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Busan Film Festival to Honor Jafar Panahi as Asian Filmmaker of the Year

Busan Film Festival to Honor Jafar Panahi as Asian Filmmaker of the Year

Yahoo5 days ago
The Busan International Film Festival has selected Iranian auteur Jafar Panahi as its 2025 Asian Filmmaker of the Year, honoring the director's uncompromising contributions to Asian and world cinema.
Panahi will receive the award during the opening ceremony of BIFF's 30th edition, which runs Sept. 17–26 in the South Korean port city. The accolade, one of the festival's highest honors, is presented annually to an individual or organization that has made a significant impact on the development of Asian cinema. Past recipients include an elite roster of artists and autuers, such as Kiyoshi Kurosawa, Hirokazu Kore-eda, Chow Yun-fat, Tony Leung, Ann Hui, Mohsen Makhmalbaf, Hou Hsiao-hsien, and the late composer Ryuichi Sakamoto, among others.
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A central figure in Iran's New Wave cinema, Panahi came to prominence with his debut The White Balloon (1995), winner of Cannes' Camera d'Or. He has since built a career defined by formal rigor and fearless political critique, continuing to create films despite a state-imposed ban and multiple arrests. Earlier this year, Panahi completed the rare European festival trifecta, taking home the Palme d'Or at Cannes for It Was Just an Accident (2025). The Hollywood Reporter's critic on the ground at the festival hailed the film as 'a shrewdly crafted vengeance film' that 'slowly but surely builds into a stark condemnation of abusive power and its long-lasting effects.'Panahi previously won the Golden Bear at the Berlin Film Festival for Taxi (2015) and the Golden Lion at Venice for The Circle (2000), making him the first Asian director to claim the top prize at all three major European festivals.
Accepting the Palme d'Or at the Cannes ceremony, Panahi said: ''At a time when making films in my country becomes more difficult every day, this recognition reminds me that cinema can still connect us beyond borders, languages, and limitations. I not only accept this award in my own name, but also on behalf of all those who, in silence, in exile, or under pressure, continue to create.'
Neon acquired North American theatrical rights to It Was Just an Accident at Cannes and plans to release the film on Oct. 15.
The 30th Busan International Film Festival will be headquartered once again at the Busan Cinema Center, with screenings and special events taking place throughout the city. BIFF's Asian Project Market (APM), a vital incubator for emerging filmmakers across the region, runs concurrently with the festival. The event will unveil its competition selection in late August.
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Justin Timberlake's Tour Sparks Wave of Viral Jokes, Memes
Justin Timberlake's Tour Sparks Wave of Viral Jokes, Memes

Newsweek

time4 hours ago

  • Newsweek

Justin Timberlake's Tour Sparks Wave of Viral Jokes, Memes

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White House Slams ‘South Park' as 'Desperate' for Attention After Unflattering Depiction of Trump
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time14 hours ago

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White House Slams ‘South Park' as 'Desperate' for Attention After Unflattering Depiction of Trump

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Box Office Grosses Won't Return to Pre-COVID Levels Even by 2029, New Report Forecasts
Box Office Grosses Won't Return to Pre-COVID Levels Even by 2029, New Report Forecasts

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Box Office Grosses Won't Return to Pre-COVID Levels Even by 2029, New Report Forecasts

U.S. and global box office and total cinema revenue will not reach pre-COVID-19 pandemic levels by 2029, according to accounting firm PwC's annual closely watched media and entertainment outlook report released late on July 23. In the U.S., pre-pandemic total cinema revenue is not forecast to be reached by 2029 despite a compound annual growth rate (CAGR) of 3.9 percent. PwC had recorded nearly $11.7 billion in U.S. total cinema revenue in the pre-pandemic year 2019 after $11.8 billion in 2018. The firm projects the figure to rise from $8.9 billion in 2024 and $9.6 billion in 2025 to $10.1 billion in 2026, $10.3 billion in 2027, $10.6 billion in 2028 and $10.8 billion in 2029. 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'The Writers Guild of America (WGA) and Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) strikes of late 2023 had slowed down production — and there were fewer 'tentpole' titles than would normally have been anticipated.' For the global box office, PwC forecasts the 2024 figure of $29.7 billion to grow to $33.5 billion this year. It then predicts continued growth to $37.7 billion by the end of the Outlook report period in 2029, compared with $39.4 billion in 2019. 'It's important to remember that industry revenues are ultimately driven by price times volume. In this case, while ticket prices are rising, admissions (volume) are not expected to return to pre-pandemic levels,' Spiegel says. 'Instead, the growth in global box office revenue is being fueled by higher ticket prices. These ticket price increases are driven by several factors, including enhanced infrastructure and facilities, technological advancements, and rising content costs.' 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Franchise Films and Tentpoles Growth in U.S. box office revenue this year 'is again being driven, as in pre-COVID-19 years, by franchise movies building on existing IP — with Disney re-established as the pre-eminent player,' the report notes. The studio had three of the top five hits in the U.S. market in 2024: Inside Out 2, Deadpool & Wolverine, and Moana 2.… Each of the five major studios — Disney, Universal, Warner Bros., Sony and Paramount — had sizable hits. Universal's Wicked, Despicable Me 4 and Twisters; Warner Bros.' Beetlejuice Beetlejuice, Dune: Part Two and Godzilla x Kong: The New Empire; Sony's Bad Boys: Ride or Die and It Ends With Us; and Paramount's Gladiator II and Sonic the Hedgehog 3 were all strong successes.' 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Windows Experiments Experiments with day and date releasing, making big blockbusters available on streaming platforms with little or no period of exclusivity in cinemas, 'have now been largely discarded,' the PwC report highlights. 'This reveals a shift in the studios' mindset and an acknowledgement that releasing in cinemas first is still regarded as the most reliable way to drive ancillary sales. Streamers involved in film production, like Amazon MGM and Apple, are also committing to 45-day theatrical windows for their bigger titles.' Netflix remains focused on its streaming platform, though. 'Netflix's Oscar contender Emilia Pérez was given only a very brief theatrical release (primarily to ensure awards qualification) before being launched to stream on the Netflix platform,' notes the Outlook. 'Emilia Pérez's box office revenue was, relatively, low at around $15 million globally. The film secured 13 Oscar nominations despite not being seen widely on the big screen.' Cinema Appeal 'U.S. exhibitors have been trumpeting research that suggests the public is re-embracing the theatrical experience,' PwC points out. 'The National Association of Theatre Owners cited a report into cinema-going habits compiled by UCLA, which revealed that seeing a movie during opening weekend ranks as the number one preferred activity among 10–24-year-olds. This counters prevailing anxiety about the loss of a younger audience too preoccupied with TikTok and Instagram to go to cinemas. Market research also suggests that for certain genres — horror and comedy in particular — younger cinema-goers like to watch with their peers and to enjoy the shared experience.' Theater Amenities Cinema operators' upgrades to luxury seats is 'one factor driving admissions for more-affluent customers,' according to PwC. Loyalty and subscription programs offering discounts have also been on the rise. For 2024, the firm reports 119 million loyalty club members, up from 106 million in 2023. 'PLF is continuing to make gains,' the Outlook report also emphasizes. 'In North America, 950 theatres now have large-format screens — a 37 percent increase from five years ago and a clear sign that cinema-goers are looking for a spectacular experience that can't be replicated at home. A record number of at least 14 Hollywood and international releases shot with Imax cameras will hit cinemas in 2025 — and will be shown on the Imax global platform at the company's 1,700 locations.' Sony's Alamo Deal Could Spur Theater Buys Sony Pictures' 2024 acquisition of exhibitor Alamo Drafthouse made Sony the first studio giant to move back into owning cinema assets. 'Anti-trust legislation that had been in place for over 70 years, from 1948 to 2020, meant that Hollywood studios were previously prevented from owning their own movie theatres,' highlights PwC in its report. 'There is the possibility that other U.S. studios will follow suit. This means they can again become fully vertically integrated — controlling production, distribution and exhibition, just as they did during their heyday from the 1920s to the 1940s.' Best of The Hollywood Reporter How the Warner Brothers Got Their Film Business Started Meet the World Builders: Hollywood's Top Physical Production Executives of 2023 Men in Blazers, Hollywood's Favorite Soccer Podcast, Aims for a Global Empire Solve the daily Crossword

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