By Ray Pride Pride@moviecitynews.com

EDGAR RAMIREZ AND PEDRO PASCAL TO STAR IN OLIVER ASSAYAS’ “WASP NETWORK” FOR RT FEATURES AND CG CINEMA

LOS ANGELES (May 8, 2018) – RT Features announced today that Golden Globe® and Emmy® Nominee Edgar Ramirez (The Girl on the Train, Hands of Stone) and Pedro Pascal (“Game of Thrones”, Kingsman: The Golden Circle) will star in Wasp Network. Oliver Assayas (Personal Shopper, Clouds of Sils Maria) wrote and will also direct the film, which is based on Fernando Morais’ book, The Last Soldiers of the Cold War.  RT Features’ Rodrigo Teixeira is producing alongside CG Cinema’s Charles Gillibert.  RT’s Lourenço Sant’Anna and Sophie Mas are executive producing. IMR International will be introducing the film to foreign buyers in Cannes, with CAA Media Finance handling the US rights.

Wasp Network is the unbelievable true story of Cuban spies in American territory during the 90’s which reveals the tentacles of a terrorist network based in Florida with ramifications in Central America and with the consent of the US government.

Ramirez recently appeared as Gianni Versace in the Ryan Murphy produced FX series “American Crime Story,” and has signed on to appear opposite Dwayne Johnson and Emily Blunt in Disney’s upcoming film Jungle Cruise.

Pascal is known for his iconic role as Javier Peña in the hit Netflix series “Narcos” and also recently starred Whiskey in Kingsman: The Golden Circle. Last month, he signed on to star opposite Gal Gadot and Kristen Wiig in the much anticipated Wonder Woman sequel.

 Ramirez is represented by CAA and Impression Entertainment. Pascal is represented by WME and Untitled Entertainment.

RT Features produced Luca Guadagnino’s Academy Award® Nominated Call Me By Your Name. They are in production on Robert Eggers on The Lighthouse, the renowned filmmaker’s eagerly anticipated follow-up to The Witch, starring Robert Pattinson and Willem Dafoe with A24 and New Regency and in post-production on James Gray’s Ad Astra, starring Brad Pitt for Fox.

IMR is also handling sales on Scott Z. Burns’ The Torture Report and David Robert Mitchell’s Under the Silver Lake starring Andrew Garfield and Riley Keough which will have its world premiere in competition in Cannes.  The slate also includes: What Is Life Worth with Michael Keaton; Jacques Audiard’s The Sisters Brothers starring Jake Gyllenhaal and Joaquin Phoenix; Anne Fletcher’s Dumplin’ starring Jennifer Aniston; Borderland starring Jamie Dornan and Sam Claflin; and The Tale of the Allergist’s Wife starring Bette Midler and Sharon Stone.

 

 

ABOUT RT FEATURES

Founded by Rodrigo Teixeira in 2005, RT Features is an innovative production company based in Sao Paulo, Brazil, that focuses on developing, producing and financing high quality content ranging from original projects to acquisitions, for both film and television.

The company has had a banner year with 10 films on its slate, including lauded films such as: Luca Guadagnino’s Call Me by Your Name starring Armie Hammer with Sony Pictures Classics; Geremy Jasper’s Patti Cake$ with Fox Searchlight; and Jonas Carpignano’s A Ciambra.  RT is currently in production on Robert Eggers The Lighthouse starring Robert Pattinson with A24 and New Regency and are in post on the sci-fi film Ad Astra, which they developed with director James Gray, starring Brad Pitt.  In 2017, the company won an Independent Spirit Award for Best First Feature for Robert Egger’s The Witch.

Since its launch, RT Features has produced, co-produced or financed a remarkable slate of feature films including: Ira Sachs’ critically acclaimed Love is Strange for Sony Pictures Classics and Little Men; James Schamus’ Indignation; Noah Baumbach’s Frances Ha and Mistress America for Fox Searchlight; Kelly Reichardt’s Night Moves; and Gaspar Noé’s Love.

Dedicated to working with talented young directors since its inception, RT Features formed a joint venture with Martin Scorsese’s Sikelia Productions which aims to produce films from emerging filmmakers worldwide.

ABOUT CG CINEMA

Charles Gillibert created the author driven production company, CG CINEMA in 2013. In these last five years, CG CINEMA has produced many international projects and awards in all the majors festivals.  Productions include : Clouds of Sils Maria by Olivier Assayas (Cannes FF 2014 ; starring Juliette Binoche, Kristen Stewart and Chloë Grace Moretz) ; Eden by Mia Hansen- Løve (Toronto FF 2014); The Oscar nominated Mustang by Deniz Gamze Ergüven, which won four awards at the French Cesars Ceremony.

More recently, CG Cinema produced Things to Come by Mia Hansen- Løve, Silver Bear at the 2016 Berlinale and Personal Shopper by Olivier Assayas, which won Best Director Award at the 2016 Cannes Film Festival.  Kings by Deniz Gamze Ergüven starring Halle Berry and Daniel Craig and 24 Frames by Abbas Kiarostami are both in postproduction.

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“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.