News

CAROLINE STONE

Pathé are delighted to announced that Caroline Stone joins its UK operation, Pathé Productions Ltd, today (16th October 2023), in the newly created role of Commercial Director. The appointment consolidates the expansion of Pathé’s business in the UK into premium scripted television. Stone joins Pathe after a 15 year tenure at BBC Studios Productions. She was engaged across a variety of roles including, since 2020, Commercial Director of Scripted where she helped Studios establish critical distribution partnerships with all the leading drama producers in the UK. In her time at BBC Studios she was also instrumental in helping build a substantial portfolio of wholly owned or majority owned scripted production labels, as well as part of a list of successful investments including: Small Axe, The Pursuit of Love, Sherwood, Raindogs, This Is Going To Hurt, Happy Valley and Mood. “I’m thrilled to be joining Pathé, it’s such an iconic company that I have long admired, they have built a fantastic reputation for the consistently high quality and distinctiveness of their creative output. And I couldn't be more delighted to be working with Faith again at such an exciting time for the business,” said Stone. “I’ve known Caroline for a long time and seen firsthand the exceptional skills and experience she has in her field” said Penhale. “She’s a real one-off, commercially and creatively brilliant and exceptionally collaborative. I can’t wait to join forces with her at this exciting stage to build on Pathé’s long standing reputation as the home for the best storytellers.” At Pathé, Stone will work closely with Managing Director Faith Penhale, and alongside Director of Business Affairs, Pierre du Plessis and Head of Production, Imogen Bell. She will advise on all commercial matters across the business, informing the growth strategy and seeking out commercial opportunities to build on the company’s unique position within the British creative community and on the global stage.

16 October 2023

PARALLEL MOTHERS

Pathé are delighted to launch the UK trailer and new images from Pedro Almodóvar’s next feature film PARALLEL MOTHERS, starring his long-time collaborators Penélope Cruz, Rossy de Palma and Julieta Serrano as well as Milena Smit, Aitana Sánchez-Gijón and Israel Elejalde. Parallel Mothers will be released on 28 January 2022 in cinemas across the UK. PARALLEL MOTHERS is Almodóvar’s 22nd feature film and tomorrow will screen as the Closing Night selection of the 59th New York Film Festival. The film had its World Premiere as the opening night film at this year’s Venice International Film Festival. The film received an enthusiastic response from the critics, and Penélope Cruz won the Best Actress Award for her performance. Two women, Janis and Ana, meet in a hospital where they are about to give birth. Both are single and became pregnant by accident. Janis, middle-aged, has no regrets and is exultant. The other, Ana, an adolescent, is scared and repentant. Janis tries to encourage her as they move like sleepwalkers through the hospital corridors. The few words they exchange in these hours will create a very close link between them, which by chance will develop and complicate, changing their lives in a decisive way. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER, PAIN AND GLORY and most recently THE HUMAN VOICE. For further information please contact organic. Abi Fiedler / abi.fiedler@organic-publicity.co.uk / +44 (0) 781 663 1916 Katy Sharp-Watson / katy.sharp-watson@organic-publicity.co.uk / +44 (0) 789 133 6136

06 October 2021

PARALLEL MOTHERS

Pathé are delighted to announce that the Spanish auteur Pedro Almodóvar’s new feature film PARALLEL MOTHERS, starring his long-time collaborators Penélope Cruz, Rossy de Palma and Julieta Serrano as well as Milena Smit, Aitana Sánchez-Gijón and Israel Elejalde, will be released on 28 January 2022 in cinemas across the UK. PARALLEL MOTHERS is Almodóvar’s 22nd feature film and had its World Premiere as the opening night film at this year’s Venice International Film Festival. The film received an enthusiastic response from the critics, and Penélope Cruz won the Best Actress Award for her performance. Two women, Janis and Ana, meet in a hospital where they are about to give birth. Both are single and became pregnant by accident. Janis, middle-aged, has no regrets and is exultant. The other, Ana, an adolescent, is scared and repentant. Janis tries to encourage her as they move like sleepwalkers through the hospital corridors. The few words they exchange in these hours will create a very close link between them, which by chance will develop and complicate, changing their lives in a decisive way. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER, PAIN AND GLORY and most recently THE HUMAN VOICE. For further information please contact organic. Abi Fiedler / abi.fiedler@organic-publicity.co.uk / +44 (0) 781 663 1916 Katy Sharp-Watson / katy.sharp-watson@organic-publicity.co.uk / +44 (0) 789 133 6136

12 September 2021

THE LOST KING

Pathé today released the first image from THE LOST KING, starring Oscar nominee and Golden Globe winning actress Sally Hawkins (The Shape of Water, Blue Jasmine, Happy-Go-Lucky) in the lead role of Philippa Langley. Joining Sally Hawkins are Steve Coogan (Stan & Ollie, Philomena) in the role of Philippa’s husband, John Langley; and Harry Lloyd in the role of Richard III. The film reunites the Oscar nominated and BAFTA winning creative team behind box office and critical hit, Philomena – director Stephen Frears and writers Steve Coogan and Jeff Pope. THE LOST KING tells the remarkable true story of how one ‘ordinary’ woman discovered the long-lost remains of King Richard III. The film recently finished shooting in Edinburgh and Leicester and will be released in cinemas nationwide next year, the 10th anniversary of the discovery: In 2012, having been lost for over 500 years, the remains of King Richard III were discovered beneath a carpark in Leicester. The search had been orchestrated by an amateur historian, Philippa Langley, whose unrelenting research had been met with incomprehension by her friends and family and with scepticism by experts and academics. THE LOST KING is the life-affirming true story of a woman who refused to be ignored and who took on the country's most eminent historians, forcing them to think again about one of the most infamous kings in England's history. The film is produced by Steve Coogan, Christine Langan (The Queen) and Dan Winch (A Very English Scandal) and is a Baby Cow production for Pathé, BBC Film, Ingenious Media and Screen Scotland. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé; Rose Garnett for BBC Film; Andrea Scarso for Ingenious; Jeff Pope and Philippa Langley. The film was Co-produced by Wendy Griffin. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.glover@pathe-uk.com / 07917 045875

31 August 2021

THE DUKE

On behalf of Pathé, we are delighted to share the brand new UK trailer and poster for THE DUKE. Starring Academy Award winners Jim Broadbent (Iris) and Helen Mirren (The Queen), this uplifting dramatic comedy has been directed by Bafta winner Roger Michell (Notting Hill) from a screenplay by Richard Bean and Clive Coleman. The film had its World Premiere at last year’s Venice Film Festival where it was received to critical acclaim. The film will be released nationwide in UK cinemas Spring 2022 THE DUKE is a moving true story that celebrates a man who was determined to live a meaningful life. Set in 1961, it follows the story of Kempton Bunton, a 60-year old taxi driver, who stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first, and remains the only, theft in the Gallery’s history. Kempton proceeded to send ransom notes declaring that he would only return the painting on the condition that the government invest more in care for the elderly, specifically bringing attention to his long running campaign for pensioners to receive free television. What happened next is the stuff of legends…only 50 years later did the full story emerge and it was revealed that Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve this, is a wonderfully uplifting tale that will be seen on film for the first time. THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. THE DUKE Official Social Channels Facebook URL: www.facebook.com/TheDukeFilmUK/ Twitter URL: www.twitter.com/TheDukeFilmUK/ Instagram URL: www.instagram.com/TheDukeFilmUK Hashtags: #TheDuke, #TheDukeFilm Pathé UK Official Social Channels Facebook URL: www.facebook.com/PatheUK/ Twitter URL: www.twitter.com/PatheUK/ Instagram URL: www.instagram.com/PatheUK PRESS CONTACTS PRINT & BROADCAST Premier PR Nicki Foster: Nicki.Foster@premiercomms.com Simon Bell: Simon.Bell@premiercomms.com Harriet Gilholm: Harriet.Gilholm@premiercomms.com ONLINE DDA PR Megan Dobson: Megan.Dobson@DDApr.com

27 May 2021

THE GREAT ESCAPER

PATHÉ ANNOUNCES ‘THE GREAT ESCAPER’ STARRING MICHAEL CAINE & GLENDA JACKSON London, 19th February 2021 Pathé today announced that they will be presenting a new feature film, THE GREAT ESCAPER, at this year’s Berlin Film Market. Inspired by true events, the film will tell the story of Bernard Jordan’s escape from his care home to attend the 70th Anniversary of the D-Day Landings in France. The film is set to star two time Oscar winner and six time nominee, Sir Michael Caine (The Quiet American, The Cider House Rules, Hannah and Her Sisters, Educating Rita, Sleuth and Alfie) and two time Oscar winner and four time nominee, Glenda Jackson (Hedda, A Touch of Class, Sunday Bloody Sunday and Women In Love). In the summer of 2014 - the 70th Anniversary of the D-Day Landings - octogenarian Bernard Jordan (Michael Caine) made global headlines. He’d staged a “great escape” from his care home to join fellow war veterans on a beach in Normandy, commemorating their fallen comrades. It was a story that captured the imagination of the world - Bernie seemed to embody the defiant, “can-do” spirit of a generation that was fast disappearing. But of course, it wasn’t the whole story. It was the story we all tell ourselves to make war and old age bearable. The bitter-sweet script explores the reality with wit and a very big heart. Bernie’s adventure, spanning a mere 48 hours, also marked the culmination of his 60-year marriage to Irene (Glenda Jackson) - the story celebrates their love without sentimentality and with an eye to the lessons we might all learn from the Greatest Generation. The film will be directed by BAFTA nominee Oliver Parker (An Ideal Husband) from a script by BAFTA nominee William Ivory (Made in Dagenham) and is scheduled to start principal photography in June this year. Parker commented: ‘No one can resist a script that makes people both laugh and cry – I loved Billy’s writing and the story itself, so inspirational and so moving, seemed to speak to our times and our need for heroes on a human scale, whether people like Bernard Jordan or our doctors and nurses. And now to have Michael and Glenda - two iconic actors - agree to honour this story with their brilliance, it’s the cherry on the cake!’ The film will be produced by BAFTA nominees Robert Bernstein and Douglas Rae (Nowhere Boy) and is an Ecosse Films production for Pathe, BBC Film and Ingenious Media. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé; Rose Garnett for BBC Film; and Andrea Scarso for Ingenious. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. Caine is represented by ICM and Management 42 and Jackson is represented by Lionel Larner. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.glover@pathe-uk.com / 020 7462 4415 ABOUT PATHÉ Pathé has offices in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced and distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s most recent production is Roger Michell’s THE DUKE, starring Jim Broadbent and Helen Mirren, which premiered to critical acclaim at the 2020 Venice Film Festival. In recent years, Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk BBC FILM BBC Film supports invigorating and imaginative filmmaking. Firmly established at the forefront of UK film, and fuelled by its public service remit, BBC Film has an ambitious slate including many of the most exciting filmmakers working today. We find, nurture and develop new talent and collaborate with some of the industry's most revered writers and directors. We work with diverse partners to bring our films to the widest possible audiences in the UK and worldwide. ABOUT ECOSSE Ecosse Films is a long-standing award-winning film company whose successes include Mrs Brown featuring an Oscar nominated Judi Dench, Becoming Jane starring Anne Hathaway, the BAFTA nominated Nowhere Boy and Andrea Arnold's mould-breaking Wuthering Heights. http://www.ecossefilms.com/ ABOUT INGENIOUS For 22 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious has been involved in the production of a diverse slate of films, including the Academy Award® winning Judy, Life of Pi, Avatar, Selma, Academy Award® nominated Carol, Brooklyn and At Eternity’s Gate, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Military Wives, Blinded by the Light, Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and Watership Down. Titles currently on release or coming soon include The Secrets We Keep, Honest Thief, War with Grandpa, Breaking News in Yuba County, Pixie, Dream Horse and Voyagers. The 2020 Venice Film Festival included the premieres of Ingenious funded Roger Michell’s The Duke and Mona Fastvold’s The World to Come, which is currently on release in the US through Bleecker St.

18 February 2021

THE HUMAN VOICE

WORLD EXCLUSIVE TRAILER & POSTER RELEASED FOR PEDRO ALMODÓVAR’S THE HUMAN VOICE STARRING TILDA SWINTON ★ ★ ★ ★ The Financial Times, The Daily Telegraph, The Times IN CINEMAS 2021 WITH EXCLUSIVE Q&A WITH TILDA SWINTON & PEDRO ALMODÓVAR HOSTED BY MARK KERMODE Pathé are delighted to announce that the new short film, THE HUMAN VOICE, directed by Spanish auteur Pedro Almodóvar and starring Tilda Swinton, will be released in 2021. The film will be followed by a pre-recorded Q&A with Almodóvar and Swinton hosted by film critic Mark Kermode. THE HUMAN VOICE was shot over nine days in Madrid in July and recently premiered to critical acclaim at the Venice Film Festival. It is Almodóvar’s first work in the English language. Madness and melancholy intersect to thrilling effect as Almodóvar reimagines Jean Cocteau’s short play The Human Voice for an era in which isolation has become a way of life. Laws of desire become the rules of the game as Tilda Swinton’s unnamed woman paces and panics in a glorious Technicolor apartment where décor offers a window into her state of mind. A short, sharp shot of distilled Almodóvar: passion, emotion, heartbreak, wit, and melodrama exquisitely bound up in a tale for our times. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER and most recently PAIN AND GLORY. For further information please contact organic. Julia Nowicka / Julia.Nowicka@organic-publicity.co.uk / +44 (0) 787 080 8147 Abi Fiedler / abi.fiedler@organic-publicity.co.uk / +44 (0) 781 663 1916

07 October 2020

THE DUKE

London, 22 September 2020 Following its critically acclaimed World Premiere at the Venice Film Festival, Pathé is delighted to announce that Sony Pictures Classics has acquired THE DUKE for distribution in multiple territories including the US, Latin America and Scandinavia. All other world territories had been sold by Pathe International prior to the Venice Film Festival. Directed by Roger Michell from a script by Richard Bean and Clive Coleman, the comedy drama stars Oscar-winners Jim Broadbent and Helen Mirren and tells the delightful and moving true story of a man determined to live a meaningful life: In 1961, Kempton Bunton, a 60-year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government agreed to provide television for free to the elderly. What happened next became the stuff of legend. Only 50 years later did the full story emerge – a startling revelation of how a good man set out to change the world and in so doing saved his son and his marriage. Pathé will release the film in the UK, France and Switzerland. Other sales already announced include: Australia (Transmission), Benelux (Paradiso), Canada/Germany/Spain (eOne), China (Huanxi), Czech Republic (AQS), Former Yugoslavia (MCF), Israel (Forum), Italy (BIM), Japan (Phantom), Middle East (Front Row) and Poland (Monolith). THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. For further information please contact: Sophie Glover - Pathé UK / Sophie.glover@pathe-uk.com www.pathe.co.uk Nicki Foster – Premier / Nicki.foster@premiercomms.com ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations), most recently the Best Actress Oscar and BAFTA for Renee Zellweger in Judy. Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk

21 September 2020

THE DUKE

London, 03 August 2020 British comedy-drama THE DUKE has been selected for the 2020 Telluride Film Festival. As with Cannes, Telluride is not going ahead physically this year, but the organisers wished to make public their selection of the year’s best films to help promote them to as broad an audience as possible. THE DUKE will have its World Premiere at the Venice Film Festival. The film stars Academy Award winners Jim Broadbent and Helen Mirren and was directed by Roger Michell from a script by Richard Bean and Clive Coleman. Roger Michell stated: “I am delighted that THE DUKE has been so honoured by both the Telluride and Venice film Festivals and just regret that circumstances oblige these great celebrations of film to curtail their mission: to fill cinemas with people and their shared emotion. One day soon audiences will surely return and I look forward to sharing our film with them, a film that speaks to the experience we have all been through - and perhaps one of the lessons we have all learnt - that the true measure of a civilised society is how it cares for its most vulnerable.” Jim Broadbent said: “I am thrilled that THE DUKE has been selected. A film about generosity and kindness to others, even if it is demonstrated somewhat unconventionally, would seem to be very appropriate for the times. That these Festivals have chosen to honour the film is a very exciting opportunity to present it to a wide audience.” Helen Mirren said: “I had a wonderful time making THE DUKE, thanks to all my co-actors and our director. We are all very happy and honoured that our work is recognised by two of the most prestigious film festivals in the world. We are very much looking forward to sharing it with an audience.” THE DUKE is a moving true story that celebrates a man who was determined to live a meaningful life: In 1961, Kempton Bunton, a 60-year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. As the world grapples with the Covid-19 pandemic, THE DUKE is a timely exploration of the need to recognise that we are all connected, that the health of each depends on the health of all. THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. Pathé will release the film in the UK in Spring 2021 and will also distribute the film in France and Switzerland as well as manage sales for the rest of the world. For further information contact: Premier: Ellen Steers ellen.steers@premiercomms.com Emma Eliades emma.eliades@premiercomms.com Pathe UK Sophie Glover sophie.glover@pathe-uk.com ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations), most recently the Best Actress Oscar and BAFTA for Renee Zellweger in Judy. Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 22 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Judy, Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, supported by the BFI’s National Cluster Growth Fund using National Lottery funding to support the development and growth of the Yorkshire screen sector. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: The Duke, Ali & Ava, All Creatures Great and Small, Official Secrets, Hope Gap, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire

02 August 2020

THE DUKE

London, 28 July 2020 British comedy-drama THE DUKE will have its World Premiere at the 2020 Venice Film Festival. The film stars Academy Award winners Jim Broadbent and Helen Mirren and other cast includes Fionn Whitehead, Matthew Goode and Anna Maxwell Martin. The film was directed by BAFTA Award Winner Roger Michell from a script by Richard Bean and Clive Coleman. The film is a moving true story that celebrates a man who was determined to live a meaningful life: In 1961, Kempton Bunton, a 60-year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. As the world grapples with the Covid-19 pandemic, THE DUKE is a timely exploration of the need to recognise that we are all connected, that the health of each depends on the health of all. THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. Pathé will release the film in the UK in Spring 2021 and will also distribute the film in France and Switzerland as well as manage sales for the rest of the world. For further information contact: Premier: Ellen Steers ellen.steers@premiercomms.com Emma Eliades emma.eliades@premiercomms.com Pathe: Sophie Glover sophie.glover@pathe-uk.com ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations), most recently the Best Actress Oscar and BAFTA for Renee Zellweger in Judy. Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 22 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Judy, Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, supported by the BFI’s National Cluster Growth Fund using National Lottery funding to support the development and growth of the Yorkshire screen sector. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: The Duke, Ali & Ava, All Creatures Great and Small, Official Secrets, Hope Gap, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire

27 July 2020

MISBEHAVIOUR

15 APRIL DIGITAL DOWNLOAD LAUNCH ANNOUNCED FOR MISBEHAVIOUR London, 6 April 2020, Pathe have today announced that because the UK cinema release of MISBEHAVIOUR was cut short by the Covid-19 crisis (with cinemas closing only 4 days after the film’s release), the film is being made available to watch at home 3 months ahead of schedule. MISBEHAVIOUR’s launch as a digital download will be on 15th April 2020. The film will be available on all platforms (including Amazon Prime, Sky Store and iTunes) for an exclusive period. The film is directed by BAFTA winner Philippa Lowthorpe (Three Girls) and stars Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Greg Kinnear, Lesley Manville, Keeley Hawes, Rhys Ifans and Phyllis Logan. A politically relevant, inspirational true story, the film skilfully combines humour with drama to celebrate all women, however they choose to navigate a male-dominated world: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film was written by Rebecca Frayn and Gaby Chiappe, and produced by Suzanne Mackie and Sarah Jane Wheale. MISBEHAVIOUR is a Pathé, Ingenious Media, BBC Films, BFI presentation of a Left Bank Pictures production. Running time: 1 hour 46 minutes Certificate: 12A For press information, please contact: Nicki Foster / Oliver Lavery / Simon Bell / Harriet Gilholm Tel: + 44 20 7292 8330 / Email: Firstname.surname@premiercomms.com

05 April 2020

THE DUKE

London, 10 January 2020 Principal photography began this week in Yorkshire on THE DUKE starring Academy Award winners Jim Broadbent (Iris) and Helen Mirren (The Queen) and featuring Fionn Whitehead (Dunkirk) and Matthew Goode (The Imitation Game). THE DUKE, based on a remarkable true story of one man’s attempt to make a better world, is directed by BAFTA award winner Roger Michell (My Cousin Rachel, Notting Hill). The film is based on a script written by Richard Bean (One Man, Two Guvnors) and Clive Coleman and is produced by Nicky Bentham (Moon) of Neon Films. In 1961, Kempton Bunton, a 60 year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. Michell reunites with his creative team from My Cousin Rachel: Director of Photography Mike Eley, Costume Designer Dinah Collin and Editor Kristina Hetherington. Make Up and Hair Designer is Karen Hartley Thomas (The Personal History of David Copperfield) and Production Designer is Kristian Milsted (Killing Eve). THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media and Hugo Heppell for Screen Yorkshire. Pathé will distribute the film in the UK, France and Switzerland and will handle sales for the rest of the world. For further information contact: Jonathan Rutter/ Emma Eliades Robinson / Ellen Steers, Premier Firstname.surname@premiercomms.com / 020 7292 8330 ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s latest production is Judy starring Renee Zellweger. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 21 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. Titles currently on release or coming soon include Judy starring Renée Zellweger, Peter Cattaneo’s Military Wives starring Kristin Scott Thomas, Benedict Andrews’s Seberg starring Kristen Stewart and Jack O’Connell. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: Official Secrets, Hope Gap, All Creatures Great and Small, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, a cluster for the screen industries, recognised by the BFI in 2016 as the first awardee of funds from its Creative Cluster Challenge Fund. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire

09 January 2020

MISBEHAVIOUR

Trailer and Poster released for MISBEHAVIOUR. YOUTUBE TRAILER LINK https://www.youtube.com/watch?v=ZUa0Mtdv1HQ&feature=emb_logo TRAILER DOWNLOAD LINK https://wetransfer.com/downloads/9761f767d581158f624eb5c77a66bdc320191218121615/12d707 RELEASED ON 13 MARCH 2020 IN THE UK DIRECTED BY Philippa Lowthorpe STARRING Keira Knightley ● Gugu Mbatha-Raw ● Jessie Buckley Greg Kinnear ● Lesley Manville ● Keeley Hawes ● Rhys Ifans ● Phyllis Logan The film is directed by BAFTA winner Philippa Lowthorpe (Three Girls) and stars Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Greg Kinnear, Lesley Manville, Keeley Hawes, Rhys Ifans and Phyllis Logan. A politically relevant, inspirational true story, the film skilfully combines humour with drama to celebrate all women, however they choose to navigate a male-dominated world: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film was written by Rebecca Frayn and Gaby Chiappe, and produced by Suzanne Mackie and Sarah Jane Wheale. MISBEHAVIOUR is a Pathé, Ingenious Media, BBC Films, BFI presentation of a Left Bank Pictures production. UK cinema release date: 13 March 2020 Running time: 1 hour 46 minutes Certificate: 12A For images please go to: https://panther4.dmsukltd.com/ For press information, please contact: Nicki Foster / Oliver Lavery / Simon Bell / Harriet Gilholm Tel: + 44 20 7292 8330 / Email: Firstname.surname@premiercomms.com

18 December 2019

MISBEHAVIOUR

DATE OF UK CINEMA RELEASE ANNOUNCED FOR MISBEHAVIOUR DIRECTED BY Philippa Lowthorpe STARRING Keira Knightley ● Gugu Mbatha-Raw ● Jessie Buckley ● Greg Kinnear ● Lesley Manville ● Keeley Hawes ● Rhys Ifans ● Phyllis Logan London, 4th December 2019, Pathe have today announced that they will release MISBEHAVIOUR on 13 March 2020 at cinemas across the UK. The film is directed by BAFTA winner Philippa Lowthorpe (Three Girls) and stars Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Greg Kinnear, Lesley Manville, Keeley Hawes, Rhys Ifans and Phyllis Logan. A politically relevant, inspirational true story, the film skilfully combines humour with drama to celebrate all women, however they choose to navigate a male-dominated world: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film was written by Rebecca Frayn and Gaby Chiappe, and produced by Suzanne Mackie and Sarah Jane Wheale. MISBEHAVIOUR is a Pathé, Ingenious Media, BBC Films, BFI presentation of a Left Bank Pictures production. UK cinema release date: 13 March 2020 Running time: 1 hour 46 minutes Certificate: 12A For press information, please contact: Nicki Foster / Oliver Lavery / Simon Bell / Harriet Gilholm Tel: + 44 20 7292 8330 / Email: Firstname.surname@premiercomms.com

03 December 2019

THE DUKE

London, 05 November 2019 Fionn Whitehead has joined Jim Broadbent and Helen Mirren on the cast of Pathé’s art heist comedy-drama The Duke, to be directed by Roger Michell. The film will be presented to buyers at the upcoming American Film Market (AFM, November 6-13), and will shoot in January 2020 in Yorkshire and London. Set in 1961, the story follows a 60-year-old taxi driver, played by Broadbent, who steals Goya’s portrait of the Duke of Wellington from London’s National Gallery. Mirren plays his wife with Whitehead as his son, as Bunton attempts to change the world and save his marriage via the theft. Pathé will distribute the film in the UK, France and Switzerland, and will handle sales for the rest of the world. Nicky Bentham is producing the film for Neon Pictures. Executive producers are Cameron McCracken and Jenny Borgars for Pathé; Andrea Scarso for Ingenious Media; and Hugo Heppell for Screen Yorkshire. Whitehead was named a Screen Star of Tomorrow in 2016, ahead of his breakthrough role leading Christopher Nolan’s Dunkirk. He has since led Charlie Brooker’s interactive Black Mirror episode Bandersnatch and has upcoming roles in thriller Don’t Tell A Soul and sci-fi Voyagers. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.glover@pathe-uk.com / 020 7462 4415 ABOUT PATHÉ Pathé operates as a fully integrated film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk

04 November 2019

THE DUKE

London, 28 October 2019 Pathé today announced that they will be presenting at the American Film Market a new feature film, THE DUKE, to be directed by BAFTA winner Roger Michell (Notting Hill) and set to star Academy Award Winners Jim Broadbent (Iris) and Helen Mirren (The Queen) as husband and wife, KEMPTON and DOROTHY BUNTON. The screenplay for the dramatic comedy has been written by Richard Bean (One Man, Two Guvnors) and Clive Coleman and is based on a remarkable true story of one man’s attempt to make a better world: In 1961, Kempton Bunton, a 60 year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government agreed to provide television for free to the elderly. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. THE DUKE will start principal photography in January 2020. The film will be produced by Nicky Bentham (Moon) and is a Neon Films production for Pathé, Ingenious Media and Screen Yorkshire. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé; Andrea Scarso for Ingenious Media; and Hugo Heppell for Screen Yorkshire. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.glover@pathe-uk.com / 020 7462 4415 ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s most recent production is Judy starring Renee Zellweger. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 21 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. Titles currently on release or coming soon include Judy starring Renée Zellweger, Peter Cattaneo’s Military Wives starring Kristin Scott Thomas, Benedict Andrews’s Seberg starring Kristen Stewart and Jack O’Connell. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: Official Secrets, Hope Gap, All Creatures Great and Small, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, a cluster for the screen industries, recognised by the BFI in 2016 as the first awardee of funds from its Creative Cluster Challenge Fund. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire

27 October 2019

JUDY

Decca announced today that Renee Zellweger has recorded two new duets that will be included on the soundtrack album for the feature film JUDY: ‘Get Happy’ with Sam Smith; and ‘Have Yourself A Merry Little Christmas’ with Rufus Wainwright. The soundtrack album will be released globally on 27th September. In the film, Zellweger plays the legendary entertainer, Judy Garland. JUDY is the first feature film to be made about Garland and is set to open in UK cinemas on 2nd October. Long-time Judy Garland fan and fellow Academy Award winner, Sam Smith, said: “When I was 17 years old I did a project on Judy Garland for my Film Studies A-Level. I was immediately immersed into the magic of Judy and her incredibly brave and triumphant story. She has remained as one of the icons of my life. She was one of the bravest humans out there and her vulnerability and honesty in her art still gives me goose bumps like it did the first time. It was truly an honour to sing with Renée. Nobody could have played Judy as well as Renée, and it is a career highlight for me to be singing with her, and in some small way, with Judy. I hope everyone loves the film as much as I did.” Rufus Wainwright, a self-professed Judy Garland superfan said: “Judy Garland has been a constant force in my life. ‘The Wizard of Oz’ was one of the pyramids of culture that I gazed at as a small child. It’s nice to come back and observe her again in the film and through this wonderful duet with Renee, her performance is astounding in a film that focuses on the love and the generosity that Judy always had for the world around her. It reminds me of how unique her life and art were." Zellweger herself sings all of the songs performed in the film. The Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago) is joined in the film by amongst others Jessie Buckley (Wild Rose, Chernobyl), Finn Wittrock (Unbroken, The Big Short) and Rufus Sewell (TV’s The Man in the High Castle and Victoria). Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; and gripped by a desire to be back home with her kids. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. JUDY is directed by Tony nominee and two times Olivier winner Rupert Goold (King Charles III). The film is based on a script written by Tom Edge (The Crown) and is produced by BAFTA winner David Livingstone (Pride). JUDY is a Pathe, BBC Films and Ingenious Media Presentation of a Calamity Films Production. For further information contact: Nicki Foster/Simon Bell/Harriet Gilholm, Premier Judyfilm@premiercomms.com / 020 7292 8330 Online: Sophia Dryden, Feref SophiaDryden@feref.com / 020 7292 6308

29 August 2019

JUDY

Attending London Pride on Saturday 6th July, Renée Zellweger will appear at 4.00pm on the Trafalgar Square Stage to introduce the latest trailer for her new film, JUDY. In the film, Zellweger plays the legendary entertainer, Judy Garland. This year marks both the 50th anniversary of Judy Garland’s untimely death and the 50th anniversary of the Stonewall Riots, the historic protests in New York City that sparked a revolution in LGBTQ rights. Ian Massa-Harris-McFeely, Deputy Director of Events at Pride in London, said: "We're delighted to have Renée taking to our Trafalgar Square Stage this year to give the crowds an exciting first glimpse of JUDY. In this monumental anniversary year, it's important that we pay tribute to an icon who was a true ally to the LGBT+ community and whose death was undoubtedly intertwined with the events that happened that night at the Stonewall Inn." JUDY is the first feature film to be made about Judy Garland and is set to open in UK cinemas on 4th October. Zellweger herself sings all of the songs performed in the film. The Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago) is joined in the film by Jessie Buckley (Wild Rose, Chernobyl), Finn Wittrock (Unbroken, The Big Short) and Rufus Sewell (TV’s The Man in the High Castle and Victoria). Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; and gripped by a desire to be back home with her kids. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. JUDY is directed by Tony nominee and two times Olivier winner Rupert Goold (King Charles III). The film is based on a script written by Tom Edge (The Crown) and is produced by BAFTA winner David Livingstone (Pride). JUDY is a Pathe, BBC Films and Ingenious Media Presentation of a Calamity Films Production. For further information contact: Nicki Foster/Simon Bell/Harriet Gilholm, Premier Firstname.surname@premiercomms.com / 020 7292 8330 Online: Feref Abigail Lepp AbigailLepp@feref.com / 020 7292 6308

04 July 2019

JUDY

London, 10th May 2019 Pathé today released the first trailer for JUDY, set for a UK nationwide theatrical release on 4th October 2019. The trailer features Renee Zellweger in the role of Judy Garland. Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; and gripped by a desire to be back home with her kids. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. Rupert Goold, the director of JUDY and two time Olivier winner (nominated last month for a Tony for his direction of INK), commented: “I had always wanted to make a film that explores great performance and its cost. The most fertile ground for such exploration seemed to be at the end of a lifetime of performance. For over 40 years Judy Garland had laughed and loved and entertained no matter what life threw at her, and her public adored her for it. But she paid a price in a childhood lost to Hollywood, an emotional exhaustion and a yearning for a “normal” life beyond the rainbow. It is a powerful and moving story that I hope will inspire new audiences to discover Judy Garland’s joyous legacy. I felt Renee was uniquely qualified to play Judy. First, because she is a great, Oscar-winning dramatic actress. Second, she is a wonderful comedienne. And third, I knew from CHICAGO that she could sing. I made it clear to Renee that I wasn’t looking for an impersonation of Judy Garland’s inimitable voice, but what I wanted was for Renee to make the songs her own and this she did to thrilling effect.” JUDY is a Pathe, BBC Films and Ingenious Media Presentation of a Calamity Films Production. For further information contact: Annabel Hutton/Nicki Foster/Simon Bell, Premier Firstname.surname@premiercomms.com / 020 7292 8330 Online: Feref Sophia Dryden SophiaDryden@Feref.com / 020 7292 6308

09 May 2019

PAIN AND GLORY

Spanish auteur Pedro Almodóvar’s 21th feature film, PAIN AND GLORY, starring Antonio Banderas and an ensemble cast that includes Penelope Cruz, will be released on 23rd August 2019 in cinemas across the UK. PAIN AND GLORY tells of a series of re-encounters experienced by Salvador Mallo, a film director in his physical decline, some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity; his first desire; his first adult love in the Madrid of the 80s; the pain of the breakup of that love while it was still alive and intense and writing as the only therapy to forget the unforgettable; his early discovery of cinema; and the void, the infinite void that creates the incapacity for him to keep on making films. PAIN AND GLORY talks about creation, about the difficulty of separating it from one’s own life and about the passions that give it meaning and hope. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation. Alongside Antonio Banderas and Penelope Cruz appear Asier Etxeandia, Leonardo Sbaraglia, Nora Navas and Julieta Serrano. PAIN AND GLORY is written and directed by Pedro Almodóvar, is produced by Agustín Almodóvar and has an original score composed by Alberto Iglesias (Volver, The Skin I Live In, Julieta). Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, Goyas and over 100 further wins and nominations. His credits include Volver, The Skin I Live In, Broken Embraces and most recently Julieta.

27 February 2019

MISBEHAVIOUR

PATHÉ ANNOUNCES ‘MISBEHAVIOUR’ Pathé today announced that they will be presenting at AFM the feature film MISBEHAVIOUR, to be directed for Left Bank Pictures by two-time BAFTA winner Philippa Lowthorpe (THREE GIRLS). Philippa is one of only two women to have won a BAFTA for direction. The warm, funny and provocative screenplay was written by Rebecca Frayn with revisions by Gaby Chiappe and is based on an inspirational true story: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly-formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada - the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film features an ensemble cast that will be led by Keira Knightley (Oscar nominated for THE IMITATION GAME and PRIDE & PREJUDICE) and includes BAFTA nominee Gugu Mbatha-Raw (BELLE) and Jessie Buckley (WILD ROSE). The film is being produced for Left Bank Pictures by BAFTA nominee Suzanne Mackie (THE CROWN, CALENDAR GIRLS) and by Sarah-Jane Wheale. Executive Producers include Andy Harries and Rebecca Frayn for Left Bank; and Cameron McCracken and Jenny Borgars for Pathé. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world.

16 October 2018

THE LITTLE STRANGER

The Little Stranger opens in the UK and Ireland to a wealth of critical acclaim The Little Stranger review: One of the most original British horror films of recent times ★★★★ The Independent Geoffrey Macnab The Little Stranger is one of the most original British horror films of recent times – although whether it can really be classified as horror is a moot point. Based on the novel by Sarah Waters, this is a story about class, envy and self-loathing. It is set in the austerity-era Britain of 1948, when the country was in debt and drained of colour and when the old aristocracy was on its knees. Beautifully directed by Lenny Abrahamson, the film evokes this period in a way that is both nostalgic and frequently chilling. Domhnall Gleeson plays the youngish Dr Faraday, an aloof and diffident figure who has opportunities in Clement Attlee’s Britain that would have been denied him before the war. He is from a very humble background, the son of a housemaid, but has risen up the social scale and is now a fully qualified country doctor. Faraday has a morbid obsession with Hundreds, the decaying, Brideshead-like pile where his mother worked before he was born. He has vivid memories of visiting the country house for an Empire Day celebration as a child in 1919 when it was still in its pomp. His mother had friends working there and he was allowed inside. What he can’t acknowledge, and what the film takes a long time to tell us about, is his vicious resentment and loathing of his upper class patrons. Abrahamson shows Gleeson as the type who will always lurk in the corner at any social event. He is an awkward and repressed man but seemingly a decent and sympathetic one. With his red hair and pale face, he is not handsome at all. Nor is he charming but he does have a good bedside manner. He is the type others feel comfortable confiding in but who will rarely share any secrets about himself. The Ayres family, the owners of Hundreds, are in dire financial straits. They can’t afford the death duties on the house. The son of the family, Roderick (Will Poulter), is scarred and near crippled by war wounds. The mother, Mrs Ayres (Charlotte Rampling) is haughty in a Miss Havisham-like way but even she is struggling to keep up appearances. The daughter, Caroline (Ruth Wilson), is spirited and intelligent but seems to have been left behind by the world. Their once grand home isn’t just shabby and falling apart. It appears to be haunted. Mrs Ayres’ beloved daughter Susan (‘Suki’), who came face to face with Faraday on his visit to the house, died as a child. Her spirit seems to be behind the strange and terrifying happenings in the house. Abrahamson shows an anthropologist’s eye in the detail with which he depicts the aristocratic family fallen on hard times but desperately trying to cling to its status and dignity. The Ayres can’t pay their bills. They’ve lost the “trick of company” but they have their codes of behaviour. Try as he might, Faraday can’t crack them. In their eyes, he will always be a “common village boy.” Lucinda Coxon’s screenplay picks up on the tiny mannerisms and tics of speech that distinguish the Ayres from less well-born outsiders like Faraday. This is as much an account of a thwarted love affair as it is a ghost story. If it wasn’t so awkward, there would be a certain humour in Faraday’s courtship of Caroline. He is gauche but very dogged. The misfortunes that multiply around her give him his chance. It is not clear, though, whether he is in love with her or is looking to control her. The mood here is similar to that in The Innocents, Jack Clayton’s film adaptation of Henry James’ The Turn Of The Screw. We don’t see any monsters. The terror is in the minds of the protagonists. Abrahamson includes a few familiar devices from more conventional haunted house stories – bells in the servants’ quarters that ring of their own accord, doors that will suddenly slam shut, fires that start from nowhere. Generally, though, the creaks aren’t in the night but are in the tormented psyches of the film’s main protagonists. The Little Stranger doesn’t scare us as often as might have been expected but it is still a disturbing affair. It’s a ghost story in which politics, class and money are the most frightening elements. Domhnall Gleeson may be best known for playing General Hux in Star Wars but he was superb as the traumatised, shell-shocked AA Milne in last year’s Goodbye Christopher Robin. He gives an equally affecting performance here as the repressed and uptight Dr Faraday. He is matched by Ruth Wilson as Caroline, the “awfully brainy” upper class girl treated in such chauvinistic fashion by all the men around her. Wilson shows us Caroline’s resilience, her passion and her fatalism. She is as much a prisoner in the house as any princess in a castle in a fairy tale. The Little Stranger has received a very muted response in the US, where it was released late last month. It is too idiosyncratic and subdued to appeal to fans of the teen-oriented horror movies that dominate the box office. Abrahamson’s approach is the polar opposite to that found in Jason Blum movies. This, though, is a consummately crafted and very subtle film which ends with quite a kick. The Little Stranger — the power of suggestion ★★★★ Nigel Andrews The Financial Times Horror thrillers are teasing duels between the known and unknown. We want their mysteries explained; yet simultaneously we don’t. Explanation can be so banal. Some films present the perfect solution. Keep the audience teased. Right up to, and possibly including, the end. What on earth is happening, for instance, in Hundreds Hall, the decaying English mansion in The Little Stranger? Dr Faraday, cold, shy and neurotic (another repressed Englishman master-crafted by Ireland’s Domhnall Gleeson of Goodbye Christopher Robin), ministers to the tormented lady of the house ( Charlotte Rampling), the war-disfigured son (Will Poulter) and even the malingering maid. The rational but troubled daughter (Ruth Wilson) is the only human easy to handle, so Faraday courts her. His mum used to work in the Hall. Here might be a leg up into the upper class. It is 1948, when such things mattered to some. The storm clouds of socialism are gathering — including the birth of the National Health Service — and Faraday, even unwittingly, wants to play on with the ghosts of the past. Ghosts? Might they include Rampling’s little daughter, dead in childhood? Or is some other spirit rattling the upstairs doors, ringing the servant bells, inspiring a nasty accident to befall another little girl at a party? Sarah Waters’ novel (Man Booker-shortlisted) delivers the subtle frissons to director Lenny Abrahamson. He’s the right man: he makes spooked human comedies/dramas tinged with apocalypse (Frank, Room). Shades of The Innocents (ghosts as psychic projections of the haunted) and Don’t Look Now (little daughter lost) stalk this house. The story doesn’t require visible ghouls. It requires hint, suggestion and a kind of pressure-building restraint. Cinematographer Ole Bratt Birkeland’s muted colours match the mansion’s peeling pastels. Once or twice a fog seems to creep in, opacity’s democratic pall routing the hierarchical contrasts of chiaroscuro. With Gleeson, the female stars clinch this drama of dread and desperation. Rampling, bereavement-haunted, seems to be gnawing herself to death without moving a muscle. Wilson plays a whole set of subtle variations on “normalcy”, their notes encrypting fear, frigidity, passion, longing and — finally perhaps (but watch this ghost space) — the triumph of self-liberation. Film review: The Little Stranger ★★★★ Daily Mail Brian Viner It is 1948. Hundreds Hall in Warwickshire has belonged to the Ayres family for centuries, but crippling death duties have turned it into a slowly crumbling wreck. 'The Labour government won't be happy until we're begging for our lives on street corners,' grunts Roderick Ayres (Will Poulter), a dreadfully disfigured war veteran, who lives in the house with his brisk, spinster sister Caroline (Ruth Wilson) and their grand matriarch of a mother (Charlotte Rampling). The film opens with a village doctor arriving to treat the family maid, Betty (Liv Hill). This is Dr Faraday (Domhnall Gleeson), whose late mother was herself once a servant at Hundreds Hall. Faraday has broken free of his working-class origins. But as he befriends the family, and in particular Caroline, he can never quite escape the nuances of the English class system. In some striking ways, the story, based on the 2009 novel by Sarah Waters, is reminiscent of L. P. Hartley's The Go-Between. Hundreds Hall is a place full of memories, not all of them pleasant. Faraday is fixated by the recollection of a boyhood visit to the house, nearly 30 years earlier, while the family appear to be haunted by another Ayres daughter, Susan, who died as a child. All this coalesces into an effective blend of ghost story, social history and psychological thriller, which is no less compelling for being rather relentlessly gloomy. Gleeson reprises the repressed Englishman role that he performed in last year's Goodbye Christopher Robin, except more so. He possibly could have injected just a little more animation into stiff Dr Faraday, who generally makes an Easter Island statue look like a song-and-dance man. But maybe that's the point. In the parlance of the time, he's rather a queer cove. At any rate, director Lenny Abrahamson and screenwriter Lucinda Coxon have done a fine and powerful job with their source material and are rewarded with one truly mesmerising performance. All the acting is good, but Wilson, as dutiful, unhappy Caroline, stands apart. The Little Stranger review: A very British ghost story that is compellingly strange rather than scary ★★★★ Evening Standard Charlotte O'Sullivan For fans of the uncanny, revenge is a dish best served with no hands. Think of Magneto, Matilda or Carrie. These characters, initially marginalised and abused, use their hurt feelings and indignant brains to bring the powerful to heel. The Little Stranger (an adaptation of Sarah Waters’ 2009 novel) contains just such an upstart. Yet it’s only at the end that we discover whose mind is running the show. (The film, in case you’re wondering, works even better on second viewing.) The Ayres family live in a once grand Warwickshire mansion (imagine a beautiful mouth full of black teeth). Angela (Charlotte Rampling) is still traumatised by the loss of Suki, her preternaturally attractive little daughter. Son Roderick has had his body and nerves shattered in the Second World War. Daughter Caroline (Ruth Wilson) is plain. That’s not actually a tragedy, but people act as if it is. By the way, in the book, Caroline’s legs are “unshaven”. It’s a shame that quirky detail doesn’t make it into the film, but let’s not split hairs. The point is, the family are failing to keep up appearances and worse is to come. In a shockingly vivid scene, a pretty girl is savaged in their home. Our narrator, the pallid local doctor Faraday (Domhnall Gleeson, excellent), knows all about the Ayres family; his mother once worked for them as a maid. He’s clever and diligent. He’s also kind to the poor and respectful towards the Ayres’ current drudge, Betty (newcomer Liv Hill, a revelation). But can he stop the haunting of Hundreds Hall? Faraday, never allowed to forget he’s a prole, is a great character. Sometimes, as if unable to decide whether to swoon or seethe, he goes into a kind of trance, which the camera feasts on. Caroline is even better, stomping through her shabby home like a farmer who’s just spotted a dead sheep. Wilson never overdoes the galumphing; Caroline’s playfulness and loneliness are conveyed just as keenly. Lenny Abrahamson’s last film, which reworked Emma Donoghue’s Room, earned Brie Larson a best actress Oscar. Wilson deserves a nomination at the very least. The Little Stranger has been described as a very British ghost story. Abrahamson (who’s Irish) has now adapted two books by out-and-proud lesbians. He’s fascinated by what insiders fear. He’s not interested in making us jump (actually, he tries it once and bungles it). If you love strange little things, you’ll be smitten. Film Review The Little Stranger ★★★★ Dan Jolin Time Out Lenny Abrahamson adapts Sarah Waters’ ghost story into an understated but satisfyingly spooky snapshot of class in post-War England. Director Lenny Abrahamson knows how to turn small spaces into big drama. His last film (‘Room’) focused on a single, small shed. The one before (‘Frank’) primarily took place in a remote music-studio cabin. With ‘The Little Stranger’ – adapted from Sarah Waters’ gothic novel – he’s expanded to the rather grander scale of an old, English manor house. But it feels no less effectively claustrophobic. That manor house is Hundreds Hall, a decaying, 18th-century estate whose old-money residents, the Ayres family, can barely manage its upkeep during the late ’40s. When their sole maid falls ill, they summon Dr. Faraday (Domhnall Gleeson), a shy, awkward fellow, who soon confesses to having a lifelong obsession with the crumbling mansion since visiting during his childhood and befriends the eldest of the Ayers offspring, the earthy, practical Caroline (Ruth Wilson). But as the stiff, white-collar doctor draws closer to the welly-wearing Caroline and begins to rather creepily exercise his aspiration for the life of the landed gentry, it also becomes evident there is a malevolent presence lurking in the shadows of Hundreds Hall – something seemingly set on accelerating House Ayres’ decline. True to Waters’ book, Abrahamson valiantly resists turning ‘The Little Stranger’ into a full-on horror show, teasing its ghostly strands by delicate degrees, while Gleeson and Wilson’s increasingly uncomfortable relationship occupies the bulk of your attention. Those hoping for ‘Insidious’-like shocks and jump scares may find their patience tested, but to succumb to such frustration is missing the film’s fine point: there may possibly be a spectral threat here, but this is really a story about people haunted by something very different, but just as intangible: namely, class. Film Review The Little Stranger ★★★★ Andy Lea The Express Irish director Lenny Abrahamson allows dread to build very slowly in this handsome period chiller. In the opening scene, Abrahamson, nominated for an Oscar in 2016 for Room, seems to be setting up a typical upstairs, downstairs drama. It is 1948 and we are gazing upon Hundreds Hall, a mansion in rural Warwickshire, through the awestruck eyes of Dr Faraday (Domhnall Gleeson). It is the first time the good doctor has entered the gates since he was a child when his now-deceased mother worked there as a maid. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. Faraday is making a house call after being informed that one of the servants has been taken ill. "One of?" laughs Roderick Ayres (Will Poulter), the master of the house and a former RAF pilot who was badly burned in combat during the Second World War. "You'll see." It turns out that the ailing Betty (Liv Hill) is now the only servant who is working in this once-thriving country estate. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. A series of flashbacks hint at the root of this obsession. As a child he stole into the house and on a strange impulse broke a plaster flower off one of the ornate cornices. This crime was witnessed by the doctor's mother and Susan (Tipper Seifert-Cleveland), Roderick's long-dead sister. It was a crime that horrified his mother and she could never forgive him for it. Before leaving the house, Faraday meets Mrs Ayres (Charlotte Rampling), Roderick's haughty mother. He also discovers that Roderick's hardworking sister Caroline (Ruth Wilson) is the one who is really running the mansion. Slowly, an awkward romance begins to spark between the stuffy doctor and the free-spirited aristocrat. As the class divisions begin to blur, strange incidents start to happen in the house. A girl is left horribly injured at a dinner party and strange symbols start appearing on the walls. The doctor tries to find rational explanations. But as the strange occurrences pile up, Faraday's stiff upper lip appears to quiver. In the finale, Abrahamson resorts to the twists and turns of the typical haunted house movie. But it is that slow build-up that will stay with you.

20 September 2018

THE LITTLE STRANGER

THE GUARDIAN'S PETER BRADSHAW GIVES THE LITTLE STRANGER 4 STARS The haunts of childhood are revisited in this oppressively macabre ghost story, set in the miserable austerity of late-40s Britain and in some ways a metaphor for the nation’s complex sense of sacrificial loss. Screenwriter Lucinda Coxon has adapted the 2009 novel by Sarah Waters and Lenny Abrahamson directs, bringing to it the sense of enclosing dread and claustrophobic dysfunction familiar from his previous picture, the abduction-abuse nightmare Room. The Little Stranger is fluently made and really well acted, particularly by Ruth Wilson, though maybe a bit too constrained by period-movie prestige to be properly scary. Domhnall Gleeson plays Faraday, a young Warwickshire country doctor: first name unmentioned, second name perhaps an allusion to the famous scientist, given his belief in electric-current massage for pain-relief and his non-belief in ghosts. He has a ramrod-straight bearing, a clipped moustache and equally clipped manner of speaking, very different from the relaxed, worldly manner of his fellow medics. Gleeson’s performance suggests he’s affecting a severe professionalism to cover up his lowly origins. It’s the summer of 1948 and Faraday finds himself back in the village where he grew up, and one of his very first house-calls is to the grand mansion that fascinated him as a boy, Hundreds Hall. A maidservant there, Betty (Liv Hill) has stomach pains, but Faraday’s no-nonsense examination reveals them to be exaggerated or invented. A female-hysteric case of nerves, as often airily diagnosed by the male profession of the day – or something darker, weirder? At the same time, Faraday makes the acquaintance of the family. The notional master of the house is Rod Ayres (Will Poulter), a former RAF pilot badly burned in combat, who now has depression, and is grumpily obsessed with the way the house is deteriorating and the Labour government’s punitive death duties. His mother, Mrs Ayres, is in situ: enigmatic, reserved, disquieting and played by Charlotte Rampling. But the real boss is Rod’s hardworking sister, Caroline, outstandingly played by Wilson. She is friendly and unselfconsciously careless of her appearance in ways that will seem eccentric as she grows older, an English countrywoman of the sort imagined by Nancy Mitford. But all three seem to be going slowly mad in their own ways, driven to the brink by something in the house itself. Faraday’s own secret is that his late mother was a maid at Hundreds Hall and he has come to think of this strange, dilapidated place and its strange, dilapidated family as exemplars of prewar innocence: a bizarre version of Evelyn Waugh’s Brideshead. And as his friendship with Caroline blossoms into a nervous, protective romance, there is the thrill of a romantic or sexual conquest over his own humble beginnings. But there is something else. Faraday is obsessed with the memory of attending a party there as a child, breaking an ornate picture frame and being caught in the act by Rod and Caroline’s adored sister Suki – who later died of diphtheria at eight years old. Has Faraday’s remembered transgression and present-day quasi-haunting accelerated a supernatural crisis? Abrahamson shows how the awful tensions and rigidities of the English class system create the right atmosphere of denial – they incubate the horror. A stratum of society that holds on to the past is ripe for haunting. There is an excruciating scene in which Faraday is invited to an evening drinks party there (black tie, naturally) and the other attendees have to be periodically reminded that he is there as a guest, an equal, and no one is ill. But then there is a grisly incident, a moment of nightmarish horror in which Faraday’s qualifications turn out to be vital. It is at an event like this that poor Rod, unable or unwilling to leave his chaotic room, reveals himself to be paralysed with fear at what the house contains. Wilson’s Caroline is the beating heart of the film and she is superb, not least in a scene at a local dance, where she is thrilled to recognise a female friend from wartime and dances extravagantly with her – to Faraday’s chagrin – hinting at a sexual identity she has concealed from everyone, especially herself. And all the time, the sinister presence in the house grows, like mould on the walls. An elegant, sinister tale of the uncanny, with its own streak of pathos.

11 September 2018

THE LITTLE STRANGER

Praise for THE LITTLE STRANGER as the first reviews break. THE LOS ANGELES TIMES A slow-building shiver of a movie, “The Little Stranger” tells a familiar but pleasurably engrossing story. Adapted from a 2009 novel by the Welsh author Sarah Waters, this atmospheric postwar gothic unfolds at a crumbling English manor where the repressed have decided to return — not with a vengeance, exactly, but with motives shrouded in uncertainty and sorrow. It’s a haunting that unfolds through the steady, skeptical gaze of a local doctor who is at once seduced by the grandeur of this country estate and blind to its lurking phantoms. Bad frights, good manners, the timeless clash between rationalism and belief: We are in unassailable if hardly original dramatic territory. And the gifted Irish director Lenny Abrahamson, no doubt aware of the hovering specters of “The Turn of the Screw,” “The Haunting of Hill House” and their various literary and cinematic descendants, does not commit the folly of trying to outdo them. Until its unnerving third act, “The Little Stranger” plays less like a horror movie than a drama about a family’s steady unraveling, punctuated by intimations of a deeper, weirder unease. Abrahamson’s weapon of choice is understatement. There are no whooshing camera movements, no cheap shocks, no sudden bursts of computer-generated ectoplasm. A pervasive gloom is achieved and sustained using little more than meticulous underlighting, moldering production design and stately compositions that capture the house’s long-faded beauty and its cavernous emptiness. The director has more visual space to work with than he did in the first half of “Room,” his Oscar-winning 2015 film about a mother and son living in captivity, but he proves adept here at evoking a more implicit, psychological kind of confinement. He also reaffirms his gift for dramatizing a story told by a curiously unreliable narrator, and distilling some but not all the author’s vocal nuances into cinematic form. This is no small feat, since the stiffly restrained Dr. Faraday (a fine Domhnall Gleeson) is hardly the most emotionally expressive of protagonists, and Lucinda Coxon’s sharp script wisely refuses the crutch of voice-over. Instead the movie simply keeps us close to Faraday’s side as he’s brought in to examine a nervous young maid, Betty (Liv Hill), at the venerable Hundreds Hall, which he fondly recalls having visited as a boy after the end of World War I. Nearly 30 years later, England has emerged from another global cataclysm, and Hundreds Hall, not unlike Brideshead Castle before it, has fallen on hard times. So have the house’s surviving residents, particularly Roderick Ayres (Will Poulter), a former pilot still recovering from serious war wounds. His mother, Mrs. Ayres (Charlotte Rampling, steely as ever), and his sister, Caroline (a splendid Ruth Wilson), maintain sharp wits and a chipper demeanor even in the wake of their dwindling fortune, which makes it inevitable that they will have to give up their estate. Faraday quickly becomes enough of a family friend — and perhaps something more, in Caroline’s case — to object to the idea of their selling Hundreds Hall, a feeling rooted in his childhood attachment to the place. A few recurring flashbacks illuminate that boyhood visit, during which we glimpse Mrs. Ayres’ eldest child, Susan, who fell ill and died shortly thereafter. When strange things start to happen back in the present — an intimate cocktail party that turns startlingly violent, a sudden decline in Roderick’s condition — you brace yourself for Susan’s ghost to make an appearance. She does and she doesn’t. Like some of the best ghost stories, “The Little Stranger” is in no hurry to solve its own mystery. Even when Abrahamson allows the steady drip of tension to finally give way to door-rattling, glass-shattering terror, there remains something fundamentally oblique and unreadable about precisely what is haunting the Ayres estate. I’ve developed my own hunch, based particularly on the names Waters gives her characters, one of which directly invokes the dramatis personae of a famous Agatha Christie novel. But hunches alone may not satisfy those moviegoers for whom nothing is scarier, or more off-putting, than a little narrative ambiguity. Happily, “The Little Stranger” has more than whodunit on its mind. Some of Abrahamson’s earlier films, including “Garage” and “What Richard Did,” have shown an acute sensitivity to class, and here he duly acknowledges the envy that has driven Faraday, a housemaid’s son, into the company of an aristocratic family whose enviable way of life is swiftly passing away. A fascinating counterpoint soon emerges in the form of Caroline, who seems all too ready to bid farewell to the good old days. Played by Wilson in the movie’s most memorable performance, Caroline is a figure of serene defiance, calmly and sometimes joyously pushing back against society’s dismissal of her as a hopeless spinster. She gives this ghost story its fiercely independent spirit. THE NEW YORK TIMES Hundreds Hall is the name of a grand pile of brick in Warwickshire, England, and if you’re moderately familiar with movies and television — “Downton Abbey,” “Crimson Peak,” the “Ghostbusters” reboot — you have no doubt seen hundreds like it. Its sprawling grounds and cavernous rooms evoke ancient aristocratic privilege, but by the late 1940s, when “The Little Stranger” takes place, that grandeur has begun to fade. Dr. Faraday — we never seem to catch his first name — remembers it well. An ambitious provincial physician whose mother worked as a maid during the house’s glory days under the Ayres family, he looks back fondly on a summer day he spent there in 1919, when he was 8 years old and local commoners were invited to a fair. Now he finds himself treating the remaining members of the Ayreses, who are barely hanging onto their fast-decaying ancestral home. Faraday (Domhnall Gleeson) is haunted by Hundreds Hall. The Hall itself also seems to be haunted, though it’s not always clear by what or whom. The best guess seems to be a little girl named Suki Ayres, who died shortly after Faraday’s long-ago visit. Her mother (Charlotte Rampling) still lives there, along with her two surviving, grown-up children: Roderick (Will Poulter), who was badly wounded in World War II, and Caroline (Ruth Wilson), “the cleverest of the lot” (according to a family friend), who drifts toward eccentric spinsterhood. The staff has been winnowed to one, a young woman named Betty (Liv Hill), who figures out that something creepy is going on long before anyone else seems to have a clue. Directed by Lenny Abrahamson (“Room”) and adapted by Lucinda Coxon from Sarah Waters’s skillfully written Gothic novel, “The Little Stranger” is for much of its running time more interested in the sociological and psychological implications of Faraday’s encounter with the Ayreses and their real estate than with any overtly supernatural doings. Faraday, who serves as a possibly unreliable voice-over narrator, is buttoned up as tight as a waistcoat, only sometimes betraying the ruthless effort that his sang-froid requires. He is always aware of being an interloper — a commoner promoted to “one of us” ironically or in emergencies — and his attempts to fit in make this strangeness more glaring. Mr. Gleeson is adept at this double game. His face is as sharp as a hawk’s but somehow also as soft and unformed as a fledgling sparrow’s. Faraday makes a practice of keeping all feeling in check, presenting himself both as a rational man of science and as the possessor of an exemplary stiff upper lip. As news of the political weather buzzes in the background — the advent of the National Health Service; land sales and tax policies promoted by Clement Attlee’s Labour government — Faraday mourns the waning of old ruling-class prerogatives more plangently than the Ayreses themselves, who would seem to have more to lose. His loyalty to them is more than they deserve or desire. The twisting and cracking of the British class system is always fascinating to observe, and “The Little Stranger” traces the details of its chosen moment of social change with precision and subtlety, and with its own layers of somewhat dubious nostalgia. Since it’s also a horror movie, subtlety can go only go so far, and the past becomes a trunk mined for spooky costumes and effects. There are a few jump scares and shocking images, but Mr. Abrahamson lets the dread build slowly, nudged along by Stephen Rennicks’s mournful, eerie score and Ole Bratt Birkeland’s brown-shadowed cinematography. As Faraday draws closer to the Ayreses, a question starts to percolate. Are they just odd and miserable, or is something more sinister afoot? Poor Roderick, inwardly and outwardly maimed by the war, teeters floridly toward madness and alcoholism, but what about Caroline and her mother? Are they sheltering a sinister secret? And what does the specter of Suki want — if that is indeed what rattles the door frames and carves squiggles in the wainscoting. As is usually the case in movies like this, the answer is not quite as intriguing as the queasy guesswork that precedes its revelation. But the ending is less of a letdown than it might have been, and the final shots are potent and provocative, sending you back over what came before with new ideas and questions. The twist has less to do with who is haunting whom than with spectral methods and motives, and with the fantasies of belonging that dwell within Hundreds Hall’s walls. ROLLING STONE The way Focus Features kept cancelling scheduled screenings of The Little Stranger made me think it had a stiff on its hands. Hardly. Though this meditation on the past — disguised as a haunted-house thriller — has its faults, the film is better than most of the junk cluttering the multiplex these days (looking at you, The Happytime Murders). Director Lenny Abrahamson earned much-deserved raves for 2015’s Room, which won a Best Actress Oscar for Brie Larson. So why sweep his latest, starring the talented likes of Ruth Wilson, Domhnall Gleason and Charlotte Rampling, under a rug? Based on the 2009 a novel by Sarah Waters, The Little Stranger is perhaps hurt by a neo-Gothic atmosphere of dread that may lead audiences to expect cheap horror-show scares. But Abrahamson is far more interested in the bruised humanity of his characters. Gleeson brings hidden layers to the tightly-wound, perpetually glum Faraday, a Warwickshire country doctor of humble origins who finds himself called, in the summer of 1948, to make a professional visit to Hundreds Hall, a mansion where his mother once worked as a maid. Home to the Ayres family for centuries, the Hall has seen better days — you can almost smell it decaying. But the family matriarch, Angela (Rampling, reliably superb) still rules as if by divine right. Angela’s son Roderick (Will Poulter) has returned from the war covered in burn scars that underscore his even more serious PTSD. His sister Caroline (Wilson) appears normal enough for even the austere Faraday to develop an instant crush — but at Hundreds Hall, looks can be deceiving. Has Angela really ever gotten over her first daughter, Susan, who died years before at the tender age of eight? Is it the ghost of Susan making the floors groan, filling the halls with a banging noise and ringing a servant’s bell from an empty room? It only sounds like a setup for a mid-century Paranormal Activity. Abrahamson cleverly uses the house as a metaphor for crumbling sanity. Witness the effect on Faraday, who is drawn back to his childhood when he (the titular little stranger) visited the Hall in its heyday, and felt “its cool, fragrant spaces” fill his dreams. In flashback, Abrahamson recreates the day of that glorious visit, with young Faraday (Oliver Zetterstrom) imagining himself part of a world out of reach. The class system and its ruthless pecking order is something Abrahamson sews into the fabric of his film. Faraday’s courtship of Caroline is just another way to belong. Kudos to Wilson (how has she not won an Emmy for her brilliant work on The Affair?), who builds what seems at first like a peripheral character into the defiant soul of the movie. In the final scenes, Abrahamson reverts to the twists and tropes of the typical ghost story. But before that, he uses shivery suspense and a keen sense of character to craft The Little Stranger into a hypnotic and haunting tale of how the past can grab hold of the flesh-and-blood present and squeeze. Don’t let this mesmerizing mystery slip between the cracks of studio neglect and marketing indifference. It’s spellbinding. THE WASHINGTON POST Most haunted houses, at least in movies, share basic qualities: They are empty, dilapidated and the floorboards creak a little too much. This blueprint affords filmmakers the opportunity to create a sense of foreboding, usually culminating in a jump scare and a jolt of music. At first glance, “The Little Stranger” seems to have been shaped by the same cookie cutter used for countless haunted-house films before it. But director Lenny Abrahamson is far more ambitious than that. His follow-up to 2015’s “Room” — which earned the Irish filmmaker an Oscar nomination for best director — is a character-driven psychological thriller, one whose larger implications will trouble your mind, like a ghost. We cross the threshold of the house in question, Hundreds Hall, with one Dr. Faraday (Domhnall Gleeson), a kindly country doctor. World War II has recently ended, and Faraday has returned to the village of his youth to take up private practice with a partner. His patient at the Hall — once resplendent, but now fallen into disrepair — is the lone maid (Liv Hill) for the lady of the house, Mrs. Ayres (Charlotte Rampling), who lives with her adult children Caroline (Ruth Wilson) and Roddy (Will Poulter), a badly wounded veteran. Faraday soon ingratiates himself with the family, treating Roddy’s wounds and developing a friendship with Caroline. The house also has a mysterious quality, one that no one can quite articulate. Before long, everyone living there begins to worry they might be going mad. Adapted from a 2009 novel by Sarah Waters, the screenplay by playwright Lucinda Coxon drips with quiet menace. Faraday, who narrates the film, returns again and again to a formative moment from his childhood: one in which the still-grand mansion — where his mother once worked as a maid — captured his imagination. On one level, class has informed his lifelong obsession with the house: the middle-class Faradays only knew such opu­lence as outsiders. Faraday’s relationship with the Ayreses complicates the drama. At the beginning of the story, he’s almost like a servant, obeying their every whim. But soon he has become so indispensable that Caroline and the others begin to think of him as family. Gleeson’s finely crafted performance is key to this transformation — with his friendly yet decorous demeanor gradually revealing a manipulative edge. “The Little Stranger” is a counter­intuitive choice for Abrahamson, who has never made a period film. But what’s more surprising is how this story doesn’t fit neatly into a simple genre. Thematically, it’s close to the director’s “Frank,” which also starred Gleeson, as the newest member of an underappreciated indie rock band. In both films, the actor plays an interloper entering insular worlds. He is the source of both films’ tension. As a director, Abrahamson uses that sense of the detached observer as a scalpel, whittling away at our expectations of horror films until we have no choice but to look at — and really listen to — what is happening. It’s an approach that requires patience, on his part and ours, but the rewards are worth it. At the heart of “The Little Stranger” is its ghost story, of sorts, one whose horror sequences build toward a sense of cautious inevitability, with the methodical pace of a figure wandering a dimly lit hallway. These moments are more creepy than gory or intense, and what makes them effective is their ambiguity. There are always two explanations for what we have seen: one scientific (typically offered by Faraday) and another suggestive of something more supernatural. The film’s best sequence is its shortest, with Caroline uttering a single word that throws all that we think we know into disarray. Focus Features, it would seem, does not have the faith in “Little Stranger” that the film deserves, releasing it the end of August, a traditional dumping ground for genre films. But this slow-burn thriller — whose power lies in its dark, elusive nature — delivers few genuine scares, and more mannered, nuanced dialogue than answers. No matter what you make of the film’s final minutes, which are as open to interpretation as everything that has come before, each of the main characters has contributed to that sense of equivocation in ways that are deliciously macabre. VARIETY “Moldy” is not generally an adjective most filmmakers would like to hear directed at their work, yet it applies, rather eerily and gorgeously, to “The Little Stranger.” Lenny Abrahamson and screenwriter Lucinda Coxon’s refined, deliberate adaptation of Sarah Waters’ neo-Gothic novel has the sense, in style and mood, of having been discovered in a neglected cupboard of a stately home not unlike the one in which it takes place, covered in mossy growth that has left an inerasable sage-green patina on the print. Its characters, too, are dusted down from an era distant from our own, yet it’s clear they creaked with dejection and disuse even in their supposed prime. “The Little Stranger” may be elegantly fashioned as a haunted-house thriller, but the relationships at its core are spooked by sadness well before things start to go bump in the night. That may prove a commercial stumbling block to what is otherwise, for Abrahamson, a fine, form-expanding follow-up to the Oscar-approved “Room.” Genre fans in the market for some old-school horror may be surprised to find an undeniably unsettling but sober-sided human study of very English class conflict and aspirational desire, the light supernatural swirlings of which mostly work to aggravate more earthly crises of loneliness, grief and stiff-upper-lipped romance. Adult audiences looking past the gothic trappings, however, will be rewarded with a heritage drama as delicate as the cobwebs in its corners — set a tad off-balance by Domhnall Gleeson’s miscasting in the central role of a shy working-class doctor fixated on the tangled domestic woes of his poshest clients, but given a bruised, beating heart by the superb Ruth Wilson, as his wounded object of affection. “This house works on people,” says Mrs. Ayres (Charlotte Rampling), withered lady of the manor at Hundreds Hall, a grand but gone-to-seed mansion in England’s Warwickshire district. “Specks of grit, ten years later, leave as pearls.” Her second statement is debatable: The “pearls” emerging from the place, including her trauma-stricken adult children Roderick (Will Poulter) and Caroline (Wilson) and their plainly petrified young housemaid Bette (Liv Hill, a wonderfully expressive newcomer), are cracked and costume-quality at best, the family’s once-lavish fortunes having dwindled to scraps after the Second World War — which has also left Roderick (Will Poulter) disfiguringly battle-scarred, inside and out. Another daughter, Suki, never had the chance to leave, having been felled by diphtheria in childhood, though her spectre of angelic perfection hovers over her younger, less cherished siblings. But Mrs. Ayres is right about the house’s influence: Hundreds Hall certainly does a number on Faraday (Gleeson), a local villager of humble stock whose mother once worked there as a servant. Enthralled by its opulence as a child, he retains his awe even as he’s invited in as the family physician. A cautious bond steadily builds between him and Caroline, a bright, jaded, friendless young woman amused by the good doctor’s romanticization of their plight, who dreams of a more modern, independent life beyond the Hall’s damp, weary walls. Faraday, for his part, can’t see why she’d want to leave; as their relationship hovers coyly on the brink of something less platonic, it’s unclear whether he’s attracted more to Caroline or the home that’s suffocating her. Coxon’s patient, literate screenplay astutely preserves the tart class politics of Waters’ novel. The Labour government’s post-war austerity may have stripped the Ayres clan of their material privilege, yet Faraday remains wonderstruck by their legacy, desperate to attach himself to it by any means necessary. When Mrs. Ayres, having invited Faraday to make up the numbers at an ill-fated soiree, passingly refers to him as “one of us,” his sense of achievement is all too heartbreakingly palpable: Can he not see that the Ayreses are effectively living ghosts, left behind by a changing world and confined to the shuttered ruins of past glories? And when the Hall starts showing its own uncanny symptoms of haunting — squiggly scratch marks on the walls, bells ringing out of thin air — is he being warned off or beckoned? From a burgeoning National Health Service to a new housing estate rising from the Ayreses sold-off fields, signs of social progress surround Faraday, yet the onetime servant’s son remains oddly resistant to them all, still beholden to boyish fantasies of wealth. Whether Gleeson is a slightly awkward fit as Faraday, or simply reading the character’s awkwardness, is hard to say. Poker-straight and sallow, with a neat, pale mustache that seems grown as a stand-in for doctorly authority, he brings the right streak of vulnerability to the doctor’s self-loathing conservatism — but still seems too callow for the part, particularly when the script calls for him to assert a decade’s life experience over Caroline. Either way, Wilson’s extraordinary performance rules the film, weaving a lifetime of accumulating disappointment into a single arched eyebrow. (Her look of droll, pitying disbelief when Faraday remarks on her beauty is a second-long masterclass.) Always best in parts with complex worry lines, Wilson brings an exquisitely ironed-in sense of rueful defeat to a character who would never deem herself sympathetic: She wears her markers of class, from clipped accent to confident gait, in brackets of apology throughout. As for Hundreds Hall, it may have become critical cliché to refer to locations as characters, but given its shifting psychological impositions on the human ensemble, it’s hard not to see it as such. Production designer Simon Elliott wastes no ashy crevice or cornice of the space, distressing it to dazzling effect in spoiled, soiled shades of green and puce: You can practically see the smoke stains in the velvet upholstery, or the lush woodland murals in the drawing room rotting into real nature. Under the steady, composed gaze of d.p. Ole Bratt Birkeland, in certain shots, even the actors’ faces appear to succumb to verdigris — no accident, one suspects, in a creepingly paced film that takes its time to show how a ruined environment weathers those living, just barely, inside it.

04 September 2018

THE LITTLE STRANGER

26 June 2018 Lenny Abrahamson’s THE LITTLE STRANGER, based on Sarah Waters’ best-selling novel, will be released in UK cinemas nationwide on 21st September 2018. Having watched the film, Sarah Waters commented: “The moment THE LITTLE STRANGER finished, I wanted to watch it again. The product of a perfect combination of things - genius direction, a great script, masterly acting, lush cinematography - it's a complex, poignant, terrifically unsettling film. I couldn't wish for a better adaptation of the novel.” The film stars Domhnall Gleeson (Brooklyn) as Dr Faraday; Golden Globe winner Ruth Wilson (The Affair) as Caroline Ayres; BAFTA winner Will Poulter (The Revenant) as Roderick Ayres; and Oscar nominee Charlotte Rampling (45 Years) as Mrs Ayres. THE LITTLE STRANGER is a darkly mysterious drama adapted for the big screen by BAFTA nominee Lucinda Coxon (The Danish Girl). THE LITTLE STRANGER tells the story of Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants - mother, son and daughter - are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own. The film is directed by Lenny Abrahamson (Oscar nominated for Room); produced by Gail Egan (The Constant Gardener), Andrea Calderwood (The Last King of Scotland) and Ed Guiney (Room); and executive produced by Cameron McCracken for Pathé, Daniel Battsek for Film4, Andrew Lowe for Element Pictures, Celine Haddad for the Irish Film Board and Tim O’Shea for Ingenious. Director of Photography is Ole Birkeland (The Crown), with Costumes by Steven Noble (BAFTA nominee for The Theory of Everything) and Hair and Make-Up by Sian Grigg (Oscar nominee for The Revenant). Simon Elliott (The Iron Lady and BAFTA TV winner for Bleak House) is Production Designer; Nathan Nugent (Room) Editor; and the Music is by Stephen Rennicks (Room). THE LITTLE STRANGER is a Pathé, Film4, Irish Film Board and Ingenious presentation of a Potboiler Production in association with Element Films. The film was developed by Film4 with Potboiler and Element Films. Pathé will distribute the film in the UK, France and Switzerland; and Focus Features acquired the film from Pathe International for distribution throughout the rest of the world. Running time: 1hour 52 minutes Certificate: 12A TBC THE LITTLE STRANGER tie-in edition will be published by Virago on the 23rd August, price £8.99 For press enquiries: Premier Eugene O’Connor / Ellen Steers firstname.surname@premiercomms.com / +44 (0)20 7292 8330 For online press enquiries: FEREF Sophia Dryden SophiaDryden@feref.com

25 June 2018

JUDY

LD Entertainment and Roadside Attractions have travelled over the rainbow and landed in Cannes to partner on their 8th collaboration in the acquisition of U.S. distribution rights to the highly-anticipated Judy Garland movie Judy, directed by Tony nominee and two-time Olivier winner Rupert Goold (King Charles III) and starring Academy Award winner and three-time Academy Award nominee Renee Zellweger (Bridget Jones’s Diary, Cold Mountain and Chicago). Ms Zellweger is joined by a terrific ensemble cast that includes Finn Wittrock (American Horror Story), Jessie Buckley (Beast) and Michael Gambon (Harry Potter). Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in The Wizard of Oz, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love, and the sheer pizzazz of “the world’s greatest entertainer.” The acquisition was jointly announced today by Mickey Liddell of LD Entertainment and Roadside Attractions co-founders Howard Cohen & Eric d’Arbeloff: “Judy Garland remains one of the quintessential legends of stage and screen and this chapter of her life is particularly riveting” said Cohen, d’Arbeloff and Liddell. “From the incredible early footage that we saw in Cannes, Renee delivers a remarkable performance. As the first feature film about Judy Garland, we believe Judy will be event movie going for a broad audience and we are thrilled that our enthusiasm and ambition for the film made the difference in acquiring such a hotly pursued Cannes title. We could not be more excited to be partnering again TO DISTRIBUTE this film in the United States.” Principal photography wrapped two weeks ago and Judy is scheduled for completion and delivery in 2019. The film is directed from a script by Tom Edge (The Crown) based on the stage play End of the Rainbow by Peter Quilter. It is a Pathé, BBC Films and Ingenious Media presentation of a Calamity Films Production. BAFTA winner David Livingstone produces for Calamity and Executive Producers include Cameron McCracken for Pathé, Rose Garnett for BBC Films and Andrea Scarso for Ingenious. Pathé is distributing Judy in the U.K., France and Switzerland and has handled international sales throughout the rest of the world. LD and Roadside have partnered on a successful run of films which include critical and commercial successes. The companies have creatively collaborated on releasing and producing films such as I Can Only Imagine, which became the top independent film of the last year, and Albert Nobbs and Biutiful, which garnered Roadside and LD five Academy Award® nominations, including recognition for Best Actress, Best Actor and Best Foreign Film. In the negotiation with Pathe, LD Entertainment was represented by Liddell; Roadside Attractions by Cohen; and Pathe by McCracken.

31 May 2018

JUDY

London, 19th March 2018 Principal photography begins today on JUDY, based on the true story of Judy Garland’s final concerts in London. Renée Zellweger, Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago), plays Judy Garland. Cast members joining Zellweger include Jessie Buckley (War and Peace), Finn Wittrock (American Horror Story) and Michael Gambon (Harry Potter). JUDY is directed by Tony nominee and two times Olivier winner Rupert Goold (King Charles III). The film is based on a script written by Tom Edge (The Crown) and is produced by BAFTA winner David Livingstone (Pride) for Calamity Films. Goold’s creative team includes Director of Photography Ole Bratt Birkeland (The Crown), Musical Director Matt Dunkley (Black Swan), Editor Melanie Oliver (Les Miserables), Costume Designer Jany Temime (Harry Potter), Make Up and Hair Designer Jeremy Woodhead (Doctor Strange) and Production Designer Kave Quinn (Far from the Madding Crowd). Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on? Featuring some of her best-known songs, including the timeless classic ‘Over the Rainbow’, JUDY celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. JUDY is a Pathé, BBC Films and Ingenious Media presentation of a Calamity Films Production. Executive Producers are Cameron McCracken for Pathé, Rose Garnett for BBC Films and Andrea Scarso for Ingenious. Laurence Myers, Lee Dean, Aaron Levene, Charles Diamond, Ellis Goodman and Hilary Williams will also receive Executive Producer credits. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Annabel Hutton/Nicki Foster/Ellen Steers, Premier Firstname.surname@premiercomms.com / 020 7292 8330 Facebook: https://www.facebook.com/pg/JudyGarlandFilm/ Twitter: https://twitter.com/JudyGarlandFilm/ Instagram: https://www.instagram.com/JudyGarlandFilm/ PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk CALAMITY FILMS Calamity Films is an independent film and television production company set up by David Livingstone in 2010. Their first feature was PRIDE (2014) directed by Matthew Warchus and written by Stephen Beresford. The film received 7 BIFA nominations, winning Best British Film, three BAFTA nominations, including Best British Film, and a Golden Globe Nomination for Best Film. David won a BAFTA for Outstanding Debut by a British Producer alongside writer Stephen Beresford. Calamity currently has projects in development with Studio Canal, Lionsgate, Sky, EOne, BFI and BBC Films. David Livingstone was previously President of Worldwide Marketing and Distribution at both Universal Pictures International and Working Title Films. During his career in London and Los Angeles, he has been responsible for the worldwide marketing, advertising, publicity and promotional strategy for over 100 films. BBC FILMS BBC Films is at the forefront of independent filmmaking in the UK, developing and co-producing around twelve films a year. In 2015 BBC Films was awarded the Michael Balcon BAFTA for Outstanding British Contribution to Cinema. Rose Garnett is the Director of BBC Films. Recent releases include the BAFTA and Oscar nominated Victoria & Abdul starring Judi Dench, William Oldroyd's Lady Macbeth, which was nominated for 2 BAFTA Awards including Best British Film and Outstanding Debut by a British Writer, Director or Producer, Thomas Napper's Jawbone, also nominated for a BAFTA in the Outstanding Debut category, Andy Serkis' directorial debut Breathe starring Andrew Garfield and Claire Foy and the documentary Grace Jones: Bloodlight and Bami. Idris Elba's directorial debut Yardie and The Happy Prince, written, directed by and starring Rupert Everett, both world premiered at the Sundance Film Festival and had their European premieres at the Berlin International Film Festival and will open in the UK later this year via Studiocanal and Lionsgate. Current and upcoming releases include Studiocanal’s The Mercy, directed by James Marsh and featuring Colin Firth and Rachel Weisz, Lionsgate's On Chesil Beach starring Saoirse Ronan coming to cinemas in June, Apostasy, directed by first time filmmaker Daniel Kokotajlo and eOne's The Children Act featuring Emma Thompson and Stanley Tucci due out in August. Currently in post-production are Chiwetel Ejiofor’s untitled directorial debut based on the novel The Boy Who Harnessed the Wind, Peter Strickland’s ghost story In Fabric starring Oscar nominee Marianne Jean-Baptiste, Out of Blue directed by Carol Morley and starring Patricia Clarkson, The White Crow directed by Ralph Fiennes, Denmark starring Rafe Spall, Joanna Hogg’s The Souvenir executive produced by Martin Scorsese, Stan & Ollie starring Steve Coogan and John C. Reilly, The Aftermath with Keira Knightley and Alexander Skarsgård, VS. starring Screen’s Star of Tomorrow, Connor Swindells and Iciar Bollain’s Yuli written by Paul Laverty. bbc.co.uk/bbcfilms Twitter @BBCFilms INGENIOUS For 18 years, Ingenious has been at the forefront of investing in the UK’s creative economy and in that time has raised and deployed over £9 billion. In the last decade, Ingenious has been involved in the production of a diverse and glittering slate of films, including the multi-award winning Life of Pi, Avatar (the highest grossing film of all time), Oscar®-nominated films Carol and Brooklyn, five films in the long-running X-Men franchise, the highly successful Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits including Suffragette and The Best Exotic Marigold Hotel as well as acclaimed television programmes The Fall, Dr. Foster and The Honourable Woman, among many others. Currently in post-production are Baltasar Kormákur’s Adrift, starring Shailene Woodley and Sam Claflin, and Three Seconds, from Andrea Di Stefano starring Joel Kinnaman, Rosamund Pike and Clive Owen.

18 March 2018

JUDY

London, 23rd October 2017 Pathé and Calamity Films have set a February 2018 start date for principal photography on JUDY, based on the true story of Judy Garland’s final concerts in London. Renee Zellweger, Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago), will play Judy Garland; and celebrated British stage director, Rupert Goold (a Tony nominee and two times Olivier winner) will direct. Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on? Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. The film is based on a script written by Tom Edge (THE CROWN) and will be produced by BAFTA winner David Livingstone (PRIDE) for Calamity Films. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.glover@pathe-uk.com / 020 7462 4415 ABOUT PATHÉ Pathé operates as a fully integrated film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk

22 October 2017

THE LITTLE STRANGER

July 6th 2017 marks the commencement of principal photography in the UK of the feature film THE LITTLE STRANGER, based on Sarah Waters’ best-selling novel. The film is directed by Lenny Abrahamson (Oscar nominated for Best Director for Room) and stars Domhnall Gleeson (Brooklyn) as Dr Faraday; Golden Globe winner Ruth Wilson (The Affair) as Caroline Ayres; BAFTA winner Will Poulter (The Revenant) as Roderick Ayres; and Oscar nominee Charlotte Rampling (45 Years) as Mrs Ayres. THE LITTLE STRANGER is a chilling ghost story written by BAFTA nominee Lucinda Coxon (The Danish Girl) adapted from Sarah Waters’ novel of the same name. THE LITTLE STRANGER tells the story of Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants - mother, son and daughter - are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how terrifyingly, the family’s story is about to become entwined with his own. The film is produced by Gail Egan (The Constant Gardener), Andrea Calderwood (The Last King of Scotland) and Ed Guiney (Room); and executive produced by Cameron McCracken for Pathé, Daniel Battsek for Film4, Andrew Lowe for Element Pictures, Celine Haddad for the Irish Film Board and Tim O’Shea for Ingenious. Director of Photography is Ole Birkeland (The Crown), with costumes by Steven Noble (BAFTA nominee for The Theory of Everything) and hair and make-up by Sian Grigg (Oscar nominee for The Revenant). Simon Elliott (The Iron Lady and BAFTA TV winner for Bleak House) is Production Designer. Pathé will distribute the film in the UK, France and Switzerland. Focus Features acquired the film from Pathé International for distribution throughout the rest of the world. Focus will release the film domestically and Universal Pictures International will distribute THE LITTLE STRANGER in non-Pathé territories. THE LITTLE STRANGER is a Focus Features, Pathé, Film4 presentation in association with Ingenious Media and the Irish Film Board, of a Potboiler production, in association with Element Pictures. The film was developed by Film4 with Potboiler. For Further information; Premier Jonathan Rutter / Eugene O’Connor / Ellen Steers firstname.surname@premiercomms.com / +44 (0)20 7292 8330 POTBOILER Potboiler Productions is a leading UK independent film and television production company headed and run by Gail Egan and Andrea Calderwood. Driven by a passion for producing unique and bold international-scale projects and for working with exceptional talent in front of and behind the camera, their productions include; the John le Carré thriller The Constant Gardener, directed by Fernando Meirelles, starring Ralph Fiennes and Rachel Weisz who won an Academy Award for her role in the film and Kevin Macdonald’s The Last King of Scotland, which won an Oscar for Forest Whitaker, as well as the critically acclaimed A Most Wanted Man, directed by Anton Corbijn and starring Philip Seymour Hoffman and Rachel McAdams, A Little Chaos, directed by Alan Rickman and starring Kate Winslet, Susanna White’s Our Kind of Traitor, starring Ewan McGregor and David Simon’s ground-breaking Iraq-set mini-series Generation Kill for HBO. Most recently, Potboiler has produced Final Portrait, written and directed by Stanley Tucci, starring Geoffrey Rush and Woman Walks Ahead, written by Steven Knight, directed by Susanna White and starring Jessica Chastain. ELEMENT PICTURES Element Pictures is headed by Ed Guiney and Andrew Lowe, with offices in Dublin and London, encompassing film and television production, distribution, and exhibition. Recent productions include Yorgos Lanthimos’ The Killing of a Sacred Deer, winner of Best Screenplay at this year’s Cannes Film Festival; Lenny Abrahamson's Academy Award® and Golden Globe Award-winning Room and Yorgos Lanthimos’ The Lobster, winner of the Jury Prize at the 68th Cannes Film Festival and nominated for an Academy Award® for Best Original Screenplay. Currently in post-production are Lanthimos’ new film The Favourite, starring Emma Stone, Olivia Colman and Rachel Weisz and Sebastián Lelio’s Disobedience, starring Rachel McAdams, Rachel Weisz and Alessandro Nivola. Previous productions include all of Lenny Abrahamson's films (Adam & Paul, Garage, What Richard Did and Frank) as well as Darren Thornton's A Date For Mad Mary, John Michael McDonagh's The Guard and James Marsh's Shadowdancer. PATHÉ Pathé operates as a fully integrated film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 15 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk FILM4 Film4 is Channel 4 Television’s feature film division. Film4 develops and co-finances films and is known for working with the most distinctive and innovative talent in UK and international filmmaking, whether new or established. Film4 has developed and co-financed many of the most successful UK films of recent years, Academy Award®-winners such as Lenny Abrahamson’s Room, Alex Garland’s Ex Machina, Asif Kapadia’s box office record breaking documentary Amy, Steve McQueen’s 12 Years a Slave, Danny Boyle’s Slumdog Millionaire and Phyllida Lloyd’s The Iron Lady, in addition to critically-acclaimed award-winners such as Mike Leigh’s Mr. Turner, Chris Morris’s Four Lions, Shane Meadows’ This is England, Clio Barnard’s The Selfish Giant, Jonathan Glazer’s Under the Skin, David Mackenzie’s Starred Up and Yann Demange’s ’71. Film4’s recent releases include Ben Wheatley’s Free Fire, Danny Boyle’s T2 Trainspotting, Andrea Arnold’s American Honey, Todd Haynes’ Carol, Sarah Gavron’s Suffragette, Yorgos Lanthimos’s The Lobster and Andrew Haigh’s 45 Years. Forthcoming releases include Martin McDonagh’s Three Billboards Outside Ebbing, Missouri, Andrew Haigh’s Lean on Pete, Clio Barnard’s Dark River, Yorgos Lanthimos’s The Killing of a Sacred Deer, Lynne Ramsay’s You Were Never Really Here, Rungano Nyoni’s I Am Not a Witch, John Cameron Mitchell’s How To Talk To Girls At Parties, Michael Pearce’s Beast, Paddy Considine’s Journeyman, Toby MacDonald’s Old Boys, Benedict Andrews’ Una and Baltasar Kormákur’s The Oath. Films in production include Yorgos Lanthimos’s The Favourite, Bart Layton’s American Animals, Mike Leigh’s Peterloo, Steve McQueen’s Widows, Stephen Merchant’s Fighting With My Family, Sebastián Lelio’s Disobedience, Garth Davis’s Mary Magdalene and Asif Kapadia’s Maradona. For further information please visit www.film4productions.com. IRISH FILM BOARD Bord Scannán na hÉireann/the Irish Film Board (IFB) is the national development agency for Irish filmmaking and the Irish film, television and animation industry, investing in talent, creativity and enterprise. Recent successes include the Academy Award nominated films Brooklyn, directed by John Crowley and Room, directed by Lenny Abrahamson and the Golden Globe-nominated Sing Street, directed by John Carney. Forthcoming projects include Nora Twoomey’s The Breadwinner and The Killing of a Sacred Deer by Yorgos Lanthimos. The IFB also supports and promotes the Irish screen industries at major international markets and festivals, promotes inward investment, the use of Ireland as a location for international production. The agency provides a strategic vision for industry training through Screen Training Ireland. INGENIOUS For more than 18 years, investors have chosen Ingenious to manage their funds. In that time, we have raised and deployed over £9 billion across our media, real estate and infrastructure operating divisions, including in excess of £1 billion in enterprise investment scheme (EIS) qualifying investments and over £1.3 billion in business relief (BR) qualifying investments. Our philosophy is clear: we help investors find simple solutions to complex problems, while managing their money conservatively. We create value for our clients by identifying, funding and managing compelling investment opportunities. FOCUS FEATURES Focus Features (www.focusfeatures.com) acquires and produces specialty films for the global market, and holds a library of iconic movies from fearless filmmakers. Current and upcoming domestic releases from Focus include Sofia Coppola’s The Beguiled, winner of the Best Director award at the 2017 Cannes International Film Festival; the breakneck action-thriller Atomic Blonde, directed by David Leitch and starring Charlize Theron and James McAvoy; Victoria & Abdul, directed by Stephen Frears and starring Judi Dench as Queen Victoria; Darkest Hour, directed by Joe Wright and starring Gary Oldman as Winston Churchill; the untitled Entebbe project, a gripping political thriller directed by José Padilha and starring Rosamund Pike and Daniel Brühl; Jason Reitman’s new comedy Tully, starring Charlize Theron and written by Diablo Cody; and the untitled new film from Paul Thomas Anderson starring Daniel Day-Lewis. Focus Features is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBCUniversal is a subsidiary of Comcast Corporation.

05 July 2017

VICEROY'S HOUSE

Gurinder Chadha’s VICEROY’S HOUSE will be released in UK cinemas on 3rd March 2017. The film tells the true story of the final months of British rule in India and its release will coincide with the 70th Anniversary of the Independence of India and the founding of Pakistan. Pathe is today launching the very first trailer and poster in support of the film’s release. The British cast is led by Hugh Bonneville (Downton Abbey, Paddington) as Lord Mountbatten; Gillian Anderson (The X Files, The Fall) as his wife, Lady Mountbatten; Lily Travers (Kingsman) as their daughter, Pamela; and Michael Gambon (Harry Potter, Quartet) and Simon Callow (A Room With A View, Four Weddings and a Funeral) as key civil servants. The Indian and Pakistani cast is led by Manish Dayal (The Hundred Foot Journey), Huma Qureshi (Gangs of Wasseypur) and Om Puri (The Hundred Foot Journey, East Is East). The roles of the principal political leaders are played by Tanveer Ghani (Nehru), Denzil Smith (Jinnah) and Neeraj Kabi (Gandhi). It is a story that is deeply personal to Gurinder, whose own family was caught up in the tragic events that unfolded as the Raj came to an end. Viceroy’s House in Delhi was the home of the British rulers of India. After 300 years, that rule was coming to an end. For 6 months in 1947, Lord Mountbatten, great grandson of Queen Victoria, assumed the post of the last Viceroy, charged with handing India back to its people. The film’s story unfolds within that great House. Upstairs lived Mountbatten together with his wife and daughter; downstairs lived their 500 Hindu, Muslim and Sikh servants. As the political elite - Nehru, Jinnah and Gandhi - converged on the House to wrangle over the birth of independent India, conflict erupted. A decision was taken to divide the country and create a new Muslim homeland: Pakistan. It was a decision whose consequences reverberate to this day. The film examines these events through the prism of a marriage - that of Dickie and Edwina Mountbatten - and a romance - that between a young Hindu servant, Jeet, and his intended Muslim bride, Aalia. The young lovers find themselves caught up in the seismic end of Empire, in conflict with the Mountbattens and with their own communities, but never ever giving up hope. VICEROY’S HOUSE is a film that is both epic and intimate, with an inspirational message that celebrates tolerance. Many of the events depicted are either unknown or forgotten, but all have strong contemporary relevance in terms of lessons to be learnt concerning the politics of division and fear, the origins of religious extremism, and our moral responsibility towards migrants fleeing violence for a better life. VICEROY’S HOUSE is directed by Gurinder Chadha (Bend it like Beckham) with a screenplay by Gurinder Chadha, Paul Mayeda Berges and Moira Buffini, and is produced by Deepak Nayar (Bend it like Beckham, The End of Violence, Buena Vista Social Club), Gurinder Chadha and Paul Mayeda Berges. The film is executive produced by Pathé’s Cameron McCracken, Reliance’s Shibasish Sarkar, BBC Films' Christine Langan, the BFI’s Natascha Wharton and Ingenious Media’s Tim O’Shea. The film is a Pathé, Reliance, BBC Films, Ingenious and BFI presentation of a Bend It Films/Deepak Nayar Production in association with the FilmVast and Filmgate Films. VICEROY’S HOUSE opens on 3 March 2017 Running time: 1hr 46 mins Certificate: 12A Trailer can be found here: DOWNLOAD: http://video.thinkjam.com/video/pathe/Viceroys_House/trailer_1080p_3march.zip YOUTUBE: https://www.youtube.com/watch?v=id_ZyNdvXKQ Images can be downloaded on: www.image.net Twitter www.twitter.com/ViceroysHouse #ViceroysHouse Facebook www.facebook.com/ViceroysHouseFilm Website www.ViceroysHouse.co.uk For further press information please contact Freuds: Kerry McGlone / Emma Welby T: +44 (0) 20 3003 6413 kerry.mcglone@freuds.com / emma.welby@freuds.com For online press enquiries: Emily Darling Tel: + 44 20 7324 0088 emily.darling@thinkjam.com

14 December 2016

VICEROY’S HOUSE

VICEROY’S HOUSE by BAFTA nominated director Gurinder Chadha will celebrate its World Premiere at the 67th Berlin International Film Festival on Sunday 12th February 2017. Gurinder Chadha, director of VICEROY’S HOUSE, commented: “I am honoured that VICEROY’S HOUSE has been selected by the Berlin Film Festival. My film is an inspirational intensely personal true story about the traumatic events that took place at the end of the British Empire in India, events that tore my own family apart. The Festival gives us a brilliant opportunity to showcase my passion project to a global audience.” Gurinder Chadha’s VICEROY’S HOUSE will be released in cinemas by Pathe in the UK on 3rd March 2017 and by Reliance Entertainment in India on the same date. The film tells the true story of the final months of British rule in India and its release will coincide with the 70th Anniversary of the Independence of India and the founding of Pakistan. The British cast is led by Hugh Bonneville (Downton Abbey, Paddington) as Lord Mountbatten; Gillian Anderson (The X Files, The Fall) as his wife, Lady Mountbatten; Lily Travers (Kingsman) as their daughter, Pamela; and Michael Gambon (Harry Potter, Quartet) and Simon Callow (A Room With A View, Four Weddings and a Funeral) as key civil servants. The Indian and Pakistani cast is led by Manish Dayal (The Hundred Foot Journey), Huma Qureshi (Gangs of Wasseypur) and Om Puri (The Hundred Foot Journey, East Is East). The roles of the principal political leaders are played by Tanveer Ghani (Nehru), Denzil Smith (Jinnah) and Neeraj Kabi (Gandhi). VICEROY’S HOUSE is directed by Gurinder Chadha (Bend it like Beckham) from a screenplay by Gurinder Chadha, Paul Mayeda Berges and Moira Buffini, and is produced by Deepak Nayar (Bend it like Beckham, The End of Violence, Buena Vista Social Club), Gurinder Chadha and Paul Mayeda Berges. The film is executive produced by Pathé’s Cameron McCracken, Reliance’s Shibasish Sarkar, former head of BBC Films Christine Langan, the BFI’s Natascha Wharton and Ingenious Media’s Tim O’Shea. The film is a Pathé, Reliance, BBC Films, Ingenious and BFI presentation of a Bend It Films/Deepak Nayar Production in association with the FilmVast and Filmgate Films. VICEROY’S HOUSE has been supported by the BFI through its National Lottery funding. VICEROY’S HOUSE opens on 3 March 2017 Running time: 1hr 46 mins Certificate: 12A Trailer can be found here: DOWNLOAD: http://video.thinkjam.com/video/pathe/Viceroys_House/trailer_1080p_3march.zip YOUTUBE: https://www.youtube.com/watch?v=id_ZyNdvXKQ Images can be downloaded on: www.image.net Twitter www.twitter.com/ViceroysHouse #ViceroysHouse Facebook www.facebook.com/ViceroysHouseFilm Website www.ViceroysHouse.co.uk For further press information please contact freuds: Kerry McGlone / kerry.mcglone@freuds.com /+44 (0) 20 3003 6648 Emma Welby/ emma.welby@freuds.com / +44 (0) 20 3003 6413 For online press enquiries: Emily Darling/ emily.darling@thinkjam.com / + 44 20 7324 0088

14 December 2016