Imagem banks Berlin market titles

Latin American buyer takes Good Universe, Arclight titles

Imagem Filmes has nabbed several of the most sought-after titles at the Berlin market for Latin America, one of the fastest-growing markets in the world.

Latest acquisitions include a trio of Gold Circle Entertainment-produced pics sold by Good Universe: comedy “Search Party” and horror-thrillers “The Unholy” and “In a Dark Place.” It also picked up Arclight’s Hong Kong-set cop actioner “Badges of Fury.”

As already reported, Imagem also snapped up Latin America on Focus Features International’s Jeremy Renner-starrer “Kill the Messenger” and Mister Smith’s Constantin-produced romcom “Love, Rosie,” with Lily Collins and Sam Claflin.

With Universal distributing in the U.S., “Search Party” marks the directorial debut of “The Hangover Part II” comedy scribe Scot Armstrong. Gold Circle topper Paul Brooks, Neal Moritz, Armstrong and Ravi Nandan produce.

Joseph Fiennes and Morena Baccarin star in “The Unholy,” with Ross Katz set to direct from a script by E.L. Katz, based on an original idea by “REC” creators Jaume Balaguero and Paco Plaza.

“In a Dark Place” stars Jane Levy (“The Evil Dead”) as a young American woman who becomes the governess of a porcelain doll. Bharat Nalluri (“Miss Pettigrew Lives for a Day”) directs.

Po Chu Chui (“Crouching Tiger, Hidden Dragon”) produced martial arts crime thriller “Badges of Fury,” which stars Jet Li.

“Berlin’s big properties either had big names, or a good script, or U.S. distribution in place,” said Imagem’s international acquisitions director, Ivan Boeing.

Imagem will distribute the pics in Brazil, and via sub-distribution deals elsewhere in Latin America. It has good working relationships with Mexico’s Gussi, Argentina’s Energia Entusiasta, BF Distribucion for Chile, Peru, Bolivia and Ecuador, and Colombia’s Cinecolor.

“These days, to access the market’s biggest titles and secure Latin American pay TV rights, you have to buy all Latin American rights,” Boeing said.

The value of the pay TV window has spiked dramatically following Netflix’s entry into Latin America in fall 2011, driving up buying prices overall.

“In 2011, films were sold to Latin America for 3% of their budget. Now, sales agents are on average asking for 10% of announced budgets for Latin American rights,” Boeing added.

“Pay TV rights used to be worth 10%-15% of prices paid for Latin America; now they can’t be factored in for anything less than 50%.”

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