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Phoenix Waters, Studio Target Sign Tri-Regional Film-TV Partnership, Set ‘Shashou' (EXCLUSIVE)

Phoenix Waters, Studio Target Sign Tri-Regional Film-TV Partnership, Set ‘Shashou' (EXCLUSIVE)

Yahoo20-03-2025

Hong Kong's Phoenix Waters Productions and South Korea's Studio Target have inked a memorandum of understanding to bolster cross-border collaboration spanning Hong Kong, Korea and the U.K.
The strategic alliance, revealed during Hong Kong FilMart, will focus on jointly developing, financing and producing films, series and microdramas — the latter being short-form digital content that has gained significant traction throughout Asia as vehicles for audience engagement and brand integration.
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Leading the partnership's initial slate is 'Shashou,' an international action thriller that pays homage to classic Hong Kong cinema while incorporating Western influences. Set to commence production later this year with a global cast, the project has already secured participation from Berkeley Media Group and Ostara Pictures, with SC Films International handling sales and MAD Solutions acquiring MENA rights.
'Amidst the various challenges facing the global film and media industry, I believe that our collaboration and innovation will be key to illuminating the future,' said Doyeon Julia Kim, CEO of Studio Target. 'Through this partnership, we will maximize diverse investment resources and production capabilities in each region, produce commercially successful content, and achieve global market expansion.'
The alliance emerges against a backdrop of industry challenges. Hong Kong's film sector has been seeking new avenues for growth and international expansion, while Korea's industry grapples with sustainability issues amid escalating production costs and stagnant budgets.
As part of the collaboration, Studio Target will handle the South Korean release of 'Tape' later this year, highlighting the growing synergy between the companies.
Phoenix Waters Productions, recognized for East-West collaborations, has been instrumental in revitalizing Hong Kong cinema through projects like 'Tape,' 'Forensic Psychologist,' and 'The Audition.' Meanwhile, Studio Target has established itself as a powerhouse in South Korean film production, recently producing box office hit 'Hitman 2.'
'This partnership represents more than just a business deal — it's a commitment to building a sustainable future for Hong Kong and Korean cinema,' said Bizhan Tong, CEO of Phoenix Waters Productions. 'By combining our creative and production strengths, we aim to develop films and series that resonate on a global scale, showcasing the incredible talent and rich storytelling from these regions.'
Both companies are inviting global investors, distributors, and industry leaders to participate in the initiative as they advance their slate of projects.​​​​​​​​​​​​​​​​
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‘Twelve Moons' Debuts First-Look Clip Ahead of Tribeca Premiere, Director Victoria Franco Speaks About Societal Pressures on Women (EXCLUSIVE)
‘Twelve Moons' Debuts First-Look Clip Ahead of Tribeca Premiere, Director Victoria Franco Speaks About Societal Pressures on Women (EXCLUSIVE)

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‘Twelve Moons' Debuts First-Look Clip Ahead of Tribeca Premiere, Director Victoria Franco Speaks About Societal Pressures on Women (EXCLUSIVE)

'Twelve Moons,' the feature debut of Mexican filmmaker Victoria Franco, premieres on Saturday in the International Narrative Competition of Tribeca Festival. Variety debuts an exclusive first clip from the film and speaks to the director. The film stars acclaimed Mexican actor Ana de la Reguera, whose career bridges Hollywood and Latin American cinema, alongside Ariel Award winner Enrique Arreola. Filmmaker Michel Franco, Victoria's brother, is a producer on the film, and the Match Factory is handling international sales. More from Variety 'Billy Joel: And So It Goes' Directors Share Inspirational Message From Ailing Singer: 'He Will Be Back' Tribeca Festival: Miley Cyrus' 'Something Beautiful,' Barbara Walters Doc and 11 Other Films We're Excited to See 'The Shadow Scholars,' Executive Produced by Steve McQueen, Debuts Trailer Ahead of North American Premiere at Tribeca (EXCLUSIVE) 'Twelve Moons' follows Sofia, a 40-year-old architect in Mexico City, who has suffered a devastating loss, and must navigate her complex emotions while trying to stay true to herself. As she struggles with her fertility and identity as a woman, both her personal and professional life begin to deteriorate forcing her to look inward to find the light that will lead her forward. In the clip, we see that Sofia has an issue with alcohol consumption, and in the film, we discover she is also a drug user. 'For me, it's really important to portray people who don't feel comfortable with social conventions,' Franco says. 'There are many people who don't feel that they are part of society but feel societal pressure. And as a woman, there is the added pressure to have a child, have a family, be the perfect woman, and I really admire people who are really authentic and don't give in to these pressures.' Sofia is portrayed with empathy and her alcohol and drug dependency should be seen as a 'disease,' Franco says. It is Sofia's way of relaxing when faced with societal expectations and the pressure to conform – to feel 'normal,' overcome her insecurity, and appear self-confident. Unable to conceive, Sofia's life – both personal and professional – starts to unravel. 'She has no boundaries, so she doesn't know how to separate her professional and personal life, and she takes them both so seriously,' the director says. 'She feels that through her architecture, her feelings can become connected with other people. She tries to work in a way that is parallel to her feelings. Architecture is very important in this film, because I portray many places that are representing her feelings through their architecture.' Franco describes Sofia as an 'ethical' architect who tries to create buildings that encourage a feeling of freedom in those who inhabit them. We see her visiting buildings in Mexico City that exemplify that approach, like those designed by the architect Luis Barragán. 'She fights to create spaces that allow people to have more liberty within them. There's a conversation where she's arguing about putting fewer parking lots in order to create more green spaces so people can be happier in these places. 'I love Luis Barragán, who talks about a spiritual architecture, about architecture where you can feel the connection between the space and the mind, and you can feel connected with it, and it's the architecture of silence too. He won the Pritzker Prize, and his acceptance speech was amazing. It's beautiful.' Speaking about Ana de la Reguera, Franco says: 'Ana has great presence. She has a lovely face. She's a person with a deep, deep soul. And when I talked to her about the script, I felt that she was very connected with the matter of being a woman in her 40s and the social demands that people make. 'And she's an actress who has like 20 years of experience, so I was really amazed when we were talking and playing around, like, 'Imagine the camera is here, and what would you do?,' and she was improvising and doing things that I was amazed by, because sometimes I felt that she had known the character for her entire life, like she has lived with her.' Regarding the cinematography, she comments: 'First of all, I decided that the movie should be black and white, so the spectator had no distractions with the colors, and he could be really connected with the emotions and the state of mind of the character. 'And also, the movie is about architecture as well, so it's very geometrical. We looked for many locations that were really hard to get permission to film there, but we made it. There's a beautiful fountain by Isamu Noguchi, the Japanese artist, for example. 'The cinematographer, Sergio Armstrong G., is a genius. We improvised a lot. We never felt that we were in control of everything. We played with the freedom of being in the moment and sensing where to put the camera. We didn't have a shooting list of everything, and I felt so free. If I didn't have this cinematographer, Sergio, it would be pretty difficult, because I was pretty sure of the emotional state and everything but the visual things… it was Sergio who put everything together to make the movie look like the state of mind of the character.' As in film noir, the film uses light and shade to reflect the internal landscape of the character, but there were other cinematic influences. 'Many times, I felt inspired by Italian Neo Realism, because we didn't have much budget for lighting, but with its realism sometimes the film feels like a documentary, and the camera was very, very humbled, because we didn't need so much lighting to make it look beautiful. And the shadows and the geometric forms are so important.' There are similarities to how she and her brother work, she says. 'We both film chronologically. That was very helpful, because the actress was really involved with the process of the character and the emotions, and we improvised a lot, so the script changed a lot while shooting. Michel also does that, so I believe we're similar in terms of production.' She is full of praise for her brother's contribution as a producer. 'I think he was the best producer because he really got my back, and he just cares about the creativity and the process that I wanted, and he never gave up, for example, in getting some locations. Even though we didn't have enough money, he'd fight for everything. So, it was a paradise working with him.' Next up for Franco, she says, is a film about a teenager in New York, for which she is writing the screenplay now. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?

Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland
Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland

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Elvis & Lilo & Stitch: 'Everyone's Favorite Elvis-Loving Alien' pulls up to Graceland

Elvis and Ann-Margret. Elvis and Nancy Sinatra. Those teams were popular with audiences. But not as popular as Elvis & Lilo & Stitch. Released in 2002, the Disney animated feature film "Lilo & Stitch" introduced audiences to a lonely young Hawaiian girl and Elvis fan, named Lilo, and her new "pet," Stitch, a somewhat dog-esque genetically engineered extraterrestrial who liked to rampage but really yearned for a hug. Together, the duo pursued 'ohana (a Hawaiian term for "family") while playing "Suspicious Minds" on a portable record player and battling space aliens. Like Stitch's stolen spaceship when it crash-landed on the island of Kauaʻi, the movie made an impact. It earned an Academy Award nomination for Best Animated Feature (it lost to Miyazaki's "Spirited Away," as any movie would), and collected $273 million at the international box office. (In comparison, 1964's "Viva Las Vegas," with Elvis and Ann-Margret, earned the equivalent of $94 million, in 2025 dollars.) On May 23, Disney released a new "Lilo & Stitch," the latest in its series of more-or-less live-action remakes of beloved animated features (other examples — all with digitally animated characters — include "Beauty and the Beast," "Mulan" and "Snow White," to name a few). Directed by Dean Fleischer Camp (who charmed audiences with the low-budget "Marcel the Shell with Shoes On"), the movie preserves but de-emphasizes its predecessor's Elvis connection. Even so, in the actual live-action world — the world of Disney and Graceland, of marketing and merchandise, of fans of music and movies — Elvis & Lilo & Stitch remain inseparable. "The amazing thing is that each generation gets introduced to Elvis in a different way, and for a certain generation, 'Lilo & Stitch' was how they were introduced to Elvis," said Angie Marchese, vice president of archives and exhibits at Graceland. "Now in their mid-20s, these people became fans because of the Disney movie," she said. "And now there's a whole new generation of kids who will be introduced to Elvis and his music through this new live-action version." How many kids? A lot of 'em: The new "Lilo" immediately established itself as a blockbuster. According to Variety, the entertainment industry newspaper, the movie set a Memorial Day weekend record by collecting an estimated $183 million at the U.S. box office. With the addition of its overseas revenues, Variety added, "Lilo & Stich" is off to "a staggering $341.7 million global start." On May 22, the evening before the movie's official release date, Disney hosted an invitation-only screening of the new movie in the 464-seat theater at The Guest House at Graceland, the hotel on Elvis Presley Boulevard that is located just north of the Elvis mansion. Attendees — mostly Elvis fans already connected to Graceland via various mailing lists — packed the house. They snagged free "Lilo & Stitch" posters and leis, and posed for selfies against Hawaiian backdrops and alongside larger-than-life Stitch figures, dressed in Elvis garb (there was a "Blue Hawaii Stitch," a "Jailhouse Rock Stitch," and a "50000000 Million Elvis Fans Can't Be Wrong Gold Lamé Suit" Stitch). Earlier in the day, an animatronic Stitch in a rhinestone-studded jumpsuit toured Graceland in a miniature motorized vehicle, to the surprise and likely delight of fans. "The lovable renegade alien, who happens to love the music of Elvis Presley, arrived at the gates to Graceland Mansion in a pink convertible before going across the street to view the King of Rock 'n' Roll's jumpsuits and pink Cadillac at Elvis Presley's Memphis entertainment complex," stated a Disney press release about the publicity event. The headline described Stitch as "Everyone's Favorite Elvis-Loving Alien." ELVIS AT 90: Decade-by-decade milestones in the life — and afterlife — of the King The ballyhoo echoed similar fanfare that heralded the release of the first "Lilo & Stitch" 23 years earlier. In 2002, the movie's arrival coincided with Graceland's yearlong commemoration of the 25th anniversary of Elvis Presley's death; Jack Soden, CEO of Elvis Presley Enterprises, told The Commercial Appeal that the release of an Elvis-connected "classic G-rated Disney flick" would open "a powerful market" for Graceland. In 2002 as in 2025, Disney and Graceland hosted an invitation-only local premiere for "Lilo & Stitch," but the earlier event was more elaborate. The screening of the film at Downtown's now-vanished multiplex, the Muvico Peabody Place 22, was followed by what The Commercial Appeal called a "lavish luau" in front of the ticket pavilion at Graceland, complete with fire dancers, leis made from actual orchids, bamboo huts and costumed movie characters. Testifying to the event's importance, the guest of honor was the nephew of Walt Disney, longtime Disney executive Roy E. Disney, who at the time was vice chairman of the Disney company and chair of Disney Feature Animation. (Roy Disney died in 2009, at 79.) The Los Angeles premiere of the 2002 movie had occurred about a week earlier. Priscilla Presley attended, and told reporters that "Lilo & Stitch" offered "a great message to bring family back together again because really, that's what it's all about. Elvis was very much a family man, regardless of what you hear. He loved family and he always came home." In 2025 as in 2002, Disney and Elvis Presley Enterprises are banking on the appeal of "Lilo & Stitch." The gift shops at Graceland now are stuffed with items from the grandiloquently labeled "Disney Stitch Inspired by Elvis Collection," created by NECA, a pop culture collectibles company. Ranging from $12.99 to $34.99, these include plush and plastic figures of all sizes, showcasing Stitch in Elvis garb. Stitch-as-Elvis pins and other items also are available. The new merchandise augments a still thriving line of "Lilo & Stitch" merchandise, tied to the original film. Stitch "has become a crucial character in the Walt Disney Company's modern empire, mainly in the form of a dizzying array of licensed merchandise," The New York Times reported this week, in a story that called Stitch "a cash cow for the company." Reported the newspaper: "The company's annual financial reports for 2023 and 2024 included 'Lilo & Stitch' on a short list of nine examples of its 'major' licensed properties, putting it on par with classics titans like Winnie the Pooh and Mickey and Friends, and conglomerates like Star Wars and the collective Disney princesses." Meanwhile, vintage 2002 "Lilo & Stitch" collectibles continue to be popular on eBay and elsewhere; these include eight McDonald's Happy Meal toys, one of which presents Stitch in an Elvis jumpsuit, strumming a guitar atop a surfboard. ELVIS WEEK 2025: Graceland to celebrate the King with concerts, panels, vigil and more The new "Lilo & Stitch," for the most part, is remarkably faithful to its inspiration, even to the inclusion of a clip from the same B-movie, 1958's "Earth vs. The Spider." But — somewhat surprisingly, in the wake of the hit Baz Luhrmann biopic — the new movie has less Elvis than the old. Yes, the soundtrack showcases the same songs ("Heartbreak Hotel," "Devil in Disguise," "Hound Dog"), in basically the same situations (although the remake totally bungles the Stitch-as-record-player "Suspicious Minds" scene); but the live-action Lilo (played by Maia Kealoha) is less the Elvis evangelist than was her cartoon counterpart. In the first film, Lilo pays Stitch the ultimate compliment: "You look like an Elvis fan." She pulls out an 8-by-10 "Blue Hawaii" portrait of Elvis and declares: "Elvis was a model citizen." She tells Stitch: "I have compiled a list of his traits for you to practice." This leads to comic scenes of Stitch strumming a guitar while wearing an Elvis-style jumpsuit and pompadour. The film ends with a happily-ever-after vacation "photo" of Stitch and his new human family posing in front of the gates of Graceland. None of these Elvis moments are recreated in the new movie — although Stitch does appear, briefly, in his Elvis jumpsuit during the end credits. Maybe we'll get more Elvis — for better or worse? — in the sequel, if there is one. The 2002 "Lilo & Stitch" was followed by a TV series and three direct-to-video feature films. The first of these features was "Stitch! The Movie," which — perhaps due to budgetary constraints — licensed only one Elvis song, the thematically appropriate but hardly epochal "Slicin' Sand," from 1963's "Blue Hawaii." The lyrics likely did not give Leiber & Stoller sleepless nights. Encourages Elvis, while serenading a bevy of beauties: "Dance, dance, dance/ 'til your toes get tan/ We're gonna have us a ball on the beach/ Slicin' sand..." This article originally appeared on Memphis Commercial Appeal: Lilo & Stitch: Elvis references, Stitch merch and a visit to Graceland

Watch Jennifer Lopez spin a fantastical web in teaser for 'Kiss of the Spider Woman'
Watch Jennifer Lopez spin a fantastical web in teaser for 'Kiss of the Spider Woman'

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time2 hours ago

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Watch Jennifer Lopez spin a fantastical web in teaser for 'Kiss of the Spider Woman'

Jennifer Lopez is making a bold new move in her career. The multi-hyphenate star is at the center of the teaser trailer for Kiss of the Spider Woman, a film adaptation of the 1993 Tony Award-winning Broadway musical hit from Dreamgirls and Beauty and the Beast director Bill Condon. Lopez plays Ingrid Luna/the Spider Woman, a fictional silver screen diva who brings dazzling technicolor into the bleak life of prisoner Molina (Tonatiuh Elizarraraz), a window dresser convicted of public indecency. The film switches from Molina's harsh reality to a fantastical, musical utopia as he recounts the plot of a Hollywood musical to his cellmate, Valentín (Diego Luna), a political prisoner. Set to John Kander and Fred Ebb's — the legendary duo behind Chicago and Cabaret — award-winning score and a book by Tony Award winner Terrence McNally, Condon's adaptation draws inspiration from the Broadway musical and the acclaimed 1976 novel of the same name by Argentinian writer Manuel Puig. The Broadway musical won seven Tony awards, including Best Musical and Best Actress in a Musical for Chita Rivera, who originated the role of the Spider Woman. Condon's adaptation isn't the only time the Spider Woman has made her way to the big screen. Héctor Babenco directed the first film adaptation of the novel, which premiered in 1985. The critically acclaimed film starred William Hurt, Raúl Juliá, and Sônia Braga. Hurt won the Best Actor award when the film premiered at the 1985 Cannes Film Festival, as well as the Academy Award and BAFTA for Best Actor. Babenco became the first Brazilian filmmaker to earn an Oscar nomination for Best Director, and the film was the first Brazilian production to receive a nod for Best Picture. It also received a Best Adapted Screenplay nomination. Lopez is not only the star of the film, but also serves as an executive producer alongside Luna, her ex-husband Ben Affleck, Matt Damon, and 12 others. The movie debuted at the 2025 Sundance Film Festival back in January and received a standing ovation from the audience, which reportedly left Lopez in tears. The mother of two previously opened up about taking the role during an interview with Variety's Awards Circuit podcast in November. She called it "the most challenging and rewarding role I've ever had." "It's a dark story, but also one about love and survival — about helping each other through hard times," Lopez added. "I think that's a message we really need right now." She recalled Kander being with her in the studio when she recorded her songs. "He's [98] years old and still so full of life," Lopez said. "Hearing him say, 'I've never heard this song sung better' — it was one of the best moments of my career." Kiss of the Spider Woman is set to premiere in theaters Oct. 10. Read the original article on Entertainment Weekly

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