Picture Tree Intl. has boarded international sales for Constantin Film’s comedy fantasy blockbuster “Chantal and the Magic Kingdom,” which will receive its market premiere in Cannes.
The film has been No. 1 on Germany’s box office charts for four consecutive weeks since its release on March 28, and reached more than 2 million admissions, with a gross of $22.5 million.
“Chantal” is the latest German-language hit from writer-director Bora Dagtekin and producer Lena Schömann. The duo previously delivered “Turkish for Beginners,” the “Fuck You Goehte” franchise and the German remake of “Perfect Strangers,” which have collectively grossed more than $300 million worldwide.
In “Chantal,” the beloved “Fuck You Goehte” character Chantal and her best friend Zeynep are sent on a fantasy adventure into the world of fairytales with a comedic and contemporary twist.
Chantal, an influencer without followers, and Zeynep stumble into the fairytale world through an ancient magic mirror, which they mistake for a social media gimmick.
The film has been No. 1 on Germany’s box office charts for four consecutive weeks since its release on March 28, and reached more than 2 million admissions, with a gross of $22.5 million.
“Chantal” is the latest German-language hit from writer-director Bora Dagtekin and producer Lena Schömann. The duo previously delivered “Turkish for Beginners,” the “Fuck You Goehte” franchise and the German remake of “Perfect Strangers,” which have collectively grossed more than $300 million worldwide.
In “Chantal,” the beloved “Fuck You Goehte” character Chantal and her best friend Zeynep are sent on a fantasy adventure into the world of fairytales with a comedic and contemporary twist.
Chantal, an influencer without followers, and Zeynep stumble into the fairytale world through an ancient magic mirror, which they mistake for a social media gimmick.
- 4/24/2024
- by Leo Barraclough
- Variety Film + TV
On the March 30, 2022 episode of /Film Daily, /Film editorial director Peter Sciretta is joined by /Film editor Brad Oman to have a spoiler-filled discussion of Moon Knight.
Opening Banter:
In The Spoiler Room: Moon Knight Episode 1 "The Goldfish Problem"
Brief reactions
Breakdown
Danielle's Moon Knight's Depiction Of Dissociation Made Me Feel Seen
Moon Knight Has Few Direct MCU Ties - And That's Why It's So Refreshing
Moon Knight's Human Statue Character Has A Comic Book Origin
Every Song We Heard In Moon Knight Episode 1
The Best Action Scene In Moon Knight Episode 1 Withholds The Mayhem
The Easter...
The post Daily Podcast: Moon Knight Episode 1 Spoiler Discussion — The Goldfish Problem appeared first on /Film.
Opening Banter:
In The Spoiler Room: Moon Knight Episode 1 "The Goldfish Problem"
Brief reactions
Breakdown
Danielle's Moon Knight's Depiction Of Dissociation Made Me Feel Seen
Moon Knight Has Few Direct MCU Ties - And That's Why It's So Refreshing
Moon Knight's Human Statue Character Has A Comic Book Origin
Every Song We Heard In Moon Knight Episode 1
The Best Action Scene In Moon Knight Episode 1 Withholds The Mayhem
The Easter...
The post Daily Podcast: Moon Knight Episode 1 Spoiler Discussion — The Goldfish Problem appeared first on /Film.
- 3/30/2022
- by Peter Sciretta
- Slash Film
“The Goldfish: Dreaming of the Sea” follows Hana—an 18-year-old raised in a group home since her mother’s imprisonment 10 years prior—as she watches over the home’s newest arrival, Harumi (Runa Hanada), a young, withdrawn girl who can’t get along with the rest of the group. As the pair become closer and Harumi starts to open up, Hana discovers Harumi’s history with physical abuse and recalls her own memories of trauma when she learns of her mother’s appeal for retrial.” (Japan Cuts)
“The Goldfish – Dreaming of the Seas” is screening as part of Japan Cuts
Sara Ogawa’s second feature film offers a captivating look at the life of a girl (Hana) whose spent her life in a group home due to the actions of her mother. Using the home as a a stage to explore the drama inherent in such institutions, the weight of...
“The Goldfish – Dreaming of the Seas” is screening as part of Japan Cuts
Sara Ogawa’s second feature film offers a captivating look at the life of a girl (Hana) whose spent her life in a group home due to the actions of her mother. Using the home as a a stage to explore the drama inherent in such institutions, the weight of...
- 8/27/2021
- by Adam Symchuk
- AsianMoviePulse
The comedy will centre on three single ladies and their wild trip to Ibiza. Alireza Golafshan, who last year, at the Bavarian Film Awards, was crowned Best New Director for his debut feature, The Goldfish, which also scooped the Bunte New Faces Award for Best Debut, is preparing his sophomore feature, Jga. With a script written by Golafshan himself, the upcoming comedy will depict a wild trip to Ibiza undertaken by three single ladies, and will focus on what it feels like to be unwillingly single, friendships and fake relationships, all the while trying to capture an entire generation’s attitude towards life. The letters that make up the title are not only the German abbreviation for a stag/hen party; they also stand for Jasmin, Gina and Anna. After everyone else who was supposed to fly to Ibiza to attend a hen do cancels owing to children-related obligations, the pregnant bride-to-be.
Constantins’s Us teen drama ‘After Passion’ was a surprise hit with young female audiences.
Cinema-going in Germany saw a slight year-on-year recovery in box-office takings and admissions for the first half of 2019 with admissions rising by 6% and ticket revenues by 5.6%, according to provisional figures collated by ComScore.
In the same period in 2018 German exhibitors had been faced with an almost 17% year-on-year drop in box office and admissions, and 2018 had ended with overall attendance sliding by 13.9% to 105.5 million admissions, the lowest level since German reunification in 1990. Gross box office receipts failed to pass the €1bn threshold for the first time...
Cinema-going in Germany saw a slight year-on-year recovery in box-office takings and admissions for the first half of 2019 with admissions rising by 6% and ticket revenues by 5.6%, according to provisional figures collated by ComScore.
In the same period in 2018 German exhibitors had been faced with an almost 17% year-on-year drop in box office and admissions, and 2018 had ended with overall attendance sliding by 13.9% to 105.5 million admissions, the lowest level since German reunification in 1990. Gross box office receipts failed to pass the €1bn threshold for the first time...
- 7/11/2019
- by Martin Blaney
- ScreenDaily
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