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DISTRIBUTION UK

Metrodome goes into administration

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- Staff are understood to have been retrenched

Metrodome goes into administration

The travails of the independent distribution scene in the UK continue with Metrodome Distribution going into administration. The company was a stalwart of British independent distribution, being responsible for the dissemination of a raft of award-winning world cinema titles including Luca Guadagnino’s I Am Love [+see also:
film review
trailer
interview: Luca Guadagnino - director
film profile
]
, Juan José Campanella’s The Secret in their Eyes [+see also:
trailer
making of
Interview Juan José Campanella [IT]
Interview Ricardo Darín [IT]
Interview Soledad Villemin [IT]
film profile
]
, Wong Kar-Wai’s The Grandmaster [+see also:
trailer
film profile
]
, Fred Cavayé’s Mea Culpa [+see also:
trailer
film profile
]
and Sean Baker’s Tangerine, amongst many others. Metrodome’s upcoming release slate includes Terence DaviesA Quiet Passion [+see also:
film review
trailer
film profile
]
and Olivier AssayasPersonal Shopper [+see also:
film review
trailer
interview: Artemio Benki
interview: Olivier Assayas
film profile
]
, while Brady Corbet’s The Childhood of a Leader [+see also:
film review
trailer
film profile
]
is in UK cinemas on 19 August.

(The article continues below - Commercial information)

Most of the company’s 32 employees have been retrenched, according to reports. Metrodome began looking for investment or buyers in March this year. In July, managing director Jezz Vernon announced that he would step down, after 11 years with the company. Fellow British distributor 101 Films has acquired some of Metrodome’s titles.

Metrodome also operates Hollywood Classics, which has a large repertoire of US studio library titles. The company also operated as an international sales agent under the trading name Metrodome International, and its titles include John JencksThe Hippopotamus, Paul Hyett’s Howl and Nirpal Bhogal’s First Born.

With several different avenues of viewing available to audiences now, the demise of Metrodome reflects the changing paradigm of film distribution, particularly in the independent space. 

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