By Ray Pride Pride@moviecitynews.com

Hulu Takes First-Window Streaming On All NEON Output

[PR] HULU AND NEON SET EXCLUSIVE PARTNERSHIP AND CUTTING-EDGE OUTPUT LICENSING AGREEMENT

New Deal Grants Hulu First-Window Streaming Rights to All NEON Conten

SANTA MONICA, CA  – Hulu and NEON have inked a brand new, multi-year output licensing agreement for all upcoming films and content released via NEON. The deal marks the first of its kind for NEON, and will expand Hulu’s growing offering of new, critically acclaimed films with all of NEON’S future titles becoming available to stream exclusively on Hulu following their theatrical release.

NEON, the distribution company formed by Tom Quinn and Tim League, released its first feature, Nacho Vigalondo’s COLOSSAL, on April 7.  The company also recently announced the launch of a short film division (NEON shorts), which brings back the long-honored tradition of combining feature films with shorts. With an innovative approach to distribution and a slate of award winning films, NEON is committed to building a vibrant home for auteur driven cinema.

“This output deal represents a groundbreaking approach to building the most comprehensive and interactive platform dedicated to visionary cinema.  NEON is thrilled to find a partner as innovative, collaborative, and as transparent as Hulu.  It’s a perfect match,” said NEON co-founder and CEO Tom Quinn.

“Our partnership with NEON marks another big step forward in our commitment to offering a world-class collection of films to our subscribers,” said Craig Erwich, SVP and Head of Content, Hulu. “NEON has already acquired a highly-anticipated slate of films this year and we can’t wait to bring their titles from the theaters to the Hulu audience.”

The new deal reinforces Hulu’s continued efforts to double down on film programming and follows of a string of pay one window output agreements with independent distributors including Megan Ellison’s Annapurna Pictures, Magnolia Pictures and IFC Films for documentaries.

ABOUT HULU

Hulu is a premium streaming television destination that offers hundreds of thousands of hours of the best of current season programming, premium original content, films and full seasons of hit series to subscribers with limited commercials for $7.99 per month and commercial free for $11.99 per month. Hulu is the only subscription streaming service that offers current season content from the largest U.S. broadcast networks, as well as acclaimed Hulu Originals including The Mindy Project, The Path, 11.22.63, Difficult People, the Golden Globe® nominated comedy series Casual, and the upcoming The Handmaid’s Tale, Future Man and The Looming Tower. Since its launch in 2008, Hulu has been at the forefront of entertainment and technology and continues to redefine TV by connecting viewers with the stories they love.

ABOUT NEON

NEON released its debut film, Nacho Vigalondo’s COLOSSAL, starring Anne Hathaway and Jason Sudeikis in theaters April 7. NEON was an active buyer at the 2016 Sundance Film Festival, acquiring Michael Larnell’s ROXANNE ROXANNE, winner of the Special Jury Breakthrough Performance Award, Matt Spicer’s INGRID GOES WEST, winner of the Waldo Salt Screenwriting Award and Eliza Hittman’s BEACH RATS, winner of the Directing Award, U.S Dramatic. NEON recently announced the acquisition of the French language Belgian thriller, RACER AND THE JAILBIRD, Errol Morris’ latest film, THE B-SIDE, SXSW audience sensation, Aaron Katz’s GEMINI and Academy Award winning director, Laura Poitras’s RISK.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch