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By Ray Pride Pride@moviecitynews.com

RADiUS / THE WEINSTEIN COMPANY KNOCKS IT OUT WITH ‘CONCUSSION’

BOUTIQUE LABEL MAKES SECOND BIG PURCHASE OF FEST AFTER ACQUIRING OPENING NIGHT FILM ’20 FEET FROM STARDOM’

Park City – January 21, 2013:  RADiUS – TWC proudly announced tonight that it has acquired North American rights to CONCUSSION, one of the most provocative and well received films at this year’s Festival that is drawing endless comparisons to BELLE DE JOUR.

Written and directed by Stacie Passon in an auspicious directing debut effort, and produced by Rose Troche, CONCUSSION is a poignant sexual examination of Abby (Robin Weigert in a star making breakout turn), a forty something married wealthy, lesbian housewife who, after suffering a blow to the head from getting smacked by her son’s baseball—walks around every corner of her suburban life to confront a mounting desire for something else. She takes on a new project and purchases a pied-à-terre in Manhattan. Walking around the city streets reminds Abby what it feels like to be sexy, and her pent-up libido shakes off its inhibitions. Her newfound desire though is not a take-home item, so Abby inaugerates a double life as a high end escort.  Palpably sensual and deliciously contained, CONCUSSION is a keen observation of the complicated contours of midlife crisis.

According to RADiUS co-presidents Tom Quinn and Jason Janego: “We were mesmorized by CONCUSSION and the job Stacie did in creating such rich, relatable characters. This film made an indelible impression anchored by Robin’s exceptional performance – – one of the best we’ve seen on screen in a very long time.”

Stacie Passon goes on to say: “RADiUS is continuing to define itself as a home for artists. We are thrilled with the passion and dedication of Tom Quinn and Jason Janego and their exceptional team. We know we are in excellent hands.”

RADiUS has slated an early fall 2013 release.

In 2012, CONCUSSION was chosen for the Independent Feature Project’s narrative lab.  Additionally, CONCUSSION received the Adrienne Shelly Director’s Grant and the Calvin Klein Spotlight on Women Filmmakers Live the Dream Grant at the Gotham Awards.

In addition to Reigert (DEADWOOD), CONCUSSION also stars Maggie Siff, Johnathan Tchaikovsky, Julie Fain Lawrence, Emily Kinney and Laila Robins.  The executive producers are Anthony Cupo and Cliff Chenfeld. Rose Troche
Is the producer.

Quinn and Janego negotiated the deal with Paradigm’s Ben Weiss and attorney Andre Des Rochers both of whom brokered the deal on behalf of the film.

ABOUT RADiUS-TWC
RADiUS-TWC, the multi-platform label from the Weinstein Company (TWC) is the first studio division dedicated to multi-platform distribution. Utilizing both traditional and digital media, RADiUS-TWC brings the highest quality film and other specialty entertainment to a wider audience than ever before. Led by Tom Quinn and Jason Janego, the label will continue to develop innovative distribution strategies to make marqueecontent available where, when and how consumers want. The label’s inaugural slate includes such acquisitions as BACHELORETTE and ONLY GOD FORGIVES directed by Nicolas Winding Refn and starring Ryan Gosling and Kristen Scott Thomas. Other upcoming titles include: ERASED starring Aaron Eckhart, Errol Morris’ THE UNKNOWN KNOWN and Morgan Neville’s TWENTY FEET FROM STARDOM.

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“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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