By MCN Editor editor@moviecitynews.com

IFC FILMS ACQUIRES WORLD RIGHTS TO DIRECTOR JOE SWANBERG’S UNCLE KENT

IFC FILMS ACQUIRES WORLD RIGHTS TO DIRECTOR
JOE SWANBERG’S UNCLE KENT

New York, NY (December 2, 2010) – IFC Films, the leading American distributor of independent and foreign films, announced today that the company has acquired worldwide rights to director Joe Swanberg’s UNCLE KENT. The film, which stars Kent Osborne, Jennifer Prediger, Josephine Decker, and Swanberg himself, will premiere as part of the Spotlight section of the 2011 Sundance Film Festival.

UNCLE KENT follows a kid’s show cartoonist in Los Angeles as he spends a weekend trying to sleep with his visiting house guest – a woman from New York who he met on Chatroulette.

Jonathan Sehring, president of IFC Films, said, “Joe Swanberg has long been one of our very favorite filmmakers, and we are thrilled that UNCLE KENT will be his Sundance debut.”

The film is the latest addition to an already long relationship between IFC and Swanberg, having previously released HANNAH TAKES THE STAIRS, ALEXANDER THE LAST and NIGHTS AND WEEKENDS together.

Noted filmmaker Swanberg: “I am thrilled to continue my relationship with IFC Films. They are committed to bringing the most exciting American and International work to the widest audience possible. I’m very happy to be in the company of so many great filmmakers and people.”

The deal was brokered by Lizzie Nastro, Director of Acquisitions & Co-Productions for IFC with Swanberg.

About IFC Films

Established a decade ago, IFC Films – a division of Rainbow Media’s IFC Entertainment – is the leading U.S. distributor of independent and foreign film. Its unique day and date distribution model makes independent films available to a national audience by releasing them simultaneously in theaters as well as on cable’s On Demand platform and through Pay-Per-View, reaching nearly 50 million homes.

IFC Films’ “IFC Midnight” label, launched in 2010, offers the very best in international genre cinema, including horror, sci-fi, thrillers, erotic arthouse, action and more. Some of the company’s successes over the years have included My Big Fat Greek Wedding, Y Tu Mama Tambien, Touching the Void, Me and You and Everyone We Know, 4 Months, 3 Weeks and 2 Days, Gomorrah, Che, Summer Hours, In the Loop, Antichrist, The Human Centipede, Cairo Time, Joan Rivers: A Piece of Work, and Wordplay.

IFC Films has worked with established and breakout auteurs, including Steven Soderbergh, Gus Van Sant, Spike Lee, Richard Linklater, Miranda July, Lars Von Trier, Gaspar Noe, Todd Solondz, Cristian Mungiu, Susanne Bier, Olivier Assayas, Jim McKay, Larry Fessenden, Gregg Araki, Jacques Rivette, Claude Chabrol, as well as more recent breakouts such as Andrea Arnold, Mia Hansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche.

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One Response to “IFC FILMS ACQUIRES WORLD RIGHTS TO DIRECTOR JOE SWANBERG’S UNCLE KENT”

  1. Harry J. says:

    Does Joe Swanberg show his penis in this movie? It just wouldn’t be Swanbergian if not! IFC releases some really strong art cinema, but they’ve also shown very dubious taste by buying shlock from no-talents like Swanberg.

Quote Unquotesee all »

“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt