Updated: Sep 2, 2019
A major new international sales outfit is coming to market. Dutch Film Works (DFW), one of the largest movie distributors in the Benelux region, is moving into film and TV sales. DFW general manager Angela Pruijssers will spearhead the sales effort alongside Charlotte Henskens, who will join from Amsterdam-based Fortissimo Films, where she is director of sales, in June.
The new operation launches out of the gate with Fatt Prods. “My Best Friend Anne Frank” and “Penoza the Movie,” a feature based on NL Film’s popular Dutch series of the same name, which was remade as “Red Widow” for ABC in the U.S.
DFW is in Cannes in buying mode and has picked up movies including AGC’s “Moonfall.” It is also readying the launch of an international sales arm, DFW Intl. The sales division will have a presence at the major film and TV markets, starting with Mipcom in October — the global TV biz’s largest annual confab. Utrecht-based DFW has previously brokered some sales deals, including one for De Mensen’s buzzy Dutch crime series “Undercover,” which Netflix now has in most global territories.
Having moved into film, TV, docs and kids’ production, the DFW slate includes big-ticket 10-part Dutch crime saga “Women of the Night” (pictured), and NL Film’s “Stanley,” a limited series based on the real-life story of notorious drug smuggler Stanley Hillis. Both are for Dutch pubcast channels locally, and DFW Intl. will sell them internationally.
DFW CEO Willem Pruijssers said that new local incentives have spurred its move into sales. The relief kicks in at a high level for local producers, opening up an opportunity for DFW to come in and provide finance, become a production partner and take on international rights.
“The quality level is going up because of the possibility of bigger budget productions,” he told Variety. “We will specialize in high-end local content with international potential. Traditionally sales agents work on a commission basis, but we are investing in projects and it’s more of a partnership model.”
By Stewart Clarke