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Lars Von Trier s Manderlay launched on its hometurf over the weekend, registering a disappointing 3,686 admissions in Danishcinemas. It was the first territory to launch the Cannes competition film.The sequel to Dogville was released on 26screens, which is considered a broad release in Denmark. By comparison, SinCity launched on 32 screens over the same weekend, attracting 23,769admissions.Back in 2003, Dogville pulled in a total of109,116 Danes into theatres. It was an impressive achievement given that VonTrier is not a mainstream director - despite being a household name in Denmark- and the film was in the English language.Given its lacklustre opening, Manderlay isexpected to gross around half the box office of Dogville. The poor figures are surprising given that Manderlayhas enjoyed huge buzz since the Cannes film festival. Nearly every majornewspaper in Denmark rewarded Manderlay عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] with five stars out of six.In the run-up to the film s launch, Von Trier fuelledan alternative mar عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] keting campaign for the film by accusing Denmark s two mainscript writers, Anders Thomas Jensen and Kim Fupz Aakeson, of being tooprolific and not writing from the heart. Von Trier s attack got a lot of pressbut was stopped by Zentropa co-owner Peter Aalbأ¦k Jensen, who regularly backsthe works of the writers at Zentropa. عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] No comments No comments yet You re not signed in. Only regist Deii Fine Line takes English-speaking world on Out To Sea
European arthouse exhibitors have voiced growing concern about the challenges posed for their sector by the impending 35mm â€‍ عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] switchoff .Speaking at last weeks European training programme on Venices San Servolo Island, CICAE president Detlef Rossmann [pictured] said: The screens in the major markets in Europe will be digitised up to 80% by the end of 2012 and, at the beginning of 2013, it will be difficult to get 35mm prints in these countries. The independent distributors will cease 35mm print delivery. The fact is that the labs will close down – one has already done this in Germany- and there will also be problems in the small countries with the delivery of 35mm prints because labs will no longer be able to work efficiently. In a video presentation, MEDIA Salles general secretary Elisabetta Brunella told the workshop participants that there had been an 80% increase in the number of European cinema screens digitised between the beginning and end of 2011 The tipping point has now been reached as more than 50% of screens have been transferred to digital, she explained, adding that the latest data collated by MEDIA Salles shows that there has been a further increase of about 15% in the number of digitised screens in the first half of 2012 so that over 60% of Europes screens are now digital. The impact of this, on the distributors side, is that they are increasingly quitting the 35m prints an عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] d the switchoff - which means the end of distribution on 35mm - is defini عفوا ,,, لايمكنك مشاهده الروابط لانك غير مسجل لدينا [ للتسجيل اضغط هنا ] tely approachin[/SIZE][/COLOR][/FONT]