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April 5, 2012


Marie Losier's The Ballad of Genesis and Lady Jaye acquired for Non-theatrical distribution

The Ballad of Genesis and Lady Jaye


"ENTHRALLING! A quietly revolutionary work that treats a pair of people on the fringes with the decency all humans deserve."—Time Out New York

View trailer

The_Ballad_of_Genesis_and_Lady_Jaye_Official_Movie_Trailer.mp4

Visit our The Ballad of Genesis and Lady Jaye page for more info, including non-theatrical booking details.
EXPAND
February 2, 2012


Lula, Son of Brazil

February 1, 2012

Forget the Light. Shoot the Shadows.
By LARRY ROHTER

Before he became one of Latin America’s most prolific filmmakers — with more than 80 movies credited to his production company — Luiz Carlos Barreto was a photographer. For 15 years beginning in the late 1940s, he worked for O Cruzeiro, a Brazilian weekly magazine similar to Life or Look traveling all over Latin America and also working as a correspondent in Europe.


Mr. Barreto, now 83, was in New York recently for the United States premiere of “Lula, Son of Brazil,” his company’s latest film, directed by his son Fábio. But back home in Brazil, his early photographic work has been getting renewed attention.

Read the rest HERE and check out the gallery of photos by Luiz Carlos Barreto.



Watch the LULA, SON OF BRAZIL trailer

Lula Titled

Visit our Lula, Son of Brazil page

EXPAND
January 20, 2012


New Yorker acquires Norwegian Wood for non-theatrical distribution.

Norwegian Wood acquired for Non-theatrical release

View trailer below.


NorwegianWood_Trailer

Visit our NORWEGIAN WOOD page here.

www.norwegianwoodmovie.com

EXPAND
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For over forty-five years, New Yorker Films has been America's leading source for the films on the cutting edge of world cinema. The company was founded in 1965 by Daniel Talbot as an outgrowth of his legendary movie house, the New Yorker Theater. Unable to obtain several crucial foreign titles, Talbot was obliged to import them himself. Early acquisitions such as Bertolucci's BEFORE THE REVOLUTION, Godard's LES CARABINIERS, and Sembene's BLACK GIRL established New Yorker's still vital tradition of presenting the world's most innovative, artistically significant, and politically engaged films.

Controversial and challenging works considered untouchable by other distributors have been regularly taken on by New Yorker (and often turned into surprise hits), including Jacques Rivette's self-reflexive masterpiece CELINE AND JULIE GO BOATING, Chantal Akerman's feminist landmark JEANNE DIELMAN..., and Claude Lanzmann's monumental Holocaust documentary SHOAH, to mention just a few. Always on the alert for fresh talent and new trends, New Yorker Films was the primary force in introducing this country to the pioneering postmodernist New German cinema, the politically embattled Latin American cinema, and the postcolonial African cinema. It discovered the early breakthrough works of such now-celebrated filmmakers as Agnieszka Holland, Juzo Itami, Errol Morris, Wayne Wang, and Zhang Yimou. More recent acquisitions have explored exciting new frontiers in the Iranian, Asian, and Eastern European cinemas.

In addition to its theatrical premieres, New Yorker's strength is its ability to service the nontheatrical market, catering to the specialized needs of festivals, film society and classroom venues that fall beneath the radar of larger, more monolithic companies. The heart of New Yorker Films is a library of unsurpassed quality and depth. The library's range extends from restored classics to recent causes célèbres, from Oscar winners to offbeat gems. The New Yorker library is a major source for trailblazing works by international women filmmakers such as Claire Denis, Lucrecia Martel, Lisa Cholodenko, Agnes Jaoui, Susanne Bier, Euzhan Palcy, and Margarethe von Trotta. It also features essential titles by leading lights of the American indie renaissance. A distinctive feature of the library is its devotion to accumulating works by important individual directors -- a policy especially suited to retrospectives and university courses. Here you will find an extensive collection of films by such seminal cinéastes as Alea, Almodóvar, Godard, Herzog, Sembene, Straub, Tanner, and Zhang Yimou.

In 1989, New Yorker Films extended its tradition of quality into the video market.  An average of twenty new titles per year are released on DVD/Blu-ray, representing a broad selection of the best in classic, foreign, and independent cinema.

One of the more exciting recent developments at New Yorker Films is the creation of a new division called Metro Releasing, a genre division with the same discerning sensibilities of New Yorker past/present, that will also appeal to niche audiences.

In a time when the term "independent" has been loosely applied to subsidiaries of giant conglomerates, New Yorker stands as one of the most durable, important, and truly independent film distributors. In its fourth decade, New Yorker Films still represents the vanguard of film distribution in the United States.


For over forty-five years, New Yorker Films has been America's leading source
for the films that matter on the cutting edge of world cinema.

The company was founded in 1965 by Daniel Talbot as an outgrowth of
his legendary movie house, the New Yorker Theater. Unable to obtain
several crucial foreign titles, Talbot was obliged to import them himself. Early
acquisitions such as Bertolucci's BEFORE THE REVOLUTION, Godard's LES
CARABINIERS, and Sembene's BLACK GIRL established New Yorker's still vital
tradition of presenting the world's most innovative, artistically significant, and
politically engaged films.

Controversial and challenging works considered untouchable by other
distributors have been regularly taken on by New Yorker (and often turned into
surprise hits), including Jacques Rivette's self-reflexive masterpiece CELINE
AND JULIE GO BOATING, Chantal Akerman's feminist landmark JEANNE
DIELMAN..., and Claude Lanzmann's monumental Holocaust documentary
SHOAH, to mention just a few. Always on the alert for fresh talent and new
trends, New Yorker Films was the primary force in introducing this country to the
pioneering postmodernist New German cinema, the politically embattled Latin
American cinema, and the postcolonial African cinema. It discovered the early
breakthrough works of such now-celebrated filmmakers as Agnieszka Holland,
Juzo Itami, Errol Morris, Wayne Wang, and Zhang Yimou. More recent
acquisitions have explored exciting new frontiers in the Iranian, Asian, and
Eastern European cinemas.

In addition to its theatrical premieres, New Yorker's strength is its ability to
service the nontheatrical market, catering to the specialized needs of festivals,
film society and classroom venues that fall beneath the radar of larger, more
monolithic companies. The heart of New Yorker Films is a library of unsurpassed
quality and depth. The library's range extends from restored classics to recent
causes célèbres, from Oscar winners to offbeat gems. The New Yorker library
is a major source for trailblazing works by international women filmmakers such
as Claire Denis, Lucrecia Martel, Lisa Cholodenko, Agnes Jaoui, Susanne Bier,
Euzhan Palcy, and Margarethe von Trotta. It also features essential titles by
leading lights of the American indie renaissance. A distinctive feature of the
library is its devotion to accumulating works by important individual directors -
- a policy especially suited to retrospectives and university courses. Here you
will find an extensive collection of films by such seminal cinéastes as Alea,
Almodóvar, Godard, Herzog, Sembene, Straub, Tanner, and Zhang Yimou.

In 1989, New Yorker Films extended its tradition of quality into the video
market. An average of twenty new titles per year are released on DVD/
Blu-ray, representing a broad selection of the best in classic, foreign, and
independent cinema.

One of the more exciting recent developments at New Yorker Films is the

creation of a new division called Metro Releasing, a genre division with the same
discerning sensibilities of New Yorker past/present, that will also appeal to niche
audiences.

In a time when the term "independent" has been loosely applied to subsidiaries
of giant conglomerates, New Yorker stands as one of the most durable,
important, and truly independent film distributors. In its fourth decade, New
Yorker Films still represents the vanguard of film distribution in the United States.

4
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