Ruben Östlund’s ‘Entertainment System Is Down’ Takes Off With Cinema Inutile on Board; Founder Alex C. Lo Talks Global Vision (EXCLUSIVE)

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Ruben Östlund’s much-anticipated movie titled “The Entertainment System Is Down” has now brought Cinema Inutile on board as an executive producer, expanding their involvement in larger international productions. The upcoming film features Kirsten Dunst, Keanu Reeves, Daniel Brühl, Nicholas Braun, and Samantha Morton in its cast. The plot revolves around passengers on a long-haul flight who must deal with the terrifying reality of boredom when the entertainment system malfunctions.

As a passionate cinephile, I can’t contain my enthusiasm for the upcoming film! This project promises to be something truly extraordinary, a gem in the cinematic world. Being a dedicated fan of Östlund’s work, and having collaborated with Philippe Bober on several projects such as Lou Ye’s “An Unfinished Film” at Cannes and Jessica Hausner’s award-winning “Club Zero” at Sitges, I am particularly looking forward to this one. Currently in production, the film is slated for release in 2026.

I launched Cinema Inutile at the tail end of 2019, and our operations truly took off in 2021. Our inaugural ventures encompassed Qiu Yang’s Berlin-winning film “Some Rain Must Fall” and Shuchi Talati’s “Girls Will Be Girls,” which secured an accolade at Sundance. The latter particularly caught my eye due to its distinct South Asian portrayal of adolescent sexuality, a perspective I hadn’t seen in many coming-of-age films set in this region. As I stated, “I’ve watched numerous coming-of-age films that tackle the subject of teenage sexual awareness, but none from South Asia stood out to me.

The business has swiftly amassed a significant collection of highly praised movies, including “Stranger Eyes,” directed by Yeo Siew Hua in 2024 and chosen for Venice. Lo took on this project due to its rich social-political critique and intricate storyline.

Cinema Inutile’s current lineup includes 10 diverse projects at different stages of progression – from planning to completion. A notable title in this collection is “Left Handed Girl,” a Taiwanese production currently in post-production, helmed by director Shih-Ching Tsou and co-written with Sean Baker, who also edits the film. Mike Goodridge produces this project while Le Pacte manages international distribution.

One major endeavor is the Italian fantasy-western production titled “Heads or Tails,” helmed by directors Alessio Rigo de Righi and Matteo Zoppis, having previously premiered their work “The Tale of King Crab” at Cannes. Additionally, they are working on “The Meltdown,” a thriller about self-discovery from Chilean director Manuela Martelli, as well as co-funding the upcoming Jim Jarmusch film “Father, Mother, Sister, Brother,” starring Cate Blanchett and Adam Driver.

Cinema Inutile has played significant roles in various prominent film productions. They were the primary private equity backer for Felipe Gálvez Haberle’s Cannes-winning movie “The Settlers,” offering creative suggestions during editing and funding throughout the festival circuit. For “Club Zero,” they co-financed the project, offering creative input during the editing process. In “Girls Will Be Girls,” Cinema Inutile served as the main private equity investor, contributing to script development and editing, and also financing the U.S. theatrical release.

When it comes to international co-productions, notably in Southeast Asian productions such as “Stranger Eyes” and “Viet and Nam,” Lo emphasizes the significance of utilizing all available resources effectively and devising the optimal plan for the movie. They also mention that success hinges on being open to collaboration with various cultures, while maintaining a shared goal: creating the best film possible.

In terms of distribution methods for art house cinemas, Lo observes that they typically employ a strategy of selling rights on a territory-by-territory basis, collaborating closely with well-respected art house cinema distributors in each region. For instance, films like “Girls Will Be Girls,” which enjoyed a successful international festival circuit run, have found streaming platforms beneficial. In fact, the film was able to secure a deal with Amazon Prime Video in India.

As Lo looks to the future, they express optimism about broadening their reach worldwide: “I’m really intrigued by Latin America and plan on nurturing my connections in Europe even further. I have a deep affection for European cinema.” They emphasize that Southeast Asia continues to be a key focus area, acknowledging “there’s an increasing appetite for showcasing more diverse voices from Southeast Asia.

The name of our company is influenced by Daoist teachings on creating room in one’s mind for wisdom, mirroring Lo’s filmmaking style. For the next five years, we aim to uphold a dedication to distinctive, artistic films while venturing into larger-scale productions that are not only aesthetically pleasing but also financially successful.

As a cinephile, I personally prioritize four essential attributes when choosing movie projects: culturally authentic, socially resonant, intricately themed, and universally significant. I strongly advocate for fostering creativity amidst a growing market that’s becoming more difficult to navigate.

In today’s industry, there’s a noticeable decline in self-assurance among even the most gifted individuals – some may be deterred from creating their passion projects. Our goal is to shield and nurture these creative visions so that filmmakers can produce the masterpieces they truly intended to create.

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2025-02-11 16:47