Ruben Östlund is eagerly awaited “The entertainment system is broken down“Added to New York and Tokyo Useless cinema As an executive producer, continuing the strategic expansion of the company in international projects on a larger scale. The film, with Kirsten Dunst, Keanu Reeves, Daniel Brühl, Nicholas Braun and Samantha Morton, follows the passengers on a long-haul flight forced to face the horror of boredom when the entertainment system fails.
“I am very, very excited for the film. It will be very special ”, founder of useless cinema Alex C. Lo tell Variety. LO, a self-written “longtime admirer” of Östlund’s work, is a frequent collaborator of the producer of “The Entertainment System is Down”, Philippe Cober, in particular on the Winner of Lou Ye, Le Winner “and The Winner “by Jessica Hausner” by Jessica Hausner “by Jessica Hausner” and Jessica Hausner “Club Zero.” The entertainment system is broken “is currently shooting and targets a 2026 version.
LO established useless cinema just before the pandemic at the end of 2019, the activities of the company from 2021. Prix to Sundance, the latter attracting the attention of LO as a single perspective of South Asia to the adolescent sexuality. “I have seen many films passing through adulthood which approach the theme of the sexual conscience of adolescents, but never one of South Asia,” explains Lo.
The company quickly built an impressive portfolio of films acclaimed by criticism. Among these is Yeo Siew Hua 2024 Selection of Venice “Stranger Eyes” ,, which has climbed aboard “the depth of its social-political commentary and the complexity of the story”.
Useless Cinema’s current slate includes 10 projects at different development and production. Among these, “Girl left”, a Taiwanese project in post-production carried out by Shih-Christ Tsou and co-written with the director “Anora” Sean Baker, who is also an editor. Mike Goodridge produced with the international sales management pact.
Another key project is the Italian fantasy-western “heads or tails”, Directed by Alessio Rigo de Righi and Matteo Zoppis, after their canes-premier “The Tale of King Crab”. The company also develops “The Meltdown”, a thriller passing through the adulthood of the Chilean director Manuela Martelli and Cofinance the next Jim Jarmusch film “Father, mother, sister, brother” Pulled by Cate Blanchett and Adam Driver.
The filmography of Cinema useless also includes a significant participation in notable productions, notably “The Settlers” by Felipe Gálvez Haberle, “The Maria”, “Transamazonia” by Jessica Palud, “Transamazonia” by Pia Marais, “Happyend, Happyend, Happpyende , Locarno-Selleend, Neo Sora “by Neo Sora” by Neo Sora, “Happyende, Happyende,” Happyende. “The selection of Tokyo of Tsuta Tetsuichiro” Black Ox “and the title of Sundance of Max Walker-Silverman” Rebuilding “.
Discussing their approach to international co-productions, particularly widespread in Southeast Asian projects such as “Stranger Eyes” and the Cannes of Truong Minh Quý “Viet and Nam”, LO underlines the importance of “maximizing the available resources and to try to make the best plan for the film. “They add that success depends on” opening up to collaboration with different cultures, but on the same objective of making the best possible film “.
Regarding distribution strategies for the house cinema, it notes that they focus on “territory sales by territory, working with very well established art cinema distributors on each territory”. For films like “Girls Will Wills”, which has achieved a successful international festival race, streaming platforms have proven to be precious, the film obtaining a privileged video agreement in India.
For the future, LO sees the potential in the expansion on a global scale: “I am very curious about the continuation of Latin America, and I will continue to cultivate Europe. I love European cinema. They argue that Southeast Asia remains a priority, noting “there is a growing desire to see more diverse voices in Southeast Asia”.
The name of the company is inspired by Taoist philosophy on the manufacture of space in its heart for wisdom, reflecting LO’s approach to cinema. Their vision of the next five years is to maintain a commitment to unique artistic films while developing in “larger -scale projects that are not only clever, but also commercially viable”.
LO’s philosophy in the selection of projects focuses on four key qualities: “culturally specific, socially relevant, thematically complex and universally important”. They underline the importance of supporting risk taking in an increasingly difficult market: “People lose confidence in themselves – even the most talented people could be discouraged to do what they really want to do. Our mission is to protect vision and help filmmakers make the best film they wanted to make. »»