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Jessica Chastain is AVA: Coming soon in cinemas.
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in Trailers / 20.05.2020

Mel Gibson and Kate Bosworth fight off criminals in new Force of Nature trailer

Mel Gibson teams up with Kate Bosworth and Emile Hirsch to fight off some deadly criminals in the midst of a Category 5 hurricane in the first trailer for Force of Nature.

Hirsch plays a cop who is trying to evacuate an apartment complex when he runs into Dr. Troy (Kate Bosworth) and her father, the latter of whom stubbornly refuses to leave his home despite the raging storm outside.

Little do they know that a group of thieves led by John the Baptist (David Zayas) are breaking into the building in pursuit of $55 million that has been hidden somewhere on the property.

Gibson reveals himself to be a retired detective who is familiar with the bad guys, and won’t let them walk away with the money without a good old-fashioned fight.

Force of Nature, directed by Kate Bosworth husband, Michael Polish (90 Minutes in Heaven) and also starring Will Catlett, Swen Temmel, Tyler Jon Olson and Jorge Luis Ramos, will be available on various formats June 30 through Lionsgate.

Gibson will soon be seen opposite Frank Grillo in Joe Carnahan‘s action movie Boss Level.

Force of Nature will be distributed by Prorom in Romania, Bulgaria, Czech Republic, Hungary, Slovakia, Albania, Bosnia-Herzegovina, Croatia, Kosovo, Macedonia, Montenegro, Serbia, Slovenia.




in Prorom movies on TV / 14.05.2020

Nicolas Cage enters Season of the Witch - Friday on Antena 1

Prorom continues to bring you top movies on TV! On Friday, May 15, you can watch on Antena 1 the action movie starring Nicolas Cage Season of the Witch.

For this project, Nicolas Cage had the opportunity to collaborate for the second time with director Dominic Sena, who also directed the famous action film Gone in Sixty Seconds. Regarding this experience, Cage said:

"Dominic is ideal for any actor, because it leaves you enough freedom, it makes you relax and listen to your ideas. I worked with him for the first time on Gone in Sixty Seconds and now on Season of the Witch.

Unlike the first, which was a modern action film, this project gave Dom the opportunity to let his imagination run wild. He is a very creative man and can get a fantastic visual, using the natural scenery in which we filmed. I was very happy to team up with him again. "

Filmed in beautiful locations in Austria, Croatia and Hungary, Season of the Witch tells the story of a long-forgotten era. In a land devastated by wars, the last Crusaders return to a homeland devastated by the Black Plague.

The Cardinal D'Ambroise (Christopher Lee) is convinced that the terrible plague is a curse from hell, brought upon people by the black witch. She sees the weaknesses hidden deep in everyone's hearts. And what he sees, he uses against them.

Behmen (Nicolas Cage), a 14th century Crusader and his comrade (Ron Perlman) are chosen to transport the accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence.

Season of the Witch can be seen on Antena 1 as follows: Friday, May 15, at 23:30 and rerunning on Saturday, May 16 at 00:15.




in Home Entertainment / 07.04.2020

Drunk Parents – now on DVD!

The comedy Drunk Parents is now available on DVD at EmpireFilm.ro!

In Drunk Parents, Frank (Alec Baldwin) and Nancy (Salma Hayek) - two drunk parents attempt to hide their ever increasing financial difficulties from their daughter and social circle through elaborate neighborhood schemes.

“As the story takes shape, the events precipitate and the comedy becomes more intense. Fun phases appear unexpectedly and make you laugh. Even some scenes that can be categorized as exaggerated, it doesn't bother us here. The film gets better as it evolves towards the end ”. (Alieta Pojarclujescu.ro)

The comedy, directed by Fred Wolf is now available on DVD in Romania at EmpireFilm.ro. You can order it here.




in Events / 19.03.2020

Cannes Film Festival 2020 Postponed Over Coronavirus Concerns

The Cannes Film Festival will no longer take place during the scheduled dates of May 12-23, 2020 and will instead be postponed till late June.

Here it is the official Press release of the Cannes International Film Festival:

“At this time of global health crisis, our thoughts go to the victims of the COVID-19 and we express our solidarity with all of those who are fighting the disease.

Today, we have made the following decision: The Festival de Cannes cannot be held on the scheduled dates, from May 12 to 23. Several options are considered in order to preserve its running, the main one being a simple postponement, in Cannes, until the end of June-beginning of July, 2020.

As soon as the development of the French and international health situation will allow us to assess the real possibility, we will make our decision known, in accordance with our ongoing consultation with the French Government and Cannes City Hall as well as with the Festival's Board Members, Film industry professionals and all the partners of the event.

In the meantime, the Festival de Cannes lends its vocal support to all of those who firmly call on everyone to respect the general lockdown, and ask to show solidarity in these difficult times for the entire world.

See you very soon,
The Festival de Cannes Team.”




in Interviews / 26.02.2020

Interview With Director Ludovic Bernard: “10 Days Without Mum it's absolutely a family comedy”

On the occasion of launching the comedy 10 days without Mum we publish an interview with director Ludovic Bernard, known for The Climb, Mission Pays Basque and In Your Hands.
10 days without Mum opens February 28th in theaters in Romania and Hungary, distributed by Prorom.

What sparked the idea for 10 Days Without Mum?
It's actually a remake of an Argentinian film. Romain Brémond and Daniel Preljocaj, my producers, loved it and thought I might be interested. I immediately fell in love with the story, which was very funny but had an emotional core, even a bit of gravity, which I found interesting. Those are the ingredients I like to see in a comedy. Even though I'm fond of jokes and comical situations, I like for there to be something else between the lines. Here, it's about a man's redemption, a father's redemption. Will he be capable of change, and to really take care of his loved ones?

Is there anything personal that appealed to you?
The story impacted me because I'm the father of two daughters, one of whom is similar to Chloé, one of the characters in the film. I'm well aware of how much I've worked and travelled the last few years. Yes, I've been absent, and thankfully my wife was there to find solutions for every little thing that comes up day after day. And I sometimes had to make up for lost time. That's also the reason I wanted to invest myself fully in this project.

How did you modify the original script?
With my co-screenwriter Mathieu Ouillon, we worked to adapt it to French culture, to the habits and mannerisms of French children and teenagers, which are not always the same as in Argentina. Other than that, in the roles of the mother and father, there were a lot of universal things we chose to keep. It's a universal subject.

Is it fair to say that it’s a family comedy about family issues?
It's absolutely a family comedy. The story takes place in the south of France, in a typical large family in which there's no cheating, no fighting, and a lot of love. But the father is too preoccupied by his work and because of this, he overlooks all kinds of small things that are important to his children. He overlooks his children because of his job. He hasn't really seen them grow up. He doesn't know them, really. What the movie highlights is the absence of this father, despite his physical presence, as well as a lack of paternal structure and authority. Children need love as well as guidance.

So, the title, 10 Days Without Mum, is meant to make us wonder how the father is going to manage in her absence?
Exactly. Isabelle, his wife, decided years before to quit her i b as a lawyer in order to take care of four children and her husband, which is basically like running a small company. When she decides to take a vacation on her own, because she's tired of being invisible, he must manage all the things he's never taken care of. I know how much work that entails.

The film deals with the dynamics of a family, as well as the dynamics of a couple...
The character of Antoine and his wife Isabelle have a bit of an outdated relationship—the man works, the woman stays at home... This has totally evolved, thankfully. I would say this is an old formula, that of the previous generation, our parents' generation, but it's nonetheless what Antoine represents at the beginning of the film. So, he has a long way to go.

Isabelle seems to be the pillar of this family. She handles all day-to-day responsibilities, as well as her husband's contracts... Wouldn't you say she is a bit exploited?
She's more the problem solver. She's the mother who knows all, iust like in a lot of families, and who manages to handle everything without getting overwhelmed. Whereas a father, if he's preoccupied with something, will often postpone things, and answer with "not now, come back in 10 minutes, let's see tomorrow". The more you defer the answers to children's question, and fail to sort anything out, the more your risk losing them. You shouldn't minimize their questions. What might appear insignificant to us in the moment is often crucial in their eyes. Plus, concerning the dynamics at the heart of this family, I started thinking about Freud's claim that parents are like a bone that children chew on, which I always found very funny.

How did you select Aure Atiko for Isabelle's character, this mother who,  at  the beginning of the film, seems to swim in a sea of domestic bliss, and has a saintliness about her?
I wanted this woman to be loved and beyond reproach, so that you couldn't |udge her for leaving her home or think that she was abandoning her family. On the contrary, I wanted the audience to think "break free and let them figure it out for once." I liked Aure immediately. Other than the fact that she's beautiful and talented, she has this smile and this benevolence in her that legitimizes the character's choices.

Children play an important role in the film. How did you pick them?
It was a long casting process during which we saw many children from different age groups. We gravitated towards those who were comfortable in front of the camera and around adult actors, and who also understood the emotional content we were asking of them. Evan Paturel who plays Jojo, 2 years old, was a natural fit. I was committed to working with someone that age despite the problems it poses, because he doesn't speak very well yet and Antoine is the only one who doesn't understand him, which is a sign that he doesn't pay attention to him. Secondly, Violette Guillon who plays Chloe, age 12, was incredible during auditions. The choice of Swann Joulin for the role of Arthur, age 14, and llan Debrabant for Maxime, age 8, eventually fell into place. It became clear, when we took family photos with the four of them, that they created a beautiful family with Aure and Franck. The family ties seemed completely credible.

And how did things shake out with them?
Let's just say it was a matter of patience. You must learn to wait and wait, and not to give up on anything even on days that are jam-packed. Especially with the little one, whose desires didn't always line up with ours. Evan is a brilliant child but, on some days, he didn't feel like dressing up or participating in the film. Small children don't deliver the script on cue. If they say the line at all, they'll speak a little bit before or after the ideal tempo. Basically, they do what they want and there are a lot of unknowns to balance. That back and forth with adult actors can be complicated. I couldn't have done it alone. There were days where I wanted to pull out my hair, but Franck was an incredible partner to have, always patient and amused—a wonderful set dad who was incredibly patient with the children, even when he felt discombobulated. And honestly, I sometimes took advantage of his desperation and left the camera rolling. This obviously worked with his character as an overwhelmed father.

Antoine gets swept up in a series of hilarious domestic catastrophes that he doesn't seem to be able to contain. How did you envision these scenes?
Like pure action scenes, with the rhythm of the Home Alone anthology. As soon as the mother leaves, it's a complete disaster, a jungle with no rules. I wanted things to move in a crescendo, with the camera following each movement, and for it to go in every direction and leave you gasping for breath.

Why did you go with Franck Dubosc for Antoine's character?
When I saw the South American version of the film, I immediately thought of Franck for the role of the father. It had to be him and no one else. I was really moved by the film he directed, Rolling to You. I found it beautiful, subtle, and intelligent despite being built around a risky subject. And it seemed to me he wanted something more than a slapstick role, even though I am totally on board with that. But I felt it was good for him to show another facet of his personality, a softer, more reserved, emotional side that is about expressing your feelings, which he hasn't done much before. This is what we looked for together, while making sure not to eradicate his incredible range as a comedian. Franck blew me away with the range of his acting. He manages to make this lost, indefensible character both likeable and charismatic. All I want is to make another movie with him.

Antoine works in human resources but knows nothing about his four children. He thinks more about climbing the social ladder than raising his children. But isn't he a bit of a child himself?
He is, within the family dynamic. His wife mothers him. When he's at home, Antoine lets himself get taken care of. Outside of the home, he is obsessed with the promotion that he has been waiting on for several years. You can't fault him for that; it's understandable. However, it is true that the relationship he has with his rival, played by Alexis Michalik, could also seem childish. They often act like kids on a playground, showing off their muscles, trying to see who comes out on top. Which is something that, it seems to me, happens in some companies.

Their rivalry brings about on unbelievable scene around the loyoff of a warehouse worker, played by Alice David.
Yes, it's a pissing match, a display of power in order to be recognized, which makes them look completely ridiculous and brings them to fire this young woman for stealing three screws. Even if we are exaggerating a bit for comic effect, I still feel like reality isn't too far off. I recently heard that a cashier lost her job for a mistake in her tally totalling 24 cents. It's iust as ridiculous and absolutely tragic.

The character played by Alice David, Julia, is important. She comes to Antoine’s rescue without knowing he led to her demise. Is she the voice of reason?
When he tells her that in his world, people shouldn't steal, she responds that in hers, people should take care of their kids. She triggers something; she makes Antoine face his responsibilities. Alice immediately understood the subtleties in her script. She has several scenes face to face with Franck, with a lot of dialogue, different emotions to communicate, and she placed the bar high. Thanks to these two actors at the top of their game, this resulted in scenes I'm very proud of.

The women in the film, in fact, are all the "good guys". Is this intentional?
Completely intentional. I wanted to show that mothers, hence women, generally have a better perspective on how to approach life.

What does this movie hove in common with your first three films? Aren't they all about men who ore changed because of love?
Antoine does change. As he becomes able, again, to show his children love, he transforms them as well. I've always told stories in which notions of transformation hold an important place because they allow protagonists who start off on the wrong foot to find their way towards a new life. But I had never thought about it in this way and you are indeed correct: women help elevate men. That I firmly believe.




in Interviews / 07.02.2020

Exclusive interview with Iulian Grigoriu: “Latte is a feel good movie, about friendship in the first place”

This weekend, Latte and the Magic Waterstone (directed by Mimi Maynard, Regina Welker) arrives in cinemas in Romania. On this occasion, we bring you an exclusive interview with Iulian Grigoriu, the Romanian who was animation director for this film.

How did you get to do what you do now? Working in this area of animation?
I always wanted to make cartoons. When I was a kid, on Saturdays, at the end of school, I was running home to see final minutes from the Gala Desenului Animat  (Cartoon Gala – a famous Romanian show in th '90s). Then they took me to the Doina cinema. (in the past a famous Romanian cinema where they running only family films and animations). It was like I arrived in the cartoon country.

They had wallpapers of animals from the jungle on the walls, it was a small room and somehow intimate, weekly program where you could find full-length movies that you would see on TV only in the parts of a few minutes a week. What can I say? It was fantastic!

I've been drawing since I was little, and even tried to be a serious artist and to focus on things with more weight, respectable but I failed. When I entered the high school of arts and saw that they had the animation section I had no doubt. I didn't have to choose between sections. Things were no longer the same at the academy where there was no animation section.

Animation was not an art there, so I choose graphics and painting which was very useful to me later. But not to dramatize. I had a nice chance to work at Animafilm since I was in high school. That was practically the time when I was really inoculated with the animation virus and I say this because during my student years I tried to do other jobs but I always went back to animation.

A friend of mine, Olimp Bandalac told me: "Once you have got the animation virus you will not escape". And so it is for most of us.

Then I worked through almost all the studios in Bucharest in the '90s. But as I was young, inexperienced, those years were pretty gray. In the late 90's, after finishing college, I went to Hungary and that was it. After a year my girlfriend from then came with me. She became my wife after a few years.

What does the job of animation director and supervisor mean?
This position is a very responsible one and quite difficult from several points of view. Job descriptions can be found on the net but I tell you what it means to me and how I relate to this position. First of all you have to be an animator yourself. Only this way you can help where it is needed.

Every time I start a new movie I try to document myself as much as possible. What is the original story behind the script. Who are my directors, possibly the producers. After that I try to understand as best I can the script and the characters in the film. The deeper I get into the story, the better I realize the subtleties and layers of the film.

From here I start to have discussions with the director (the directors in this case of Latte) and to deepen the story and the characters. What kind of acting we need, as well as in what sense to exaggerate etc. Once it is clear to me what the directors want, I start working on the animation style, find a rhythm of the film, look for references by actors to help the animator understand the character.

Many times I even make a database representing what kind of expressions should be used and the limits of deformations. I can usually select the team after tests or portfolios. Once the team or teams are chosen, I usually do an acting workshop on the characters in the movie. I'm trying to make the animators understand why character X is moving like this and why it has to be different from other characters.

How a character evolves during the film and how important it is to animate as much as needed and where needed. Only then do I begin to talk about each sequence and each scene. If the animation is not correct I send additional drawings to the frame where something needs to be changed. As a simple supervisor the work is a little simpler, having to follow the instructions of the animation director.

How long have you been working as animation director and supervisor?
I think I started in 2009 or 2010 with a famous series in Germany. A production for preschoolers called Kikaninchen, a position assumed by Anca starting with season 2, becoming "kikaninchen's mother" over a few years.That's how they called it in Mitteldeutsche Zeitung in an article about the series. In the meantime, I started working on the first feature film as animation director in Belgium.

There I had the “baptism of fire”. We were working on a big film, produced in Paris and we had to send weekly a fixed number of seconds to a quality that we had not worked before. I learned a lot and realized that I still have a lot of work to do. It was a good school.

I know that before you settled in Germany you had a period when you also worked in Hungary? How was that experience?
In Hungary were the years of my growing up professionally or at least the beginning of them. We went through some experiences and we had the chance to qualify professionally, being forced to keep the deadlines, doing a large volume of animation and doing many tests. It was a good school.

You have worked on many successful animated films. What project do you keep closely to your heart and why?
I can't say I liked one movie... it's like asking a parent which of the children is dearer to him. I mean a good parent :-) Each production is different, and has its problems and solutions. Teams often differ completely. For example, now we are working on a new film by Enzo Dálo. For me 90-95% of the team is new. We will have first and foremost many young animators who will need a lot of advice. It will be fun and very interesting of course but it will be also a new adventure from which I will learn a lot.

Who has influenced you the most in your career?
Work in the studio. I learned a lot by watching a lot of movies and here I mention that not only animation and not only American. I read a lot and try to document myself a lot. BUT! I happen to work with people who are really big names in the field and and I can learn a lot from them.

I learned from Tahsin Özgür who animated for Disney in a few big movies. Another name that inspired me through the vitality of work and professionalism is Jesper Moller and in the last year and something I have worked and still work with Daniel St. Pierre from which I learned many details that you can not find in books. Of course, I learned something from each film I worked on and there are several names that influenced my evolution whether or not I was aware of it.

How much does working on a European animation differ from one for a larger studio? The difference is only about money, or also involves more special technology?
This is a good question :-) First and foremost, in Europe, there are increasingly competitive productions, by American standards. The only problem is the budget of the film. The bigger the budget, the more time you have to work on story, design, style, animation, effects, light... etc. The last film I worked on and we hope to release this year is an India-China co-production and is at a high standard. Here I worked hard on the quality of the animation and it will feel.

In 2019 you worked on the animation Latte & the Magic Waterstone as animation director. Can you tell me how you got to work on this project?
I first saw the trailer on the net. It was kind of love at first sight. I knew I could do a lot with a character like Latte. About 7-8 months, when I was approaching the final production of that time (Marnie’s World or Spy Cat) I announced online that I will be free of contract.

Then I received an email from a Belgian colleague from the production company if it is ok to recommend me to the German producer of Latte Igel. Do you realize that I was flying on a cloud and seeing the city from above :-) I said yes, I was contacted and that was it.

How did you work with directors Regina Welker and Nina Wels?
The collaboration with these two beautiful ladies was extraordinary. And I'm not exaggerating. I anchored Latte's acting based on the personality or the way Regina moves. The funny thing is that she says she moves the same way I do but you should see her. He is an animated character full of energy and humor.

After we had our first Skype talk, I was a little scared that we didn't quite understand about the message of the movie. That was my impression and I don't think it was that way, but I'm an emotional guy, so I belived that.

It was only when we met face-to-face in the studio I realized how they are and what they want… we started to know each other and actually worked on the construction of the film. We made many ideas exchanges and sometimes we argued about things, but in a constructive way, and all of that practically served to raise the quality of the film.

Nina helped me a lot with the team from Ludwigsburg and Halle / Saale, I also had to work in India. We had a total of 4 teams and fortunately all were talented and motivated.

Prorom will release on February 7 in Romanian cinemas Latte & the Magic Waterstone. Do you have a special message for the spectators who are going to see it?
Latte
is a feel good movie, about friendship in the first place. You may be surprised that the story will catch you and you won't know when the time has passed. I just hope you like it as much as we liked to create it and bring it to the cinema. I look forward to the reaction of the Romanian audience.

Interview by Emanuel Lăzărescu.




in Hollywood / 07.10.2019

Wasp Network: Olivier Assayas on filming in Cuba and the new cut of the film

Headlined by Penelope Cruz and Edgar Ramirez, Wasp Network is world premiering and competing in Venice, but the Cuba-set film was a long-shot to get made because of its political subject and the difficulties in raising financing, director Olivier Assayas said.

Wasp Network centers on the true story of Cuban spies in American territory during the 1990s, when anti-Castro groups based in Florida carried out military attacks on Cuba and the Cuban government struck back with the Wasp Network to infiltrate those organizations.

Assayas wrote the screenplay, which is based on Fernando Morais’ book, The Last Soldiers of the Cold War: The Story of the Cuban Five, published by Companhia das Letras.

Assayas, whose credits include the Golden Globe-winning miniseries Carlos and Personal Shopper, which won him the best director prize at Cannes, told Variety that Cuban authorities had initially refused to let the film shoot there.

“They first refused to give us the authorization but discussions continued. So we searched for a location that could substitute for Havana and were about to start shooting elsewhere… But then the Cubans changed their minds and opened all the doors for us,” said Assayas, who lived in Havana for half a year to make the movie.

On the other hand, Olivier Assayas will head back into the cutting room with his Wasp Network, the filmmaker told Deadline on the day of its North American premiere.

Assayas wants to show a tweaked version of the movie at the New York Film Festival in October.

“There are a few things that need clarification. There are a series of fixes I’ll make. I might shorten some parts and lengthen others. The running time won’t change considerably, but it’s about gaining fluidity. I want the film to be understood by those who aren’t aware of the complexities of the local politics. The fixes will be done for the New York Film Festival [screening].”

The director only finished shooting the movie on May 4. “It has been a crazy schedule,” he noted. “To get the film ready for Venice was an intense process. It’s one of the most complex and ambitious films I’ve made.”

Sources: Variety, Deadline.




in Events / 09.08.2019

Horror Legend Guillermo Del Toro Finally Received His Hollywood Walk Of Fame Star

The beloved Mexican filmmaker Guillermo del Toro received his Star on Hollywood's Walk of Fame on Tuesday, August 6, following an illustrious and successful career spanning over 3 decades.

The Oscar-winning creative behind movies like Hellboy, Pacific Rim, Pan's Labyrinth, The Shape of Water, and Crimson Peak (plus many, many others) received the 2,669th star on the Hollywood Walk of Fame at a ceremony presided over by Hollywood Chamber of Commerce President/CEO Rana Ghadban, director J.J. Abrams, and singer/songwriter Lana Del Rey.

Ted Danson, Issa López, Ron Perlman (Hellboy himself!), Elliott Gould, Mary Steenburgen, Clifton Collins Jr., Scary Stories to Tell in the Dark director André Øvredal and the film's cast, and more were among the celebrity attendees come to honor the creative.

Beloved by critics and fans alike, del Toro has established himself as one of the most popular directors of our time.

He was born on October 9, 1964, in Guadalajara, Mexico, and became interested in filmmaking from a very early age—as young as 8 years old.

He was driven by a passion for creating stories and monsters that sprung from his fertile imagination, which is patently obvious when you watch pretty much any of his films. From dark fantasy (Pan's Labyrinth) to action-packed sci-fi (Pacific Rim), his films are captivating for both adults and children all around the world.

The ceremony came at a good time too, just three days before the release of the horror film Scary Stories to Tell in the Dark, the latest project in which del Toro was involved (as a producer and screenwriter).

Scary Stories to Tell in the Dark will open on August 9, 2019 in the US.

Prorom will release the movie in the Czech Republic and Slovakia on August 16 and Romania on August 23. In Hungary the horror will have its premiere on November 28.




in Events / 21.07.2019

Hero Fiennes Tiffin Received 2019 Ischia Breakout Actor Of The Year Award

Hero Fiennes-Tiffin, the star of After movie received the Ischia Breakout Actor Of The Year Award at this year Ischia Global Film & Music Festival.

The 2019 Ischia Global Film & Music Fest took place from 14th to 21nd July in Ischia, Italy.

Ischia is a volcanic island in the Tyrrhenian, at the northern end of the Gulf of Naples, about 30 kilometres (19 miles) from the city of Naples.

It is almost entirely mountainous, with the highest peak being Mount Epomeo at 788 meters (2,585 feet).The island has a population of over 60,000 people.

Hero Beauregard Faulkner Fiennes-Tiffin is an English actor and model best known for his role as Hardin Scott in the film After.

Previously, he appeared as the 11-year-old Tom Riddle, the young version of antagonist Lord Voldemort (played in the films by his uncle, Ralph Fiennes), in Harry Potter and the Half Blood Prince, the sixth installment of the Harry Potter films.

He is currently preparing for filming on the second part of the After series, After We Collided.





in First Look / 12.07.2019

Haunt – A New Horror Thriller from Producer Eli Roth

A new Halloween movie is on the way! Eli Roth (Cabin Fever, Hostel, Death Wish) is producing Haunt, a horror film set on our favorite night of year at an extreme scare attraction.

On Halloween, a group of friends encounter an “extreme” haunted house that promises to feed on their darkest fears. The night turns deadly as they come to the horrifying realization that some nightmares are real.

Haunt is directed by Scott Beck and Bryan Woods, the writing duo behind John Krasinski’s blockbuster A Quiet Place.

Katie Stevens, Will Brittain and Lauryn Alisa McClain will co-star in Haunt, along with Andrew Caldwell and Shazi Rajay.

Sierra / Affinity is financing and producing the project for worldwide distribution.

Producing with Roth are Todd Garner of Broken Road banner, as well as Mark Fasano, Ankur Rungta and Vishal Rungta of the Nickel City banner.

Sierra/Affinity’s Nick Meyer, Marc Schaberg and Josie Liang, Broken Road’s Jeremy Stein and Sean Robins and Nickel City’s Tobias Weymar will serve as executive producers.

Prorom has acquired the rights for Haunt in the following territories: Romania, Bulgaria, Hungary, Czech Republic, Slovakia, Albania, Bosnia-Herzegovina, Croatia, Kosovo, Macedonia, Montenegro, Serbia, Slovenia.




in Hollywood / 19.06.2019

Two new posters for The Hummingbird Project

Two new posters for The Hummingbird Project surface, announcing the release of the movie in Australia.

Jesse Eisenberg and an almost unrecognizable Alexander Skarsgård play cousins Vincent and Anton Zalesky in acclaimed director Kim Nguyen's The Hummingbird Project.

Cousins from New York, Vincent (Jesse Eisenberg) and Anton (Alexander Skarsgård) are players in the high-stakes game of High-Frequency Trading, where winning is measured in milliseconds. Their dream? To build a straight fiber-optic cable line between Kansas and New Jersey, making them millions. But nothing is straightforward for this flawed pair.

Constantly breathing down their necks is their former boss Eva Torres (Salma Hayek), a powerful, intoxicating and manipulative trader who will stop at nothing to come between them and beat them at their own game.

Directed by Kim Nguyen, The Hummingbird Project stars Jesse Eisenberg, Alexander Skarsgård and Salma Hayek.

The Hummingbird Project had its world premiere at the Toronto International Film Festival on September 8, 2018, and was the opening gala at the Vancouver International Film Festival later that month.

Recently The Hummingbird Project won at Canadian Screen Awards the Award for Achievement in Overall Sound (Pierre Mertens, Thomas Gauder, Alexis Oscari).

Prorom released The Hummingbird Project in Hungary on April 4.





in Hollywood / 17.06.2019

Stallone & Bautista team up in Escape Plan 3 new poster

Sylvester Stallone is back as Ray Breslin in the third chapter of Escape Plan series, The Extractors. Joining him, once again, for the third time in the Escape Plan franchise is Dave Bautista.

Screen legend Sylvester Stallone kicks this explosive action tale into high gear.

After security expert Ray Breslin (Stallone) is hired to rescue the kidnapped daughter of a Hong Kong tech mogul from a formidable Latvian prison, Breslin’s girlfriend (Jaime King) is also captured.

Now he and his team, which includes Trent Derosa (Dave Bautista) and Hush (Curtis “50 Cent” Jackson), must pull off a deadly rescue mission to confront their sadistic foe and save the hostages before time runs out.

Helmed by Emmy-nominated writer-director John Herzfeld, and co-writer Miles Chapman, Escape Plan: The Extractors also welcomes actor Devon Sawa (Final Destination, Idle Hands) to the action-packed franchise as villain Lester Clark Jr.

Escape Plan: The Extractors breaks out in US on July 2nd and in UK cinemas on July 5th.

Prorom will release Escape Plan: The Extractors in Hungary (through our own Big Bang Media company) on July 11.





in First Look / 10.06.2019

Emily Ratajkowski & Theo James – two sexy thieves in Lying and Stealing

The first poster for Lying and Stealing has been released! The heist thriller from writer/director Matt Aselton stars Theo James and Emily Ratajkowski as two sexy thieves who teams up for one last heist.

Lying and Stealing is set in Los Angeles, a city where perception is often more important than reality.

Ivan (Theo James) is a suave, handsome young thief. His specialty is stealing high end art. It's a dirty business, and business is good - but Ivan wants out. Elyse (Emily Ratajkowski) is a beautiful actress with a closetful of skeletons and a mountain of debts. Soon these two smart and sexy criminals team up for one last, big daring heist.

With money, incarceration and lives on the line, their escapade tests their love and loyalty in this fun, flirtations crime comedy.
Lying and Stealing is directed by Matt Aselton, who also co-wrote the script with Adam Nagata and produced with Mohamed AlRafi, Michael Costigan and Naomi Despres.

Theo James, Christopher Tricarico and Lisa Wolofsky are executive producers.

Lying and Stealing will be released in US on July 12. Prorom will release the movie in Hungary through our own company Big Bang Media on August 15, 2019.