Gay Erotic Thriller ‘Night Stage' Sold to Germany and Austria Ahead of Berlinale Premiere, Trailer Debuts (EXCLUSIVE)
'Night Stage,' the gay erotic thriller by Brazil's Filipe Matzembacher and Marcio Reolon, has been acquired by German distributor Salzgeber, which will release the film in Germany and Austria. The film will world premiere in Berlinale's Panorama sidebar next week.
M-Appeal is handling international sales for the film, and has released the international trailer.
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'We have followed the careers of filmmakers Filipe Matzembacher and Marcio Reolon since their first feature, 'Seashore,' premiered at the Berlinale in 2015,' Jakob Kijas from Salzgeber said. 'In 2017, we released their miniseries 'The Nest' in Germany. Now we are delighted to welcome 'Night Stage' in our program – a bold and beautiful drama about love, sex, performances and politics, that takes risks and fully delivers.'
Salzgeber plans to release 'Night Stage' theatrically in autumn this year. The film joins the distributor's upcoming slate alongside 'Misericordia' by Alain Guiraudie, 'Baby' by Marcelo Caetano (also represented by M-Appeal) and 'Viet and Nam' by Trương Minh Quý.
'Night Stage' follows an ambitious actor and a successful politician who start a secret affair, and together discover their fetish for having sex in public places. The closer they get to their dream of fame, the more they feel the urge to put themselves at risk.
The cast is led by Gabriel Faryas, Henrique Barreira and Cirillo Luna.
Matzembacher and Reolon's previous film 'Hard Paint,' which also premiered in Berlinale Panorama, won the Teddy Award in 2018 and went on to become a festival hit.
'Night Stage' is produced by Jessica Luz and Paola Wink from Brazil's Vulcana Cinema, Matzembacher and Reolon's production company Avante Filmes. The film is supported by FSA, Ancine, and the Projeto Paradiso Foundation.
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100 years ago, the battle for television raged
Television's broadcast debut in 1936 unfolded like a plot made for the medium itself—complete with bitter competition, intrigue, celebration, and devastating setbacks. The story reached its climax when a fire at London's Crystal Palace destroyed parts of television inventor John Logie Baird's research laboratory on November 30, 1936. The timing could not have been worse. Baird was locked in a high-stakes showdown with his deep-pocketed rival, Electric and Musical Industries (EMI), who had partnered with wireless pioneer Guglielmo Marconi and the American radio giant RCA-Victor. Long before that fateful November day, the television landscape was crowded with inventors competing for the title to the as-yet unproven but promising medium. Despite his eventual defeat, Baird deserves credit for achieving the first wireless transmission of a moving image, as Popular Science writer Newton Burke reported in June 1925. The discrepancy between Baird's early success and later failure came down to a classic confrontation between old and new tech: Where Baird succeeded with mechanical television systems, he struggled to master the new and more efficient electronic technology. Despite its mechanical design, Baird's primitive television system was revolutionary for its time. Though it consisted of unwieldy components too impractical for commercial success, Burke noted that it successfully 'transmitted the motions of a human face, winking and smiling, from one room of a laboratory to another, without the aid of photography or wires.' The transmitted image was so crude that Baird's photographic evidence resembled the white hockey mask favored by serial killer Jason Voorhees in Friday the 13th films. Yet Burke recognized its significance, writing, 'The fact remains that the outline of the face is plain, so are the shadows of the eye sockets and the shape of the open mouth.' Baird's achievement, while novel, built upon decades of previous work. His system incorporated ideas from Maurice LeBlanc, an engineer from France who published the first principles of television transmission systems in 1880's 'Etude sur la transmission électrique des impressions lumineuses,' or 'Study on the electrical transmission of light impressions.' LeBlanc's design was part of a six-volume engineering compilation devoted to the advent of electric lights, La Lumière Electrique, as reported by Popular Science in June 1882. Baird also drew from the work of German inventor Paul Nipkow, who had developed an 'electric telescope'—a pair of spinning discs capable of scanning still images and transmitting them through electric wires, which he patented in 1885. Meanwhile, Charles Jenkins, a Washington, D.C.-based contemporary, achieved the first synchronized video and audio transmission on June 13th, 1925, though his system only handled still pictures rather than motion. Understanding Baird's mechanical system helps explain both its breakthrough nature and ultimate limitations. His apparatus used a rapidly revolving disk equipped with lenses that focused light from the subject onto a selenium cell. This cell converted the light impulses into electrical signals suitable for radio transmission—crucial because radio waves were the only practical distribution medium available at the time. A synchronized receiving disk with a ground-glass screen then reconstructed the image. As Burke explained, 'The images received on his ground-glass screen are described as being made up of exceedingly fine lines of varying darkness.' However, the width of these lines and their flicker rate were constrained by the physical limitations of the mechanical apparatus—problems that would require electronic solutions to overcome. While Baird perfected his mechanical approach, gradually improving display resolution from 30 to 240 lines by 1936—today's displays are measured in pixels, 8K being the latest generation—other inventors pursued electronic television systems using cathode rays to scan and project images. This technological shift created one of the most bitter patent battles in broadcasting history. Philo Farnsworth, a farm boy from Utah, and Vladimir Zworykin, a Russian émigré who fled during the Russian Revolution, each claimed first rights. While Farnsworth was officially awarded the first electronic television system patent in 1930, Zworykin had filed the first U.S. patent in 1923. Their rivalry sparked a long and rancorous legal showdown between Farnsworth and RCA, who had hired Zworykin to build America's first broadcast television system, the National Broadcasting Company (NBC), which debuted at the 1939 New York World's Fair. In the years before NBC's American debut, the center of television development was London, where the British Broadcasting Corporation (BBC) sought to upgrade beyond Baird's crude broadcasts that had been running for nearly a decade. Recognizing an opportunity to accelerate progress, the BBC commissioned a head-to-head competition in 1936 between rival systems. Baird's team collaborated with Farnsworth to create a hybrid mechanical-electronic system, while EMI partnered with Marconi for transmission technology and RCA to leverage Zworykin's electronic innovations. (By then the patent dispute had been settled, with RCA paying royalties to Farnsworth.) Both teams would broadcast identical programming from London's Alexandra Palace, allowing direct comparison of their capabilities. Even before the Crystal Palace fire, Baird faced an uphill battle. His system couldn't match EMI's superior 405-line resolution or transmission range. 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10 more West Virginian books that were turned into movies — Part 2
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Although the book's author, Ken Hechler, was born in New York, he attended Marshall University and lived in Huntington for many years, eventually becoming a West Virginia Congressman in 1959. According to an interview with the National Archives, Hechler was stationed with the First Army in Command of the III Corps at the time of the battle at Remagen, about 10 miles away. As a combat historian, Hechler interviewed many troops involved and published his own book detailing the battle in 1957, which was adapted to film in 1969. Filming for the movie began in 1968 in Czechoslovakia, a country behind the 'Iron Curtain.' According to the American Film Institute (AFI), much of the military equipment seen in the film was loaned by the Austrian and Czech governments, including tanks, explosives, weapons and even Nazi uniforms. Three city squares in the town of Most had already been planned for demolition prior to filming, and their destruction was used in action scenes during production. 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Jeannette Walls' memoir 'The Glass Castle' was a #1 New York Times bestseller and tells the true story of Walls' tumultuous and nomadic upbringing, with a large part of the book taking place in West Virginia. The film adaptation of the book was released in 2017, starring Brie Larson as Jeannette Walls, Woody Harrelson as Walls' father Rex, and Naomi Watts as Walls' mother Rose Mary. The movie turned into a moderate box office success with a worldwide gross of around $22M and an estimated budget of $9M according to IMDB. Another best-selling Pearl S. Buck novel that was adapted into a movie, 'Dragon Seed' is also set in China and tells the story of a Chinese village invaded by Japanese soldiers during World War II. The lead role of 'Jade Tan' is played by Katherine Hepburn, who leads the resistance against the Japanese occupation. 'China Sky' is another movie adaptation of a Buck book, and as the title indicates, it too is set in China during World War II. 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Gunther Wins World Heavyweight Championship On WWE RAW
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