The full list:


Another Year, U.K., Mike Leigh
Biutiful, Spain-Mexico, Alejandro Gonzalez Inarritu
Burnt by the Sun 2, Germany-France-Russia, Nikita Mikhalkov
Certified Copy, France-Italy-Iran, Abbas Kiarostami
Fair Game, U.S., Doug Liman
Hors-la-loi, France-Belgium-Algeria, Rachid Bouchareb
The Housemaid, South Korea, Im Sang-soo
La nostra vita, Italy-France, Daniele Luchetti
La Princesse de Montpensier, France, Bertrand Tavernier
Of Gods and Men, France, Xavier Beauvois
Outrage, Japan, Takeshi Kitano
Poetry, South Korea, Lee Chang-dong
A Screaming Man, France-Belgium-Chad, Mahamat-Saleh Haroun
Tournee, France, Mathieu Amalric
Uncle Boonmee Who Can Recall His Past Lives, Spain-Thailand-Germany-U.K.-France, Apichatpong Weerasethakul
You, My Joy, Ukraine-Germany, Sergey Loznitsa


Adrienn Pal, Hungary-Netherlands-France-Austria, Agnes Kocsis
Aurora, Romania, Cristi Puiu
Blue Valentine, U.S., Derek Cianfrance
Chatroom, U.K., Hideo Nakata
Chongqing Blues, China, Wang Xiaoshuai
The City Below, Germany-France, Christoph Hochhausler
Film Socialisme, Switzerland-France, Jean-Luc Godard
Ha Ha Ha, South Korea, Hong Sang-soo
Les Amours imaginaires, Canada, Xavier Dolan
Life Above All, France, Oliver Schmitz
Los labios, Argentina, Ivan Fund, Santiago Loza
Octubre, Peru, Daniel Vega
Qu'est-il arrive a Simon Werner?, France, Fabrice Gobert
Rebecca H., France, Lodge Kerrigan
R U There, Taiwan, David Verbeek
The Strange Case of Angelica, Portugal, Manoel de Oliveira
Tuesday, After Christmas, Romania, Radu Muntean
Udaan, India, Vikramaditya Motwane


Robin Hood, U.S.-U.K., Ridley Scott
Tamara Drewe, U.K., Stephen Frears
Wall Street 2: Money Never Sleeps, U.S., Oliver Stone
You Will Meet a Tall Dark Stranger, U.K.-Spain, Woody Allen


Kaboom, U.S.-France, Gregg Araki
L'autre monde, France, Gilles Marchand


Abel, Mexico, Diego Luna
Chantrapas, France, Otar Iosseliani
Draquila -- L'Italia che trema, Italy, Sabina Guzzanti
Inside Job, U.S., Charles Ferguson
Nostalgia de la luz, France, Patricio Guzman
Over Your Cities Grass Will Grow, Netherlands, Sophie Fiennes


Tim Burton, president

Alberto Barbera

Kate Beckinsale

Emmanuel Carre

Benicio Del Toro

Victor Erice

Shekhar Kapur

Giovanna Mezzogiorno


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Source: Entertainment Weekly

Rachel Weisz will team with husband Darren Aronofsky to bring Jackie to life. The film focuses on the days following President Kennedy's assassination.


Weisz and Aronofsky teamed together on 2006's The Fountain. The film received some glowing reviews, but it failed to catch on with mainstream moviegoers and it banked only $10.1 million domestically.

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Source: Variety

Martin Scorsese will shoot The Invention of Hugo Cabret in 3D. Sony has a release date of December 9, 2011 set for the adaptation Brian Selznick's best-selling children's book about an orphan named Hugo.


Scorsese has been circling several projects lately, including a Frank Sinatra biopic. The director is coming off of the huge success of Shutter Island, which has raked in more than $125 million domestically.

The 3D movement took quite a hit recently with the negative press that Clash of the Titans received, but the format continues to win the endorsement of visionary directors as well as plenty of support from major studios.

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Total tweets for April 16th Openers

Death At A Funeral started the week with 855 tweets on Monday. By comparison, Why Did I Get Married Too had 1,059 tweets on its Monday before release, Our Family Wedding had 293 and Cop Out had 497. This is a very strong showing for the film and indicates a Monday to Thursday tally in the region of 4,300 - 4,600. Married Too, Family Wedding and Cop Out managed ratios of 824, 918 and 467 respectively. Funeral should be able to perform closer to Cop Out since it is less of a chick flick and more of a comedy which should suppress its ratio somewhat. I'd say to expect a ratio of around 575 which would lead to a Friday of around $7.5 million.

Kick Ass started the week with a bang and 1,743 tweets. No real surprise there considering its buzz coming into this week. By comparison, Ninja Assassin had 1,057 tweets its Monday before release, Hot Tub Time Machine had 1,299. As I mentioned yesterday there is an added spanner in the works for this film in that it is already in release in the UK and more territories which has really supercharged its performance on Twitter. Two things which we can use to normalize this is to compare it to other films which had similar release patterns and also to look at its daily increases this week as it open in North America. We should be looking at a week total in the region of 11,000 to 12,000 here and a ratio in the region of ~1,000 which should afford it a $10 million Friday opening.

Check back tomorrow to see the Tuesday numbers and more comparisons. Follow @AlexBOXOFFICE on Twitter for additional updates.

Twitter tracking history. (For 2009's ratio history please check here.)

alltweets040910.jpgThe ratio is the number of tweets per $1 million of Friday Box Office gross. A film with 1,000 tweets and a $10 million Friday would therefore have a ratio of 100. In general, films that appeal to very young or older audiences have lower ratios since those audiences are not big users of Twitter. By comparison, films that appeal to younger audiences (18-35) have much higher ratios since those audiences are much more active users of Twitter.

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NEW YORK - Today, the Cinema Advertising Council (CAC) industry trade association revealed findings from the 2009 "NewMediaMetrics 360 Cross Platform Study" - a study that links Emotional Attachment (EA) of consumers to brands in key categories to media across multiple media types and properties.

The value of cinema compared with other broad media platforms was illustrated in an announcement made today by Michael Chico, President and Chairman of the CAC.

The NewMediaMetrics 360 Cross Platform Study is a syndicated industry-wide study that helps marketers identify consumers who are emotionally attached to measured brands and then create the optimal strategic messaging and media mix in order to reach these targets. The 2009 study had a base of over 3,000 persons 13-54 who ranked their EA to brands and media on an 11-point scale (where 9 or 10 = "Emotionally Attached"). Media measured included television, magazines, newspapers, the Internet, radio, cinema and non-cinema out-of-home (OOH) media (including health clubs, doctors offices, billboards, bus shelters, sports arenas, etc.).

Highlights from the study include:

• 44.5 percent of Health & Beauty consumers (i.e., consumers surveyed who used products from this category within six months of the study) are emotionally attached to the movies, compared with 29.6 percent for television, 21.2 percent for radio and 20.6 percent for magazines.

• 43.9 percent of Consumer Packaged Goods & Foods category consumers are emotionally attached to the movies, compared with 28.9 percent for television, 20.5 percent for radio and19.2 percent for magazines; and

• 43.3 percent of QSR/Casual Family Dining category consumers are emotionally attached to the movies, compared with 28.4 percent for television, 20.1 percent for radio and 18.8 percent for the Internet.

Several individual brands were measured as a part of this research, in the above as well as within the Apparel, Electronics and Entertainment categories.

"The emotional attachment that consumers have to the cinema environment further emphasizes the value that marketers achieve by associating their brands with the movies" says Mr. Chico. "NewMediaMetrics' unique methodology and insight is a great tool for advertisers and agencies trying to figure out how to get the most value out of their overall media budgets."

Another key finding: the movies have a higher EA rating (41.5 percent) than watching major televised sports and entertainment events. These include the Super Bowl (39.7 percent), Summer Olympics (26.3 percent), World Series (22.8 percent), Oscars (16.1 percent) and GRAMMYs (15.1 percent).

"Over the past 10 years, Emotional Attachment has been proven to be a predictive means of measuring consumer product purchasing and media behavior by applying academic principals to marketing and media," said Gary Reisman, Principle NewMediaMetrics, Inc. "On a brand by brand basis, different media are more effective at reaching a brand's high-value targets (those targets that represent the lion's share of revenue for that brand). NMM helps marketers identify and prioritize the cross-platform media that have a high concentration of high-value prospects.

"Consumers are highly attached to the movies and they went to the cinema in record numbers in 2009. Our study shows that movies are a powerful part of the media mix and an excellent way for brands in key categories to connect with customers."

This is the CAC Research Committee's first announcement of 2010, with additional research planned for later this year. Last year, in addition to its annual revenue report, the CAC issued a study conducted by Integrated Media Measurement Inc. (IMMI) which showed that, when combining television and cinema in an ad campaign, the consumer conversion rate was more than double when compared to a television buy alone, with double the lift and increased incremental reach.

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