Hollywood
American Film Market to screen 402 films from 51 countries
NEW DELHI: A total of 402 films, including 321 Market Premieres and 75 World Premieres, from 51 countries are being screened as part of the ongoing 2013 American Film Market.
“Films in 30 languages will be screened for more than 8,000 buyers and industry professionals from more than 70 countries,” said AFM MD and executive VP Jonathan Wolf of the Independent Film & Television Alliance.
The market commenced yesterday and will conclude on 13 November.
Films premiering include the works of Zach Braff, Abigail Breslin, Pierce Brosnan, James Caan, Nicolas Cage, Helena Bonham Carter, Jessica Chastain, Viola Davis, Judi Dench, Gerard Depardieu, Richard Dreyfuss, Jesse Eisenberg, Chiwetal Ejoifor, Idris Elba, Dakota Fanning, Jenna Fischer, James Franco, Bill Hader, Josh Hartnett, Val Kilmer, Ben Kingsley, Mila Kunis, Cory Monteith, Thandie Newton, Haley Joel Osment, Daniel Radcliffe, Emma Roberts, Peter Sarsgaard, Amy Smart, Emma Thompson, Stanley Tucci, Kanye West, Jay Z and many more.
Films making their market premiere include: Kiss Me (American Cinema International) starring Jenna Fischer, Emily Osment, Missi Pyle and John Corbett;Around the Block (Arclight Films) starring Christina Ricci, Hunter Page-Lochard and Mark Coles Smith; Le Grand Cahier (Beta Cinema) starring Laszlo Gyemant, Andras Gyemant, Piroska Molnar, Ulrich Thomsen, Ulrich Matthes and Sabin
ambrea; McCanick (Bleiberg Entertainment) starring David Morse, Cory Monteith, Mike Vogel, Ciaran Hinds, Tracie Thoms and Rachel Nichols; Cas and Dylan (Breakthrough Entertainment Inc.) directed by Jason Priestley, starring Richard Dreyfuss and Tatiana Maslany; The F Word (Entertainment One) starring Daniel Radcliffe, Zoe Kazan, Adam Driver and Rafe Spall; World Petank Tour(Europa Corp) starring Gerard Depardieu, Atmen Kelif, Edouard Baer, Daniel Prevost, Virginie Efira and Roschdy Zem; The Young and Prodigious T.S. Spivet(Gaumont) starring Helena Bonham Carter, Kyle Catlett, Callum Keith Rennie and Judy Davis; Young Detective Dee: Rise of the Sea Dragon (Huayi Brothers) starring Mark Zhao, Angelababy Yang and Carina Lau; The Sea (Independent) starring Ciaran Hinds, Charlotte Rampling and Rufus Sewell; Some Velvet Morning (International Film Trust) starring Stanley Tucci and Alice Eve; Walking with the Enemy (Koan Inc.) starring Ben Kingsley and Jonas Armstrong; Half of a Yellow Sun (Metro International Entertainment) starring Thandie Newton and Chiwetel Ejoifor; The Disappearance of Eleanor Rigby: Him & Her (Myriad) starring Jessica Chastain, Viola Davis, James McAvoy, William Hurt, Isabelle Huppert, Ciaran Hinds and Bill Hader; Mandela: Long Walk to Freedom (Pathe International) starring Idris Elba and Naomie Harris; God Only Knows(Synchronicity Entertainment) starring Ben Barnes, Toby Jones, Leighton Meester and Harvey Keitel.
Additional market premieres include Palo Alto (Pathe International) starring Emma Roberts, James Franco and Val Kilmer; Philomena (Pathe International) starring Judi Dench and Steve Coogan; Love Punch (SND M6 Group) starring Pierce Brosnan and Emma Thompson; Tar (Spotlight Pictures) starring James Franco, Mila Kunis, Jessica Chastain, Zach Braff, Henry Hopper and Bruce Campbell; Before the Winter Chill (TF1 International) starring Daniel Auteuil, Kristin Scott Thomas, Leila Bekhti and Richard Berry; C.O.G. (The Exchange Inc.) starring Jonathan Groff, Denis O’Hare and Corey Stoll; Made in America (The Exchange Inc.) directed by Ron Howard, starring Jay Z and Kanye West; Night Moves (The Match Factory) starring Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard; Two Night Stand (The Solution Entertainment Group) starring Miles Teller, Analeigh Lipton and Jessica Szohr; and Joe (West End Films) starring Nicolas Cage and Tye Sheridan.
The Young and Prodigious T.S. Spivet(Gaumont) starring Helena Bonham Carter, Kyle Catlett, Callum Keith Rennie and Judy Davis; Young Detective Dee: Rise of the Sea Dragon (Huayi Brothers) starring Mark Zhao, Angelababy Yang and Carina Lau; The Sea (Independent) starring Ciaran Hinds, Charlotte Rampling and Rufus Sewell; Some Velvet Morning (International Film Trust) starring Stanley Tucci and Alice Eve; Walking with the Enemy (Koan Inc.) starring Ben Kingsley and Jonas Armstrong; Half of a Yellow Sun (Metro International Entertainment) starring Thandie Newton and Chiwetel Ejoifor; The Disappearance of Eleanor Rigby: Him & Her (Myriad) starring Jessica Chastain, Viola Davis, James McAvoy, William Hurt, Isabelle Huppert, Ciaran Hinds and Bill Hader; Mandela: Long Walk to Freedom (Pathe International) starring Idris Elba and Naomie Harris; God Only Knows(Synchronicity Entertainment) starring Ben Barnes, Toby Jones, Leighton Meester and Harvey Keitel.
Additional market premieres include Palo Alto (Pathe International) starring Emma Roberts, James Franco and Val Kilmer; Philomena (Pathe International) starring Judi Dench and Steve Coogan; Love Punch (SND M6 Group) starring Pierce Brosnan and Emma Thompson; Tar (Spotlight Pictures) starring James Franco, Mila Kunis, Jessica Chastain, Zach Braff, Henry Hopper and Bruce Campbell; Before the Winter Chill (TF1 International) starring Daniel Auteuil, Kristin Scott Thomas, Leila Bekhti and Richard Berry; C.O.G. (The Exchange Inc.) starring Jonathan Groff, Denis O’Hare and Corey Stoll; Made in America (The Exchange Inc.) directed by Ron Howard, starring Jay Z and Kanye West; Night Moves (The Match Factory) starring Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard; Two Night Stand (The Solution Entertainment Group) starring Miles Teller, Analeigh Lipton and Jessica Szohr; and Joe (West End Films) starring Nicolas Cage and Tye Sheridan.
Hollywood
Utopai Studios partners Huace to deploy PAI for long form content
Deal includes revenue sharing as Huace adopts AI engine across global ops
MUMBAI: Lights, camera… algorithm, the script just got a silicon co-writer. In a move that signals how storytelling itself is being re-engineered, U.S.-based Utopai Studios has partnered China’s Huace Film & TV Co. Ltd. to bring artificial general intelligence into the heart of long-form content creation.
At the centre of the deal is PAI, Utopai’s cinematic storytelling system, which Huace will deploy as a core engine across its production pipeline from development and creative iteration to global localisation. The partnership includes a large-scale annual usage commitment from Huace, alongside a usage-based revenue-sharing model, underscoring both ambition and commercial confidence on both sides.
For Huace, one of China’s largest film and television companies, the bet is not on automation alone but on scale with control. With distribution spanning over 200 countries and a presence across more than 20 international platforms, including Netflix and YouTube, the company brings a vast content ecosystem where even marginal efficiency gains can translate into significant output shifts. Its extensive TV IP library further positions it as fertile ground for AI-assisted storytelling workflows.
The choice of PAI follows what Huace described as a rigorous evaluation of existing AI tools, many of which remain limited to fragmented use cases such as video generation or editing. What tipped the scales, according to the company, was PAI’s ability to handle long-form narrative complexity maintaining continuity, structure, and creative coherence across entire story arcs rather than isolated clips.
Utopai, for its part, is using the partnership to anchor its international expansion strategy, pitching PAI as an enterprise-ready system built for customisation, privacy, and regulatory adaptability across markets. That positioning becomes particularly relevant as global media companies increasingly scrutinise how AI integrates into proprietary workflows.
The timing is notable. Earlier this month, Utopai upgraded PAI to support three-minute 4K video generation and advanced multi-shot sequencing features designed to tackle one of AI storytelling’s biggest hurdles: consistency across scenes.
What emerges is not just another tech collaboration, but a glimpse into how the grammar of filmmaking could evolve. Because if stories were once crafted frame by frame, the next chapter might just be coded scene by scene.
