The Hollywood Reporter has released its fourth daily issue for the American Film Market, which kicked off Wednesday in Santa Monica. The issue features a look at the global appetite for non-English content, Guy Ritchie’s new thriller and why indie execs say content is no longer king.
Ironically, Bong Joon Ho’s Parasite — a parable on the insidious nature of modern-day capitalism — has proved very good for business. The drama about two families — one living in squalor trying to con their way out, the other in aseptic, isolated luxury — has grossed more than $110 million at the worldwide box office to date and is set to cross the $10 million mark in North America this weekend. But while there have been foreign-language hits in the U.S. before — Sony Pictures Classics earned $128 million with Crouching Tiger, Hidden Dragon in 2000 — the real surprise is how well Parasite has done around the world, with seven- and eight-figure grosses in France, Germany, Russia and Australia, among others countries. THR breaks down how titles like Parasite are benefitting from an increasing global appetite for non-English content.
MGM Sparks Reunion
In one of the AFM’s splashiest deals, MGM has landed Cash Truck, the Guy Ritchie action-thriller that Miramax has been shopping at the market. Reuniting Ritchie with Jason Statham, who starred in the director’s British gangster-comedy breakouts Lock, Stock and Two Smoking Barrels and Snatch, the movie also stars Scott Eastwood, Holt McCallany, Jeffrey Donovan, Laz Alonso and Josh Hartnett.
Data Takes Crown
The fast-changing world of independent film distribution can be a scary place. Business models on which the industry has relied for decades are breaking apart as studio blockbusters grab an increasingly large share of the domestic box office and streaming platforms splinter the audience for niche and indie fare. THR looks into how changes wrought by digital disruption have brought chaos to the marketplace.