in its first 28 days – racking up an estimated 55 million household account views. It also comes after Netflix confirmed in a letter to investors last week that Mexican mystery thriller “Who Killed Sara?” had become the U.S. streaming giant’s most popular non-English title ever in the U.S.
Directed by Marcelo Piñeyro (“Kamchatka”) from scripts co-written with novelist Claudia Piñeiro (“Las grietas de Jara”), the eight-hour series is produced by Matías Mosteirin for K&S, whose movie credits include Cannes and Venice competition players “Wild Tales” and “The Clan.”
Netflix’s confirmation of its Argentine originals 2021 releases is led by “El Marginal 4” and a first season of “El Reino." Adding current Argentine projects, the studio streamer’s production portfolio is a further indication that Netflix is still in a phase of robust expansion in the production of originals across Latin America, where it has more than 37 million household accounts.
Highlights of its Argentine roadshow took in first images of banner 2021 release “El Reino,” a political thriller that underscores how Netflix is now producing with much of the country’s top talent.
Netflix also released a promo for the fourth season of “El Marginal,” the most celebrated of recent Argentina series, which went into production in March as Argentina reinitiated film and TV shoots. The series is showrun for Netflix by Underground and Telemundo Global Studios’ Sebastian Ortega.” /> Star of season one, Juan Minujín returns to the gritty prison thriller which has a new penitentiary, Puente Viejo, but retains key cast in Nicolás Furtado, Martina Gusmán and Gerardo Romano.
Concluding its roadshows in Spain and Latin America, Netflix has confirmed its biggest original production slate ever in Argentina.
Featuring a top-notch Argentine cast – Mercedes Morán, Diego Peretti, Chino Darín, Nancy Dupláa, Joaquín Furiel and Peter Lanzani – “El Reino" turns on a man running for vice-president of Argentina, when the presidential candidate is assassinated at campaign close. “El Reino" will bow on Netflix this Argentine winter. Sensing the opportunity to become the next president of Argentina, he also seeks to discover who’s behind the assassination and its reasons.
Made late last week, the update was unveiled just days after the U.S. streaming giant reconfirmed a $300 million investment in 50 productions shot in Mexico and announced mid-April that it was opening offices in Bogotá Colombia and would unveil 30 new projects in Colombia through 2022.

Fastest to Reach $1 Billion Worldwide: "Avengers: Endgame" needed only five days to hit the milestone. "Avengers: Infinity War" was the previous record-holder, reaching it in 11 days.
Top Market Share: The fourth Avengers movie has the title for top market share for an opening weekend among films that opened at more than $150 million with 87% of the total box office. That distinction had been held by “Avengers: Age of Ultron” with 82% of the total market when it opened with $233 million in 2015.
It also set the highest single-day grosses in 29 markets, including Australia, China, Korea, Brazil, Mexico, Argentina, Spain, UK/Ireland. Highest Opening Weekend in 44 Markets: Those include Australia, China, Korea, Brazil, Mexico, Argentina, Spain and UK/Ireland.
Imax Record: “Avengers: Endgame” broke the Imax worldwide opening record with $91.5 million, 92% above previous record-holder “Star Wars: The Force Awakens.”
Top Daily Totals: "Avengers: Endgame" set North American records for Friday ($156.7 million, including a record $60 million in previews), Saturday ($109 million) and Sunday (an estimated $84.3 million).
Widest North American Release: "Avengers: Endgame" opened at 4,662 theaters in North America, besting the 4,529 location count of "Despicable Me 3."
Its opening day of $107.8 million (including midnight shows) was the biggest of all-time. Top China Opening: China's five-day launch hit $330.5 million, the highest local or Western film debut of all time.
Biggest Worldwide Opening: "Avengers: Endgame" grossed $1.2 billion worldwide. The previous record holder was "Avengers: Infinity War" with $640 million on the same weekend last year.
Biggest International Debut: The $859 million total for outside North America smashed the previous record held by “Fate of the Furious” with $443 million.
Disney-Marvel's “Avengers: Endgame” has set more than a dozen box office records in its first five days — many by wide margins.
Biggest Domestic Weekend Total: "Avengers: Endgame" led the overall North American box office to its first $400 million weekend, obliterating the record of $314 million set a year ago when "Avengers: Infinity War" opened.
These are some of the records the superhero tentpole is destroying on its first weekend at the box office:
"Avengers: Infinity War" had been the prior record holder at $366 million. Biggest 3D Sale: An estimated $540 million in wordwide ticket sales was generated by the 3D format.
Top North American Opening: The film's estimated domestic debut of $350 million was $93 million higher than "Avengers: Infinity War" and $102 million above "Star Wars: The Force Awakens," the previous two record-holders.

Sky’s TV8 in Italy and Spanish free-TV network Cuatro are among those that have recently extended local runs or ordered new seasons. Breakout international entertainment formats are thin on the ground, but “Guess My Age” has fared well around the world, with versions made in several European countries, including France and Germany.
Vivendi Entertainment has inked an agreement with Turner’s Chilean network Chilevision, which has ordered a 40-episode local version entitled “Adivina Mi Edad.” Vivendi’s international unscripted unit has sealed its first Latin American deal for the popular “Guess My Age” format.
The show sees pairs of contestants attempt to guess the age of strangers over a series of rounds, with different hints and clues to help them.
It will run as a standalone show within the three-hour morning program “Viva la Pipol.” The local version will see members of the public team up with celebrities to form the teams guessing the ages. Chilevision will run a 50-minute version of the show, starting Monday.
"Since last year we have implemented a new content strategy focused on the family,” said Javier Goldschmied, director of programming at Chilevision. “’Guess My Age’ fits naturally to our network for its friendly and dynamic entertainment content.”” />
Turner has optioned it for Argentina and Endemol Shine for Mexico. Damien Porte, vice president of global distribution at Vivendi Entertainment, said the Chile deal paves the way for more deals in Latin America.
“With options running in Mexico, Uruguay and Argentina, we are confident that it will pave the way for more countries to jump in.” “We are excited to see Chile, a country which has always been considered as an early adopter in the region, to be the first Latin American country adapting the format,” Porte said.

The biggest innovation at this year’s Ventana Sur, for example, was a Proyecta co-production firm co-organized by the Cannes Film Market and San Sebastian Festival, the biggest festival in the world and the highest-profile festival in the Spanish-speaking world. One way forward is to combine efforts, expertise and brand marketing. The double award is not coincidental. As festivals morph from one-off one-to-two week affairs to all-round movie activism, they have had to do so often on the same budget and with the same staff.
Both Frémaux and Rebordinos have also done much for Argentine filmmaking simply by recognizing its worth and artistic wealth.
Running late September, and facing impossible competition from Venice and a fortified Toronto,  San Sebastian has established itself from the mid-1980s under Diego Galán and Manuel Perez Estremera as an annual showcase for the best in not just Spanish but Spanish-language cinema.
In industry terms, it was a milestone decision. “Wild Tales” went on to become one of the highest grossing foreign-language movies of the year. Frémaux’s passion for Argentina does not influence his selection, he said on Monday at his opening keynote to Ventana Sur. The selection, and a slew of near unanimous positive reviews propelled the film to world sales. Bowing in August on home turf, it also helped consolidate that month in Argentina as one in which Argentineans believe they can catch local movies well worth watching. But he went out on something of a limb in 2014, selecting “Wild Tales” for Cannes competition.
BUENOS AIRES — In a ceremony just before Friday’s prize announcements at Ventana Sur, Cannes chief Thierry Frémaux and José Luis Rebordinos, director of the San Sebastian Festival, were named honorary members of Argentina’s Academy of Motion Picture Arts and Sciences, in a new move for the Academy, out through by its new president, Bernardo Zupnik, who conducted the ceremony.
Rebordinos has taken that process two steps further, launching a Europe-Latin America Co-production Forum in 2012 and at this year’s Ventana Sur, partnering with the Cannes Film Market on a Proyecta 14-project forum of Latin American and European movies seeking international co-production. Highlighting a combined 30 titles, the double event now has the scale to establish itself as the premiere market filter in the world for arthouse and crossover movies from or set in Latin America.
Almodóvar regular Celia Roth presented Frémaux with a framed Argentine AMPAS dedication on Friday.
For his part, Rebordinos has taken to programming standout Argentine movies in competition, either as world (Anahi Berneri’s “Alanis” last year) or European premieres (Benjamin Naishtat’s “Rojo” in 2018). Both went on to win a slew of awards at San Sebastian, consolidating the status of both filmmakers.
Presenting Rebordinos with a plaque, Zupnik praised him for having “privileged the cinema of our [Latin American] region and his constant search for new projects and talents which reaffirm the presence of our cinema internationally.”” />
Rebordinos has also emerged as a mainstay of Ventana Sur, curating the works in progress in Blood Window, the market’s forum for genre movies, a personal passion, and now co-organizing the market’s new Proyecta co-production forum which will begin to see deals go down from next week on projects from a new generation of emerging Latin America and European filmmakers.
Two examples: Frémaux lived in Argentina, loves the country, speaks Spanish with ease and an Argentine accent, is visibly relaxed and happy curating the Cannes Festival Cinema Week which adds a festival heft to Ventana Sur and reminds Buenos Aires spectators of the excitement of the cinema-going experience.

The film intends to educate as well as entertain, by extolling virtues of reading and a bright imagination. Along the way they will cross paths with many of literature’s most important and influential fairy tale characters, some real and other animated. In the film, the puppet inhabitants of the Lunnis’ world will accompany a young girl named Mar on a grand adventure to save the Magic Book, which contains all of the world’s fairy tales within its pages.
Barcelona-based sales agency Filmax announced today at Argentina’s Ventana Sur market, that it has acquired the rights to the film adaptation of RTVE’s preschool children’s part-puppet, part-live action and part-animated kids’ show “The Lunnis,” titled “The Lunnis and the Great Fairy Tales Adventure.”
The announcement was made with an accompanying trailer for the film, slated to release theatrically in Spain on Jan 18. The acquisition is in line with Filmax’s declared directive to make a concerted push into the world of high-quality, family-oriented cinema, as it did in previously acquiring “The Prince & Me: The Elephant Adventure,” or the animated feature “The Nut Job.”
“Los Lunnis” has scored generations of fans in Spain since first broadcasting in 2003. It has often used music to aid in delivering its messages as well. The series has seen plenty of changes in its 15 years, but has always featured morally-based, educational content, and plenty of puppets.
According to the new sales agent, their eyes are “firmly set on the international market.”” /> “The Lunnis” is a co-production between Spain and Argentina, headed by RTVE together with Tandem Films, Enrique Cerezo PC and Caléndula Films AIE representing the former, and Pampa Films, one of Argentina’s biggest film companies, as well as Non Stop Digital, In Post We Trust and Mediabyte in Argentina.

Can you discuss that, and where else you will be going with the film? You have an interesting strategy for exhibition.
Or is there something else you want audiences to take from the film? Was it just to tell the history of this transcendent talent? What was the goal in making this film?
The goal was to make a "Piazzolla by Piazzolla" film. Ninety per cent is previously unseen footage and amazing music, or personal archives revealed by his son for the first time. But it is not a film only about his music, It is also about a father and his child, family loves and the mysteries of creation. We don’t have talking heads.
Documentary Film Festival Amsterdam (IDFA). Daniel Rosenfeld’s “Piazzolla, the Years of the Shark,” a biographical documentary about tango musician Astor Piazzolla, world premieres at the Intl. Rosenfeld talked with Variety about Piazzolla’s legacy, the revelations within the film and his interesting exhibition strategy.
The film features a previously unreleased collection of interviews with the artist himself, recorded before his death in 1992. Piazzolla is, along with Carlos Gardel, the most notable tango musician of the 20th century. The film uses those tapes, video of classic performances and the extensive memorabilia collection of Piazzolla’s son, Daniel, to tell the story of the international superstar.
Rosenfeld found early success as a documentary filmmaker with his 2000 debut “Saluzzi – Essay for Bandoneon and Three Brothers.” The bandoneon, similar to an accordion, plays a major role in “Piazzolla” as well.
Euroarts is handling sales. The film is an Argentine-French co-production between Rosenfeld – an equally accomplished producer and director – and France’s Françoise Gazio from Idéale Audience.
In December the film will have its Asian premiere in Japan. The international premiere is at IDFA, at the Carré Theater, with a Bandoneon concert before the film screens. It’s been crazy, but people love it.” /> In Argentina it just recently premiered in theaters, fully booked since the first screening, then Netherlands, France and Portugal so far. In Argentina I have organized special screenings with a bandoneon player live before each.
How is Piazzolla viewed in Argentina today? He seemed much happier, much more comfortable in other countries where his work was more appreciated, but I wonder if there is a greater appreciation of his work today than during his lifetime.
Nowadays, everyone in Argentina admires Piazzolla’s music. They couldn’t dance with his rhythms; he was changing the Tango. Today international musicians like Chick Corea, Martha Argerich, Yo-Yo Ma, Mick Jagger and Caetano Veloso all play and love his music. But in the ‘50s and ‘60s a lot of people hated his music.
What did you learn about Astor and about his family while you were making this film?
He grew up there in the ‘30s, he lived 14 years there. Childhood has a lot of clues in the creative process. He always wanted to come back to New York. Before doing the film I believed that some of his strongest or most melancholic melodies came from the nostalgia of cities in Argentina he adored like Mar del Plata and Buenos Aires. But now I believe his big love was New York.

The full "Butterfly" package will include the “A Head Full of Dreams” documentary film, along with the “Live in Sao Paulo” concert film and the “Live in Buenos Aires” live album, is now available for pre-order on CD, DVD and vinyl.
The accompanying two-hour concert film, “Live In São Paulo,” was filmed a week earlier on November 8. The album, which includes 24 songs, was recorded at the tour's final stop on November 15, 2017 in Buenos Aires, Argentina.
For a sneak peak of the live concert film, a clip of "Viva La Vida" from "Live in Sao Paulo" has been released early on YouTube, along with the accompanying live track of the song recorded in Buenos Aires, available to stream and download here.
7. “A Head Full of Dreams” documentary film will be available to stream exclusively through Amazon Prime Video on Nov. 14 (ticket details here). 16, ahead of the official package release on Dec. The documentary will also be shown around the world in 2,000 select theaters in 64 countries for one night only on Nov.
Whitecross met Chris, Will, Guy and Jonny at the University College of London before they had formed Coldplay, and has been there from their very first rehearsal in a tiny student dorm room capturing the band’s unique musicality and personal relationships on tape. The documentary film was directed by Mat Whitecross, known for his 2016 documentary of Oasis.
Icelandic-born artist Kristjana S Williams created the artwork for the Butterfly package, featuring a collage drawn from artwork and video collected over the band’s long history together.” />
To accompany this feature, Atlantic Records announced today that two more components have been added: a live album and film from the group's recent "Head Full of Dreams" tour. Coldplay is observing its 20th anniversary this year, and to commemorate that event, the group is releasing the documentary film “A Head Full of Dreams,” on Dec. 7.

Dubbed the “Angel of Death” because of his age, baby face and angelic blonde curls, Carlos and his older friend from school, Ramón, started experimenting with petty crime when still in school, spurred on by Ramón’s similarly mal-behaved parents. The film examines the teenage beginnings of Argentina’s longest-serving prisoner, the near-celebrity Carlos Robledo Puch.
The Carlos of ‘El Angel’ is fearless, and almost relishes in evading capture while flaunting his perceived purity. The film portrays two sides of Carlos, a dichotomy that contributed to his stardom. Beneath all that however, he was cold, unfeeling and remorseless. At home and in public he seemed sweet-tonged, soft spoken and close with his family.
dollar earnings, but the film’s almost 453,000 admissions was the fifth best-ever for a domestic release in Argentina.” /> That number is slightly misleading when considering both inflation in Argentine and the devaluation of the Argentine peso when calculating U.S.
Sold by Vicente Canales’ Film Factory, produced by Argentina’s K & S and and Pedro Almodovar’s El Deseo and co-produced by Argentine broadcast network Telefe – a quartet with previous Oscars clout – their film “Wild Tales” was nominated for best foreign-language feature in 2015 – “El Ángel” also marks a move into feature film production for Underground Producciones, one of Argentina’s foremost drama series production houses (“El Marginal”).
‘El Angel’ pushed Argentina box office records in August, consistently the top month for box office success in that country, when it surpassed the aforementioned “Wild Tales,” with the country’s largest ever first four-day box office draw of 56 million Argentine pesos ($1.9million), following its Aug. 9 bow.
Feature stars newcomer Lorenzo Ferro, Argentine rising star Chino Darín – son of the country’s most marketable cinematic actor Ricardo Darín, and a stellar cast of supporting actors such as this year’s Karlovy Vary best actress award winner Mercedes Morán, her “Neruda” co-star Luis Gnecco and two-time Argentine Academy Award nominee Daniel Fanego.
After his capture, Carlos went the '70s equivalent of viral in Argentina. Carlos is believed to have committed more than 40 thefts – in the film we see daring robberies of guns shops, jewelry stores and affluent-looking homes – and 11 homicides. He rose to overnight stardom when the details of his brief but furious reign of terror were revealed to the public.
Luis Ortega’s Pedro Almodovar-backed ‘El Angel,’ which premiered at Cannes and screens at this week’s San Sebastian Film Festival, has been selected as Argentina's submission for consideration for the Academy Award for best foreign language picture.

Lovato has not kept her most recent relapse a secret, revealing it in her June single, "Sober," which has seen a newfound popularity on streaming platforms and has returned to the Billboard charts following the initial news of her overdose.” />
She spent several weeks in Cedars-Sinai hospital in Los Angeles recovering. Lovato was hospitalized in July when she overdosed following a relapse after six years of sobriety. The 25-year-old former Disney star wrote a lengthy Instagram post on Sunday thanking the hospital staff, her team, and her family for being with her during the hospitalization process.
Demi Lovato has cancelled the remaining dates for her Tell Me You Love Me tour, which was headed to six cities across South America this fall.
Credit card purchases will be automatically refunded. 14, but tickets can now be refunded following the tour's cancellation. Lovato was scheduled to appear in Chile, Argentina, and Brazil starting Nov.
"It is something I must continue to overcome and have not done yet," she said of her journey with addiction in the post.
"Unfortunately, Demi Lovato has canceled her upcoming Tell Me You Love Me Tour dates in South America, as she is focusing on her recovery," Live Nation said in a statement to Variety.

It’s a family that is deconstructed in pursuit of a vacation with promises of paradise. I like the questions, the work of interpellation and that it’s a story about a group of people who indulge in a kind of momentary group confusion. I am interested in fragility, both in the family and in romances.
Mom and dad are, in their own words, technically separated; two psychologists who struggle to follow their own advice, with two teenage children far more interested in enjoying their time away with new friends than with their middle-aged parents.
Do you have a favorite job? You are an actress, director, scriptwriter, producer and certainly more.
This builds on Katz’s strong record at major festivals. “Musical Chairs” won the San Sebastian Made in Spanish award while “A Stray Girlfriend” was selected for Cannes’ Un Certain Regard. “Los Marziano” was part of the official selection at San Sebastián and “My Friend from the Park” won her the screenwriting award at Sundance.
It was a very special time in Argentina, which at times seemed to come back strongly. Lucrecia and Pedro are psychoanalysts and try to follow guidelines they can’t meet. Also, I like that this is the story about the middle class in Argentina in the 90s.
With "Sueño Florianopolis" we won a coproduction award with our script (Campo Cine-Prodigal Films). It was a very rich experience, since from the very start it was a genuine co-production. Co-productions between Argentina and Brazil were initially driven by competitions created by the audiovisual institutes of both countries, Incaa in Argentina and Ancine in Brazil.
A number of the film’s surprises happen off-camera, and are revealed through dialogue. How did you decide which transgressions to show and which not?
The co-writing in this case, with my brother Daniel Katz, called for a fusion that I really enjoy. During the three years that we wrote together we tried to condense the dialogues and the deeper reasons that compelled us to write this story, with slight biographical references. In that process I modified the look with Daniel's ideas and he helped me to make room for things.
The two families fill roles for one another they are unable to fill for themselves and each member will come away with memories they are unlikely to forget. The Argentine family rents a vacation home from an affable Brazilian named Marco who still lives with his ex and her son on the island of Florianópolis.
The film is produced by Campo Cine and Prodigo Films in co-production with Groch Filmes, Laura Cine and Bellota Films in association with Film Factory, which also handles sales.
Why did you want to premiere at Karlovy Vary?
She has appeared as an actress in a number of critical and box office successes in her native Argentina, such as Juan Pablo Rebella and Pablo Stoll’s Cannes hit “Whisky,” while roles in “Hijos nuestros” and “A Stray Girlfriend” each earned her best actress nominations from the Argentinean Film Critics’ Association.
Ana Katz’s “Sueño Florianópolis” has been generating buzz this week at the Karlovy Vary Film Festival, where the Argentine film world premiered in the main competition. Variety’s Guy Lodge praised Katz for keeping “the mood appealingly low-key in this semi-sweet study of a disbanding family on vacation.”
What do you like most about this story you’ve told?
Katz talked with Variety during the festival about South American co-production writing with her brother and balancing her numerous creative outlets.
They are processes of a lot of time and work that come with several complications but also satisfactions. I usually write with Daniel Katz (“Sueño Florianópolis,” “Los Marziano”) and with Inés Bortagaray (“A Stray Girlfriend,” “My Friend From the Park”). Writing is a gift; a job of freedom and execution. The change of roles allows me to approach cinema from different places. When I act in other directors' films it is like a road trip without driving, observing and following the imagination of another person is something incredibly pleasant. In my own films I am lucky to manifest deep questions on the screen and share them with others.
I have always had a special curiosity about this festival, and when I'm here I can see that it's fabulous in so many ways: the relation to the public with the films, all the functions, and the particular way they look to choose the films.” />
Can you talk about that? Your film is a Brazil-Argentina co-production.
In “Sueño Florianópolis,” her latest turn behind the camera, Katz brings to the screen a story co-written with her brother and oft-time writing partner Daniel Katz. The tale unfolds sometime in the ‘90s with no cell-phones or GPS, as a family of four bombs down the road in a not-so-reliable Renault on their way to what might prove to be their last collective family vacation.
Can you talk a bit about the writing process for the film?
Ellipses are precious tools that can construe the point of view, in addition to the story. I wanted to gently deconstruct the moral weight on a woman with teenage children and in crisis with her husband. In this film I tried to bond with Lucrecia through simple moments of action which were strong indicators of desire. Many times in the present we don’t know what our memories will be.