Trailer for Kotoko (there is a subtitled one elsewhere but it is not of as good quality as this one!)

Trailer for Isn't Anyone Alive?

Third Window have announced that they are no longer distributing theatrically. Here's a very sobering letter from their Managing Director explaining why. It really gives an insight into how hard it is to be a small distributor in the UK today.

There are a couple of slightly disingenuous claims in that piece.

First of all, it's not compulsory to have BBFC certification for theatrical releases: you only need the permission of the local authority in whose jurisdiction the cinema operates. Clearly, this isn't practical if the film is opening in dozens of cinemas, but that's very unlikely to be the situation here, and I personally worked on several releases where we decided to bypass the BBFC because it wasn't cost-effective to get a certificate. In fact, I wrote to Camden Council requesting screening permission so many times that I ended up creating a standard form letter.

Secondly, unless things have changed dramatically in the past few years, the 75/25 exhibitor/distributor split that he complains about only applies up to the cinema's break-even figure, after which the distributor takes the lion's share - this is why it's actually very hard for cinemas to make a substantial amount of money even if they ostensibly have a massive hit on their hands!

But what I found most interesting about the piece is that virtually all of his complaints would have been just as valid 10-20 years ago. As someone points out in the comments, the real culprit is a massive cultural change whereby we no longer make a point of going out to see rare films in cinemas, because it's no longer the case that this might be your only opportunity to see them.

Agreed, though that tying up of home video rights with a guarantee of theatrical distribution that seems to be the main issue with Japanese companies sounds like it is the major problem.

To play devil's advocate though, this seems mostly just a city-centric (if not just London) problem other than that - if there were no problem with home video rights then I don't really see the problem with dropping the token theatrical run at a couple of cinemas that are regularly acknowledged as having their own agenda in mostly marketing their own licensed films. Apart from maybe the publicity that would be generated by brief mentions on Kermode's review show or the BBC's Film programme or capsule reviews in papers before they get back to talking about the latest big mainstream release. Sight and Sound's coverage could possibly become erratic though if most of the interesting potential theatrical releases instead skipped that stage and jumped straight to DVD or VOD.

Sorry if the above argument is not well put - I'm trying to channel my inner Nothing in his absence!

Or they need to get another company to help them with theatrical distribution. It happens a lot in America or Japan, I assume other countries as well where theatrical distribution is co-sponsored by another company, or vice versa.

Rightsholders are often the source of the problem - as we know only too well from their insistence on region-locking Blu-rays even though there's no sign of a release in any of the other regions. And I also remember the cultural problems with dealing with Italian rightsholders in the 1990s who couldn't understand why a colossal blockbuster in Italy would unavoidably be a limited-release arthouse film in the UK, and don't understand why the film can't just be dubbed into English and given a mainstream release. And as a result they wanted far too much money for the rights, and so the films didn't get picked up at all.

I hear Polish rightsholders are equally intransigent, which is why lots of good recent titles only play theatrically in places like Kinoteka - Wajda's Katyn nearly didn't get a UK release because it was erroneously assumed that its vast success in Poland (caused by specifically local factors that weren't duplicable elsewhere) and its Oscar nomination justified a fee way over the odds. Fortunately, once it became clear that no-one was going to bite at the original asking price, they proved open to negotiation - but the film eventually opened in the UK more than 18 months after its premiere.

Often as not, it comes down to ignorance of how things work in a particular territory, and an assumption that distributors have the power to impose the rightsholder's conditions on exhibitors - whereas in fact if an exhibitor is faced with an unattractive deal, they'll simply turn it down flat. And niche distributors end up getting squeezed in the middle.


There have been quite a few internal debates about Sight & Sound's decades-old policy of covering every theatrical release and whether it should still be a matter of general policy, because you're right: lots of theatrical releases are blatant loss leaders (with one particularly cynical example, I was sent the DVD to review as a theatrical release, since it was coming out the following week!) while lots of interesting stuff goes straight to DVD/VOD, and it's not logistically possible to keep tabs on everything worthwhile even if the physical space was available to write about them. Especially since the regular DVD reviewers often make a point of covering interesting international releases as well as the more attractive UK ones. Which is why I think they're sticking with the old formula for now.


Possibly not the best role model - Nothing's Achilles heel in these debates was that while he knew a fair amount about the production end he generally knew next to nothing about distribution and exhibition, and was temperamentally disinclined to learn, largely because economic and logistical realities usually conflicted with his various ideological positions.

Incidentally, it's worth keeping tabs on that Twitchfilm article, as the commenters are generally pretty knowledgeable - and include representatives of the exhibitors being dissed.

I think that is why I often had a certain amount of sympathy for Nothing (or at least his initial arguments before they went a bit too far!), knowing nothing about the system myself except from the outside!


It sounds though that the big problem is that the only other companies who would be likely to help with theatrical distribution are places like City Screen, which already have their own slate of releases buffered by Hollywood product (which I guess is what the Third Window director is talking about when he alludes to the old-time Hollywood monopoly over exhibition. City Screen may not be creating the products themselves as in old Hollywood studio system, but it appears that this monopoly of the arthouse circuit enables them to make choices over what gets a distribution push). This came up a long time ago with Bruno Dumont, a divisive filmmaker to say the least, but I think we are all the poorer for the homogenisation of cinema distribution, especially if it directly impacts on what is available on home video.


Didn't a particularly obvious example of that happen in the last month or so with Iron Sky? A one day theatrical engagement on a Wednesday before it got its home video release almost straight away. I suppose if the money is available for a quick push like that (including, surprisingly, "one day only!" TV ads. One of which ran during a television screening of another camp classic featuring Udo Kier, Barb Wire, which I thought was a wonderfully appropriate bit of advert placement!) before a very quick home video release it makes sense, since it will also immediately move the release into the sights of the media for some potential reviews, as well as giving Mr Kermode another opportunity to plug it again!

Perhaps this also suggests that the gaps between theatrical and home video distribution need to be shortened a great deal as well to make a theatrical push work on both levels, rather than petering out and having to be kick-started again afresh, though that likely creates a whole new set of issues with rightsholders and cinemas!

Break figures don't really exist any more, Michael, in fact, in my experience a lot of people in Theatrical Sales don't even know what they are! What has become more common is for cinemas to be billed based on the overall UK box office, with the cinema getting a favourable rate if the box office goes over, £1m, £2m, £5m though of course that doesn't affect Third Window so they still only get a measly 25%.


Colin, if you are suggested that Third Window just do a few theatrical runs at select cinemas in order to benefit from the theatrical press (which has a massive impact) you would be right but do not underestimate how much this will cost them as it would be likely they would need to pay the cinema to show the film in order to achieve this. The cinema won't want to show a film which has minimal marketing and/or appeal when they could be playing something like Prometheus (which was even on the bloody news) unless they are receiving ample compensation and when I say ample I mean every single seat bought out.


Other companies with more leverage to get films into cinemas don't often want to do this for small films because they have their own theatrical slate to worry about and/or the film is very small and the effort/expense won't be worth it for either party. Funnily enough it tends to happen with larger films like the UK partnership of Fox/Pathe being the most extreme example or Paramount handling theatrical sales on We Need to Talk About Kevin.

Thanks for updating me on the break figures issue - I always have to qualify my comments by pointing out that I haven't worked in exhibition for nearly 20 years, and this is a very good reason why.

And more generally, a big issue is that there are far fewer genuine independents now than there were. When I was at the Everyman in the 1990s, we were totally independent - if I needed a decision made, I'd just pop into my boss's office next door, and the chances are that it would take seconds. And we were very popular with small distributors for this reason, as we often provided a lifeline if their films had been turned down by larger chains - at least we'd give them some theatrical exhibition, even if it wasn't what they originally envisaged.

Third Window are actively responding to the comments.

"Love Exposure"

-New High-Definition Transfer Supervised by Sion Sono
-1 Hour Long Making of
-30 Minute Additional Making of Including Interviews with Sion Sono & the Person Whom the Film is Based on
-Sakura Ando deleted & Extended Scenes
-Hikari Mitsushima Deleted & Extended Scenes
-Zero Church Deleted Speech
-Theatrical Trailer

"Mitsuko Delivers"

-Making-of featurette
-Theatrical Trailer

"Himizu"

-70 minute 'Making Of'
-Deleted & Extended Scenes
-Interview with actor Denden
-Theatrical Trailer

I'm not on Facebook but could someone who is ask about (or check if someone else has asked about):

Heart, Beating In The Dark (preferably in an edition that includes both the 1982 and 2005 version)
the documentaries A and A2
Bashing
Any Juzo Itami
To Sleep So As To Dream or Circus Boys by Kaizo Hayashi; or any of his "Maiku Hama" trilogy, especially The Most Terrible Time Of My Life (that first film feels stylistically indebted to Seijun Suzuki as much as Spillane!)

Boy, almost anything by Shuinichi Nagasaki would be welcome--he's fairly unknown outside of the Japan, but is probably the greatest of that generation of directors to emerge in the late '70s/early '80s. He's rivalled only by Sogo Ishii, whose Crazy Thunder Road is another one you'd think would have appeared on DVD outside of Japan by now.

There were quite a few queries, specifically about Tampopo, but TW basically said that although it is "a classic" and they would love to release it, there are certain problematic rights issues around that and some of his other films. Sadly.

What are they asking about Tampopo for? It's out on R0 DVD in the UK. edit: sorry, the release is Australian, but available from the UK


Ditto for:

Shinozaki Makoto, Okaeri (1995) - I'm surprised nobody has mentioned this yet over on FB - but maybe it's an impossible one, as there's not even a Japanese DVD release..?

Kurosawa Kiyoshi, Serpent's Path, Eyes of the Spider, Barren Illusion (1998-1999) - and an English-friendly disc of License to Live (1998) would be essential as well. I honestly expected the Cannes success of Tokyo Sonata would've encouraged some Western label to release more of his non-"J-horror" works, but apparently the English-speaking market for contemporary Japanese cinema is what it is (apparently Doppelgänger is as far as anyone's willing to go with KK - and even that was marketed in an utterly ridiculous fashion)

(edit: removed unnecessary speculation)

Anything by Shiota Akihiko would be nice, but I see he's been mentioned already. Fat chance though

Not to my knowledge - I apologise in advance if I'm wrong. The closest it's had to release that I know of is Moviemail selling a limited stock of imports from Umbrella in Australlia (that I have already and is R0 for sure). Is this what you are thinking of? They look OK but hardly stellar and it's so void of features, it doesn't even have a menu.
EDIT: Sorry posted this before I saw your edit.

Right, sorry - I wasn't aware of the limited availability! And yeah, it's certainly as bare-bones as they come - but for rare films like this I've dropped my standards as low as they go

The R2J License to Live has English subs, though it's crazy expensive of course -- the "reduced-price" reissue released a couple of years back retails for $50. It's not a bad-looking disc, at least not by the mixed standards of Kurosawa on DVD. Yakuza Taxi is out in Japan, but there aren't even English fansubs available for that one, so Third Window could theoretically get the jump on everyone. Actually, I wouldn't even mind seeing them release Bright Future, given that the Korean disc (the only reasonably-priced edition of the original cut) is long out of print.

Another possibility -- given that they have The President's Last Bang in their collection -- is Im's debut Girls' Night Out. There was a Korean DVD, but for whatever reason it had no English subs.

Then again, as the shorter cut/re-edit at least used to be KK's preferred version, the first question to solve would be which version to release in the first place As this is one of my all-time favourite films, I'd easily double-dip for a sharper transfer of either version (I only have the Palm Pictures dvd)

BTW, the Arte Video release of License to Live (double-packed with Doppelgänger) is a slightly less expensive option for those to whom using fansubs / deciphering the French subs is not an insurmountable obstacle...

Having been following the conversation on Facebook here's a few things Adam let slip

Cafe Isobe: Hope to release next year (i'm a big fan so looking forward to that one)

The Crazy Family: "talking to Sogo Ishii now about trying to restore it like with Tetsuo. Trying to find out quality of original materials and if it's possible. Hopefully it can happen!"

Akihiko Shiota: "In negotiations to take his latest film to the UK"

Sogo Ishii: Someone asked after Electric Dragon 80.000v, Burst City, Hiruko The Goblin, Adam's response was "we may have something coming up later this year (hopefully) that is even better than what you've asked for!" Sogo or Tsukamoto boxset or more releases?

Will not be buying Bakugyaku Familia

Symbol & Golden Slumber: "Despite the constant demand for both I personally wasn't a big fan of either so unfortunately will give them a miss". (I've emailed him in the past about Golden Slumbers)

Tetsuya Nakashima: won't be bringing Paco And Magical Picture Book to the uk but "We actually tried to acquire the rights to his first 2 films he did in the late 90s, but it's impossible at this moment in time"

More people wanting Golden Slumber

Won't be releasing TV Series/Seasons

Tetsuya Nakashima part 2: on Golden Slumbers: "with all this pressure i think I'll need to rewatch the film Maybe i'll like it a 2nd time. No way on Boy & his Samurai though, but working on another film of his for 2013 release so watch this space." Also says he'll rewatch Symbol

Air Doll (Koreeda): "had heard that Air Doll was picked up, though I think it had some problems with rights issues. I'm sure either Soda, Art Eye or Axiom"

Not interested in releasing any Miike films and no plans to bring out Survive Style 5, Funky Forest or Detroit Metal City

Today he said "Unfortunately no chance of GOLDEN SLUMBER release due to music rights not being cleared internationally!"

Golden Slumber is awesome, shame.

Is the French version really uncut? I see contradictory runtimes online and the CNC only lists the 93-minute version. The French subs I can find online are only for the short version, though those could be from some other French-speaking country.

As for the preferred version, I've never personally read or heard Kurosawa expressing a point-blank preference -- the only English-language interview that even addresses the subject seems to be this one, where he basically hedges and says both versions have their strong points. An IMDb poster cited an alleged Japanese interview where he dismissed the shorter cut, but the whole thing was subsequently deleted by the mods, apparently because it referred to Celluloid Dreams as "Frenchie bastards." I suppose you can give that as much credibility as you care to. The main thing I recall from the short version is that it loses the bit with Nimura in the shop just before the end, so as far as I'm concerned they can keep it.

It was Palisades Tartan. They gave it a (very) limited U.S. run but never did anything with it in the UK, even though they picked it up for both territories.

And hey, if they can't get Golden Slumber, maybe they should try for Golden Slumbers...if I were them, I'd do it just to see the reaction.

> no plans to bring out Survive Style 5, Funky Forest or Detroit Metal City

I absolutely loathed Funky forest. Detroit Metal City was okay -- but thought that other rock-related films of the period were a lot more interesting (Brass Knuckle Boys and Solanin -- both featuring Aoi Miyazaki in fine form).

No, you're right, I'm sorry - rather embarrassingly that was hearsay, I don't have the disc. I was almost going to get it on that basis but good to be corrected - most sources seem to list the 93 minute cut. Removed my blunder!

So -- how long is the longer version of Bright Future -- and what is the shorter version missing? (Never realized that there was more than one version).