Luxbox Expands, Restructures its Acquisitions, Sales Team

Natacha Kaganski has joined Luxbox as festivals and acquisitions supervisor and Solène Colomer has been named gross sales & advertising and marketing coordinator.  

Previously, Kaganski spent 4 years as acquisitions supervisor at Wild Bunch, the place she dealt with offers for the French and worldwide market in addition to coordination for multi-territories offers with the Wild Bunch group, resembling Germany, Spain and Italy. 

She was concerned in movies likeVenice winner “Happening” by Audrey Diwan, Gaspar Noé’s “Vortex” or “Leila’s Brothers,” additionally participating in first Wild Bunch productions.

Solène Colomer has one yr of expertise helping the gross sales and manufacturing groups at Urban Group beneath her belt. She was concerned in “Plan 75” by Chie Hayakawa and “If Only I Could Hibernate” by Zoljargal Purevdash which, as reported by Variety, has already made historical past in Cannes.

They full the already present crew with president Fiorella Moretti and Jennyfer Gautier, head of worldwide gross sales. 

“Personally, I enjoy working with women. A lot. But it has never been a rule,” says Moretti, admitting she has a “very good feeling” in regards to the new crew.  

“We have been working together just for a few weeks and I feel there is a great dynamic and dialogue in the office. There is fantastic energy!”

Luxbox has been busy on the French competition, presenting two movies within the Directors’ Fortnight part: “Creatura” by Elena Martín Gimeno: a movie about “feminine desire and taboos,” notes Kaganski, additionally highlighting a “delicate portrait of the Portuguese working class” in “Légua,” by Filipa Reis and João Miller Guerra.

“We are sure this beautiful story about solidarity will resonate with the audience,” provides Gautier.

The firm has additionally introduced the restored model of Manoel de Oliveira’s “Abraham’s Valley,” launching the gross sales of 13 movies by the celebrated director. 

“After having the honor of handling the complete catalogue of Béla Tarr, we decided to explore working with classic films. These are the filmmakers I admire so much, which makes it a unique experience,” notes Moretti, with Kaganski including:

“In a market that’s getting more and more competitive and is constantly changing, it’s important to strengthen our catalogue with classic films. Conservation and restoration of cinematic treasures is among our missions for the future.” 

Finally, the corporate has offered first pictures of Mohamed Ben Attia’s “Behind the Mountains” and “Critical Zone” by Ali Ahmadzadeh, teasing upcoming “Puan” by María Alche and Benjamín Naishtat, Felipe Carmona’s “Penal Cordillera” and Carolina Markowicz’s “Toll.” 

With Moretti itemizing the Joan of Arc diptych by Bruno Dumont among the many crew’s “biggest professional satisfactions” – “We are sure they will have an important place in the history of cinema,” she says. Handling first characteristic movies by Jonas Carpignano and Ben Attia was additionally essential.

“First films were among our big commercial successes, from Manuela Martelli’s ‘1976’ [also known as ‘Chile ‘76’] to ‘20,000 Species of Bees’ by Estibaliz Urresola, ‘Clara Sola’ by Nathalie Alvarez Mesen, ‘Song Without a Name’ by Melina Leon and ‘The Heiresses’ by Marcelo Martinessi. Still, my biggest satisfaction has to do with remaining free in our choices.”

Luxbox has additionally served as co-producer on one other Cannes title, Lisandro Alonso’s “Eureka.” But, as identified by Kaganski, there are extra issues to return. 

“We will continue to reveal and support new directors and new voices of international cinema, with already eight films [slated] to come in 2023 and 2024,” she states. 

“Even in France, where there are many public grants, the system is not self-sustainable anymore. Recent budget cuts [experienced by] Clermont-Ferrand International Short Film Festival prove that supporting independent cinema is a battle.”

While Gautier notes that “strengthening the company’s links with French producers” shall be one other precedence, flexibility is essential. 

“Audiences are not quite back to theaters yet and the audiovisual and cinematographic landscape has changed a lot over the last few years. Distributors are more and more careful with the films they pick, so we feel we need to constantly reinvent our model,” she provides.

As properly as stunning viewers with “daring and bold films,” says Colomer. 

“They need to see things they have never seen before.”

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