Tag: Entertainment – Variety

As “The Lowdown” Season 2 opens, citizen journalist (or “truthstorian”) Lee Raybon (Ethan Hawke) is in a completely uncomfortable position: success. He’s about accept a local media award for a piece he wrote about the death of Dale Washberg (as detailed in Season 1 of the series), but isn’t happy about it.

Rather than accept his acclaim, a boozy Lee gets on stage and immediately tears into the crowd for being sellouts. It doesn’t go well. Series creator Sterlin Harjo admits to Variety that Lee’s inability to deal with a bit of acclaim comes directly from his own experience after the launch of his previous FX series, “Reservation Dogs.”

“I was living in a studio loft in downtown Tulsa, and all of a sudden I had a TV show,” he says. “I had been a kind of quiet independent filmmaker hoping to get some attention from anyone in this industry with my films. But then, ‘Reservation Dogs’ Season 1 truly changed my whole life. And I didn’t handle it well at first. You don’t know what to do. All of a sudden, there’s articles, and there’s all this stuff and you’re very exposed. It was fun thinking of that as Lee Raybon, because how does he handle the little recognition that he got? I bet he handles it really wrong, and I bet that there is a knee-jerk reaction to reject it.”

The theme of Season 2, Harjo says, is to figure out how to love yourself — and how that love will extend to everyone else in your life. After that initial shock of his “Reservation Dogs” success, Harjo is getting there. It helps that he has another critically acclaimed series on his hands.

Conceivably, “The Lowdown” could go on forever, given that there’s no shortage of story fodder about the amount of profligacy that exists in the world. After Season 1, “I wasn’t finished telling the story,” he says. “There was more of the corruption that I could tell.”

As Season 2 premieres on Oct. 14 on FX, Lee is soon recruited by public defender Ginger (Betty Gilpin) to investigate a new mystery: the disappearance of her client inside the Oklahoma prison system.

This time out, Harjo says he was inspired by the 1972 Lee Marvin/Gene Hackman film “Prime Cut,” 1981’s “Cutter’s Way” and the 1949 noir “The Third Man” to come up with the underlying concept.

“This idea of a missing man, I was like, how do we amp this up a little bit?” he says. “Well, it’s really hard to go missing in prison. There’s a sign-in sheet. How do you go missing from prison? That was such an intriguing question.”

Harjo says he, fellow exec producer Duffy Boudreau and Hawke began brainstorming the idea while doing their press tour for Season 1 of “The Lowdown.”

“That’s when we came up with kind of the bones of the plot,” he says. “Through lots of influences, and also just Oklahoma.”

Harjo says they also got to know Hawke’s cousin, a public defender in Ft. Worth, who shared stories about her experiences. “And I grew up in a town with a prison, and I saw how that affects a town,” he adds. “You really saw this shift in the town, and not a positive one. Because you have drugs, you have trafficking, you have drug trafficking of guards and prisoners.”

For inspiration, Harjo also remembers visiting his uncle as a kid in a McAlester, Oklahoma, prison, where he was doing time for repeat alcohol offenses. “The Lowdown” wound up shooting in that very same institution this season.

But that’s just one half of Season 2. The show’s other bombshell comes at the end of the opening episode: Tommy Lee Jones shows up as Lee’s estranged father.

“We talked a lot about being a father in Season 1. What’s it like being a son? And how do you forgive your father or a parent?” Harjo says. But just as Lee Sr. neglected his son growing up, Lee Jr. continues to mess things up with his own daughter, Francis (Ryan Kiera Armstrong).

“He’s trying to not make bad decisions [like his father],” Harjo says. “And at the same time, he’s neglecting his daughter, which is a bad decision. And then, his father, who was a bad father, is connecting with his granddaughter.”

“The more complicated you can make all that stuff, the better, because you’ve got to fight your way out of it as a writer,” Harjo says. “It was a very painful writing experience, more painful than anything, because I had written myself into so many corners. There was stuff that I was writing, there was episodes being written deep into production. I hope I never have to do that again!”

After writing the first episode of Season 2, Harjo immediately thought of Jones for the part as Lee’s father. Both he and Jones are both represented by CAA — and once Jones read it, the actor wanted in. Jones had already watched Season 1 — and told Harjo that he specifically loved the bookstore security guards Waylon (Cody Lightning) and Cousin Henry (Jude Barnett), who provide some comic relief.

“He wanted to be with them, which that told me everything I needed to know,” Harjo says. “If you love the security guards, you love me and the show and the vibe. Because those characters wouldn’t necessarily be on a lot of shows. You would cut that. After the premiere the other day, [Jones] says, ‘Thanks for paying attention to the character Waylon, because most people wouldn’t. It’s characters and storylines like that I think make the show what it is.’”

Harjo also excitedly notes that Jones started watching “Reservation Dogs” while shooting “The Lowdown.”

“There was something amazing about every day coming to work and having Tommy Lee Jones describe an episode of the show that I created,” he says. “He’d be talking to Ethan or me about it, and it was nice that he appreciated it so much. ‘Reservation Dogs’ is the type of show that you might think someone like Tommy Lee Jones could miss and not get it, but he’s a sophisticated, really smart artist and he loved it. It was amazing every day.”

As for the character of Ginger, she’s clearly a love interest for Lee — a tough character who can go toe-to-toe with him, but has a humor to her as well. Once Gilpin came on board, Harjo says she helped redefine who Ginger could be.

“Lee can be a bit wild, and I needed someone to match that energy,” Harjo says. “Betty can do anything, and I already knew that she was great. And then she came, and it was like another level. All of a sudden she’s doing things in the first scene that I’m filming with her, and there’s things happening that I did not write. From that day forward, I’m trying to write toward her voice and what she’s bringing to that character.”

Harjo says he aimed to make Season 2 “go harder and faster with everything that we have established. It’s kind of like ‘Reservation Dog’ Season 2 as well. I’ve established the world. I feel like people that like the show will come with me. I have a meter of what feels real and what doesn’t, so I always sort of adhere to that. Let’s make ‘Empire Strikes Back,’ where it’s great and it stands on its own, but you also want more by the end. Gods of TV willing, we’ll be making a Season 3 of this show.”

The first two episodes of “The Lowdown” Season 2 premiere on FX and Hulu on Oct. 14 at 9 p.m. ET, with remaining episodes airing weekly on Wednesdays

Academy CEO Bill Kramer is set to make his first trip to Asia later this month. He will collect a leadership award at the Tokyo International Film Festival and also sit down with Toho president and CEO Matsuoka Hiro for a public conversation.

The festival’s 39th edition runs Oct. 26–Nov. 4 and has built a program titled Academy in Tokyo around the visit. Two colleagues will join Kramer in the Japanese capital: Academy president Lynette Howell Taylor and Meredith Shea, the organization’s chief membership, impact and industry officer.

The three executives will share a stage on Oct. 28 at Tokyo Midtown Hibiya Hall for a 90-minute panel moderated by TIFF festival director Hisamatsu Takeo. They will take the audience behind the curtain of the Oscars and outline the Academy’s international initiatives and membership programs. The conversation will also turn to how the organization views international cinema today and where it is heading.

Once the panel wraps, Kramer will receive TIFF’s Global Cinema Leadership Special Award. The festival said the honor recognizes his contribution to the growth of the worldwide film business and to film culture. Later that day, the Academy will hold a private reception for its members from across the globe.

Kramer returns to the same venue on Oct. 29 to sit down with Matsuoka. Their session will look at the state of the global film landscape and the outlook for theatrical and streaming distribution, along with ways to deepen cross-border partnerships. Both public events are free, though advance reservations are required. Booking details have yet to be released.

Kramer took the Academy’s top job in 2022. Before that, he ran the Academy Museum of Motion Pictures as its director and president. The museum opened its doors in September 2021. As CEO, Kramer has pushed to broaden the Academy’s 11,000-strong membership and give it a more international makeup. He runs the organization’s global operations, from the Oscars and the Academy Foundation to the $500 million Academy100 campaign.

Howell Taylor is in her second term as president. She is an Oscar-nominated producer whose credits include “A Star Is Born,” “The Accountant,” “Captain Fantastic” and “Blue Valentine.” She joined the Academy’s Producers Branch in 2014. She also co-produced the 92nd Oscars telecast in 2020, which earned her an Emmy nomination.

Shea is the first person to hold her post. Her remit covers membership, awards administration and talent development. It also includes the Academy’s outreach to film festivals and international territories.

Matsuoka has steered Toho’s expansion overseas, including its acquisitions of Gkids and Anime Limited. He also oversaw the production of Oscar winner “Godzilla Minus One.” In 2025, Toho posted its best-ever results at the Japanese box office. Matsuoka also sits on the board of trustees of the Academy Museum.

TIFFCOM, the content market that runs alongside the festival, takes place Oct. 28–30.

Strength in numbers? Movie theater operators are hoping the adage proves true as four new movies aim to bolster the October box office.

Paramount’s video game adaptation “Street Fighter” will lead over fellow newcomers, with opening weekend estimates of $25 million to $35 million from 3,500 North American theaters. Disney’s survival thriller “Whalefall” should secure second place with $10 million to $12 million from 3,065 venues. Meanwhile A24’s much-hyped Elizabeth Holmes documentary “You Can See Everything” is aiming for a strong $7 million to $8 million from just 800 locations, and the Focus Features remake of Jane Austen’s “Sense and Sensibility” is targeting $5 million to $8 million from 2,436 screens.

Although “Street Fighter” is projected to claim the No. 1 spot, the PG-13 action-adventure carries the biggest budget among the quartet and will need to stick around in theaters to justify its price tag. Legendary and video game developer Capcom co-financed the film for $82 million, with Paramount only on the hook for distribution. The long-gestating “Street Fighter” was originally set at Sony as part of Legendary’s pact with the studio and moved to Paramount once the initial deal expired. Overseas, “Street Fighter” is projected to earn roughly $35 million from 65 markets.

“Street Fighter” is the third movie based on the Capcom video game series. The first live-action film, released in 1994 and starred Jean-Claude Van Damme, was box office hit with $100 million, not adjusted for inflation. The second, 2009’s “Street Fighter: The Legend of Chun-Li,” was a major misfire for 20th Century, earning just $12.8 million against a $50 million budget. This reboot, directed by Kitao Sakurai and starring Noah Centineo and Andrew Koji, takes place in 1993 as two estranged fighters are recruited to enter a tournament that forces them to face off against each other.

“Whalefall” cost $60 million and also requires substantial staying power, since theater owners keep about half of ticket sales. Directed by Brian Duffield, “Whalefall” follows a scuba diver (Austin Abrams) who is swallowed by a sperm whale and has only one hour of oxygen left in his tank as he figures out how to escape. Reviews have been mostly positive, with one critic calling the film “amusing genre pulp.”

“You Can See Everything” cost around $7 million to produce, and exhibitors believe the movie could become the rare breakout documentary. Earlier this year, Amazon MGM’s “Melania,” a $40-million-budgeted glimpse at first lady Melania Trump, landed the biggest opening for a non-music or concert doc in over a decade with $7.1 million from 1,778 theaters. Most non-fiction films, however, would be lucky these days to earn that much by the end of their box office runs.

Hype for “You Can See Everything” has been high since A24 unveiled the top-secret project at Telluride Film Festival in early September. Comedian Nathan Fielder and “Primetime” filmmaker Lance Oppenheim quietly worked for more than three years on the movie, which offers an unhinged look at the Theranos founder a month before she began an 11-year prison sentence for defrauding investors. The doc will benefit from stellar reviews and positive word-of-mouth; it holds a 100% on Rotten Tomatoes, with Variety’s Owen Gleiberman describing the unconventional story as a “one-of-a-kind [ …] circus.”

“Sense and Sensibility,” which carries a $25 million budget, hopes to serve as counterprogramming against the male-skewing “Street Fighter” and “Whalefall.” Daisy Edgar-Jones and Esmé Creed-Miles star in the latest adaptation of the Jane Austen classic as sisters Elinor and Marianne Dashwood, who navigate love, loss and financial uncertainty as they are forced to leave their family estate in Sussex.

“Sense and Sensibility” has been reworked for the screen a number of times, most notably with director Ang Lee’s 1995 film starring Emma Thompson and Kate Winslet as Elinor and Marianne Dashwood. That film was a critical and commercial smash, earning seven Oscar nominations and generating $135 million at the box office, not adjusted for inflation. Focus Features over the years has backed two prior remakes of Austen’s work, including the 2005 version of “Pride and Prejudice” with Keira Knightley and Matthew Macfadyen as well as 2020’s “Emma,” which starred Anya-Taylor Joy. The well-reviewed “Emma” was released digitally while theaters were closed due to the pandemic.

So far, the October box office has been uneven. Tom Cruise’s dark comedy “Digger” and Aaron Sorkin’s Facebook drama “The Social Reckoning” flopped, while Colleen Hoover adaptation “Verity” and “Other Mommy” with Jessica Chastain are shaping up to be modest wins. Luckily, it won’t take much to improve upon last October, which hit a three-decade low amid a pileup of disasters including Dwayne Johnson’s MMA drama “The Smashing Machine” and Disney’s sci-fi sequel “Tron: Ares.”

After 17 years of leadership, Bob Daly will step down as chair of the American Film Institute Board of Directors at the next trustee meeting on Wednesday, Oct. 21, Variety can reveal exclusively.

Daly, former Warner Bros. chair and co-CEO, joined the AFI Board in April 1981 and was named chair on Oct. 8, 2009, succeeding co-chairs Jon Avnet and John Cooke.

“In a career that brought me from running CBS to Warner Bros. to the Los Angeles Dodgers, I can honestly say that serving as Chairman of the AFI Board of Directors has been one of the greatest honors of my life,” said Daly. “This is a board that represents all aspects of the film and television communities, and to see they come together with a shared passion for the art form has been a wonder to behold. Long live the AFI!”

Daly’s expansive history in Hollywood touched some of the most powerful institutions in the entertainment business, including CBS Entertainment, Warner Music Group, the Los Angeles Dodgers and, of course, Warner Bros. He began his career at CBS as a gofer in 1955. He spent 25 years at the network and eventually served as its president, overseeing all television operations. After his time at CBS, Daly joined Warner Bros. as chairman and co-CEO in 1980. During his 19 years at the studio, he and his co-CEO, Terry Semel, were credited with 16 consecutive years of record earnings. They also supervised the release of 13 Best Picture Oscar nominees, and snagged three wins with “Chariots of Fire,” “Driving Miss Daisy” and “Unforgiven.”

Following his time at WB, Daly joined the Los Angeles Dodgers as chair and CEO for four years before selling the team in 2004. Daly also served as chair of the charity Save the Children.

“Leadership is an art in itself — and in that regard, Mr. Daly is a master,” said Bob Gazzale, AFI president & CEO. “Over the past forty years, no single person has had a greater impact on AFI’s work in preservation, celebration and education than Bob Daly — and we have promised to march forward each day with a promise to prove him proud.”

The AFI, founded in 1967, is a nonprofit organization created to preserve the heritage of the motion picture, to honor the artists and their work and to educate the next generation of storytellers. Former Lucasfilm president Kathleen Kennedy serves as chair of the AFI Board of Trustees, which includes Pam Abdy, Sean Astin, Alan Bergman, Halle Berry, Jim Breyer, James L. Brooks, Ava DuVernay, Jamie Erlicht, Mike Hopkins, Alan Horn, Patty Jenkins, Michael B. Jordan, Donna Langley, Eva Longoria, Bryan Lourd, Christopher Nolan, Edward James Olmos, Shonda Rhimes, Charles Rivkin, Jay Roach, Ted Sarandos, Chris Silbermann, Octavia Spencer, Steven Spielberg, Todd Wagner and Edward Zwick.

“Where’s Wanda?” Apple TV’s first German series, proved a major hit for the streamer. The show’s creative team at UFA Fiction have now raised the stakes with Season 2.

Set in the town of Sundersheim, the series’ first season followed parents Carlotta (Heike Makatsch) and Dedo (Axel Stein) Klatt on their desperate search for their missing daughter (Lea Drinda), with the help of tech-savvy son Ole (Leo Simon).

Obtaining gear from the darknet, they spy on their neighbors and local residents, uncovering in the process many of the town’s hidden secrets.

Wanda was finally found at the end of Season 1. But, found standing over a dead body, Wanda ends up behind bars in Season 2.

“Where’s Wanda?” Season 2 was created, written and executive produced by Oliver Lansley, whose credits include the Anna Paquin drama “Flack,” alongside award-winning executive producer and UFA Fiction managing director Nataly Kudiabor (“Arthur’s Law”) and Oliver Ossege (“Helgoland 513”). The series was co-created and based on a story by Zoltan Spirandelli (“Vaya con Dios”) and is directed by Tobi Baumann (“Faking Hitler”) and Christian Ditter (“How To Be Single”).

Speaking to Variety about the success of “Where’s Wanda?” Kudiabor discusses the hit show’s popularity, the challenges of maintaining momentum and an ensemble cast that boasts some of Germany’s top acting talent.

Season 2 picks up at “a fantastic starting point,” Kudiabor notes. Without revealing spoilers, it’s suffice to say a major plot twist at the end of Season 1 “opened up a whole new set of possibilities.”

“Wanda’s parents Carlotta and Dedo are once again desperately trying to protect their daughter, this time by proving her innocence and finding the real killer. Meanwhile, Wanda finds herself in prison, where she encounters some familiar enemies and faces threats of her own.

“So, while we’re telling an entirely new story, we’re staying true to the emotional heart of the series: just how far would you go to save your child?”

It was that concept that propelled Season 1 and made Apple TV’s first German-language series a solid hit.
“For us, the priority was always to tell a compelling story that would connect with audiences, regardless of where they live,” Kudiabor stresses. The question of how far parents would go to save their child is a universal one, she adds.

“We were delighted that Apple TV shared our belief that this was a theme with strong international appeal.

“At the same time,” she adds, “it was very important to us that the show retain its distinctly German identity. This was also something our co-creators Zoltan Spirandelli and Oliver Lansley felt strongly about. Even though Sundersheim is a heightened, somewhat absurd version of a German small town, we wanted audiences to feel that this story is genuinely rooted in Germany.

“I believe that authenticity is actually what helps a story travel internationally. You don’t have to make something less local to make it more universal.”

Identifying the key elements that have contributed to the show’s success, Kudiabor says: “I think our secret ingredient is dark comedy. Alongside a genuinely gripping and emotionally grounded crime story, humor has always been an essential part of the DNA of the show: particularly for our writer and creator, Oliver Lansley.

“Oliver has an extraordinary ability to balance real emotions and very human problems with increasingly absurd and sometimes outrageous situations. You find yourself laughing at moments when you probably shouldn’t, while still being completely invested in the characters and their struggles.”

It’s precisely that balance that gives the show “its distinctive tone and sets it apart from other crime and mystery shows,” she adds.

Another element that has made the show so appealing is its star-studded cast. This season Sam Riley (“Mint”), Alexandra Maria Lara (“All Those Things We Never Said”) and David Schütter (“Barbarians”) join the series.

Returning cast members include Nikeata Thompson (“Späti”); Harriet Herbig-Matten (“Maxton Hall: The World Between Us”); Gisa Flake (“Berlin Station”); Palina Rojinski (“Welcome to Germany”); Suzanne von Borsody (“Run Lola Run”); Kostja Ullmann (“A Most Wanted Man”); Devid Striesow (“All Quiet on the Western Front”); Frederic Balonier (“Maxton Hall: The World Between Us”); Sascha Geršak (“Murder Mindfully”); Torben Liebrecht (“Altered Carbon”); Aaron Maldonado-Morales (“Sun and Concrete”); and Anton Dreger (“Two Sides of the Abyss”).

“We’re incredibly fortunate to have such a brilliant ensemble from Season 1, and we’re thrilled to welcome some fantastic new actors for the second season,” Kudiabor says.

“For us, it’s a huge compliment when actors of this caliber tell us they loved the first season, really connect with the scripts and are excited to become part of the show.”

“Having Alexandra Maria Lara and Sam Riley — who are married in real life — playing the mysterious new neighbors of Carlotta and Dedo, portrayed so wonderfully by Heike Makatsch and Axel Stein, is a real gift. Their characters arrive in Sundersheim with a big secret of their own, adding another intriguing layer to the story.

Kudiabor stresses that “bringing together such an exceptional cast, including familiar faces in unexpected roles, creates a real sense of excitement and curiosity for the audience.”

Looking beyond Season 2, Kudiabor teases the possibility of future adventures.

“Let’s just say that Oliver Lansley and all of us still have a few tricks up our sleeves when it comes to the future of the Klatt family. But for now, we’re very much looking forward to sharing Season 2 with audiences when it premieres on Apple TV on Oct. 21.”

Cameras have started rolling in the French Alps on “Pumping Black” a high-adrenaline thriller being led by Jonathan Bailey (“Wicked,” “Jurassic World: Rebirth”) and Oscar winner Natalie Portman (“May December,” “Good Sex”).

First announced by Variety earlier this year ahead of its market launch in Cannes by Anton Studios, the film also stars Lukas Gage (The White Lotus), Alex Akpobome (Industry), with new additions Daniel Quinn-Toye (“Sterling Point”), Lucas Lynggaard Tønnesen (“The Weight”), César winner Arieh Worthalter (“The Goldman Case”) and Emmy winner Tony Hale (“Veep”) now having joined the ensemble cast.
The shoot will runs until early December.

Set in the cut-throat world of elite professional cycling, “Pumping Black” follows Taylor Mace, 35 years old and aging out of the sport. He is taken under the wing of Andrea Lathe, a doctor driven by her own thirst for victory and power. As the race progresses, Taylor must take increasingly dark measures to protect both his secret and his lead.

Mimi Cave (“Holland,” “Fresh”) directs from a screenplay by Haley Hope Bartels. Producers include Stacey Sher for Shiny Penny (“The Hateful Eight,” “Heretic”), Portman and Sophie Mas for MountainA (“May December,” “Arco”), Cave and Sébastien Raybaud for Anton Studios (“Victorian Psycho,” “My Darling California”).Katie Aquino from Shiny Penny and Kai Raka from Catchlight Studios serve as executive producers.


Anton Studios is fully financing the film and handling worldwide sales with CAA co-repping the US.

Cave’s creative team includes cinematographer Justin Brown (“I Am Not Okay with This”), production designer JC Molina (“Honey Boy”) and casting director Kharmel Cochrane (“Saltburn”). Martin Pensa, who edited Cave’s “Fresh,” returns as editor. Pierre-Yves Gayraud (“Cloud Atlas”) serves as costume designer, with Géraldine Lemaire (“The French Dispatch”) and Fabienne Robineau (“Robin Hood”) as hair and make-up.

Bailey is repped by CAA, Conway Van Gelder Grant and Anonymous Content; and law firm Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox LLP. Portman is repped by CAA, George Sheanshang and Agence Adéquat. Cave is repped by CAA and Jackoway Austen. Sher is repped by CAA and Gang, Tyre, Ramer. Bartels is repped by CAA, Untitled, and Yorn Levine. Gage is repped by WME, Luber Roklin Entertainment and Goodman Genow Schenkman. Akpobome is repped by Gersh and Range Media Partners. Quinn-Toye is repped by Independent Talent Group, CAA, Public Eye Communications and Gang, Tyre, Ramer, Brown & Passman. Tønnesen is repped by Accelerate and Lindberg Management. Worthalter is repped by Agence Adéquat. Hale is repped by UTA and Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox LLP.

Sakhya Byamba’s “Zogsool” was the biggest winner at the Busan International Film Festival’s Vision Awards on Wednesday, taking home four prizes.

The film won both the Netpac Award and the Fipresci Award, along with the Vision of Jiseok Award. It also shared the Hylife Vision Award with Sailesh Rathnakumar’s “Selvi,” which separately picked up the Taipei Film Commission Award.

Among Korean titles, Jeong Jihye’s “Full Moon” won three prizes: the CGV Award, the K-Movie Award and the Songwon Vision Audience Award – Korea. Park Songyeol’s “Beyond Love’s Horizon” won the KBS Independent Film Award and the Critic b Award, and Won Hyangra received one of two Actor of the Year honors for her work in the film. Kang Seung-ho took the other for “Cosmic Trace.”

Oh Sehyeon’s “Baler” won twice, with the Jeong-in Award and the Citizen Critics’ Award. Kim Si-jin’s “The Flower” received the DGK Plus M Award.

The BIFF Mecenat Award in the Asian category went to Yang Bo’s “Agaar,” and Yi Seungjun’s “Can I Talk to You?” won the Korean award. Choi Se-dam’s “A Woman Dancing on the Waves” got a special mention.

Soroush Shahpouri’s “Fatima” won the Asian Sonje Award, and Yun Taerang’s “Toe’s” won the Korean one. Jung Jaeseo’s “The Boy Who Fell to Earth” was singled out with a special mention.

Kumamoto Ryohei’s “After the Song” won the Face of the Future Award, and Arvin Belarmino’s “Ria” won The Heart of Eurasia Award. “There Will Be Snow,” from Chen Jianying, received the Bishkek International Film Festival-Central Asia Cinema Award. Darkhan Tulegenov’s “The Cord” took the International Film Festival of India – Vision Asia Award.

Audiences picked Shashank Walia’s “Birds in the Dark” for the Songwon Vision Audience Award – Asia. Im Yeonjeong’s “Recovery” won the Documentary Audience Award, and “La Bola Negra,” directed by Javier Calvo and Javier Ambrossi, won the Flash Forward Audience Award. Janay Boulos and Abd Alkader Habak’s “Birds of War” won the Busan Cinephile Award.

The 31st edition of the festival opened Oct. 6 and will close Oct. 15. Its industry arm, the Asian Contents & Film Market, ran from Oct. 10 to Oct. 13.

France’s Luxbox and Spain’s Amore Cine have boarded the Peruvian drama “Portrait Huaco” (“Huaco retrato”) by Melina León, best known for her debut feature “Song Without a Name” (“Canción sin nombre”), which world premiered at the 2019 Cannes Directors’ Fortnight.

“After the incredible journey we shared with ‘Song Without a Name,’ I’m thrilled to continue collaborating with Melina, now as both international sales agent and co-producer,” said Luxbox’s Fiorella Moretti.

She added: “As a Peruvian, it is especially meaningful to help bring Gabriela Wiener’s bold and contemporary work to the screen through Melina’s singular vision. ‘Portrait Huaco’ explores questions at the heart of today’s conversations in a truly original way, and I have no doubt it will resonate with audiences around the world.”

For Paz Lázaro, who co-founded Amore Cine alongside Edson Sidonie (“Karnawal”) and Juan Pablo Felix (“Mil pedazos”), “Adapting Gabriela Wiener’s ‘Portrait Huaco’ means bringing to the screen a work that bridges Latin America and Spain, weaving colonialism, racism, identity and desire with a voice both ancient and radically contemporary.”

“For Amore Cine, alongside our fellow producing partners, this is an opportunity to champion a film with international reach that challenges perspectives and reexamines our shared history.”

Based on the autobiographical novel of the Peruvian author, the project participates in the 8th Proyecta Co-Production Forum at Ventana Sur, which takes place in Montevideo, Uruguay this year from Nov. 30 – Dec. 4.

Amore Cine and Luxbox join Peru’s Mano de Obra Cine, led by Melissa Cordero, and La Vida Misma Films, which produced “Song Without a Name.”

The story follows Gabriela who returns to Lima after her father dies. Back home, she discovers a book by her great-great-grandfather, Austrian explorer Charles Wiener. Her search into the family past becomes a reckoning with the lingering legacies of colonialism, internalized racism and abandonment.

“’Portrait Huaco’ combines a distinctly Peruvian perspective with universal themes of identity, memory and colonial heritage. Under the direction of Melina León, the film seeks to preserve its cultural roots and Peruvian creative leadership while embracing an international scope through strategic co-production partnerships,” said Cordero.

This is the second time for Mano de Obra to co-produce with Amore Cine. Late coming-of-age drama, “Ofelia,” currently in post,’ is a European-Latin American co-production that includes Amore, Argentina’s Bikini Films, Quijote Films of Chile, Brazil’s África Filmes and CUP Filmes, Spain’s Potenza Producciones and France’s Reality Films.

Said Cordero: “I’m interested in producing auteur-driven films with a distinctive cinematic voice and strong cultural identity, as well as genre films that can connect with wider audiences. I’m particularly drawn to stories rooted in Peru and Latin America that explore universal themes, bringing local perspectives to an international audience.”

“My near-term strategy is to strengthen Mano de Obra Cine’s position as a production company focused on feature films, building strategic co-production partnerships across Latin America and Europe. I aim to combine public and private financing with international partnerships and distribution opportunities to develop a sustainable slate of films with strong creative identities and international reach.”