Warp clearly has long-term relationships with a number of distributors, even if they continue to struggle to gain cinematic releases:
UK: Optimum Releasing (now renamed StudioCanal UK);
US (IFC Films, BUT did this temporarily end around 2010? Submarine was Weinstein Co, Four Lions Drafthouse Films, Tyranossaur Strand Releasing; 2011's Kill List and Snowtown and 2012's Berberian Sound Studio were IFC again);
|BoxOfficeMojo listing for Tyrannosaur; just $22k in US, but approaching $0.5m worldwide|
Belg, Neth (both Cinéart);
Fr (ARP Sélection);
M.East ‘all media’ deals (Front Row Filmed Entertainment)
Australia (Madman Entertainment)
Italy (P.F.A. Films).
Some of these are 'all media'.
There are additional UK relationships for DVD (Artificial Eye but also Optimum Home Entertainment) + TV (Film4).
I also spotted few specific Blu-Ray listings, eg for Kill List in Neth (Cinéart), and Tyrannosaur (UK, Optimum Home Entertainment).
There are some VOD listings (in some cases, VOD only) for the US in particular - mainly IFC but also Sundance Selects (for A History of...).
|IMDB distributors listing for Tyrannosaur, which managed a fairly wide release, tho' for limited runs|
To learn more about film distribution, you could try this pithy guide, or the more detailed BFI guide, which tells us:
The key elements of Prints and Advertising (P&A) that a distributor must consider at this stage are:Each individual film print costs around £1000 (or $1500-2000), so any major release of, say, 500 prints is looking at a cost of £0.5m before advertising spend is also factored in (multiply by 10 for the tent-pole US releases). It should be clear why so few Warp movies manage a wide release, though some (notably Four Lions) bucked this trend, with additional prints being rushed out after initial demand proved much higher than expected! Digitisation will gradually remove this barrier, with the effective cost of hard-drives or streamed/downloaded films near-zero.
The quantity and production of release prints and trailers:
Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK. On the other hand, commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.
As you watch each of these trailers, try asking yourself some simple questions...
- Who do I think was the (core/primary and/or secondary) audience/s for this?
- What are the selling factors? (awards? director? cast? genre? narrative? atypicality/difference from the norm?)
- Is it a successful trailer? (can you sum up the film in a sentence? remember, John Carter showed how a trailer and marketing, if misdirected, can ruin a film's prospects)
- In what ways (if any) does this strike you as a British film? (you'll note that while there's hybridity, the aesthetic of social realism is often present)
2014: '71 (YANN DEMANGE)
2013: FOR THOSE IN PERIL  (PAUL WRIGHT)
2012: BERBERIAN SOUND STUDIO (PETER STRICKLAND)
2011: SNOWTOWN (JUSTIN KURZEL)
2011: KILL LIST (BEN WHEATLEY)
2011: TYRANNOSAUR (PADDY CONSIDINE)
2010: SUBMARINE (RICHARD AYAODE)
2010: FOUR LIONS (CHRIS MORRIS)
2009: LE DONK and SCOR-ZAY-ZEE (SHANE MEADOWS)
2009: BUNNY AND THE BULL (PAUL KING)
2009: SHE, A CHINESE (XIAOLU GUO)
2009: ALL TOMORROW'S PARTIES (JONATHAN CAOUETTE)
2009: DONKEY PUNCH (OLLY BLACKBURN)
2008: A COMPLETE HISTORY OF MY SEXUAL FAILURES (CHRIS WAITT)
2008: ARCTIC MONKEYS AT THE APOLLO (RICHARD AYAODE)
Ironically, I couldn't find a trailer; this is the full feature uploaded (not by me).
2008: HUSH (MARK TONDERAI)
2006: THIS IS ENGLAND (SHANE MEADOWS)
2004: DEAD MAN'S SHOES (SHANE MEADOWS)
2002: My Wrongs 8245-8249 and 117 (CHRIS MORRIS)
SHORT FILM: E
And many more to come?