Berlin: John Turturro, Vanessa Paradis Go to ‘Rio, I Love You’ (EXCLUSIVE)

Berlin: John Turturro, Vanessa Paradis Go
Arnaldo Magnani/Getty Images

John Turturro and Vanessa Paradis have joined the anthology film “Rio, I Love You,” the third in the “Cities I Love” series.

U.S. and international sales are being handled by WestEnd Films, which has a promo reel at Berlin. Warner Bros. is handling in Latin America, including Brazil.

Turturro directs himself and Paradis in a one of the 10 segments and is the only U.S. director on the project.

Brazilian filmmakers include Fernando Meirelles, Jose Padilha and Andrucha Waddington. Other directors who have completed segments for the film include Korean Im Sang-soo, Aussie Stephan Elliott, Paolo Sorrentino and Guillermo Arriaga and Nadine Labaki.

The film’s stars include: Harvey Keitel, Emily Mortimer, Basil Hoffman, Vincent Cassel, Jason Isaacs, Fernanda Montenegro, Labaki, Wagner Moura, Rodrigo Santoro, Roberta Rodrigues, Tonico Pereira, Claudia Abreu, Bruna Linzmeyer, Laura Neiva, Land Vieira, Michel Melamed and Marcio Garcia.

Labaki’s segment, starring Keitel, was shot in Rio’s Leopoldina Train Station. Waddington’s was shot in the Cinelandia area in Downtown Rio and stars Montenegro. Padilha’s segment takes place in the skies above Rio.

“Rio I Love You” is being produced by Empyrean’s Joshua Skurla, Dan Klabin, Conspiracao’s Pedro Buarque de Hollanda and Bossa Nova Films’ Denise Gomes. Executive producers include Emmanuel Benbihy, Leonardo M. Barros, Eliana Soorez, Ricardo Rangel, Eduardo Tibirica, Ariel Elia and Marcos Tellechea.

Benbihy has completed an anthology film on Tbilisi, Georgia, and has been developing the “Cities of Love” series since 2000 via his Ever So Close banner to sell cities one-picture licenses. Benbihy is aiming to develop an online platform of city-driven cultural and social movements that will feature such locations as Shanghai, Berlin, Taipei, Mexico City, Rotterdam, New Orleans, Mumbai, Jerusalem, Sydney and Tokyo.

2006’s “Paris, je t’aime” grossed $17 million worldwide. “New York I Love You” grossed $8 million in 2009.

Filed Under:

Want to read more articles like this one? SUBSCRIBE TO VARIETY TODAY.
Post A Comment 2

Leave a Reply


Comments are moderated. They may be edited for clarity and reprinting in whole or in part in Variety publications.

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

  1. Johnny Popp says:

    Hope they don’t get robbed or worse in Rio!

  2. The data in this article are inaccurate. Journalists cannot be blamed for not having access to transparent figures as one of the greatest hypocrisy of the international film industry is the lack of transparency on international/foreign revenues. Independent producers rarely have all the figures themselves. Only the large production companies can expect the privilege to be treated fairly in this regard as distributors want their business.

    2006’s “Paris, je t’aime” grossed $20.5 million worldwide in theatrical box office only, and doubled that amount with home market revenues and TV sales. This assessment is based on data collected directly from distributors, when they cooperate, so it is incomplete as well.

    “New York I Love You” grossed $10 million worldwide in 2009 in theatrical box office only, and more than doubled that amount as well with home market revenues and TV sales. This film was underestimated. Unfortunately, the lack of experience and vision of the US distributor was extremely detrimental to the global exploitation of this film, generating poor performances in the US with extreme negative influence on local distributors worldwide: some of them even chose to do small releases sometimes knowing they would not recoup.

    Our films have amazing marketing potential and can give rise to unprecedented communication strategies, and it has been difficult so far to deal with the conservatism and lack of disruptive thinking of international distributors.

    Fortunately, the world is changing faster than people thought.
    And the history of film narratives and film formats is not over.

More Film News from Variety