By MCN Editor editor@moviecitynews.com

ALFONSO CUARÓN’S ROMA TO BE RELEASED THEATRICALLY IN OVER 600 THEATERS WORLDWIDE

Hollywood, Calif. – (December 7, 2018) – Netflix confirmed today that Academy Award® winning director and writer Alfonso Cuarón’s ROMA, produced by Esperanto Filmoj and Participant Media, will be released in over 100 theaters in the United States and more than 500 theaters internationally in over 40 countries, curated by Netflix by territory around the release of the film on the service on December 14.

The theatrical presentation of the film began in the United States and Mexico on November 21, already selling out theatres in New York, Los Angeles, Mexico City, London and Toronto, among others.

The passion and pride from viewers in Mexico created a reported “ROMA fever,” leading to an increasing number of theaters reaching out to exhibit the film.  ROMA will be in nearly 100 theaters throughout the country this weekend.

This weekend the film will continue its expansion, hitting nearly 50 theaters in the US and over 200 theaters internationally.  The innovative roll-out allows consumers worldwide the opportunity to experience the film theatrically, both before and during the film’s global streaming release, where it will be available to over 130M people.

The film premiered earlier this year at the Venice Film Festival where it took home the Golden Lion for best film and has played in nearly 70 film festivals to great acclaim worldwide. The film has received numerous accolades, including recently being named Best Picture of the year by the New York Film Critics Circle, a prestigious award from the American Film Institute and 3 Golden Globe Award nominations. All of this further affirming that this timely story about human condition demands to be seen.

“We love this film and our goal is to bring this cinematic experience to audiences everywhere, and our theatrical plan, combined with the reach of our service, has made ROMA an event film and cultural moment,” said Scott Stuber, head of Netflix’s film group.  “ROMAhas played in festivals all over the world and we’re expanding our theatrical engagements, not only in major markets, but also in places like Honduras, South Africa, and Iceland.  When the film premieres on December 14, we will be in 600 theaters worldwide.”

“Alfonso and everyone at Participant believe strongly in the theatrical experience,” said David Linde, CEO of Participant Media. “Choice and increased audience diversity around the world are also very important, and this incredible combination of the two worlds is something very exciting.”

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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