Beta Cinema Acquires Stake In Cornerstone Films – Berlin

Germany’s Beta Cinema has taken a minority stake in Alison Thompson and Mark Gooder’s London- and Los-Angeles based international sales outfit, Cornerstone Films. The strategic alliance between the companies aims to provide both entities with a stronger foothold in the global marketplace. They will partner on producing, financing, distributing and selling distinctive, commercially driven English-language films for contemporary audiences.

Beta also recently acquired a stake in Tom Tykwer’s German film and TV production company X-Filme (Babylon Berlin, Cloud Atlas, Good Bye Lenin), which has been working closely with Cornerstone since its launch in 2015.

Veterans Thompson and Gooder said, “In the fast-changing landscape, vertical integration is key to creating robust and successful enterprises and we’re delighted to unite with Beta Cinema and X-Filme who share similar goals. Our combined expertise and resources will create great opportunities for all three companies.”

Cornerstone is in Berlin with a slate that includes a remake of Susanne Bier’s After the Wedding starring Julianne Moore; Gurinder Chadha’s Blinded By the Light; crime thriller Semper Fi with Nat Wolff, Jai Courtney and Finn Wittrock; and Florence directed by Jeremy Lovering and produced by Ecosse Films. It’s screening footage of Chiwetel Eijofor’s directorial debut The Boy Who Harnessed The Wind, Dan Krauss’ The Kill Team starring Alexander Skarsgård and Mike Leigh’s epic Peterloo.

Sales and co-financing powerhouse Beta Cinema is part of Jan Mojto’s Beta Film with credits that include Florian Henkel von Donnersmarck’s The Lives of Others, Stefan Ruzowitzky’s The Counterfeiters, Oliver Hirschbiegel’s Downfall, Paolo Sorrentino’s Il Divo and Erik Poppe’s The King’s Choice. Recent highlights include Poland’s Oscar entry Spoor by Agnieszka Holland, Venice Days Best Director’s Award winner Candelaria by Jhonny Hendrix Hinestroza, TIFF debut What Will People Say by Iram Haq and The Happy Prince by Rupert Everett.

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