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Sastra Film International is shopping a horror-heavy slate at Cannes including English-language supernatural Faceless by Jeremiah Kipp and Mama’s Here; the Phnom Penh studio operates a 300-person hub, produced ten films last year, plans five English-language horror titles for 2026 and touts production costs roughly one-quarter of Western budgets while Death Marriage has grossed over $600K locally.
$70M worldwide rights deal closed by Amazon MGM Studios for David Gordon Green’s Supermax starring Will Smith; Miramax project will be a streaming-first release with production starting mid-August and The Picture Company and Westbrook producing.
Sanford Panitch argues theatrical remains the prime engine for creating global IP and points to Crunchyroll’s growth to 20M subs and Chainsaw Man’s theatrical run as proof; he urges earlier, trust-based Hollywood engagement with Japanese IP and warns streamers’ marketing structures limit franchise-building while noting roughly $20B a year is spent on streaming content.
Netflix has deliberately rebuilt a slate of original R-rated action/thrillers—examples include The Rip, War Machine, Thrash and Apex—that dominate global Top 10 charts and fill a theatrical gap left by legacy studios; the streamer’s in-house production plus selective partner pickups signal a strategic play to own adult-blockbuster audiences worldwide.
UTA indie sales head Rena Ronson flags elevated horror, action and international pre-sales as reliable indie categories and warns deals now take longer post-COVID; she launches multiple titles at Marche du Film and points to entrepreneurial models like Markiplier’s Iron Lung as shaping new distribution strategies.
Amazon MGM reportedly paid roughly $70M for worldwide rights to Supermax; Will Smith will star and David Gordon Green will direct with writers David Weil and David J. Rosen, production set to begin mid/late August and the film expected as a streaming release on Prime Video.
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