What Clients are Saying
“Sydney Levine, Peter Belsito and Film Finders have a unique relationship to the Marché du Film and provide a great
service to the international film business and to the filmmakers.”
Jérôme Paillard, Directeur Délégué, Cannes Marché du Film
“Sydney Levine and Peter Belsito have been on the front lines of the American independent film scene before the
Sundance Film Festival and any of the current indie companies even existed, and they continue to know what’s going on
before anyone else does. The web they cast is wide, their contacts are unparalleled, their stature enormous, their services
indispensible.”
Todd McCarthy, Senior Film Critic of The Hollywood Reporter
“Sydney and Peter are true industry insiders, always on the scene and in the know. International treasures of the film
world.”
Rajendra Roy, Head of Museum of Modern Art NYC / MOMA Film Program
“Sydney Levine and Peter Belsito’s service FilmFinders helped me over the years again and again to navigate
successfully through the ever-changing jungle of producers and their films”
Wieland Speck, Senior Programer of Berlinale / Berlin International Film Festival, Panorama
~ ~ ~ ~ ~
SUNDANCE FILM FESTIVAL BY NUMBERS 2012
Sydney Levine
Published by SydneysBuzz at Smashwords
Copyright 2013 Sydney Levine
Discover other titles by SydneysBuzz at Smashwords.com.
Smashwords Edition, License Notes
This ebook is licensed for your personal use only. This ebook may not be re-sold or given away to other people. If you
would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading
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purchase your own copy. Thank you for respecting the hard work of this author.
~ ~ ~ ~ ~
TABLE OF CONTENTS
BY NUMBERS REPORT
SUNDANCE BY NUMBERS
NUMBER OF PRODUCER REPS REPPING US RIGHTS

US DISTRIBUTORS BUYING US OR NO. AMERICAN RIGHTS
NUMBER OF SALES AGENTS PICKING UP INTERNATIONAL RIGHTS
NUMBER OF FILMS CONSIDERED HOT
INTERNATIONAL SALES AGENTS SEEKING U.S. (AND OTHER) SALES
NO ISAS
ABOUT SYDNEY LEVINE
~ ~ ~ ~ ~
BY NUMBERS REPORT
Originally this report used a horserace as its metaphor. It was designed to see who was ahead of the others and who was
lagging behind. Specifically the report lists U.S. talent agencies were increasingly acting as producer reps and thus
inserting themselves into the sales of U.S. rights, something formerly in the exclusive domain of international sales agents
who would map their entire international strategy for sales, using the U.S. sale as a marketing tool for other sales. Now
the race between producer reps and international sales agents for representing films, primarily at Sundance and Toronto
is tracked in the By Numbers Report. The report tracks which agents and which international sales agents are selling the
most films, which titles are selling best, which distributors are buying the most, and any other noteworthy “races”, e.g.,
how many films are by women, Asians, African-diasporites, or are about such subjects as Jewish, GLBT, poltics,
whatever.
Over time, the reports spot trends in the business of buying and selling, especially during festivals like Toronto and
Sundance. This year’s Cannes saw the number of women directors fall so drastically (from a steady 10 – 13% in festivals
during the last few years), that an outcry was heard from professionals in the industry.
With time, we may find the number of Asian, Asian-American, African diaspora, Middle-Eastern and female directed films
impact the marketplace itself. For that reason, these reports will continue to be offered to film professionals. The criterion
are not set in stone but depend upon the moment.
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SUNDANCE BY NUMBERS
Sundance by Numbers, is not by metrics which define measures of quantitative assessment used to track performance or
production. I don’t think that film, as a general category, fits into metric parameters. I do think, however, that Sundance
Institute’s performance metric, a measure of its activities and performance, inwardly focusing on the performance of the
organization, would show a high value of performance against customer requirements and value. Its performance metrics
would prove it to be very healthy and consistent with the six criteria: time, cost, resources, scope, quality, and actions.

Bravo Sundance! On all fronts it is carrying through its original purpose and vision.
Other numbers: I have marked films by women with the ♀, African American with the symbol α. BlackFilm.com says, “There are
about 21 films that feature and are directed by black talent”. Latino is marked by the symbol . ɤ Jewish by ✡. Asian by ¥, Middle
Eastern l .
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NUMBER OF PRODUCER REPS REPPING U.S. RIGHTS
What shows up most on this scorecard of my own private making, is the prevalence of the talent agencies and other
“producers’ representatives”. In those “good old days” of Sundance before Sex, Lies and Videotape alerted Hollywood
that there was some capital to be made in Park City, Sundance gave a home to the original visions of a few independent
minded filmmakers, and there were no terms to describe “producer reps”. International sales agents (when these films
had any such representation, which in itself was rare) did their work without deferring to dealmakers in Hollywood. And,
as I said, these films usually did not have international representation. That is why the newly developed acquisitions
executives went to Sundance looking for films which they would not find in the existing markets (Cannes, MIFED or AFM).
Anyway, here we are today and here are the numbers:
There are about 12 Producers Reps. The newest fold in the relatively new “mini industry” of representing producers to the
U.S. distribution community is that now, instead of one producer rep per film, often two competitive agencies might rep the
U.S. rights as you can see in top scorers CAA, WME or UTA’s lineups.
Producer reps do their best work in Sundance and in Toronto. They usually represent the producer to help make a
lucrative U.S. deal. After the heat is gone in Sundance and Toronto, the producer reps usually fade away from the deal
making, leaving the unpicked up films in a limbo until some distributor finally makes a deal with the producer or the
international sales agent directly. This is less true for the real independent producer reps who are hungrier than for the
major agencies who must quickly earn their 10% (or not) and move on.
Below are the producer reps and international sales agents “by numbers”.
#1 Submarine along with Preferred Content is one of the truly independent producers reps. Their films are usually virgin
and still not picked up by international sales agents because they have not yet been seen by them. They are the second
generation of this phenom. In the old days, there was Jeff Dowd along with John Sloss and a couple of others.
1. Black Rock by Katie Aselton ♀ Submarine’s Josh Braun who reps worldwide rights sold No. American rights for
reportedly more than $1 million to Mickey Liddell’s and David Dinerstein’s fledgling LD Distribution. Elle Driver
acquired world rights.

2. The Atomic States of America by Don Argott, Sheena M. Joyce sold to ro*co for worldwide representation
during Sundance.
3. Finding North by Lori Silverbush ♀, Kristi Jacobson ♀
4. Chasing Ice by Jeff Orlowski. Sold to to National Geographic Channel for TV rights.
5. How to Survive a Plague by David France. IFC Film’s sister company Sundance Selects acquired No.
America.
6. The Queen of Versailles by Lauren Greenfield ♀was sold to Magnolia Pictures for North America
7. Me @ The Zoo by Chris Moukarbel, Valerie Veatch ♀ Submarine (No. America); ISA: Memento Films
8. The Comedy by Rick Alverson
9. Nobody Walks by Ry Russo-Young. Magnolia Pictures for North America Myriad picked up world sales rights.
10.Seaching for Sugar Man by Malik Bendjelloul I Sony Pictures Classics acquired No. America. ISA:
Protagonist for the rest of the world. ♀
11.Price Check by Michael Walker
12.That's What She Said by Carrie Preston ♀
13.The Imposter by Bart Layton. CAA (No. America) and Submarine (No. America) licensed film to Indomina for
U.S. and Canada. Protagonist Pictures repping worldwide excluding Australia/N.Z.
14.Marina Abramović The Artist is Present by Matthew Akers. Arthouse has U.S. Sold to Madman for Australia,
New Zealand and South Africa.
#2 Producer rep is CAA which repped a total of 14 films including the Competition doc Escape Fire, and Premiers Red
Hook Summer α , Bachelorette, Robot and Frank, Play the Favorite, Shadow Dancer. It looks like CAA is calling a lot of
shots at Sundance. Look at the other producer reps and international sales agents from other competitive agencies
sharing the stage with them and think, what does that mean in terms of capital? They say $30 million in deals were
done…If this is true, was it made by the producer reps primarily? What percentage do they get from the deal? Does this
mean filmmakers have to have CAA rep them to break out of the gate?
1. Escape Fire : The Fight to Rescue American Healthcare by Matthew Heineman, Susan Froemke ♀. CAA acts
alone. “Many thanks to the 246 funders who helped us raise over $50,000 to finish Escape Fire [on IndieGoGo]
and prepare it for our premiere at the 2012 Sundance Film Festival! We had an unbelievable experience in Park
City, showing the film to five sold-out crowds. Sundance Senior Programmer David Courier said ESCAPE FIRE is
"destined to be hailed as the definitive film on American healthcare." At this point, we are speaking with distributors,
but want to begin another grassroots effort to raise money for our website and outreach campaign. “

2. Red Hook Summer by Spike Lee α. CAA acts alone. Spike Lee will release the film himself in the fall of 2012.
3. Bachelorette by Leslye Headland ♀. CAA; ISA: Elle Driver repping U.S./North America, Greece, Italy, Africa, Asia
(except Thailand). TWC’s Radius acquired No. American rights for a reported $2 million.
4. Robot and Frank by Jake Schreier. CAA; ICM; SPWA and Samuel Goldwyn Films jointly acquired North
America for more than $2 million. ISA: Exclusive Media acquired international rights at Sundance. Sony
Pictures Worldwide Acquisitions has rights in Latin America, Australia, New Zealand, South Africa, Scandinavia
and Eastern Europe, Russia. Momentum Pictures has acquired U.K. and Ireland.
5. L ay the Favorit e by Stephen Frears CAA; The Weinstein Co. acquired No. America for reportedly a little over $2
million. ISA: Wild Bunch.
6. Shadow Dancer by James Marsh CAA; ATO acquired No. America. ISA: Wild Bunch.
7. The Imposte r by Bart Layton CAA (No. America); Submarine (No. America); ISA: Protagonist Pictures repping
worldwide Excluding Australia/N.Z., sold to Picturehouse and Revolver jointly for U.K.
8. The Surrogate by Ben Lewin CAA acts alone. Fox Searchlight paid $6m for worldwide rights.
9. For Ellen by So Yong Kim ¥. CAA; ISA: Memento repping worldwide excluding Turkey.
10.Simon Killer by Antonio Campos . ɤ IFC acquired No. America. CAA; UTA Rena Ronson also repping worldwide
rights. She was in international sales before becoming WMA’s agent for indies. In theory, if no ISA comes on
board the worldwide territories will still be sold.
11.Smashed by James Ponsoldt CAA; UTA Rich Klubeck also repping worldwide rights.
12.Save the Date by Michael Mohan CAA; ISA: XYZ repping worldwide rights excluding Australia.
13.2 Days In New York by Julie Delpy ♀ CAA; Magnolia acquired U.S. ISA: REZO
#3: Cinetic. Led by John Sloss, premier N.Y. independent attorney who has represented films internationally, acted as
an aggregator of digital rights and acts as a producers rep for North America:
1. Ai Weiwei: Never Sorry by Alison Klayman ♀ Sundance Selects acquired U.S. Cinetic acts alone for worldwide
rights. Independent acquired world sales rights.
2. Detr opia by Heidi Ewing ♀, Rachel Grady ♀Cinetic acts alone
3. The House I Live In by Eugene JareckiCinetic acts alone
4. The First Time by Jonathan KasdanCinetic acts alone
5. Safety Not Guaranteed by Colin Trevorrow Cinetic (worldwide); ICM (No. America) sold to Film District.
Independent acquired international rights from Cinetic.
6. L uv by Sheldon Candis αCinetic (No.America); ICM (No. America) sold to Indomina for No. America. BET has

TV rights exclusive in U.S., Canada, the Caribbean and certain ancillary rights on other platforms; ISA: Hollywood
Studios International
7. For a Good Time, Call… by Jamie Travis Cinetic (No.America) sold to Focus reportedly for $2 million; ISA:
Studio City Pictures.
8. Goats by Christopher NeilCinetic; WME Worldwide rights excluding Latin America
9. Compliance by Craig Zobel Cinetic acts alone. Magnolia acquired U.S. Exciting screening in which the audience
raised a ruckus of disenchantment. When the film finished screening, a woman in the audience shouted:
"Sundance, you can do better!" saying that during a year with so many of the festival's films featuring strong female
characters, "This is not the year to make violence against women entertaining."
10. Kid Thing by David Zellner Cinetic (No. America) acts alone.
#4 WME has 7
1. Arbitrage by Nicholas Jarecki WME; ISA: GK Films. Roadside and Lionsgate teamed up on the $2.5m
acquisition for U.S. VVS acquired for Canada.
2. Other Dream Team, The Marius MarkeviciusWMEGil Kruger (WME)Gil Kruger: 917-514-1819 (m); 310-246-3373
(o)
3. Filly Brown Youssef Delara, Michael D. Olmos , ɤ WME - Gil Kruger Worldwide Rights
4. Hello I Must Be Going Todd LouisoWME- Gil Kruger Worldwide Rights
5. Beasts of the Southern Wild by Behn Zeitlin WME (No. America) sold to Fox Searchlight; ISA: Eone
6. S hut Up and Play the Hits by Dylan Southern, Will Lovelace WME Worldwide Rights
7. V/H/S Adam Wingard, Glenn McQuaid, Radio Silence, David Bruckner, Joe Swanberg, Ti West WMEWorldwide
Rights. Magnolia sister company Magnet picked up U.S. for more than $1 million. Momentum picked up U.K.
Epic picked up world sales rights.
#5 UTA has 7
1. Celeste and Jesse Forever by Lee Toland Krieger UTA repping worldwide rights. Sold to SPC for No. America,
Latin America and Eastern Europe reportedly for $2 million.
2. Red Lights by Rodrigo Cortés ɤ UTA (U.S.) sold to Millenium reportedly for $4 million; ISA: Parlay/ GK Films
repping U.S. and Australia, Japan, South Africa, South Korea, and Thailand
3. Predisposed by Phil Dorling, Ron Nyswaner. ICM; UTA. Worldwide rights available.
4. Sleepwalk With Me Mike Birbiglia, Seth BarrishUTARich Klubeck(310) 228-3842 Worldwide Rights
5. Something from Nothing: The Art of Rap by Ice T, Andy Baybuttα UTA sold worldwide rights to Indomina.

6. Simon Killer by Antonio Campo . ɤ CAA; UTA Rena Ronson also repping worldwide rights. She was in
international sales before becoming WMA’s agent for indies. In theory, if no ISA comes on board the worldwide
territories will still be sold.
7. Smashed by James Ponsoldt CAA; UTA Rich Klubeck also repping worldwide rights.
Preferred Content (7 films) is another truly independent producer’s rep started by Kevin Iwashina when he left CAA in
L.A.
1. The End of Love by Mark Webber
2. Keep the Lights On by Ira Sachs was picked up for international sales by Films Boutique
3. Twenty-Eight Hotel Rooms by Matt Ross
4. Excision by Richard Bates Jr.
5. The Pact by Nicholas McCarthyPreferred Content (U.S.) sold to IFC; ISA: Content Film. The elevated genre pic
is entertaining offers from several distribs, including Universal, Dark Castle and IFC. It is also seeing brisk
international action from distribs in the U.K., Spain, Australia and France. Previously sold sold are Baltics, CIS,
Middle East, Eastern Europe, Portugal, Turkey.
6. Little Birds by Elgin James. Millennium Entertainment has picked up North America. Max Burger, Monique
Burger, Kevin Iwashina and Stefan Nowicki were executive producers.
Millennium’s director of acquisitions Vincent Scordino negotiated the deal with Preferred Content’s Iwashina.
WestEnd Films is handling international sales here.
7. John Dies At The End by Don Coscarelli
The Film Sales Company of Andrew Herwitz (4 films) is another independent Producer’s Rep, based in N.Y.
repping worldwide rights to films.
1 Indie Game: The Movie by Lissane Pajot ♀, James Swirsky
2 Room 237 by Rodney Ascher
3 Bones Brigade: An Autobiography by Stacy Peralta
4 A Fierce Green Fire by Mark Kitchell
Paradigm has 4
1 We're Not Broke by Karin Hayes ♀, Victoria Bruce ♀ . Worldwide rights available.
2 Middle of Nowhere by Ava DuVernay ♀, α. Worldwide rights available. Went to AFFRM and Relativity for
U.S.
3 I Am Not a Hipster by Destin Daniel Cretton Paradigm - Ben Weiss 310-288-8000 Worldwide Rights

4 D Word: Understanding Dyslexia by James Redford
Traction Media is an attorney led producers rep based in L.A. repping worldwide rights.
1 An Oversimplification of Her Beauty α by Terence Nance
2. Valley of Saints by Musa Syeed S .
Gersh reps 2
1. Liberal A rts by Josh Radnor. Gersh sold to IFC Films for No. America for seven figures; ISA: Hyde Park.
Went to Revolver and Picturehouse jointly for the U.K .
2. Grabbers by Jon WrightGersh (U.S.); The Salt Company reps worldwide rights excluding United Kingdom,
Germany, Scandinavia, Russia & CIS, Thailand, Middle East, Singapore, Malaysia, Indonesia
The Film Collaborative with 2:
1. Domestic sales agent for The Invisible War
2. Aurora Guerrero’s ♀ ɤ Mosquita Y Mari. Maya co-produced and is handling sales outside North America.
Cassian Elwes
The Words by Brian Klugman, Lee Sternthal and starring Bradley Cooper and Zoe Saldana. As usual showmaster Cassian pulled off
a press-excluded private screening, pre-empting the early morning press screening by hosting an invitation-only screening at the
same early morning hour. Not all U.S. distributors received an invitation, only the bigger ones and a few top critics like Kenneth
Tyron also were seen proudly sneaking in as the astounded and excluded press and a few smaller U.S. distributors gawked. The
rest of the press raised a row, but to no avail. Untitled Entertainment’s Laura Rister and Cassian Elwes negotiated the U.S. sale on
behalf of the producers with Scott Shooman of CBS Films. CBS Films will promote the platform release on national and affiliate
channels through an apparatus that allows the distributor to get greater mileage out of its p&a commitment. Lisa Wilson of
international sales agent Parlay Films (and GK) has pre-sold the majority of territories, licensing rights to Wild Bunch for Germany,
FIP for France, Becker for Australia and Planeta for Spain. This is the biggest deal yet as U.S. rights went for $2 m plus $1.5m p&a.
Its private screening for buyers ahead of its closing-night preem (a death location to films) attracted a sight-unseen offer from Open
Road, which eventually lost out to CBS Films' during an all-night negotiation; CBS Films finalized a deal to acquire U.S. rights to the
drama The Words in the early morning hours. That deal was closed with a $2 million minimum guarantee and a $1.5 million P&A
commitment and a potential fall theatrical release.
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U.S. DISTRIBUTORS BUYING U.S. OR N.O. AMERICAN RIGHTS
1. Magnolia buys 4: Magnolia Pictures, one of the most active buyers at Sundance this year, acquired U.S. rights to
Compliance, North American rights to Ry Russo-Young's Nobody Walks, North American rights to horror film V/H/

S for more than $1 million, and the documentary The Queen of Versailles at the start of the festival.
2. Kino Lorber acquired U.S. rights to 5 Broken Cameras by Emad Burnat, Guy Davidi from EyeSteelFilm (U.S./No.
America & Asia); ISA: CAT&Docs reps the world excluding Finland (TV), France (TV), Israel, The Netherlands
(TV) , Palestine, French speaking Switzerland (TV) acquired for U.S. by Kino Lorber
3. LD Distribution acquired Black Rock for No. America for north of $1 million.
4. The Weinstein Co. acquired Bachelorette from Elle Driver.
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NUMBER OF SALES AGENTS PICKING UP WORLDWIDE OR AT LEAST INTERNATIONAL (IF NOT U.S.) RIGHTS
AT SUNDANCE
Morris Ruskin’s Shoreline picked up worldwide rights to Luciano Moura’s Brazilian feature debut Father’s Chair (A Cadeira
Do Pai) ɤ ahead of its premiere in the World Dramatic Competition. Shoreline discovered the film at the Ventana Sur
market in Buenos Aires last December.
Latido takes Violeta Goes to Heaven ɤ
Ro*co acquired Rise Films’ U.S. Documentary Competition entry The Invisible War , The Atomic States Of America ,
We’re Not Broke
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NUMBER OF FILMS CONSIDERED HOT THAT GOT PICKED UP OR NOT
Corollary: And over the coming year they will be picked up…and tracked here for another six months.
Spike Lee’s Red Hook Summer α. To be self distributed by Spike Lee, November 2012 release
Liberal Arts acquired by IFC for No. America, Revolver and Picturehouse for U.K.
Nobo dy Walks – Magnolia. Acquired by Myriad for world sales.
Save The Date . IFC acquired No. American rights. XYZ acquired for world sales.
Smashed Sony Pictures Classics picked up U.S.
Ai Weiwei: Never Sorry was acquired Sundance Selects for U.S. and by Independent for world sales.
For A Good Time, Call… Focus Features made its first buy at Sundance, paying some $2 million to beat out rival bidders
to acquire worldwide rights to first-time director Jamie Travis's "For a Good Time, Call "
Red Lights Myriad sold out. See EFM Rights Round Up. Millennium Entertainment acquired U.S.from producer rep ICM.
Filly Brown Indomina acquired U.S. rights.
Bachelorette (Elle Driver) sold to Radius-TWC for U.S and sold out at EFM.
Beasts of the Southern Wild went to Fox Searchlight for No. America. Entertainment One acquired world sales rights.

Arbitrage - Roadside and Lionsgate teamed up on the $2.5m acquisition for No. America. WME Global repped sales on
both Beasts and Arbitrage. Parlay acquired worldwide salses rights.
Celeste and Jesse Forever with four offers went with Sony Pictures Classics. Sierra Affinity picked up worldwide sales
rights.
The Art of Rap, fielded serious interest, repped by UTA, it was picked up for U.S. by Indomina and for U.K. and world
sales by Kaleidoscope Film Distribution.
Lay the Favorite by Stephen Frears had a mixed reaction after the Eccles Theatre premiere. Wild Bunch acquired
worldwide rights and sold it to Benelux - Wild Bunch Benelux, Hungary - Budapest Film, Slovenia- Cinemania Group,
Switzerland – Pathe, Turkey - Bir Film. The Weinstein Co. acquired the film for No. America.
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INTERNATIONAL SALES AGENTS SEEKING U.S. (AND OTHER) SALES
6 Sales: Madrid, 1987 by David Trueba. 0 to date (June 2012)
@radical.media Under African Skies by Joe Berlinger contract Justin Wilkes (212) 462-1574Worldwide Rights. Snagfilms
acquired U.S. rights.
Autlook Big Boys Gone Bananas!* by Fredrik Gertten. Films Transit (No. American distributor); ISA: Autlook
CAT&Doc China Heavyweight by Yung Chang ¥. Acquired for U.S. by Kino Lorber., and sold to Canada, China,
Denmark (TV), France (TV), Germany (TV), Finland (TV), Hong Kong, Israel, Netherlands TV, French speaking
Switzerland (TV).
Celluloid Nightmares The Raid by Gareth Huw Evans. Sony Pictures Worldwide Acquisitions acquired U.S. distribution
rights. Screen Gems will remake in English.
Cinephil Love Free or Die by Macky Alston. ISA: Cinephil . 0 to date (June 2012)
DR Medier Putin's Kiss by Lise Birk Pedersen ♀ Worldwide rights are available except for U.S, (Kino Lorber)
Elle Driver Young & Wildby Marialy Rivas ♀ . Benelux sold to ɤ Cinemein. No U.S. pickup to date. (June 2012)
Films Boutique Four Suns by Bohdan Sláma. Available worldwide excluding Czech Republic and Germany. 0 U.S. to
date (June 2012)
Films Distribution Monsieur Lazhar by Philippe Falardeau. U.S. Music Box Films
Films Transit and Autlook About Faceby Timothy Greenfield- Sanders. HBO has U.S.
HanWay Wuthering Heights by Andrea Arnold ♀ U.S.: U.S. Oscilloscope
Kinology Wrong by Quentin Dupieux Worldwide excluding France
Latido Films Violeta Went to Heaven by Andrés Wood Worldwide excluding Latin America, Germany, Netherlands,ɤ

France, Spain. 0 for U.S. to date (June 2012)
Level K
• Wish You Were Here by Kieran Darcy-Smith ♀ Sold to Australia and N.Z., to eOne for No. America.
• ½ Revolution by Omar Shargawi, Karim El Hakim 
Magnolia PicturesTim and Eric's Billion Dollar Movie U.S. Magnolia
Maya Mosquita y Mari by Aurora Guerrero♀
National Film Board (NFB) Payback by Jennifer Baichwal ♀
New Zealand Film Commission Orator, The Tusi Tamasese
Pacha Pictures. My Brother the Devil by Sally El Hosaini♀ U.S.: Red Flag Releasing. U.K. sold.
Pathe
• Where Do We Go Now by Nadine Labaki ♀ Sony Pictures Classics
• This Must Be The Place by Paolo Sorrentino U.S. The Weinstein Company
Protagonist Pictures Your Sister's Sister by Lynn Shelton ♀ No. America: IFC Films. Sold to U.K., North America, Latin
America,Australia/NZ. France, Israel, Middle East, Portugal, Switzerland, Turkey
Pyramide Elena by Andrey Zvyagintsev. U.S. Zeitgeist. Sold to France, CIS, Baltic states, Benelux, Czech Republic,
Denmark, ex-Yugoslavia, Finland, Greece, Hungary, Norway, Poland, Portugal, Romania, Spain, Slovakia, Sweden,
Switzerland, Turkey, Iran, Israel, Australia, New Zealand, Mexico, Columbia, Central America, Ecuador, Argentina, Chile,
Paraguay, Uruguay, USA, Quebec, China
RAI Trade Corpo Celeste by Alice Rohrwacher ♀ U.S. Film Movement
ro*co films international Law in These Parts, The by Ra'anan Alexandrowicz
The Match Factory Oslo, August 31
st
by Joachim Trier . U.S. Strand
Strand takes US on Sundance entry Oslo
Trust Nordisk The Ambassadorby Mads Brügger Sold to Former Yugoslavia, Middle East, Poland, Scandinavia
Visit Films
• Teddy Bear by Mads MatthiesenSold to Scandinavia
• California Solo by Marshall Lewy
Wild Bunch Declaration of War by Valérie Donzelli ♀ U.S. Sundance Selects
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NO ISAS
About the Pink Sky by Keiichi Kobayashi contact Free Stone Worldwide Rights excluding Japan
The Invisible War by Kirby Dick . Rise Films contact Teddy Leifer 646-238-0444. Sold to U.S. (TV), Canada (TV), France
(TV), UK (TV)
Gypsy Davy by Rachel Leah Jones ♀
Can by Raşit Çelikezer, was picked up by Shoreline.
Slavery by Another Name α by Sam Pollard. PBS has U.S.
Father's Chair by Luciano Moura was picked up by Shoreline at Sundanceɤ
L by Babis Makridis
The Last Elvis by Armando Bo was picked up by Film Sharks.ɤ
Hit Record at the Movies with Joseph Gordon-Levit
West of Memphis by Amy Berg ♀ was picked up by Sony Pictures Classics for the world.
Pursuit of Loneliness by Laurence Thrush Growth Films
My Best Day by Erin Greenwell ♀
Bestiaire by Denis Côté
The Perception Of Moving Targets by Weston Currie
whiteonwhite: algorithmicnoir by Eve Sussman ♀
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~ ~ ~ ~ ~
About Sydney Levine
Sydney’s 35 years of experience in the international film business give her a unique ability to analyze industry and
international film market developments and focus on what is relevant for buyers, sales agents, filmmakers, film festivals
and distribution.
Discover other titles by Sydney Levine at Smashwords.com
www.smashwords.com/profile/view/sydneysbuzz
Connect with Me Online:
Website: www.sydneysbuzz.com
Blog: www.sydneysbuzz.com/b log
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