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Chiikawa takes 44.7% of Korea’s weekend as Paradise Lost opens third
The Japanese anime passed 2.2 million admissions in its fourth weekend. Two Korean films finished 1,543 tickets apart in a market that shrank week on week.
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Resident Evil holds No. 1 in China for a third weekend as the market falls to $18.6m
The Constantin–Sony reboot took 30% of a thin post-holiday weekend. China’s year to date is running 29.1% behind 2025, and no new release has yet broken the lull.
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Clayface opens at No. 1 on $24m, and A24’s 3-hour documentary rises 25%
Sunday estimates put the DC horror ahead, but You Can See Everything made more in its second weekend than its first. Monday actuals and Halloween are the next tests.
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Who is actually taking films to audiences?
A film finds a buyer and everyone shares the headline. Then it gets harder to follow. Five cases from recent weeks, the companies doing the work, and what is still only promised.
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Busan’s ACFM puts Asian distribution and investors on the same agenda
The market runs 10–13 October; its 11 October summit pairs a distribution discussion with an investor session.
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Four TIFF screenings, 2,300 seats: Paradise Lost sold out in advance
KoBiz revisits Yeon Sang-ho’s Toronto premiere. The next evidence that matters is territory sales.
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Jean-Baptiste Durand shoots his second feature with Alexis Manenti and Nadia Tereszkiewicz
L’homme qui avait peur des femmes follows Junkyard Dog. Insolence Productions produces; Films Boutique sells.
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The BFI’s works-in-progress showcase gives buyers an early look at eight projects
The 9 October London event is invitation-only, with an online package for a wider group.
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Valladolid’s locations market lines up 1,500-plus meetings across 27 countries
Shooting Locations Marketplace runs 14–15 October, with Uruguay and Peru among the new territories.
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Black Bear’s US distribution chief Benjamin Kramer plans his exit
For sellers with talks under way, the immediate question is the handover.
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Universal sets River for 15 January after its $10m-plus Toronto deal
The Midnight Madness horror reached Toronto with US rights already held. Blumhouse–Atomic Monster bought it, Universal dates it, and the campaign begins.
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North American cinemas report $2.7bn spent on refurbishment
Cinema United puts two years of reinvestment at $2.7bn, the trade body’s own figure, as exhibitors try to make the room worth the ticket.
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Rome’s MIA selects 104 projects from 43 countries and adds an investment hub
The market runs 19–23 October. Its value will depend on the investors and meetings it delivers.
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Miguel Gomes starts Savagery, a five-country shoot in Brazil
The adaptation of Euclides da Cunha’s Os Sertões has partners in Portugal, Brazil, France, Italy and the Netherlands.
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Comparsa books a one-week New York run built around the International Day of the Girl
The Sheffield winner, executive produced by Jayro Bustamante, plays DCTV Firehouse on 9–15 October with Q&As.
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Universal wants its audience off the sofa
Donna Langley says Universal has to rebuild the cinema habit it helped unlearn. The 45-day window is the policy; this is the argument behind it.
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Apple Studios’ VFX artists reach a first IATSE contract, with AI protections
Production technology is also a labour-contract story.
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In Japan, The World of Love becomes Ju-in Doesn’t Like Apples
Bitters End opens Yoon Ga-eun’s The World of Love in Japan on 11 December under a new title, after 200,000-plus admissions and a run of acting prizes in Korea.
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Durban FilmMart widens into animation, impact and natural history
The programme looks beyond a narrow live-action definition of the African screen business.
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Hamburg’s work-in-progress awards pay for the work that gets films finished
Ten awards include a €30,000 post-production voucher for Folk Play and a Dolby Atmos mix for India’s Eka.