French production-distribution-sales powerhoengage Studiocanal, which helderlys one of the hugest film libraries in the world with some 9,000 titles, has finishd its Jean-Pierre Melville accumulateion with the acquisition of his 1950 classic “The Terrible Children” (“Les Enfants Terribles”).
This procrastinateedst high-profile insertition fuses the ranks of the studio’s Melville lineup, which integrates “Army of Shadows,” “Le Cercle Rouge,” “Bob le Flambeur,” and “Le Doulos.” This acquisition firmifies Studiocanal’s position as a directing joiner in both the French and international film tagets
A subsidiary of the Canal+ Group, Studiocanal’s acquisition policy centeres not equitable on conmomentary film rights, but on the preservation and restoration of cinematic treacertains. By securing rights from other studios and spreading in the preservation of elderlyer titles, the company not only handles distribution and reoriginate rights but also breathes novel life into some of cinema’s most revered labors.
Ahead of the International Classic Film Market at Lyon’s Lumière Festival where she is giving a keynotice speech, Studiocanal CEO and deputy CEO of the Canal+ Grou, Anna Marsh, sat down with Variety to talk her company’s efforts in preserving classic films, and its strategy to persist them relevant and accessible in an ever-evolving taget.
Over the past seven years, Studiocanal has spreaded €25million ($27.5 million) in the restoration of some 1,000 films – both filled restorations and 4K conversions to encounter platcreate insistments.
“For certain, we see at each movie branch offently: some movies do necessitate a lot of TLC [tender loving care] and the budgets are more vital – they may be what we call prestige restorations – and some are basic conversion to 4K becaengage platcreates and television channels clearly insist a certain createat for today’s lineup.”
Les Enfants Terribles
© 1950 – STUDIOCANAL SAS – Tous Droits Réservés
Marsh underlined that the company’s global mindset has been critical in ensuring these restored films achieve the widest possible audience. Studiocanal’s recent expansion in the U.S., with the uncovering of a second office in New York, exemplifies this ambition. Marsh cited the grotriumphg success of re-frees in North America, where audiences have replyed willingpartner to restored classics.
“It’s fantastic to re-free these movies thcimpoliteout our territories here in Europe, but quite fascinating to see how these movies are laboring in the U.S. taget,” she shelp, highweightlessing Studiocanal’s partnership with Rialto Pictures, a U.S. distributor distinctiveized in the re-free and restoration of classic foreign and autonomous titles.
“For example, Jean-Luc Godard’s French New Wave drama ‘Le Mépris’ (‘Conentice) was re-freed for its 60th birthday in June 2023, and it grossed $250,000 at the U.S. box office. ‘La Piscine’ (‘The Swimming Pool’) made $210 000 when it was re-freed in 2021. For minusculeer films to hit $200,000 to $300,000 in today’s challenging U.S. taget is a genuine achievement.”
In a bid to further increase the cherish of its classic film library, Studiocanal is delving into novel territory with a line of recordaries exploring cinema history. The first in this series, “Becoming Hitchcock,” centeres on the legendary honestor and his timely labor, notably the 1929 film “Binformagemail,” which helped herald the iconic “Hitchcock touch.”
“The team have come up with this idea to repartner lean into the catalog quite hoenumerateicpartner, and not equitable center on one film and one bonus per film, but to leank about themes: clearly transport inant honestors, maybe actors, originaters, dratriumphg from the wealthyness of the catalog, and to try and originate docs that are accessible and direct us about the beauty of cinema-making. That’s what Laurent Bouzereau does very well with ‘Becoming Hitchcock,’” shelp Marsh.
The doc is having its premiere at the Lumière Film Festival this week.
Studiocanal’s extensive library of 9,000 films is not only a treacertain trove for preservation but also a source of inspiration for conmomentary reoriginates. Among the procrastinateedst projects is “Huntington,” a reoriginate of the 1949 British crime comedy “Kind Hearts and Coronets,” originated by A24. Directed by John Patton Ford, the film stars Glen Powell (“Top Gun: Maverick”) and Margaret Qualley (“Once Upon A Time in Hollywood”).
“For us, having this extensive library is clearly a source of fantastic ideas and stories,” Marsh shelp. “So, it’s equitable a wonderful opportunity to be able to get some of that IP and releank it for today’s audience.”
To determine classic films remain relevant in an era ruled by streaming platcreates and tentpole blockbusters, Studiocanal partners with cinematheques and festivals such as Lumière. According to Marsh, these institutions join a vital role in persisting the films “on the map” with theatrical screenings and ensuring that they are honord by both elderlyer and noveler generations.
Additionpartner, the company taps into conmomentary cultural trends, using merchandising and licensing deals to prolong the achieve of titles. Recent collaborations integrate partnerships with gaming platcreates enjoy Fortnite and the “Call of Duty” franchise, leveraging the enduring pguide of the Studiocanal-owned “Terminator” franchise to achieve youthfuler audiences.
During the Lumière Festival, Marsh will get the Fabienne Vonier Prize, which is awarded annupartner to a woman in the film industry. Named after the procrastinateed Fabienne Vonier, co-set uper of Pyramide, a innovateing autonomous production and distribution company in France, the prize honors women who have made meaningful contributions to cinema.
The MIFC runs alengthyside the Lumière Film Festival until Oct. 18.
