By Ray Pride Pride@moviecitynews.com

KINO LORBER SIGNS MULTI-YEAR DEAL WITH PALISADES TARTAN FOR HOME ENTERTAINMENT DISTRIBUTION OF ACCLAIMED LIBRARY IN U.S. AND CANADA

90 Titles Include Award Winning Masterworks from World Cinema’s Leading Directors and the
“Asian Extreme” Collection

NEW YORK, NY – FEBRUARY 19, 2014 – Kino Lorber announced today it has signed a multi-year agreement with Palisades Tartan to serve as the exclusive home entertainment distributor in the US and Canada (as available). The distribution deal includes packaged media (Blu-ray/DVD), digital rights, educational sales and repertory theatrical releasing.

Kino Lorber will reintroduce this much sought after 90 title collection, and reissue many of the films on Blu-ray under the Palisades Tartan label. Kino Lorber also plans new digital releases since many of the titles have not been widely available on key and new digital platforms. In keeping with its theatrical mission, the company will also curate selected films for repertory theatrical re-release.

Palisades Tartan has been bringing high-quality, compelling art house releases to audiences in the U.S. for the past dozen years building on Tartan’s distinguished 25 year history in the UK. It also established the “Asian Extreme” cinema brand that has accounted for some of its most notable successes in the U.S. market.

Among the key “Asian Extreme” titles are Park Chan-Wook’s Oldboy, which won the Grand Prix at the 2004 Cannes Film Festival, first of his award winning “Vengeance Trilogy,” which also includes Lady Vengeance and Sympathy for Mr. Vengeance. Other major Asian titles include Jonnie To’s Election, which was nominated for the Palme d’Or in 2005 and its follow up Triad Election, Yoji Yamada’s acclaimed samurai epic The Hidden Blade, and Shinya Tsukamoto’s cyber punk cult classic Tetsuo The Iron Man, as well as the essential early films by Kim Ki Duk and other now modern classics of Asian cinema.

No less significant are other world cinema masterworks from Palisades Tartan. Among the recently released titles is Iranian dissident director Jafar Panahi’s widely praised This Is Not a Film, made while under house arrest in Teheran. From Europe comes two landmark films of the Romanian new wave, The Death of Mr. Lazarescu, by Cristi Puiu that won the Un Certain Regard prize in Cannes in 2005 and Porumboiu’s12:08: East of Bucharest winner in 2006 of the Cannes Camera d’Or, as well as Roy Andersson’s quirkily hilarious Swedish film You, The Living, and from leading Austrian auteur Ulrich Seidl Import Export, which was nominated for the Palme d’Or in Cannes in 2007. Mexican director Carlos Reygadas’ is represented by Silent Light, which won the Jury Prize in Cannes in 2007 and his transcendental Battle in Heaven from 2005.  The collection is rounded out with brilliant English language works including the controversial, radically sexual 9 Songs from Michael Winterbottom as well as Andrea Arnold’s Red Road, winner of the Cannes Jury Prize in 2006 and widely considered one of the best British films of the last 25 years.

Richard Lorber, who negotiated the deal on behalf of Kino Lorber with Palisades CEO Vin Roberti, commented: “We are exultant to be able to bring the gems of the Palisades Tartan library back to market on all home entertainment physical and digital platforms. It’s why we exist as a company-these films define our mission.”  Vin Roberti of Palisades added: “I’ve admired the companies Richard has built over many years and we feel our carefully curated collection has now found the perfect home at Kino Lorber. They get it and know how to connect with the audiences who do too.”
About Palisades Tartan:
Tartan Films was originally founded in 1984 in the U.K. After it combined with Palisades it expanded operations in the U.S. and is credited with releasing here some of the most outstanding films from Asia under its “Asian Extreme” brand as well as many of the most honored and important art house films from today’s leading directors from all over the world.

About Kino Lorber:
With a library of 800 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including four Academy Award® nominated films in the last six years. In addition, the company brings over 70 titles each year to the home entertainment market with DVD and Blu-ray releases under its 4 house brands and is a direct digital distributor to all major platforms including iTunes, Netflix, HULU, Amazon and many others. Kino Lorber now also distributes a growing number of distinguished and complementary third party labels.

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“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