Gullane Hopes ‘Luck’ Strikes Again at the B.O.

Brazilian producers target overseas auds with sequel of huge homegrown hit

Gullane Filmes, producer of Venice Festival closing film “Amazonia,” which opened Rio Thursday, is producing “Till Luck Do Us Part 2,” the sequel to Brazil’s biggest homegrown hit of 2012 in an attempt to parlay a local B.O. phenom into a franchise with international outreach.

“Till Luck Do Us Part” grossed $17 million at the Brazilian box office.

Wrapping lensing late August, the second part reprises the basic comedy setup of Roberto Santucci’s original: a Brazilian family torn apart by its rabid consumerism after a financial windfall.

In the original, Tino and Jane, the parents, win the lottery. In the followup, they receive a fabulous inheritance and travel to Las Vegas to renew their vows, only for Tino to lose at poker and fall foul of the local mob.

Key cast is packed with top Brazilian names: Leandro Hassum, one of Brazil’s biggest comedians, Camila Morgado, Kiko Mascarenhas and Rita Elmor.
Sequel features cameos by Jerry Lewis and Ultimate Fighting Championship champ Anderson “Spider” Silva.

In a tribute Lewis plays a veteran hotel bellboy in four scenes.

“With this sequel, which turns on universal themes of love and money, the participation of Jerry Lewis and Anderson Silva, and a Las Vegas shoot, we are trying to create an international audience,” said producer Fabiano Gullane.

The dialogue in “Luck” is mostly Portuguese with some English, he added.

Santucci returns to direct the sequel that also re-teams Gullane with the original’s co-producers: Paris Filmes, RioFilme fund, Globo Filmes and Brazilian cable TV group Telecine. Investors Brasilprev and XP Investments co-financed the film.

Combining Brazilian tax-break money, the marketing muscle of Globo Filmes, RioFilme equity funding, and advances from distributors such as Paris Filmes and Downtown, these partners, along with a select group of other Brazilian producers and distributors, have successfully evolved a business model. This allows them to access big Brazilian stars and go into production without dependence for a greenlight on often-slow government subsidies.

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