Fruit of a burgeoning production axis in Spain between Warner Bros. Pictures Intl. España and Atresmedia Cine, part of Buendia Estudios, ’You Keep the Kids!’ has been acquired for international sales by Film Factory Ent.
Scheduled to bow in Spanish theaters on Dec. 4, released by Warner Bros., the comedy will be brought onto the market at this week’s AFM where Film Factory’s Ent.’s Vicente Canales will be unveiling a first promo.
Inspired by French hit “Daddy or Mommy,” from scribe-helmer duo Alexandre de la Patelliere and Matthieu Delaporte (“What’s in a Name?”), which earned $19.9 million in France, “You Keep the Kids!” is helmed by “Élite” director Dani de la Orden and headlines Paco Leon, star of sitcom “Aida,” a free-to-air TV phenomenon over 2005-14, and more latterly Netflix Mexico hit “House of Flowers.”
He is reunited with another “Aida” alum, Miren Ibarguren, who also looks set for streaming platform fame thanks to her lead role in Movistar Plus’ upcoming “Supernormal.”
Produced by Alamo Producciones, headed by veteran producer Eduardo Campoy, “You Keep the Kids!” turns on separating couple Flora and Victor who launch a bitter battle – to not keep custody of their three children. They’ll do their damnedest, moreover, to persuade their brood that it would be hell to live with them once they’re living alone.
“You Keep the Kids!” was seen very briefly at September’s San Sebastian Festival where Warner Bros. and Atresmedia Cine unveiled a teaser-trailer which proved a showcase for the frenetic comic timing of Leon and Iranguren as they visit a lawyer to thrash out the details of their divorce.
As the French original, which made almost all of its money in France, “You Keep the Kids!” brings into focus the burnout of a generation where both women and men attempt to square having a family with the profesional dreams of youth: An architect, Victor has been offered the chance to lead a project; Flora, who studied medicine, has the opportunity to work in a humanitarian NGO in Africa.
Director De la Orden places much of the emphasis of the film, however, on the children, declaring in a director’s statement that the movie “manages to speak with humor, irony and even tenderness about how in matrimonial discord, and especially during a divorce, the children end up in a battlefield where they should never be placed.”
“The selfishness of parents can be so great,” he adds, “that they forget what their greatest priority is: Family.”
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