‘Sky High,’ Currently Topping Spain’s Domestic Box Office, Acquired by Netflix for Series Adaptation – Global Bulletin Variety 12/30/2020
In today’s Global Bulletin, Netflix picks up the rights to Spanish feature “Sky High” for a series adaptation, French crime series “Balthazar” posts record audience numbers for TF1, Mexican filmmaker Juan Ernesto Regalado Morales receives this year’s Guillermo del Toro-backed Jenkins-Del Toro Scholarship, and French journalist Augustin Trapenard announces he’s leaving Canal Plus.
ADAPTATION
Netflix has acquired global rights to the feature film “
Sky High,” the leading Spanish film at the domestic box office over the holiday period, trailing only “The Croods: A New Age” and “Wonder Woman 1984” from abroad, and will develop the IP into a new original series.
Luis Tosar in a minor role.
An aerial shot taken from one of the Cuatro Torres in northern Madrid has us looking down on a swarm of ant-like passers-by, symbolising our protagonists longing to elevate his social standing. From his home in the far-flung outskirts of the city, the distance to those gleaming skyscrapers seems insurmountable. This run-down suburb is a hotbed of violence, scheming, criminal masterminding and car pimping, home to a rough-and-ready wannabe mafia. In this respect, at least, Calparsoro’s film dovetails thematically with the quinqui aesthetic of flares, frenzy and trigger-happy violence, peopled with low-lives ready to prostitute themselves for a bit of cash, created by trailblazing filmmakers like
Luis Tosar in a minor role.
An aerial shot taken from one of the Cuatro Torres in northern Madrid has us looking down on a swarm of ant-like passers-by, symbolising our protagonists longing to elevate his social standing. From his home in the far-flung outskirts of the city, the distance to those gleaming skyscrapers seems insurmountable. This run-down suburb is a hotbed of violence, scheming, criminal masterminding and car pimping, home to a rough-and-ready wannabe mafia. In this respect, at least, Calparsoro’s film dovetails thematically with the quinqui aesthetic of flares, frenzy and trigger-happy violence, peopled with low-lives ready to prostitute themselves for a bit of cash, created by trailblazing filmmakers like