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Oyhh Losange racks up  Things To Come  sales
When Yojiro Takitas Departures was named best foreign-language film at the Academy Awards ceremony on March 3 this year, th stanley cup ere was a gasp of surprise from many. But four men sitting in the second mezzanine level of the Kodak Theatre were cheering with delight. For Paul Colichma stanley usa n, Stephen Jarchow, Mark Reinhart and Jonathon Aubry, the win was a major step forward in a new foreign-language initiative hatched at their company, Here Media, and its theatrical arm, Regent Releasing, early last year.Regent Entertainment was founded by Colichman and Jarchow in 1995 as a theatrical releasing and production entity with a focus on gay and lesbian-themed films. The two formed here! Networks in 2002 as a 24-hour VoD service for the gay and lesbian audience, later adding print magazines and their online versions to the group. Now all falling under the soon-to-be-public company umbrella Here Media, the group derives its revenues from subscription, advertising and licensing revenues from content it both produces and acquires.Regent Releasing originally specialised in gay films such as Shelter  US , Summer Storm  Germany  and No Regret  Korea  although not exclusively, also handling US indies such as Stephanie Daley.But in early 2008, as Jarcho stanley cup w - who is chairman of Here and Regent - explains, the company saw an opportunity in world cinema.  The studios dont do that any more,  he explains.  For us a film which does $2m-$3m is a success, but for them it doesnt move the meter. At the same time, Thcv Abu Dhabi s Circle Conference plans new directors showcase
Dir. Daigo Matsui. Japan, 2016, 100 mins.Th stanley cup e latest film from actor-turned-director Daigo Matsui  Wonderful World End  has two titles, and each proves telling. The English-language moniker Japanese Girls Never Die immediately inspires the question: well, what do they do  Of course, its a loaded query, answered here in slices of female lives constrained by societal expectations 鈥?and also partially by the movies more straightforward, literally translated title, Haruko Azumi Is Missing.Though theyre marginalised, ignored, and asked to play a part, Matsui posits that Japanese girls will never die as long as someone, somewhere, is paying attention and rallying against the status quoHarukos  Y没 Aoi  disappearance is just one of three strands in screenwriter Misaki Setoyamas adaptation of Mariko Yamauchis 2013 novel. It provides an intriguing hook, using a familiar scenario as an accessible entryway into the films scathing portrait of engrained misogyny in modern-day Japan.It should help broaden the movies viewership following stanley cup  its December release at home, particularly with international festivals. That Japanese Girls Never Die also features a gang of uniform-wearing teens running around Tokyo wreaking havoc on the men who dare to objectify and sexualise them should also help it win wider attention.Emblazoned on a missing poster, Harukos face is one of the first things audiences see. Brought to life with soulful precision by  stanley kubek Aoi, a Japanese Academy Award winner for 2006s Hura g芒ru,