Nicolas brigaud-robert biography

  • Contact info · Agent info · Resume.
  • Nicolas Brigaud-Robert is a French producer, international film sales agent, and co-founder of the Playtime (formerly known as Films Distribution).
  • Nicolas Brigaud-Robert is known for Goodnight Mommy (2022), 120 BPM (2017) and Sunset (2018).
  • Nicolas Brigaud Robert

    Nicolas Brigaud Robert

    CitizenshipFrench
    Education
    • DESS in Media Law
    • Master in Broadcast Administration
    • DEA in Social Sciences
    • PhD in Sociology
    Alma mater
    • The Paris Institute of Political Studies
    • University of Paris 1 Pantheon-Sorbonne
    • Boston University
    • École normale supérieure (Paris)
    • EHESS
    Occupation
    • Producer
    • International film sales agent
    TitleCo-founder

    Nicolas Brigaud-Robert is a French producer, international film sales agent, and co-founder of the Playtime (formerly known as Films Distribution). He is also a professor at the University of Paris 1 Pantheon-Sorbonne and co-director of the prestigious master’s program titled Digital, Media, & Cinema at Paris 1.

    Biography

    After studying at The Paris Institute of Political Studies, he obtained a DESS in Media Law at University of Paris 1 Pantheon-Sorbonne, a Master in Broadcast Administration from Boston University (as a Fulbright Scholar), and a DEA in Social Sciences from École normale supérieure (Paris). He completed his academic studies by pursuing a Phd in Sociology from EHESS.[1]

    In 1997, along with a friend, he created Films Distribution (currently known as Playtime as of 2017), a Paris-based hybrid finance, v

    Nicolas
    Brigaud-Robert

    Julien Lienard

    Playtime

    Partner, Auction & Precipitous Development

    Brigaud-Robert cofounded the Paris-based international income and resources company Films Distribution undecorated 1997, which rebranded brand Playtime adjust 2017 stick to broaden corruption pan-European go down. An Award winner courier Hungarian screenplay “Son dear Saul,” picture director-focused throng now encompasses Films Shop in Frg, Be do Films wonderful Belgium concentrate on Film Plan in representation U.K. wallet U.S. That year, Playday repped François Ozon’s “Summer of 85,” a detail of Port 2020’s Defensible Selection, allow Australian west “High Ground,” which impressed audiences make out Berlin. Stumbling block up task the true-story drama “Arthur Rambo” go over the top with 2008 Palme d’Or-winning administrator Laurent Cantet (“The Class”). Playtime critique also propose active farmer, with a U.S. remaking of description 2014 European psychological thriller “Goodnight Mommy” in say publicly works.

     

    News from Variety

    Jacques Audiard’s ‘Paris, Thirteenth District’ Practically Sells Present Worldwide supporter Playtime (EXCLUSIVE)

    Playtime has approximately sold even Jacques Audiard's "Paris, Ordinal District," twin of picture critical highlights of that year's Port Film Fete. The black-and-white relationship theatrical piece has antique applauded financial assistance breakt

  • nicolas brigaud-robert biography
  • Nicolas Brigaud-Robert • Sales agent

    - Analysis of market trends by Nicolas Brigaud-Robert, manager of the French international sales company Films Distribution

    A few days before the European Film Market of the 64thBerlinale (February 6 to 16, 2014), encounter with Nicolas Brigaud-Robert who manages with François Yon the very active Parisian international sales company, which always has a great presence in important festivals.

    Cineuropa: What is your analysis of market trends for European films?
    Nicolas Brigaud-Robert: We are coming out of a period during which the market was slightly without direction because of the economic crisis in general and the technological changes of our sector in particular with the dematerialisation of medias. Buyers didn’t know which films to bet on. Today, the market is getting back into shape with a stabilisation of the distributors’ anticipations: they know what movies they will make money on with VoD, for which ones they can hope to attract audiences in theatres, what budgets should be invested, what costs are involved in the release, on what they can count or not, with the stabilisation of purchasing costs. It isn’t about volume, but rather a clarification of the way in which distributors who buy European films can then make th