kardashian-Jenners made with E! Networks and families have commented on the sizable salary, but it was reported at $100 million in 2017. Hulu trading terms were not disclosed.

Although it cost the family quite a bit, E!’s return on investment has been worthwhile not only for its fresh content, but also from its well-received iterations, even if it’s already aired multiple times. The marathon in “Keeping Up” has been a staple of E!, filling a lot of airtime almost every day.

E! Although they haven’t made any programming announcements about how the “Keeping Up” iteration will fit into their future schedule, the show’s immense success and deep-rooted fan base will likely allow cable producers to take advantage of franchise ownership for years to come. will come

Actually the series is over, but E! There’s more Kardashians content to catch up with. Before the family officially leaves for Hulu, Andy Cohen will be reuniting with the family for the first time. June 17th at 8pm and June 20th at 9pm Part 2 special broadcast





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