Coralie Fargeat’s Midnight Madness Hit ‘Revenge’ Sells Nearly Worldwide for Charades (EXCLUSIVE)

Coralie Fargeat's TIFF Hit 'Revenge' Sells

Recently launched French sales company Charades has almost sold out Coralie Fargeat’s high-voltage feature debut “Revenge,” one of the critical hits of this year’s Toronto’s Midnight Madness section.

The stylish movie, which was acquired by AMC’s streaming service Shudder for English-language territories ahead of its world premiere at TIFF, was picked up for German-speaking Europe and Italy (Koch Media), Spain (A Contracorriente), Japan (New Select), South Korea (Company L), Portugal (Cinemundo), Scandinavia (Njuta), Poland (Monolith), Hungary, Romania, Bulgaria (ADS), ex-Yugoslavia (Blitz), Czech Republic (Bohemian), Israel (Lev), Turkey (Fabula), Middle East (Salim Ramia), and Taiwan (Movie Cloud).

The film stars Matilda Lutz (“Rings”) as Jen, a pretty young woman who goes on vacation at a remote desert villa with her millionaire boyfriend (Kevin Janssens). Their romantic weekend goes off the rails when her lover’s hunting pals show up on the scene, triggering a wave of violence.

Along with Julie Ducournau’s “Raw,” Fargeat’s “Revenge” seems to belong to a new breed of female-powered genre fare. Produced by Marc-Etienne Schwartz’s M.E.S. Prods. and Marc Stanimirovic’s Monkey Pack Films, “Revenge” is also one of the rare upscale genre movies coming out of France in the last few years.

Variety reviewer Scott Tobias called “Revenge” a “small miracle, exceptionally potent and sure-handed first feature… a stylistic tour de force that also tweaks the sexual politics in meaningful ways.”

Charades, the banner launched by Carole Baraton, Yohann Comte and Pierre Mazars at the start of the year, is now in advanced negotiations to close a multi-territory deal for all Southeast Asia and is in discussions to sell the film in China and Russia.

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  1. Wheels says:

    This is just a great tits and ass gore movie perceived as female empowerment because a woman directed it. It really proves women can be just as visually sexist as men! Rarely does a moment pass where the heroine’s ass cheeks aren’t prominently featured, and she spends most of the movie in her bra and panties while the dudes (thank GAWD) stay covered up except in one posed-up sex scene.

    The underappreciated 2007 direct-to-video thriller NAKED FEAR with Danielle De Luca and Joe Mantegna is a much more believable take on this concept, without all the flash French directors love to overindulge in. And De Luca went all in spending the first third of the film bare naked, and yet the film never felt as leering and exploitative as Revenge does.

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