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Extra: Zed reveals slate ahead of WCSFP; Abacus Media Rights sells to Asia

Zed confirms projects for pre-sale ahead of Congress ’20 Paris-headquartered indie producer-distributor Zed announced projects available for pre-sales ahead of the 2020 World Congress of Science and Factual Producers (WCSFP), running online Dec. ...
December 1, 2020

Zed confirms projects for pre-sale ahead of Congress ’20

Paris-headquartered indie producer-distributor Zed announced projects available for pre-sales ahead of the 2020 World Congress of Science and Factual Producers (WCSFP), running online Dec. 8 to 10.

Titles include the 52- and 90-minute Raising Notre Dame, directed by Vincent Amouroux (Zed for Arte France); and the 2 x 52-minute Mussolini, The Fascist Emperor, directed by Serge de Sampigny (Histodoc for France Télévisions), both slated for delivery in early 2021.

Roman Megastructures (3 x 52 minutes; La Famiglia for RMC Découverte) is scheduled to deliver in spring 2021; while Iznik: The Sunken Basilica (52 and 90 minutes; Les Batelières Production for France Télévisions) will be ready for September 2022.

Other titles on Zed’s slate are Climate Change: The Brain Paradox (52 minutes; Un film à la patte for ARTE France), to be delivered in summer 2021; You Will Be Happy! (52 and 90 minutes; Zed for Arte France), slated for the end of 2021; and Looking for Al Pacino (pictured; 52 minutes; Zed for Arte France), ready for September 2021.

Abacus Media Rights secures sales in Asia 

Distributor Abacus Media Rights (AMR) has sold a number of documentary features and non-fiction series in Asia.

From EQ Media Group, Rhys Darby: Big in Japan (4 x 60 minutes), Griff’s Great Kiwi Road Trip (4 x 60 minutes) and Griff’s Great Australian Rail Trip (6 x 60 minutes) have been picked up by National Geographic. Nat Geo also acquired The Helper (1 x 106 minutes; Cheeky Monkey Productions and Co. Production).

Outback Lockdown (EQ Media Group; 3 x 60 minutes), Alone Across the Arctic (1 x 87 minutes; Picturehausfilms) and Surviving the Outback (1 x 57 minutes), meanwhile, have sold to The Outdoor Channel (Asia).

WOWOW Japan will air music documentaries Lennon’s Last Weekend (1 x 60 minutes; MGM Studios) and Whitney: Can I Be Me (1 x 100 minutes). RTHK Hong Kong acquired Toxic Beauty (1 x 90 minutes; White Pine Pictures).

A variety of documentary features have also been sold to iwonder for both its Asia and Australia markets, including Manolo: The Boy Who Made Shoes for Lizards (1 x 89 minutes; Nevision, Heels on Fire), Jihad Jane (1 x 94 minutes; Fastnet Films), People You May Know (1 x 92 minutes), Redeemed and the Dominant: Fittest on Earth (1 x 116 minutes; Crossfit Inc.), Sound City (1 x 108 minutes; Rosewell Films) and In Search of the Last Action Heroes (1 x 129 minutes; Creator VC).

Other recent deals completed by AMR include Lennon’s Last Weekend to SBS Australia, Movistar+ Spain, TV4 Sweden, DR Denmark and Britbox U.S./Canada; and People You May Know, acquired by AMC Networks’ streaming service Sundance Now in the U.S., UK and Canada, Fusion U.S., ZDF Germany, HistoireTV France, DR Denmark, NRK Norway, Channel 8 Israel, DirecTV Latin America, Globoplay Brazil, iwonder Australia and Asia, and Rialto New Zealand.

Blue Ant Media, Reelworld celebrate new partnership

Toronto-headquartered film fest organization Reelworld is gearing up for what it’s calling a “major brand overhaul” with the help of Blue Ant Media.

The brand reinvention, which represents the first since Reelworld’s inception in 2000, will see Reelworld reimagining the brand positioning of its three core areas of focus: the Reelworld Film Festival; its training and mentorship entity, Reelworld Screen Institute; and Access Reelworld, the job database for diverse individuals working across North America.

Tonya Williams, executive director of Reelworld Film Festival and Reelworld Screen Institute, said Blue Ant approached her after the organization’s 2020 festival offering its support as a community partner and collaborator.

“I have been a fan of Blue Ant Media and the amazing work they have done over the years, and was excited to see so many diverse faces on the team at our first creative meeting. I knew right away this was a company that got what Reelworld was about and would be a great creative partner as we work together to give Reelworld a fresh look,” said Williams in a statement.

“Our partnership with Reelworld is a perfect pairing as both organizations have a fundamental belief that filmmaking and production is a vital part of our society,” added Michael MacMillan, CEO and co-founder, Blue Ant Media. “It shapes our ideas, informs our perceptions, instills hope and inspires future generations. There are so many untapped stories out there waiting to be told and captivated audiences that want to hear them. Reelworld is critical in making these stories happen and we’re honored that they have entrusted their brand with us.”

Story from Playback Daily’s Jordan Pinto

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