filmone digest 2019 q2 sin€¦ · the wedding party is a lm project that based it's...

D I ~ E S T

with Remi Adeyanju Q3 Box Office forecast

Vol. 2, 2019

WEST AFRICAN BOX OFFICE TABLE FOR Q2 TOP FILMS IN Q2 - HOLLYWOOD & NOLLYWOOD

Post Theatrical Run:

BOLANLE AUSTEN-PETERS

H O W T O M A K E M O R E M O N E Y

Director/Producer - The Bling Lagosianswith Remi Adeyanju Q3 Box Office forecast

INTERVIEW ON SET WITH

Hello cinema enthusiast,

I’m excited to be presenting another edition of the FilmOne Digest to you. We have come leaps and bounds in our endeavour to sail productively through the second quarter of the year; one that was full of exciting performances at the box office, as well as important developments in our industry.

This edition includes an interview with the box office queen-of-the-moment, Bolanle Austen-Peters, whose latest feature film The Bling Lagosians has been the most successful Nollywood title of 2019, so far. Also, we have interesting articles addressing topics such as royalties, strategic film marketing, cinema development and the social media film space.

Editor-in-Chief

PublicationTeam

FILMONE DIGEST 2

PUBLISHERS

Kene OkwuosaMoses Babatope

From the

We reveal box office performances for top films released in the quarter, as well as a forecast of top films to watch out for in Q3, based on insights from an expert at film booking and box office analysis, Remi Adeyanju. Lastly, you’ll have access to recent industry news, a power list of Nollywood’s best cinematographers and a review on the quarter’s sensation, Anna.

Enjoy your reading!

EDITOR-IN-CHIEF

Jude Martins CONTRIBUTORS

Tosin Arise, Tolani OlusolaMimi Bartels, Uchechi Obasi-Ukpa, Jude Martins, Matilda Ogunleye and Ladun Awobokun

CONTRIBUTING EDITOR

Michael Williams

Jude MartinsEditor-in-Chief

INTERVIEW

The Emerging Film Market on Social Media 14

ContentsVol. 2, 2019

Film neOD I ~ E S T

4MOVIE REVIEW

ANNA 5

FILM TABLE

FILM TABLE

Royalties: Is Nollywood Ready?

Top 10 Hollywood Films Released in Q2

Top 5 Nollywood Films Released in Q2

Interview with Bolanle Austen-Peters

6

8

10

12

FILM TABLE

PREMIERES

MOVIE PREMIERE

ARTICLE

POWER LIST

SPECIAL FEATURES

SPECIAL FEATURES

ARTICLE

ARTICLE

EXHIBITORS CORNER

FilmOne’s Top Films - Q2

PREMIERE RED CARPETS: The New Fashion Runways

The Bling Lagosians

AFTER A THEATRICAL RUN: How to Make More Money for Your Film

4 of Nollywood’s Finest Cinematographers

HOLLYWOOD

NOLLYWOOD

From Hollywood with Love

Box Office Summary for the West African Territory

Q3 in View with Remi Adeyanju

Marturion Cinemas

Industry News

Movies Now Available on AMAZON Prime

Films Now Available In-flight…

FilmOne Production

In the Next Edition…

16

19

20

21

22

24

25

38

40

43

44

45

46

49

49

Publishers’ Corner

INTERVIEW

The Future of Community Cinemas in Nigeria 35

MOVIE PREMIERE

Dark Pheonix

31

EXHIBITORS CORNER

Genesis Cinemas

50

51

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FILMONE DIGEST 4

Dear industry enthusiast,

We are excited to be publishing the second edition of FilmOne Digest in 2019. With the year half gone and the third quarter b e g i n n i n g , o u r communications team has put together a summary of industry activities and materials that will enlighten you on how well we fared in this region.

For us at FilmOne, it has been an eventful period having to distribute twenty-one films this quarter. The team has had to maximise capacity to sustain our standards in the process of achieving goals , meet ing deadlines and yielding positive results. Permit us to utilise this medium to thank all staff of FilmOne for their commitment and passion towards realising our objectives. From Shazam! to Breakthrough and Hell Boy, all the way to Dark Phoenix, Anna and The Bling Lagosians, we have had engaging times, organising premieres and d e a l i n g w i t h l o g i s t i c s , m a r k e t i n g a n d t e c h n i c a l demands.

Interestingly, our titles have done very well, occupying five spots on a top-ten table that featured the likes of Avengers: End Game, Aladdin and John Wick, thanks to the strategic marketing approach of our team.

In Q3, exhibitors anticipate great performances from several titles, such as Hobbs & Shaw, The Lion King (2019), Angel Has Fallen and Stuber; and, from Nollywood, The Set Up (co-produced by FilmOne) and Omoni Oboli’s Love is War, amongst others.

A w a y f r o m b o x - o ffi c e performances, the second quarter had us involved with global trends while attending the Cannes Film Festival and CineEurope in Barcelona. We h a d a n o p p o r t u n i t y t o deliberate on issues around diversification of the industry, p a r t n e r s h i p s a n d advancements in technology, as they affect our business daily.

Our communications team has covered all of these and more in this interesting episode. Enjoy your read!

Publishers'CORNER

Moses BabatopeGroup ED/MD The FilmOne Limited.

Kene OkwuosaGroup CEO

FILMONE DIGEST 5

MovieReview:ANNA

Anna an action-thriller directed by Luc Besson,

brings to mind blockbusters like Lucy and Electra, which suggested that this might be a g o o d fi l m . H o w e v e r , t h e s i m p l i c i t y o f t h e t i t l e underplayed the finesse Besson uses to connect to his audience.

Sasha Luss, Helen Mirren, Luke Evans, Cillian Murphy a n d L e r a A b o v a w e r e impressive; they interpreted their ro les wel l , thereby keeping the audience on the edge of their seats. They gave just the right amount of tension required to build suspense, while director Luc Besson

successfully unraveled the story in a way that thrilled from start to finish.

Anna explores themes that the target audience will identify with: self-defense, love, anger, l u s t , f e a r , b e t r a y a l a n d romance. The fact that the Anna is a young girl, with a slender body and an innocent face, makes her look every inch a m o d e l r a t h e r t h a n a n assassin. This makes it more i n t r i g u i n g , a s s h e k e e p s displaying fighting skills the audience never

Sasha Luss interprets the role of Anna perfectly. Her beauty,

depth and dexterity proves that a book shouldn’t be judged by i t s c o v e r . S h e w a s unpredictable throughout and exploited the fact that her enemies underrated her.

Cillian Murphy, Luke Evans a n d H e l e n M i r r e n w e r e fantastic in their roles, creating suspense and intrigue, and working extremely well as an ensemble. I enjoyed Anna thoroughly and look forward to an almost inevitable sequel.

MOVIE REVIEW

ANNA

- Uchechi Obasi-UkpaFilmOne Administrator/

Script Analyst

EMAIL: [email protected]

FILMONE DIGEST 6

W h a t e x a c t l y a r e royalties? According

to Investopedia, a royalty is a payment to an owner for the ongoing use of their asset or property, such as patents, copyrighted works, franchises or natural resources. The legal owner of the property receives a royalty payment from licensees or franchisees who wish to make use of it to generate r e v e n u e . I n m o s t c a s e s , royalt ies are designed to compensate the owner for the asset's use and they are legally binding.

Bringing this back home to Nigeria’s entertainment space,

payments are typically for the specific usage of content, in terms of music scores and 'pay per performance', in terms of actors’ fees. Ultimately, the producers get the larger portion of film revenues after distribution expenses have been deducted.

How it works:

For scores (music for film), payments are made to owners of copyrighted music for use in a film. Payments could be made t o t h e r e c o r d l a b e l , management and/or artiste(s) (depending on the contractual agreement).

In the actual production of the movie, payment for the art over the course of the production is typically a one-off fee that is incorporated in the production budget. This, of course, is a g r e e d o n b e t w e e n t h e producer and the artist, and ordinarily 50% of the payment is done before production takeoff, with the other half due afterward. On the other hand, the producers ultimately reap the profits/losses following the theatrical release of the film, a f t e r a l l p r o d u c t i o n , distribution and mandatory tax i m p l i c a t i o n s h a v e b e e n deducted.Whereas, in the international

ROYALTIES: Is Nollywood Ready?

ROYALTIES: Is Nollywood Ready?

FILMONE DIGEST 7

movie space, along with the performance-based pay given to actors, there have been notable s i tuat ions where actors’ earnings go beyond one-off fees to a share of ancillary earnings, following the end of the theatrical window of the film. This is outside of actors’ royalties earned for reruns of the shows, as was made famous

in Friends, Everybody Loves Raymond and Titanic. This is i n a d d i t i o n t o b a c k - e n d earnings in movies that overly exceeded their initial set t a r g e t s , o r b a s e d o n a n a g r e e m e n t b e t w e e n t h e producers and actors in The Shawshank Redemption, with Tim Robbins and Morgan Freeman, amongst others.

Here’s the mil l ion dollar question: Is Nollywood ready for a structure that allows talent

( a c t o r s ) t o b e n e fi t f r o m r o y a l t i e s a n d b a c k - e n d income? We can’t say that it is. However, we can foresee a future where producers, actors and all stakeholders in the film i n d u s t r y c o u l d e m b r a c e collaboration, as we believe it is the way forward to achieving more successes for our content.

T h e i d e a o f ‘ p r o fi t participation’ with actors and filmmakers is for all parties to have a stake in the success of a film. This will encourage actors to be m o r e e n g a g e d a n d involved in the marketing of a fi lm, in a b id to guarantee theatrical box office success, which spills exponentially into the

success of the content on ancillary platforms. The active participation of actors in a fi l m ' s s u c c e s s c a n n o t b e underestimated, especially in the Nigerian film industry. Some Nollywood production companies are making smart choices already, realizing that the approach of offering a percentage of their movie's earnings as compensation to actors (after distribution and production expenses, as well as initial profit margins have been

taken out) has helped the success of their movies.

Of course, this could be another way, outside of performance fees, to incentivise actors to be more active in the marketing and promotion of a film. It is understandable for filmmakers to be sceptical about this approach, as its success is hugely dependent on the production scale of the movie.

Moreso, profit participation is something that we believe should be explored by film producers, not just in the theatrical space but even more in the ancillary positioning of films. Ancillary platforms for Nollywood ultimately expose films, our local industry, as well as the country at large to Nigerians in the diaspora, as well as other consumers in afro-centric regions. In the race towards ensuring Nollywood has a permanent seat at the global entertainment table, equity between key parties involved in movie production, to a large extent, is the driver to ultimate success across all viewing windows.

- - Tosin AriseDistribution Administrator

– 20th Century Fox

“The idea of ‘profit participation’ with actors and filmmakers is for all parties to have a stake in the success of a film.“

The Wedding Party is a lm project that based it's remuneration on prot-participation.

Top 10 Hollywood films released in Q2

John Wick

N164.2 M ($456 K)SILVERBIRD

Shazam!

N113.3 M ($314 K)FILMONE

3 4

FILM TABLE

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5th April

Avengers: End Game

N527.7 M ($1.46 M)BLUE PICTURES

Aladdin

N167.7 M ($466 K)BLUE PICTURES

1 2

24th May26th April

17th May

- Figures collated as at 27th June, 2019- Dollar value estimated at a conversion rate of $1 to N360- Figures made available by COMSCORE

RELEASE DATE RELEASE DATE


FilmTable

Dark Phoenix

N84 M ($233 K)FILMONE

Little

N65.1 M ($180 K)SILVERBIRD

5 6

MIB

Godzilla

N41.8 M ($116 K)

N34.3 M ($95 K)

SILVERBIRD

FILMONE

Hell Boy

Anna

N39.5 M ($101 K)

N19.3 M ($53 K)

FILMONE

FILMONE

9 10

FILMONE DIGEST 9

7 8

19th April

12th April

21st June

14th June

31st May

7th June




Gold Statue


2

Knock Out

N27 M ($75 K)GENESIS

3

Cold Feet

N10.2 M ($28 K)GENESIS

5

Makate Must Sell


4

Mokalik

N40.6 M ($123 K) 31st MayFILMONE

.11

19th April

17th May

17th May

3rd May

Top 5 Nollywood films released in Q2- Figures collated as at 27th June, 2019- Dollar Value estimated at a conversion rate of $1 to N360- Figures made available by COMSCORE

FILM TABLE

N40.6 M ($123 K)



RELEASE DATE

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INTERVIEW

Bolanle Austen-Peters founded Terra Kulture, an educational and recreational organization, in 2003, to promote the richness and diversity of Nigerian languages, arts and culture. The complex in Victoria Island, Lagos contains a theatre, restaurant, art gallery and bookshop. She has a Master's degree in International Law from the London School of Economics & Political Science and a law degree from the University of

Lagos. We caught up with her during post-production of The Bling Lagosians, which she produced and directed.

You have had quite a span in the theatre industry. Tell us what motivated your diversifying into filmmaking.I was a Producer of 93 Days movie and in the cause of making the movie I realized that we have a lot of work to do in telling our stories to the world as Nigerians and

Africans. That’s where the motivation came from and I decided to tell our stories with my productions, including movies.

What inspired the making of the movie – The Bling Lagosians? Again, it is important to tell our stories so I decided to tell the story of the people of Lagos from an elite point of view, using the Holloway family as a case study.

The Bling Lagosians happens to be a directorial debut for

An interview with Bolanle Austen-Peters Director/Producer - The Bling Lagosians

Behind the scene of The Bling Lagosians

FROM STAGE PLAYS TO FEATURE FILMS: A moment with the connoisseur

InterviewOnset

FILMONE DIGEST 13

you. How was your experience?Wow, I really enjoyed myself even though it was hard work to get everyone coordinated on set. I had a stint of directing during the shoot of 93 Days and I was sure of the direction I wanted the movie to go. Having directed quite a number of musicals I understood what to expect from the actors in terms of creative management. So, I put my experience to work and we created this masterpiece.

Which would you say is more challenging – directing a feature film or a stage play?Stage Play is more challenging and more rudimentary as it demands more from the actors. They have to work at connecting more with a live audience. In movies you can edit out mistakes but theatre is live and its accuracy is key, you can go away with certain mistakes while making a movie and retake the scene but when you are on stage, a high level of discipline is required.

Any difficulties working with your choice of cast?All the cast on The Bling Lagosians project were phenomenally professional and outstanding.

Undoubtedly, your plays have been the standard to beat. Should we expect any of them adapted to feature films?

Yes, we are working on adapting them into films. We already have scripts for Saro and Wakaa and we have plans to start auditioning soon.

Tell us your perception about the film business in Nigeria.The movie business needs more public sector funding as

it is private sector driven in Nigeria and it is hard to break even or generate high box office movie sales, I have learnt that the only way to achieve this feat is through excellent production and aggressive marketing.

What advice would you offer upcoming Film makers?Movie making has to be your passion. Also, be prepared not to give up, be very hardworking and invest in yourself.

What are your criteria for choosing a distributor? We have only one recognized major movie distributor and that is FilmOne Distribution. They are the best distributors and we only work with the best.

What should we expect from you next – a stage drama, new film, or a sequel?Expect a stage drama in December and possibly another movie before the year runs out.



“The movie business needs more public sector funding, as it is private sector driven in Nigeria…”

N owadays, videos have arguably become t h e m o s t p o p u l a r w a y t o s h a r e

information on the internet, with the amount of online short filmmakers on a drastic rise. Researchers have projected that videos will make up 80% of all internet traffic by the year 2020. In a world where 6 out of 10 people prefer online video platforms to live television, it is possible that online videos may completely take over film viewing in the home, displacing options such as satellite TV.

These young filmmakers are creating content that is specifically tailored to the interests of consumers and more accessible to the public. Not everyone can afford a television set but virtually everyone has a phone. Statistics indicate that about 2.7 billion persons across the globe own a smartphone. So, imagine how many people an online film can reach in a day.

Facebook is one of the most popular social media networks with over 2.5 billion users and video views averaging 8 billion a day. Films make up a significant proportion of the video content on Facebook. It is a certainty that as the number of views increases, the significance of films published online would grow as well. This fact inspired Facebook to introduce the video-on-demand application known as 'Facebook Watch'. Another key player in the online film production game is the video sharing platform - YouTube. It is the second largest search engine and the third most visited website in the world. When YouTube was introduced in 2005, it created a space for internet filmmakers to share their films with viewers from around the globe.

The Emerging Film Market on Social Media

So, with all these videos and films accumulating millions and sometimes billions of views, one may be wondering – how does the money roll in? Arguably, the most popular way of making money with online films is through advertising placements before or in-between the film. YouTube filmmakers earn between $3 and $10 per 1,000 viewer advertising engagements, while Facebook pays an average of $5 for 1000 engagements. These numbers may appear small but the number of video channels on YouTube earning $100,000 and above increased by 40% last year.

Another way to monetise production of films for social media is through entering short video competitions. These are quickly becoming a popular way for online content creators to make money and gain exposure. In Nigeria, local short video competitions are changing the game. These competitions provide the platforms for both established and upcoming content creators to showcase their videos, gain followership and win cash prizes. Several content creators have been beneficiaries of these competitions, e.g Michael Akinrogunde., who won the best short film award at the Filmhouse Film Gala.

Therefore, for those who want to get into production of films for social media, now is the perfect time to get into the market. The possibilities are endless.

- Tolani OlusolaLead – Digital Marketing

"In Nigeria, local short video competitions are changing the game”

FILMONE DIGEST 14

FILMONE DIGEST 16

Fil

mO

ne

’s

Dark Phoenix N84 M ($233 K) 7th June

2FILMONE

Breakthrough N14.4 M ($40 K)

6FILMONE

LongshotN10.9 M ($30 K)

7FILMONE

Shazam! N113.3 M ($314 K)

1FILMONE

Hollywood

Gold StatueN30.2 M ($84 K)

2FILMONE

Nollywood

Mokalik N40.6 M ($123 K)

1FILMONE

TO

P F

ILM

S -

Q2

5th April

10th May12th April

17th May31st May

FILM TABLE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

FILMONE DIGEST 17

Hell Boy N39.5 M ($101 K) 12th April

3FILMONE

Godzilla N34.3 M ($95 K)

4FILMONE

Anna N19.3 M ($53 K)

5FILMONE

Detective PikachuN10 M ($28 K)

8FILMONE

Curse of La LloronaN6.5 M ($18 K)

9FILMONE

Sun is Also A StarN5.2 M ($14 K)

10FILMONE

4th RepublicN7.8 M ($21. K)

5FILMONE

Makate Must Sell N12.3 M ($34 K)

3FILMONE

Coming From Insanity

N9.8 M ($28 K)

4FILMONE

21st June 31st May

17th May 19th April

12th April 14th June

10th May

3rd May

FilmTable

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

RELEASE DATE

Figures collated as at 27th June, 2019Dollar value estimated at a conversion rate of $1 to N360

Figures made available by COMSCORE

Figures collated as at 27th June, 2019Dollar value estimated at a conversion rate of $1 to N360

Figures made available by COMSCORE

The New Fashion Runway

One of the most interesting features of an effective

business sector is the influence it has on societal trends – from language) to lifestyle choices and even fashion, to name a few. A typical example would be the glamour that is displayed when celebrities grace the red carpet at film premieres.

In recent times, the movie industry has seen FilmOne leverage a unique approach to publicity of most films they distribute, by having movie premieres with fashion t h e m e s a n d c r e a t i n g competitions that encourage celebrities and attendees alike to actively participate as they try to outdo each other. Looking back to the premiere of Lunch Time Heroes in 2015, where the dress code was ‘schoolboy/schoolgirl’, we saw different celebrities look cute in their interpretation of the code. In 2017, guests attending the premiere of Kingsman: The Golden Circle looked dapper, dressed as either ‘Kingsmen’ or ‘Statesmen’. Also, the premiere of Oceans 8 was arguably one of the most talked-about in 2018, with the theme ‘Heavenly Bodies’, inspired by the Met Gala around which the movie is centred. The media was agog with news of the premiere and even caused a wave of wagging

tongues on micro-blogging sites and Twitter for several weeks. In like manner, the ‘Agbada Challenge’ saw both male and female celebrities come out in various designs of agbada for the premiere of Merry Men: The Real Yoruba Demons, in both Lagos and Abuja. This trended for weeks, not only on social media but other forms of traditional media such as newspapers,

magazines, television and radio. Also, we also saw all the stops pulled out as stars showed their gangster side at the premiere of King of Boys, in the first quarter of 2019. It was a fairytale affair for She Is and, most recently, we witnessed the glamorous premiere for The Bling Lagosians with its ‘Eko for Show’ theme.

These premieres have served as a platform for both seasoned a n d f a s t - r i s i n g f a s h i o n designers to showcase their products. After all, a celebrity w i t h l o a d s o f f a n s a n d thousands of followers on

social media makes for a perfect model. In fact, these premieres are arguably the most publicised, indirect fashion exhibitions of all. Several fashion trends have emanated f rom them, as fashion bloggers, media houses a n d o b s e r v e r s h a v e h a d unrestrained access to content in the form of pictures and videos for their platforms, which, in turn, has led to the

exposure that births fashion trends.

Some stylists and designers whose works have been displayed in the course of these premieres include: Yomi Casual, Teni Oluwo (winner of the ‘Eko for Show’ themed premiere), Ugo Monye, Mudi of Africa, Veronica Odeka, Mai Atafo,

Vodi, Tolly Bally and Itunu Onoara Bamidele (winner of the ‘Heavenly Bodies’ themed premiere), to mention a few.

So, if you are really great at fashion designing and styling, let me share an open secret with you. Watch out for the next premiere featuring a fashion challenge, get in touch with a celebrity and maximise the opportunity that comes with the publicity of a big movie.

PREMIERE RED CARPETS:The New Fashion Runways

FILMONE DIGEST 19

"These premieres have served as a platform for both seasoned and fast-rising fashion designers to showcase their products”

- Jude Martins & Matilda Ogunleye

Osas Ighodalo blinging for show

Teni Oluwa blinging for show

Teddy A and BamBam blinging for show

Daala Oruwari blinging for show

From L-R - Ufuoma McDermott, Sade Ladipo, Kunle Afolayan, Bolanle Austen-Peters, Debola Lagos and Omoni Oboli, all blinging for show

Antionette Lecky blinging for show

FILMONE DIGEST 20

MOVIE PREMIERE

ilmOne hosted the crème-de-la-crème of Lagos to the Fofficial premiere of The Bling Lagosians. The event featured a fashion challenge themed “Eko for Show”, which saw different celebrities bling in their efforts to outdo each other. The challenge was won by Daala Oruwari and Teni Oluwa who were rewarded with a cash prize of N500,000 sponsored by Eco Bank. The event held at Filmhouse Cinemas, Lekki, on the 16th of June.

The Bling Lagosians

Ibrahim Suleiman & Linda Ejiofor Suleiman

Niyi Akinmolayan& Blossom ChukwujekwuUti Nwachukwu

Ayoola Ayolola Oreka GodisOmowunmi Dada

All roads led to Filmhouse Cinemas, Lekki on the 5th of June 2019, for the ofcial premiere of Dark Phoenix. The event had celebrities and people from all works of life in attendance.

MOVIE PREMIERE

Dark Phoenix

FILMONE DIGEST 21

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T he game plan was always to get as many people as possible in theatre seats, in order

to recover investments and, of course, to build an appetite, audience, and a sense of loyalty that leads to repeat patronage - a typical B2C (business-to-consumer) model. Inevitably, times changed,the industry evolved and other avenues for revenue generation were discovered - the B2B (business to business) model came into play. So, what does this mean for the evolving industry called Nollywood? I'll spare you the boredom of history and let's talk about business as we run through a brief checklist;

1. Nollywood is recognized to be the third highest producer of film titles, right? Great!

2. Nigerian actors, producers and writers are being appreciated on the international stage, e.g. Kay Oyegun - writer, Chiwetel Ejiofor - Oscar-nominated actor, Yvonne Orji- producer and Chimamanda Ngozi Adichie – Writer, whose book, Americanah, is being adapted into a movie produced in Hollywood. Looking good?

3. Niger ians get invi ted to speak on international stages about content, with John Boyega recognized as the 10th highest-grossing-actor in 2017.

Our content, culture and stories are doing great on paper, so why doesn’t this translate in the

licensee figures? Relax, we are getting closer. Just stay with me.

The Wedding Party 2 was the first film in west African box-office history to be shown in 20 countries around the world. It had all the qualities to be that breakthrough Nigerian movie, and somehow it was. The Wedding Party and Lionheart remain the only two movies with the highest license fees paid for Nollywood content. However, Lionheart's fee was for exclusivity on Netflix. Can one argue that it couldn’t reach more platforms as a result of the exclusivity clause? Does one need to keep compromising with low prices for content, in order to get its deserved recognition?

The question here is simple - when will Nollywood content be recognised prominently in terms of sealing big-figure deals? Are we the source of our own problems? Honestly, there are no real answers, only facts we can speak about to arrive hopefully at logical conclusions.

On the Competitive Positioning Release Schedule - our fancy description for a calendar of all movies within the cinema industry - you can deduce that exhibitors could have as many as four Nollywood titles being released in a week; sometimes with a total of 15 titles within a 4-week period. This is an industry that has less than 200 screens that also host Hollywood titles. Due to the congestion, there is an increased pressure on cinemas to

AFTER A THEATRICAL RUN: How to Make More Money for your Film

There is a misconception in some circles that the cinema is the only route to gain revenue for one’s film. Let’s kill that misconception in this article, shall we?

The traditional way of making money in the movie business, since its conception in 1888 with the very first movie

Production Ticket sales Exhibition Revenue

Roundhay Garden Scene, was a simple chain:

generate revenue in order to survive, like Katniss Everdeen in our own version of The Hunger Games.

Notwithstanding, this is the fi r s t p o i n t o f r e v e n u e generation. Your content has to be recognised in order to survive in the big bad world outside cinema. The fact that your movie made it to the cinema and was successful generates the publicity you need to maximise revenue f r o m n o n - t h e a t r i c a l platforms. As the world evolved, so did the world of movies. Aside from cinema being a channel for good returns, cinema has become a stepping-stone to actualise more revenue outside the theatrical window, and a medium that increases the a u d i e n c e ’ s a p p e t i t e f o r Nollywood content.

T h r o u g h t e c h n o l o g i c a l innovation, there now exists a v a s t n u m b e r o f r e v e n u e generation channels for films - avenues that provide the

After A Theatrical Run

FILMONE DIGEST 23

Head of Accounts Nollywood/

Empire Entertainment

conducive platform for the B2B business model to flourish.

A movie can make money outs ide of the theatr ica l window, in the following ways:

n Licensing part of one’s content - a great example would be The Wedding Party movies. There was a great appetite from Hollywood licensing companies, reaching out to

license a significant scene in the films, a phrase or even an image.

n Licensing:� Television - Pay TV, Free to Air, etc.� VOD platforms - TVOD, SVOD, such as Netflix, Hulu, iTunes and a

host of others.n Product placementsn Private Screeningsn Merchandisingn Educational screeningsn Festivals

Just as change and evolution are inevitable in the circle of life, so too in the circle of business. There is a need to improve the quality of content that emerges from Nollywood. O n l y a f e w fi l m s c a n b e

considered premium and they do not come frequently enough to meet up with demand. There could be a blockbuster in June and another in December or, most t imes, just a l l in D e c e m b e r . B u d g e t s , cinematography, production values and even storytelling are not evolving at the same

rate as the world is. Nollywood needs to s tay true to i ts tradit ions but also has a responsibility to do better and to be better.

If we do not evolve, immense pressure will continue to be on the theatrical window within certain regions. However, this alone will not give industry buyers the incentive to seek out Nollywood content to satisfy t h e a u d i e n c e s o n t h e i r platforms hungry for these films.

As an industry, we will get there e v e n t u a l l y . B u t , a s stakeholders, we need to demand more, in not only for our to industry develop, but more importantly, to make a nation proud.

Mimi Bartels

"Only a few films can be considered premium and they do not come frequently enough to meet up with demand”

King of Boyz & Chief Daddy are currently available

on ancillary platforms

Yinka Edwards Filmography2018:Cinematography, Lionheart2017: Cinematography, Okafor’s Law2016: Cinematographer, 762015: Cinematography, 93 Days2013: Cinematographer, October 12013: Cinematography, Phone Swap2013: Cinematographer, Confusion Na Wa2010: Cinematographer, Figurine

Awards2018: Best Cinematographer AMVCA, – Okafor’s Law2017: Winning Animated Movie, BAFTA Awards– A Love Story 2013: Best Cinematographer NMA– Phone Swap 2010: Best Cinematographer, AMAA Awards – Figurine

Adekunle ‘Nodash’ Adejuyigbe Filmography2019: Director of Photography, The Bling Lagosians2019: Director of Photography, Mokalik2019: Director of Photography, Delivery Boy2019: Director of Photography, Merry Men 22017: Director of Photography, The Bridge 2017: Director of Photography, The Tribunal 2017: Director of Photography, Editor, Isoken 2016: Director, Director of Photography, Gidi Up (Season 3)2015: Second Unit, Cinematographer, Fifty 2015: Director of Photography, The Encounter2015: Cinematographer, Ireti2013: Editor, Director of Photography, Journey to Self

Awards2013: Best Editor, Nollywood Movies Awards - Journey to Self2011: Best Editor, Short International Film Festival in Lagos2011: Best Editor, Nigerian Movie Award for the movie, The Young Smoker

4 of Nollywood’s Finest Cinematographers

POWER LIST

The picture and sound quality of Nollywood films have improved over the years, thanks to brilliant cinematographers who are contributing in no small way to this development. FilmOne Digest brings to you a profile of four (4) of these professionals;

Baba Agba Filmography2018: Cinematographer, The Lost Café2017: Cinematographer, Evol2016: Cinematographer, Ojukokoro (Greed)

Toka McBaror Filmography2018: Director, Merry Men: The Real Yoruba Demons2018: Editor, Kada River2017: Editor, Lotanna

FILMONE DIGEST 24

SpecialFeatures

IT:Chapter Two

RELEASE DATE September 6th

GENRE

Horror

DIRECTOR

Andy Muschietti

KEY ACTORS

Finn Wolfhard, Bill Skarsgård, Jessica Chastain

SYNOPSIS

Twenty-seven years after their first encounter with the terrifying Pennywise, the Losers Club have grown up and moved away, until a devastating phone call brings them back.

SPECIAL FEATURES HOLLYWOOD

FILMONE DIGEST 25

FILMONE DIGEST 26

Spider-man: Far From HomeRELEASE DATE July 5th

GENRE

Adventure/Sci Fi/ Super Hero

DIRECTOR

John Watts

KEY ACTORS

Zendaya, Tom Holland, Angourie Rice

SYNOPSIS

Following the events of Avengers: Endgame, Spider-Man must step up to take on new threats in a world that has changed forever.


SpecialFeatures

FILMONE DIGEST 27

The Lion King (2019)

RELEASE DATE July 19th

GENRE

Animation/Drama/Adventure/Musical

DIRECTOR

Jon Favreau

KEY ACTORS

Donald Glover (voice - Simba), Beyonce

Knowles-Carter (voice - Nala), Seth Rogen

(voice - Pumbaa), Chiwetel Ejiofor (voice - Scar)

SYNOPSIS

After the murder of his father, a young lion prince flees his kingdom only to learn the true meaning of responsibility and bravery.


FILMONE DIGEST 28

Stuber

RELEASE DATE July 12th

GENRE

Action/Comedy

DIRECTOR

Michael Dowse

KEY ACTORS

Karen Gillan, Dave Bautista, Betty Gilpin

SYNOPSIS

A mild-mannered Uber driver named Stu picks up a grizzled detective who is hot on the trail of a sadistic, bloodthirsty terrorist and finds himself thrust into a harrowing ordeal where he has to keep his wits, himself unharmed, and work with his passenger while maintaining his high-class rating.


FILMONE DIGEST 29

Angel Has Fallen

RELEASE DATE August 23rd

GENRE

Action/Drama/Thriller

DIRECTOR

Ric Roman Waugh

KEY ACTORS

Gerard Butler, Morgan Freeman, Piper Perabo

SYNOPSIS

After the events in the previous film, Secret Service agent Mike Banning finds himself framed for an assassination attempt on the President. Pursued by his own agency and the FBI, Banning races to clear his name and uncover the real terrorist threat which has set its sights on Air Force One.

SpecialFeatures


FILMONE DIGEST 30

Fast & Furious Presents:

Hobbs & ShawRELEASE DATE August 2nd

GENREAction/Adventure/Comedy

DIRECTOR

David Leitch

KEY ACTORS

Vanessa Kirby, Dwayne Johnson, Eiza González

SYNOPSIS

Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.


A former drug smuggler and a confidence artist gets more than she bargains for when she is hired by a down on his luck businessman to assist with his scheme to marry a wealthy heiress. Things quickly take a turn for the worse as she realises that there is more to the scheme than meets the eye.

FILMONE DIGEST 31

The Set Up

RELEASE DATE August 9th

GENRE

Crime/Drama

DIRECTOR

Niyi Akinmolayan

KEY ACTORS

Dakore Akande, Kehinde Bankole, Adesua Etomi

SYNOPSIS

SpecialFeatures

SPECIAL FEATURES NOLLYWOOD

FILMONE DIGEST 32

Love Is War

RELEASE DATE 27th September


GENREDrama

DIRECTOR

Omoni Oboli

KEY ACTORS

Omoni Oboli & Richard Mofe Damijo

SYNOPSIS

Love is war is an intense drama about a husband and wife battling for governorship of Ondo state.

GENRE

Drama/Comedy

Made In Heaven


DIRECTOR

Toka McBaror

KEY ACTORS

Blossom Chukwujekwu, Nancy Isime,

Uche Nwaefuna, Richard Mofe Damijo,

Jide Kosoko, Ayo Makun and Lasisi Elenu.

SYNOPSIS

It is a Match Made in Heaven when Richard and Angela meet each other at a club in the arms of their partners, they die the same day and meet on the hallway to judgment. While there, they hit off and even the afterlife seemed brighter.

FILMONE DIGEST 33

SpecialFeatures


FILMONE DIGEST 34

The Millions

RELEASE DATE 30th August


GENREDrama

DIRECTOR

Toka McBaror & Tunde Apalowo

KEY ACTORS

Ramsey Noah, Blossom Chukwujekwu, Ayo Makun

SYNOPSIS

To carry out the greatest money heist in history, Bem Kator (Ramsey Noah), a charismatic con man has to enlist the services of three other con men (Blossom Chukwujekwu, Ayo Makun and Ali Nuhu) to carry out the act. But he has to be on his toes because they all have ulterior motives for being on a job that is "winners take it all" and the losers might find themselves fighting for their lives.

Kasanova


FILMONE DIGEST 35

SpecialFeatures

GENRE

Drama


DIRECTOR

Asurf Oluseyi

KEY ACTORS

Toyin Abraham, Ireti Doyle, Wale Ojo,

Odunlade Adekola, Ayo Makun, Helen Paul,

Ruby Akubueze and Alvin Abayomi.

SYNOPSIS

A single father’s beautiful relationship with his son is tested when he falls in love with the mother of his son’s crush. Who wins the battle for love?

Prior to the emergence of modern cinemas in Nigeria, the culture of cinema-going had been in existence dating back to the

1970s. Cities such as Lagos, Kano, Kaduna, Jos, Enugu and Port Harcourt enjoyed the era of community cinemas, with the likes of Queens & Kings Cinemas, Eldorado, etc. Though void of modern theatrical brilliance, these cinemas were able to convey experiences that created a pathway to what we enjoy currently. Unfortunately, the system was crippled by unprofessionalism, insecurity and other socio-economic factors.

The cinema business is a capital intensive one. Those in the know estimate the cost of erecting a modern, 4-screen cinema at $1 million. Therefore, with limited investment capital available for the sector, it would be prudent for emerging and existing stakeholders in the film exhibition industry to key into the development of community cinemas around the country, in order to bridge the existing gap between the ready market and available exhibition venues.

One advantage that could be enjoyed with the emergence of community cinemas in Nigeria would be the expansion of the Nollywood industry. In Q1 and Q2 of 2019, Nollywood films struggled to make good numbers at the box office (none made up to N40 million), because the correlation between the increased number of films and the available theatrical space has been disproportionate. In reality, a minimum of four Nollywood films hit the box office every Friday, in a market with less than 200 screens that also play host to films from Hollywood and Bollywood. Whereas, if we had 200 out of the 774 community cinemas recommended for the market, we would have about 600 additional screens across the country (an average of 3 screens per cinema), which could turn in a minimum of N40 million, for a single Nollywood film in a weekend. There is a growing appetite for cinema-exhibited Nollywood films across the country. However, there are not enough cinemas to show these

movies where they are in high demand. It is important to note that spending power across the country varies. Therefore, building luxurious cinemas in some parts of the country may take a longer time to yield a return on investment, due to lower ticket prices. Hence the option of community cinemas - they cost less to developbecause they requireless expensive technology and have no need for prime locations.

The opportunities that can be harnessed through the development of community cinemas are enormous; ranging from creating a financially robust industry that would attract foreign investments, to employment opportunities,

investment in human capital, technological development, and local product patronage. Aside from this, in off-peak periods, the auditoriums could serve as venues for social empowerment programmes, and other community events. In terms of promoting cinema culture, more cinemas in less affluent areas would create opportunities for movie stars to maintain a good relationship with fans, through extended personal appearances, which can be a huge source of inspiration to youths, as well as create sustainability for the art.

The good news is that some exhibitors are beginning to think in this direction - e.g –the new Filmhouse Naija cinema in Osogbo. We hope that many more will be unveiled in the future for the sake of our young and evolving industry.

- Jude Martins FILMONE DIGEST 36

THE FUTURE OF COMMUNITY CINEMAS IN NIGERIA

“In reality, a minimum of four Nollywood films hit the box office every Friday, in a market with less than 200 screens that also play host to films from Hollywood and Bollywood.”

THE FUTURE OF COMMUNITY CINEMAS IN NIGERIA

FILMONE DIGEST 38

INTERVIEW

Name: Arturo Guillén

Organization: COMSCORE

Title: Vice-President, Europe, Middle East,

Africa and India

Favorite Film: The Godfather

Favorite Onscreen Talent: Gary Oldman

Favorite Filmmaker: Francis Ford Coppola

Favorite Quote: “Do or do not. There is no

try” – ‘Yoda’, Star Wars

Hobbies: Rugby, free-diving and Brazilian

jiu-jitsu, as sports. Reading and spending

time with my wife and daughters.

Anticipated New Film:

Frozen 2… (I´m a father of 4 daughters)

Thoughts about Africa:

The beginning of everything and bright

future.

From Hollywood

with Love

“The entire industry needs to agree on a vision and commit to it, knowing that the success of that vision will maximize everyone’s opportunities”

Brief Bio - Arturo Guillén is Vice-President for Europe, Middle East, Africa and India, for Comscore’s movie division, which provides access to real-time intelligence services regarding cinema box office. Used by thousands of movie professionals around the globe, International Box Office Essentials (IBOE) tracks movie goers’ behaviour in more than 70 markets.

Under Arturo’s management, best practices in box office reporting have expanded to booming cinema markets like Turkey, the Middle East, west Africa and India, as well as traditional ones like the UK, France or Germany. His latest focus has been a

partnership with Gower Street Analytics, a company developing advanced machine learning and data science, to predict future audiovisual consumption, fuelled by Comscore’s data sets.

Previously, Arturo launched Rentrak’s first international VoD measurement service with leading Spanish platform, Canal Plus/Yomvi. Before his different roles at Rentrak, he served as Managing Director for Spain & Portugal at Nielsen EDI. Arturo participates in various technology startups in the education, legal and beauty sectors, and teaches about movie theatrical d i s t r i b u t i o n a n d e x h i b i t i o n i n ESCAC/University of Barcelona and ECAM in Madrid.

A column that chronicles the views of Hollywood executives on the Nigerian and west African market

InterviewOn-Set

FILMONE DIGEST 39

Which Nollywood film have you seen recently? The Wedding Party

What are your thoughts about the film industry in Nigeria and Africa? With a population of 1.2 billion, Africa presents a clear opportunity for the entertainment industry. The passion and love that African audiences have for their local content is the best guarantee for a strong and healthy industry. Nigeria is very well positioned to be the local hub to export content, not just to other African markets, but to the rest of the world. Considering the professionalism of local companies, I estimate a bright future for the industry.

If you were to suggest a Nollywood actor for a special role in a Hollywood film, who would it be? There are many actors and actresses that could become international, but the first that comes to mind is Iretiola Doyle. Just as with Nigerian music, it’s time for the movie industry to begin exporting talent.

What advice would you give to film industry stakeholders in Nigeria? Have a common goal for the benefit of the entire industry. Seneca said, “There is no favorable wind for the sailor that

does not know where he wants to go.” The entire industry needs to agree on a vision and commit to it, knowing that the success of that vision will maximise everyone’s opportunities. It is a beautiful moment to participate in the western African movie industry.

What are your thoughts about the need for investment in an upcoming film industry like Nollywood? The entertainment industry is changing rapidly, generating new

opportunities for the brave. Just because things have been done in a certain way in the past does not mean it should be the same in the future. As the industry realises its true potential, data and analytics will be a key driving factor to improve efficiencies, but more importantly to help in decision-making. We feel much honored to be a small partner to witness the evolution of the industry, helping it achieve its true potential.

FILMONE DIGEST 40

January

February

% Change (Jan-Feb)

March

% Change (Feb-March)

April

% Change (March-April)

May

% Change (April-May)

June

% Change (May-June)

Total

Admissions

453,484

250,555

-45%

369,988

48%

542,128

47%

439,434

-19%

435,227

-1%

2,490,816

Total GBO

₦560,439,345

₦319,248,680

-43%

₦436,186,482

37%

₦ 741,472,420

70%

₦ 577,133,306

-22%

₦ 532,059,984

-8%

₦3,166,540,217

$8,795,945.05

NollywoodGBO

₦267,249,550

₦68,759,792

-74%

₦73,251,281

7%

₦ 86,111,422.85

18%

₦ 72,144,140

-16%

₦ 118,585,367

64%

₦686,101,552.85

$1,905,837.65

HollywoodGBO

₦278,977,416

₦241,054,671

-14%

₦356,956,036

48%

₦ 651,587,393

83%

₦ 498,349,926

-24%

₦ 409,312,494

-18%

₦2,436,237,936

$6,767,327.60

Avg. Ticket Price

₦1,235.85

₦1,269.55

3%

₦1,178.92

-7%

₦ 1,300.00

10%

₦ 1,300.00

0%

₦ 1,200.00

-8%

₦1,247.39

$3.46

BollywoodGBO

₦14,212,379

₦9,434,217

-34%

₦5,979,165

-37%

₦ 3,773,604

-37%

₦ 6,639,240

76%

₦ 4,162,123

-37%

₦44,200,728

$122,779.80

n Figures captured cover titles ran within particular months irrespective of release dates. n Figures represent data for films released by all distributors.

From the table above, we can deduce that April accounted for over 21.8% of the total box office revenue for half the year. Also attendance grew steadily at about 16% between February and April but couldn't be sustained in May. The opening weekend of The Bling Lagosians had a strong influence on revenues in June, as it contributed to Nollywood's 64% spike.


H1, 2019No. of

Hollywood Titles

Released

3

7

133%

6

-14%

7

17%

8

14%

8

0%

39

No. of Nollywood

Titles Released

6

9

50%

16

78%

12

-25%

13

8%

11

-15%

67

No. of Bollywood

Titles Released

4

5

25%

7

40%

5

-29%

8

60%

2

-75%

31

Revenue Split (H1, 2019) Hollywood | Nollywood | Bollywood

77%

22%

1%

HollywoodNollywoodBollywood

T

Total No. of Films

13

21

29

24

29

21

137

All figures collated COMSCORE


Q2, 2019

FILMONE DIGEST 41

n Figures captured cover titles ran within particular months irrespective of release dates. n Figures represent data for films released by all distributors.

From the metrics table above, we can deduce that the highest attendance and revenue in the region's box office, for the second quarter, was recorded in April (P4); a period influenced by the strong start of Shazam and ending with the opening weekend of Avengers: End Game.

Average Ticket Price (ATP) was maintained at a little over $3 (at an exchange rate of $1 to N360) across the quarter. Bollywood had more titles in May and realized a 76% improvement in revenue. Whereas, the slight increase in the number of Nollywood titles in May did not reflect positively in revenue.

However, The Bling Lagosians and Mokalik (amongst others) helped June end with a 64% increase in revenue from May. Hollywood titles also experienced a decline in revenue by 24% and 18% in May and Juner espectively, as the titles could not sustain the initial impact from April.

-Jude Martins

All figures collated from data made available by COMSCORE

Admissions

Total

Hollywood GBO

Nollywood GBO

Bollywod GBO

Avg. Ticket Price

No. of Hollywood Titles Released

No. of Nollywood Titles Released

No. of Bollywood Titles Released

April

542,128

₦ 741,472,420

₦ 651,587,393

₦ 86,111,422.85

₦ 3,773,604

₦ 1,300.00

7

12

5

May

439,434

₦ 577,133,306

₦ 498,349,926

₦ 72,144,140

₦ 6,639,240

₦ 1,300

8

13

8

June

435,227

₦ 532,059,984

₦ 409,312,494

₦ 118,585,367

₦ 4,162,123

₦ 1,200

8

11

2

Q2 Total

1,416,789

₦ 1,850,665,710

₦ 1,559,249,813

₦ 276,840,929.85

₦ 14,574,967

₦ 1,266.67

23

36

15

34%

44%

78%

-32%

-51%

4%

44%

16%

-6%

Q1 Total

₦ 1,055,347

₦ 1,286,248,746

₦ 876,988,123

₦ 409,260,623

₦ 29,625,761

₦ 1,218

16

31

16

% Gain/Loss

Contact Jude Martins:

[email protected]

Michael Williams:

[email protected]

Advertise Here

HOBBS AND SHAW

N230M

SPIDER MAN HOME COMING

ANGEL HAS FALLEN

THE LION KING

N160M N150M N300M

STUBER THE KITCHEN: QUEENS OF CRIME

ONCE UPON A TIMEIN HOLLYWOOD

HUSTLERS

N25M N20M N15M N65M

LOVE IS WAR N65M

THE SET UP MADE IN HEAVEN CODE WILO N65M N45M N18M

HOLLYWOOD

NOLLYWOOD

Remi Adeyanju, Film-booking Manager,

Filmhouse Cinemas

T he third quarter of the year has an array of promising titles from both Hollywood and

Nollywood. In anticipation, we spoke to the Film-booking manager of Filmhouse Cinemas, who is a major decision maker in terms of box office performances. He gave us an insight on what to expect from these releases across West Africa, and did a forecast on the Gross Box Office for the top films that would be released across cinemas in the territory.

Q3 in View with Remi Adeyanju

Q3 in View

FILMONE DIGEST 43

FILMONE DIGEST 44

MARTURION CINEMAS

EXHIBITORS’ CORNER

Maturion Cinemas is a new generation exhibition company that offers standard and premium services to its guests. Since inception in 2018, they have rolled out two (2) cinemas in Igando and Lekki (both in Lagos, Nigeria). They plan on owning five cinemas in within Lagos and one in each of Nigeria’s 36 states and capital.

SCREENS PER LOCATIONn Igando - 2

GENESIS CINEMAS

Exhibitors’ Corner

FILMONE DIGEST 45

n Port Harcourt – 4

n Palms Mall, Lagos – 6

n Owerri – 3

SCREENS PER LOCATION

n Maryland Mall, Lagos – 4

n Warri – 3

n Ceddi Plaza, Abuja – 3

n Novare Mall, Lagos – 5

n Gateway Mall, Abuja – 4

n Asaba - 3

Genesis is a key player in the Nigerian cinema space with 35 screens and over 5000 seats available across nine cinemas in the country. In June 2019, Genesis Cinemas signed a pact with South Korean multiplex giants CJ 4DPLEX to introduce SCREEN X to the Nigerian market. They plan to have the technology in six of their locations.

FILMONE DIGEST 46

INDUSTRY NEWS

Prior to his inauguration, the incoming Lagos State Governor, Mr. Babajide Sanwo-Olu selected two filmmakers to be part of his transition team. They were Mo Abudu (Chief Daddy) and Michael Asuelime (Entreat). The team analysed the report of the outgoing administration, reviewed the campaign manifesto of the incoming administration and proposed ways for the government to be visible and create an enabling environment for entertainment businesses to thrive in the state.

Lagos State Governor Involves Filmmakers in Transition Team

Michael Asuelime was a member of Sanwo-Olu's Transition Committee

Mo Abudu was a member of Sanwo-Olu's Transition Committee

FilmOne Entertainment has teamed up with Empire Management to make an inspirational film titled Greenland. According to a press release dated 14th June, pre-production was set to begin in July.

The narrative follows the journey of ‘Tunji’, a 21-year-old from the slums of Ogun state,

Nigeria, as he attempts to change his destiny. Tunji has always dreamt of breaking free from his everyday reality - family woes, poverty and the death of his only sister – but his only escape is his passion for football. A series of impulsive decisions takes him on an unforgettable journey that ultimately shapes him and those around him.

+

FilmOne Partners with Empire Management

IndustryNews

FILMONE DIGEST 47

The city of Barcelona once again played host to contingents from around the world at the 29th edition of CineEurope.

The event was held 17th-20th of June, with several industry stakeholders in attendance, and Hollywood giants such as Walt Disney and IMAX as sponsors. Also featured was a screening of Anabelle by one of FilmOne’s international partners, Warner Bros.

CINEEUROPE

The 72nd edition of the CANNES Festival took place in Paris, France between 14th and 25th of May. The jury for the festival included Senegalese actor and filmmaker Maimouna N'Diaye as a member. Also, the festival opened with Jim Jarmusch's film, The Dead Don’t Die, and closed with The Specials, directed by Olivier Nakache and Éric Toledano. The late, legendary French filmmaker Agnes Varda was honored with a lead feature on the official poster of the festival.

CANNES Festival

Group ED – Moses Babatope was at CANNES 2019)

Delegates from Filmhouse Cinemas at CineEurope 2019

FILMONE DIGEST 48

Filmhouse to Open New Cinema at Landmark Event Centre

Genesis Brings Screen X to West Africa

Port HarcourtPhase 2, Genesis Center, GRA Port

Douala Douala Grande Mall, Cameroon

Lekki Lekki Phase 1, Epe Express Way, Lagos

New Genesis CentreOwerri, Nigeria

Ceddi264 Tafawa Balewa Way, Abuja Nigeria

Sangotedo Novare-Mall Eti-Osa, Sangotedo

Genesis Cinemas has signed a pact with South Korean cine-giants CJ 4DPLEX, to build six Screen X theatres in Nigeria. According to a press release dated 17th June 2019, the proposed locations are:

Filmhouse Cinemas is set to roll out the first MX4D theatre in west Africa.

The theatre is to be launched within their new location at Landmark Event Centre later in the third quarter of the year.

IndustryNews

FILMONE DIGEST 49

Movies Now Available on AMAZON Prime

King Of Boys

Sylvia

When Love Happens Again

Merry Men

The Accidental SpyM

y W

ife

& I

A Trip to Jamaica

Films Now Available In-flight

King of Boys Chief Daddy 10 days in Suncity

10 days in Suncity

Royal HibiscusHotel

King of Boys

Emirates Airlines

South African Airways

Air Algeria Oman Air

FILMONE DIGEST 50

We have also opened our doors to the public for the following services:

n Promotional ads (shooting and editing)n Event coveragen Movie trailer creationn Montagesn Activation coverage (shooting and editing)n Advertisement placements for The Filmhouse

TV Show

FilmOne ProductionIn Q3, we have outlined a list of developments to spice up our offerings:

n A feature film exclusively produced by FilmOne

n A state-of-the-art editing studion A new TV show to educate the

public on the technicalities of filmmaking

For enquiries, please [email protected]@[email protected]

Visit our website www.filmoneng.com

IN THE NEXTEDITION...

Show East, 2019

Interview with award-winning

filmmakers

Power-list of A-class Nollywood directors.

FILMONE DIGEST 51

For enquiries, contact:

Jude MartinsEmail: [email protected]

or

Michael Williams Email: [email protected]

filmone digest 2019 q2 sin€¦ · the wedding party is a lm project that based it's...

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