Nicholas Kemp is joining Kino Lorber as director of theatrical marketing, after a five-year run as the Film Society of Lincoln Center’s digital marketing manager. Kemp begins at Kino Lorber on January 30, and will report to the company’s sr. VP theatrical/nontheatrical distribution and acquisitions Wendy Lidell.
Kemp has been building the digital presence of the Film Society of Lincoln Center, where he’s overseen cross-channel content and digital marketing for the New York Film Festival, New Directors/New Films, and year-’round programming. He has pioneered Film Society’s video initiatives, mining the institution’s existing archives and creating new content, while serving as co-producer of its weekly podcast, The Close-Up.
Kemp has shaped the organization’s voice online and grown followers across social media channels and other digital platforms, besides bringing new, data-driven digital marketing strategies to the Film Society of Lincoln Center. Previously, he worked on web content and audience engagement campaigns for film and other media projects, including independent film website Hammer to Nail, where he helped launch their Short Film Contest.
Lidell said, “All of us at Kino Lorber look forward to working with Nicholas. He is clearly a marketing executive with multiple talents, and we are delighted to give him an opportunity to bring the skills he honed, cultivating audiences in New York, at one of the city’s great art institutions, to bear on cultivating film audiences nationwide. We welcome him to our team.”
Kino Lorber is opening Simon Stone’s The Daughter, starring Geoffrey Rush, Paul Schneider, Ewen Leslie, Miranda Otto and Sam Neill on Jan. 27 in New York, followed by Josef von Sternberg’s rarely screened and fully restored Anatahan, exclusively at Metrograph on Feb. 3. Later this year the company will release Vanessa Gould’s Obit., Bruno Dumont’s Slack Bay, and the Hungarian dramedy Kills on Wheels to theaters nationwide, to name a few of its upcoming theatrical releases.
With a library of 1,500 titles, Kino Lorber Inc. has been a leader in independent art house distribution for over 30 years, releasing over 25 films per year theatrically under its Kino Lorber, Kino Classics, and Alive Mind Cinema banners, including five Academy Award nominated films in the last eight years.
In addition, the company brings over 250 titles each year to the home entertainment market through physical and digital media releases under its five house brands. It also now distributes a growing number of third party labels in all ancillary media and is a direct digital distributor to all major digital platforms including iTunes, Netflix, Hulu, Filmstruck, Tribeca Shortlist, Amazon, Vimeo, VHX, Fandor, and Mubi.
Review: Director Tyler Spindel’s “Kinda Pregnant”
We have by now become accustomed to the lengths some movie characters will go to keep a good comedy lie going. But it's still a special kind of feat when Amy Schumer, playing a baby-mad single woman who fakes a baby bump in "Kinda Pregnant," is so desperate to maintain the fiction that she shoves a roast turkey up her dress.
You might be thinking: This is too ridiculous. The stuffing, alone. But if we bought "Some Like it Hot" and "Mrs. Doubtfire," I see no reason to quibble with the set-up of "Kinda Pregnant," a funny and often perceptive satire on motherhood, both real and pretend.
"Kinda Pregnant," which debuted Wednesday on Netflix, is a kinda throwback comedy. Like "40-Year-Old Virgin" and "Wedding Crashers," you can basically get the movie just from its title.
But like any good high-concept comedy, "Kinda Pregnant" is predominantly a far-fetched way for its star and co-writer, Schumer, to riff frankly on her chosen topic. Here, that's the wide gamut of pregnancy experience — the body changes, the gender reveal parties, the personal jealousies — all while mixing in a healthy amount of pseudo-pregnant pratfalls.
It's been a decade since Schumer was essentially launched as a movie star in the 2015 Judd Apatow-directed "Trainwreck." But "Kinda Pregnant," which Schumer wrote with Julie Paiva, almost as adeptly channels Schumer's comic voice — the one that made the sketch series "Inside Amy Schumer" so great.
The movie's opening flashes back to Lainey (Schumer) as a child playing with dolls and imagining herself a mother-to-be. So committed is she to the role that Lainey, in mock-labor, screams at her friend and then politely apologies: "Sorry, but the expectant mother often lashes out at her support system."
But as... Read More