Sanchez says, “We are pleased to be joining with Juno Films as our distributor of 'Song for Cesar.' We are confident that with Elizabeth Sheldon at the helm, Juno Films will secure the best partnerships to reach our goal of bringing this important story to the world at large."
Directed and produced by Abel Sanchez and Andrés Alegria, the film is a celebration of the organizers, musicians and artists comprising Cesar Chavez’s Farmworkers movement. Juno Films plans to release the film in the U.S. Juno Films has acquired global rights to "A Song for Cesar," following the film's debut at the Mill Valley Film Festival this October. in early 2022 followed by a national broadcast release. The deal was negotiated by Elizabeth Sheldon, founding partner and CEO of Juno Films.
Recent Juno Films' releases include "What She Said: The Art of Pauline Kael," "Tiny Tim: King for a Day" and the forthcoming "The Most Beautiful Boy in the World," a look at Björn Andrésen, star of Luchino Visconti's "Death in Venice."” />
The film tells a previously untold story about the musicians and artists — including Joan Baez, Maya Angelou and Carlos Santana, among others — who dedicated their time, creativity and reputations to peacefully advance Chavez’s movement of labor organizing in pursuit of better wages and working conditions for farmworkers. The documentary also explores other facets of Chavez's life — from childhood to his final days — revelations that, until now, have not been shared on screen.
“Abel and I launched into a 10 year labor of love, interviewing dozens of artists and activists who told us their stories about playing music, painting murals, doing skits on top of flatbed trucks in the fields of Central California, all in support of the struggle of the farm workers for fair wages and working conditions.” says co-director and co-producer Alegria. “We have found a partner in Juno Films who will bring the film to a wide audience so that a new generation can learn about one of the great civil rights leaders. “
“'A Song for Cesar' captures the spirit of a movement that aimed to both bring attention to migrant workers and political change, as well as public awareness through music, murals and poetry,” says Sheldon. We are thrilled to bring this beautiful and timely film to the world.” “Abel and Andres have created a film that pays tribute to the life of Cesar Chavez and those who spread his message through the arts.

Malik Gervais-Aubourg (“Wipe Me Away”)
The prizes are obvious recognition for the two series creators, Finland’s Teemu Nikki and Jani Pösö and Germany’s Ferdinand von Schirach, and underscore the spirit of innovation at major TV companies across Europe.
“Awake,” ( Jelena Gavrilović, Uroš Tomić, Serbia)
The case provoked massive media fury, though the accusations were finally dismissed by a judge as totally unfounded. Conceived by German criminal law attorney turned best-selling writer Ferdinand von Schirach in his first full original series as a writer, “The Allegation” is inspired by the 1994-97 Worm Trails which saw 25 people accused of collective child abuse.
Dior Grand Prize
Nader Khademi, Ayaz Hussain, Jonas Strand Gravli, Arben Bala, Erika Strand Mamelund, Syeda Hina Zaidi, Kristin Grue (“Countrymen”)
Best Short Form Series
“Mister 8” is backed by Finnish SVOD operator Elisa Viihde, “The Allegation” by Germany’s RTL Group, which is currently in the throes of a high-end scripted drama revolution as it preps its lineup for its relaunched SVOD service, now called RTL Plus, which goes live on Nov. 4.
Audience Award
“About Saturday,” (Liv Mari Ulla Mortensen, Norway)
You can’t anticipate that a black-and-white, very funny and cynical Finnish comedy would beat out all contenders,” said Albin Lewi, Canneseries artistic director, noting that this was the second time in four years that a comedy had topped Canneseries. “Scripted drama is really a model where great talent can come from anywhere and the codes change all the time.
Best Performance
“The Allegation,” (Daniel Geronimo Prochaska, Ferdinand von Shirach, Germany)
Best Music
Doubt, as Kurth’s character comments later in the series, is a far more intelligent attitude. “The Allegation’s” elegant screenplay constantly challenges viewers to believe unequivocally that something is true, only to pull the carpet from beneath their feet.
Special Interpretation Prize
“It takes a sensitive subject, creating a mockumentary with a warm heart,” Lewi said. The latest from top Norwegian production house Rubicon (“Beforeigners”), the culture clash comedy has four muslims moving to a farm and ending up becoming Halal cheesemakers, whether they want to or not. Of other top winners in Cannes on Wednesday night, Banijay-Rights-sold “Countrymen,” from Norwegian pubcaster NRK in co-production with Arte, took two awards, for the performance of its ensemble key cast, and a High-School Best Series Prize, voted by students at local lycées.
Dior Revelation Prize
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“Countrymen,” (Izer Aliu, Anne Bjørnstad, Norway)
High School Prize for Best Series
Sold by France’s Federation Entertainment and co-written by director Nikki and producer Pösö, Canneseries best series winner “Mister 8” was described to Variety by Nikki as “a thriller with a comedy plot.”
“Mister 8,” (Teemu Nikki, Jani Pösö, Finland)
Directed by Uroš Tomić and Jelena Gavrilović, gritty crime drama “Awake,” the first Serbian series to be in the official selection at Canneseries, also became Serbia’s first winner, taking the festival’s coveted Audience Award.
Best Series
Ferdinand von Schirach (“The Allegation”)
Giorgio Giampà (“Christian”)
Student Prize for Best Short Form Series
Pekka Strang (“Mister 8”)
Two half-hour gems, Finland’s “Mister 8” and Germany’s “The Allegation,” took top-honors on Wednesday night at this year’s Canneseries, now fully consolidated as one of Europe’s major TV festivals.
A Dior Grand Prize winner at Canneseries, it is brought towards the modern day, the case sparking knee-jerk-reactions on social media, almost all assuming the accused are guilty. Produced by Moovie for Constantin Television, the series is another half-hour – more unusual for drama. “I’ve never seen such a character in a series,” said Lewi. The series packs widely praised performances by “Babylon Berlin’s” Peter Kurth as the accused defense lawyer and “Gangs of London’s” Narges Rashidi as a strikingly badass but compassionate mob debt collector.
Best Screenplay
Peeka Strang, star of “Tom of Finland,” won Canneseries best performance for his turn as Juho, a seeming ordinary Joe who leverages the weaknesses f Maria’s other lovers to progressively eliminate them as rivals. A control freak with father issues, Maria has one lover for every day of the week. Shot in black and white, it kicks off with Juno and Maria, the daughter of a rich industrialist, having a one-night stand, and then Juno being chosen as Maria’s Monday man.
“Lockdown,” (Gilles Coulier, Maarten Moerkerke, Belgium)

So we've only been selling the streaming rights for about six months, and we've seen a huge spike in interest.” “We were finally able to clear all rights at the end of 2020,” said DR sales executive Freja Johanne Nørgaard Sørensen.
“The Killing” was lauded for its unique storytelling, which followed a Danish detective inspector (played by Sofie Gråbøl) as she solves a murder case. Each episode represents a day in the investigation. The show eventually made its way to more than 120 countries, mostly in the early part of the last decade.
“It’s been the perfect timing for us to release our titles,” she adds. And now, with the global success of Netflix’s “Squid Game,” it continues to be a seller’s market for international fare that might have previously been overlooked in territories particularly like the U.S. They’re getting the life they deserve.” And presumably, making a killing.” /> “Catalog titles that are 10, 20 years old are all of a sudden a hot commodity.
The streamer, owned by First Look Media and available in the U.S. “The Killing” (or, in Danish, “Forbrydelsen”) was added to boutique streaming service Topic in September. drama on FX — and “Follow the Money” (“Bedrag”). and Canada, continues to grow its roster of international fare, having recently also added two more Scandinavian series: “The Bridge” (“Bron”) — which was also adapted as a U.S.
debut of “Forbrydelsen” wound up on Topic. and Canada as well but we felt that Topic was the right fit for us from negotiating the contracts to delivery to everything,” says Nørgaard Sørensen. That’s how the U.S. “We feel their passion and know what they're going for which route they're taking with your program.” “We had a lot of interest for ‘The Killing’ in the U.S.
The international success of “The Killing” foretold the globalization of worldwide TV hits hailing from all parts of the globe, not just the usual territories like the U.S. and the U.K. — predating the streaming revolution, which has made it much easier to watch such shows. Now, international hits such as Netflix’s “Squid Games” and "La Casa de Papel” have become more frequent.
“What we were excited about in launching Topic was to be a home for so many great series over the past five or ten years that never really came meaningfully or at all to the U.S., partially because the appetite wasn’t there, or there wasn’t anybody focused on looking and picking out what was available,” Chanatry says.
Danish TV drama “The Killing” was an international smash nearly 15 years ago, winning an International Emmy and a BAFTA award, and even spawning an English-language American adaptation that ran on AMC (and later, Netflix). But until this year, the original series had never been available in the United States.
“I think this is a perfect time to be releasing [these shows] and hopefully getting people who watched the U.S. version to see what inspired it,” says Topic general manager Ryan Chanatry.
It was only recently that Danish production company DR ironed out streaming VOD rights and could start selling it worldwide — and that’s when Topic came calling. “Forbrydelsen” didn’t find a linear U.S. network interested in acquiring episodes back in the day.
But there’s a new hunger now for global fare, especially now that U.S. International series, particularly those not in English (but even plenty that were) used to be nonstarters for U.S. audiences have shown a willingness to watch subtitled series. series when the shelves were empty due to a Hollywood strike or production shutdown. broadcast and cable outlets, which preferred to focus on homegrown fare — and would only acquire Canadian or U.S.
Streaming behemoths like Netflix are at the forefront of acquiring such new and library international titles. But a smaller upstart like Topic can tout the fact that it’s only looking for North American rights — unlike Netflix or Amazon, which look to do global licenses. For a distributor like DR, which is looking to maximize its dealmaking in each territory, that’s appealing.

She lived friendless in a gilded cage, as legend has it. Sisi was dubbed Europe’s first superstar but in real life, Sisi was also a diminished character crushed by the norms of her time. She dealt with depression and an eating disorder.
Notably, Devenport didn't grow up on the classic Romy Schneider “Sisi” movies. I think it's important to show it again in a modern way,” she said. “I knew the movies existed, but I only knew Sisi as a historical character.
Her weaknesses, in a way, make her stronger because you have to make mistakes to grow. “We show a human being, a woman who was incredibly young and thrown into this world with so many rules. Suddenly, no one cared about what she needed. She stumbles. She makes mistakes.
I'm happy I was able to do this and to do some theater” she said.” /> Next up for Devenport is a theatre stint in Rostock. “I'm moving to Rostock next week to work for the Volkstheater Rostock.
Story House Pictures produced for RTL in collaboration with Beta Film. Season two and a slew of deals were announced earlier in the fest. Beta Film is handling world sales for the six-hour series which will be broadcast on the German streaming platform RTL Plus and then on RTL's linear channel.
Germany’s Jannik Schümann was cast in the role of her husband Franz Joseph I, Emperor of Austria.
It's how I got into the character each day. For me it was quite easy to let it go again each night because I think it's a big part of your job to stay sane and take a cold shower. You are not her anymore.” The day is over. In makeup, you slowly become her. Costume helped her get into the part. “It definitely helped because it automatically gives you many restrictions, including breathing.
She married the emperor. “We have to remind ourselves that we will never be empresses. “She's a very interesting character, and I am so happy to have had the chance to have portrayed such an iconic figure,” said Devenport. It's important to remind ourselves that she found a way to fight for her personal private life. Her human side, her emotions were not important, but she found a way to have a private sphere.” Her only responsibility was to bear children and to represent.
Sven Bohse (“Dark Woods”) directs from a script by Elena Hell and Robert Krause.
As for “Sisi”: “I auditioned and was cast but it takes even more luck than that because then it has to work with the actor cast opposite Sisi,” said the up-and coming-actress, in Cannes for the world premiere of the period drama in an Out of Competition slot at Canneseries.
Her husband was a representative, so he wasn't really close to her. Devenport went on, explaining that “She was not able to be a person anymore. She isolated herself as she got older. Feeling like she was in a cage must have been hard for her.” Surely very lonely. She was shy.
“I was one of two little girls asked to run across a stage for a director and I thought it was really cool,” she said. Word had spread that the six-hour period drama was in the works in acting circles, and Devenport studied acting in Munich at the Otto Falckenberg Schule. She originally got into acting through singing, she explains.
He told her about me, and she called.” “What I didn't realize was that the next day, he was meeting the film’s casting director.
A light, fragile figure in real life, Devenport (“Night Train to Lisbon”) carries this modernized retelling of the tale of a tomboy who falls in love with a twisted man. Unlike the real-life Empress, she finds her independence.
“I was having a beer with a friend of mine in a canteen in Munich and talking about how I felt a connection to Sisi,” she explained to Variety in a one-on-one conversation. Swiss-American actress Dominique Devenport believes in luck.

Certainly I read that he was unhappy in his marriage. "He was a flirt. "I think we have all these euphemisms that we used to use for bad behavior — and player was one of them," Couric says. Couric says she never knew about Lauer's inappropriate interactions with women in the workplace, telling People that she knew he was a "player," but they never shared private details about their personal lives with one another. But, honestly, I never had that discussion with him."
One of the excerpts, published by the NY Post, says that Couric texted Lauer after he was fired to tell him that he is a "decent man" whom she felt "heartless to abandon." Over the past couple of weeks, tabloid outlets have leaked excerpts from Couric's memoir, "Going There," which will be released on Oct. 26.
“I think I thought more about the infidelity aspect than the idea that he was taking advantage of someone,” she said about the email. “The idea of something being consensual was interpreted very differently than it is now. If I had to do it again, I would have made sure that young woman was okay."
(Variety has not reviewed a copy of Couric’s memoir yet.) Speaking to People about the email, Couric says she was “shocked” and “disappointed," but at the time, had assumed that the interaction was consensual and not abusive. One time, Couric writes in her book, a producer told her about an email that Lauer had sent to her by mistake in 2004, which contained sexual comments, including spreading butter on her thighs.
Couric’s book says that after learning about Lauer's behavior, she came to realize that he was a professional partner and friend to her, but a predator to others.
Speaking on the topic of redemption, Couric tells the magazine, "It's really not for me to forgive him. This is Matt's story, and it's the story of the people he exploited."” />
Variety broke the exclusive story through a two-month investigation that uncovered multiple accusations from numerous women who said they were victims of sexual harassment in the workplace. After Variety's report, more women came forward with allegations, including former NBC News employee, Brooke Nevils, who accused Lauer of rape during a business trip at the 2014 Sochi Olympics; Nevils' complaint resulted in Lauer's swift firing from the "Today" show. In late 2017, Lauer was fired from the "Today" show for inappropriate sexual behavior, after being with the morning show for over two decades and earning an annual $25 million salary.
Couric no longer speaks to Lauer, she reveals in a new cover story with People magazine, released on Wednesday. She says she was "shocked" by the allegations, calling Lauer's behavior "callous" and "grossly inappropriate."
I think our understanding of what is a consensual relationship has changed dramatically, and now we know if there is a power dynamic, it can't really be considered consensual." In the cover story, she discusses how the media business has shifted immensely throughout the #MeToo movement, telling People, "I think we've learned a lot. Couric's book will also address sexism in the news industry.
"It took me a very, very long time to kind of come to terms with it," Couric says. "Also, to appreciate the damage that was done to women who were taken advantage by many powerful men."
Now, in her first interview about the new book, Couric gives more detail on some of the headline-making pieces — most notably, her former "Today" show co-anchor, Matt Lauer — saying that her words have been "cherry-picked and twisted" by leaked excerpts.
That's not the Matt I knew," Couric tells the magazine. "There's a duality in human beings, and sometimes they don't let you see both sides."
But now, Couric provides more context on what readers will find in her book. The reported text exchange that was leaked in the Post between Couric and Lauer left many scratching their heads.
Couric told the magazine that Lauer might make comments about movie stars who visited the "Today" show, "Saying, like, 'Oof, she's unbelievable,'" but she never witnessed his behavior towards staffers in the workplace. But I never felt he was pervy or inappropriate in my presence, ever." "He was admiring of beautiful women.
The leaked excerpts have also included scathing words by Couric about Diane Sawyer, Prince Harry, Martha Stewart, Deborah Norville and Ashleigh Banfield — both of whom have spoken out against the book with Norville saying she was "stunned" by Couric's words and too "hurt" to comment, while Banfield has questioned whether Couric was so competitive that she intentionally hurt her career trajectory as a young female journalist. "I never iced her out. "It just didn't bring out my generous side.") (Speaking to People, Couric clarifies that while she was "protective of her position," she did not block Banfield. I never criticized her," Couric says.
At many news organizations in the '90s and early 2000s, there was a lot of inappropriate fraternization." "Our offices were next to each other, and so I think when he engaged in this kind of behavior, he was extraordinarily secretive about it," Couric continues. "I [had] heard a few pieces of gossip, that he was involved with an anchor, and I remember thinking, 'Who knows if this is true?' I think it was considered nobody's business.
Lauer has repeatedly denied the rape allegation, saying it is “categorically false" and calling the encounter with Nevils an “extramarital affair.”
I could count on one hand the times that I talked to him as I would a confidant or a really close friend." Couric adds, "I think it's hard for people to understand that we didn't share intimate parts of our lives with each other.
Katie Couric's upcoming memoir has made waves for shocking excerpts that have ruffled feathers in TV news circles.

In 2015, Tindal joined Walt Disney Animation Studios as director of marketing and franchise.” /> Tindal has been with Disney for 23 years and will now serve as the bridge between Disney Animation productions and teams across the company, working to maximize the success of new releases, franchises and legacy films in products, experiences and marketing campaigns globally. She started her career with the company at Buena Vista Distribution and has worked on both the marketing legal and integrated Marketing and synergy teams at The Walt Disney Studios.
Longtime Disney veterans Amy Astley and Mandesa Tindal have been promoted to new positions within Walt Disney Animation Studios.
In her new role, Astley and her team will now oversee publicity and communications, digital, internal communications, unscripted/documentary content, the animation research library and brand strategy. The team will also oversee creative legacy, partnering with Walt Disney Imagineering, parks and resorts on Walt Disney Animation Studios-themed attractions and experiences.
Both report to Clark Spencer, president of Walt Disney Animation Studios. Astley has been promoted to senior VP of publicity and communications, creative legacy and brand strategy, while Tindal has been upped to VP of marketing and franchise.
Astley started her career in 1999 as a semi-senior secretary at Touchstone Television, then worked as a publicist at Buena Vista International Television and ABC before joining Walt Disney Animation Studios in 2012 as director of publicity, rising up the ranks to become VP of publicity. Astley has worked on the campaigns for some of Disney Animation’s biggest recent hits, including "Frozen," "Big Hero 6," "Zootopia," "Moana" and the upcoming "Encanto," which is set to be released theatrically on Nov. 24.

"Halloween Kills," the horror sequel starring Jamie Lee Curtis, should slash its way to the top of box office charts when it opens in 3,700 North American theaters on Friday.
That would be significantly less than its predecessor, 2018's "Halloween," made in its unexpectedly huge $77 million debut. The follow-up film, however, isn't expected to replicate those results in part because "Halloween Kills" will premiere on Peacock, the NBCUniversal-owned streaming service, on the same day as its theatrical release, which could curb ticket sales. From Universal Pictures and Blumhouse Productions, the latest "Halloween" installment is projected to generate $35 million to $40 million in its first three days of release.
For most slasher film aficionados, shameless jump scares and high body counts are well worth the price of a ticket. The 12th entry has not been received as warmly by critics (it has a 53% on Rotten Tomatoes), though reviews hardly matter to fans of the horror genre. David Gordon Green returned to direct "Halloween Kills," having driven the first to positive reviews and box office glory. With $250 million globally, the 2018 film became the highest-grossing installment in the 11-film franchise.
In the case of "Halloween Kills," that may not be as much of a concern. For the studio, the Peacock deal has helped mitigate any risk around a day-and-date debut. For some pandemic-era releases, a hybrid rollout on the big screen and on digital platforms has hindered the chance to turn a profit, at least in its theatrical run. Since the slasher film cost just above $20 million to produce, a start around $40 million would put it on a prime path to profitability. Also, Peacock is relatively newer to the streaming space and has 54 million subscribers — significantly less than its rivals Netflix (209 million), Disney Plus (116 million) and HBO Max (67.5 million) — so it shouldn't keep as many people staying home to watch.
Universal first deployed its day-and-date strategy earlier this year with "The Boss Baby: Family Business." The studio didn't report streaming metrics, but it grossed grossed $57 million at the domestic box office and $118 million worldwide, a fraction of the first "Boss Baby" and its $527 million global total. "Halloween Kills" will be available to Peacock Premium at no extra cost to subscribers who already pay $4.99 or $10.99 per month for access to the service.
Her husband, knight Jean de Carrouges (Damon), defends his wife's honor and challenges Jacques to a trial by combat, resulting in the last legally sanctioned duel in the country's history. Heavy subject matter, indeed, but "The Last Duel" has been mostly well received by critics, with Variety's Owen Gleiberman calling it "a lavishly convoluted and, at times, rather interesting medieval soap opera."” /> Directed by Ridley Scott, the film centers on actual events that took place in 14th century France and follows Marguerite de Carrouges (Comer), who claims to have been raped by her husband's best friend and squire Jacques Le Gris (Driver).
The R-rated "The Last Duel," which clocks in at two hours and 30 minutes, will need on positive reviews and glowing word-of-mouth to help it compete for ticket buyers in what is shaping up to be a busy fall season. "The Last Duel" could have more resonance at the international box office. It debuts overseas in most major markets this weekend, where the movie is expected to bring in between $10 million to $15 million.
14, 2022 so we can guess how that mission pans out. Laurie rallies her daughter Karen (Judy Greer), granddaughter Allyson (Andi Matichak) and the town of Haddonfield to rise up against Michael Myers once and for all. But, the masked murderer is seemingly immortal and somehow frees himself to continue his ritual bloodbath on Halloween. There's already a sequel, "Halloween Ends," scheduled for Oct. "Halloween Kills" picks up after Laurie Strode (Curtis) seemingly kills her pesky nemesis Michael Myers in a fiery basement.
The 007 adventure looks to bring in around $25 million in its second outing. "Halloween Kills" isn't the only new movie to open this weekend, though it will easily tower over fellow newcomer, Disney and 20th Century's period drama "The Last Duel." The long-delayed film is aiming to collect $10 million from 3,000 North American theaters, though some box office experts suggest box office receipts may not hit double digits. "The Last Duel" will also face competition from MGM's James Bond movie "No Time to Die," which opened last weekend with $55 million and appeals to a similar demographic. While that would be disappointing for a movie starring A-listers like Matt Damon, Adam Driver, Jodie Comer and Ben Affleck, it wouldn't be terribly surprising because "The Last Duel" is exactly the kind of movie that hasn't been thriving at the box office. Older audiences should be the target audience for a film like "The Last Duel," but in general, moviegoers over the age of 45 have been most reluctant to return to their local multiplex.

All borrowed books are due for return to the Saint Heron Library 45 days after the check-out date- on
Each reader will be invited to borrow a book of their choice for 45 days, completely free of charge. It is available via Saint Heron’s website, starting Monday, Oct. 18 — further details on taking out the books is below. Solange’s Saint Heron studio and platform has announced the launch of its free library of “esteemed and valuable” books by Black creators for research, study and exploration.
We hold in high esteem the work of the Saint Heron collective in the urgent preservation of important stories, and when they shared their own Library project it was evident to us we needed to support.” By turning select Aesop stores into free Queer Libraries during Pride earlier this year, Aesop aimed to amplify voices of LGBTQIA+ authors, primarily Black and Brown, and reflect on the stories we chose to uplift within our spaces and our community. Aesop Chief Marketing Officer Adam Kakembo added, “Aesop has a long-standing commitment to literature and the written word. As much as literature is an inspiration to us, it also is, now more than ever, a responsibility.
The library is free of charge and is based on a borrowing honor system via online registration.
I look forward to the Saint Heron library continuously growing and evolving and over the next decade becoming a sacred space for literature and expressions for years to come.” Solange said, “The Saint Heron Library continues the work we have been building by preserving collections of creators with the urgency they deserve. These works expand imaginations, and it is vital to us to make them accessible to students, and our communities for research and engagement, so that the works are integrated into our collective story and belong and grow with us. Together we seek to create an archive of stories and works we deem valuable.
Season One of the Saint Heron Library will launch and live on comand will be open to US based residents only.
Books will be shipped via Worldnet and will include shipping and return postage costs to ensure the library is free to readers.
According to the announcement, the library is part of Saint Heron’s larger goal to “build upon its urgent mission to preserve, collect and uplift the stories, works and archives that amplify vital voices within our communities.”
Together Saint Heron and Rosa Duffy have curated a digital and physical library that will be home to over 50 titles, including a signed 1st edition of "In Our Terribleness" by Leroi Jones, "Maren Hassinger, 1972-1991,” a signed "The Meeting Point" by Austin Clarke, "Lumumba" by Luis Lopez, "My One Good Nerve Rhythms, Rhymes, Reasons" by Ruby Dee and Ossie Davis inscribed by authors to Maya Angelou and more. The first season of the Saint Heron Library runs from 18 October until the end of November and is guest-curated by Rosa Duffy, founder of the Atlanta-based Community Bookstore and reading room ‘For Keeps Books’. The first season of the Saint Heron Library is supported by global skincare brand Aesop.
 ” />
Requests are fulfilled on a first come, first served basis. All borrowers are granted to reserve one book per person. All 50 book titles will be announced October 18th and will be available viacomat 12pm ET/9am PT.

Wolfe and later launched ColorMad Productions, Wolfe's independent production company. Cabrera's clients include Josh Andrés Rivera ("West Side Story"), Kian Talan ("NCIS: Hawaii"), and Yesenia Ayala ("West Side Story"). Her past experience includes work with The Public Theater, where she worked with George C.
She represents writers, directors, and producers across film and television with a focus on genre and international. Prior to Industry Entertainment, she worked at Lawrence Bender Productions.” /> Her clients include Sabina Vajrača ("Voodoo Macbeth"), Jonathon Roessler ("Grendel," "My Life with the Walter Boys"), and George Ghanem (untitled Noah Centineo Project). Roberts worked as a manager at Industry Entertainment before joining Paradigm.
“Irene and Kelsey bring a wealth of expertise in discovering and developing unique talent across all entertainment mediums," said Paradigm partner Andrew Ruf on behalf of the company's leadership. We welcome them to our growing team, and we look forward to collaborating with them on behalf of our exceptional clients.” "They epitomize the ethos of Paradigm, as we unite our talent, literary and content teams with a continued emphasis on cultivating global entertainment from diverse and international artists.
Paradigm Talent Agency has hired talent agent Irene Cabrera and lit agent Kelsey Roberts, Variety has learned. Cabrera joins Paradigm from DDO Artists Agency, while Roberts joins from Industry Entertainment.

Producers are Barton and S.C.V. Taylor. Richard Follin, Dillon Douglasson, Keegan Garant and Christopher Martin star.
Museum of Moving Image Launches An Open Invitation Call
More information can be found here.” /> 31. The application is free and the deadline for entry is Jan. Artists, designers and other creators working with film, media, TV, animation, game design and new media may self-nominate by submitting a media work or be nominated by a colleague or organization.
23. Gravitas Ventures announced they have acquired North American rights to Dorie Barton’s feature film, “Welcome to the Show,” and will release it through their hybrid distribution system composed of Comcast, Amazon Prime Video, Peacock, Apple TV, Dish, Google Play, Direct TV, and more at the end of the film’s film festival tour on Nov.
“Welcome to the Show” begins when an invitation to a mysterious theatre piece, “The Show,” sends four best friends down a rabbit hole of mistrust and confusion.
Museum of the Moving Image (MoMI) is launching an open call for nominations for the Marvels of Media awards — the first awards ceremony to celebrate neurodiversity.
An accompanying media exhibit will share the artistry of these honorees, providing a perspective of media-making through the lens of autism. In March of next year, MoMI will present a free, public film festival featuring selected works of honorees, followed by an awards ceremony.