Ruben Östlund’s ‘Entertainment System Is Down’ Soars with Cinema Inutile: Exclusive Insights from Founder Alex C. Lo on a Global Vision

Ruben Östlund’s new film, “The Entertainment System Is Down,” is generating buzz as it continues production. Cinema Inutile has joined as an executive producer. This exciting project features stars like Kirsten Dunst, Keanu Reeves, and Daniel Brühl. The story revolves around passengers on a long flight who face the challenge of boredom when the entertainment system fails.

Alex C. Lo, founder of Cinema Inutile, expressed his enthusiasm for the film, calling it a very special project. Lo has a strong history of working with producer Philippe Bober. Together, they have collaborated on impactful films like “An Unfinished Film” and “Club Zero.” The film aims for a release in 2026.

Cinema Inutile came to life in late 2019, just before the pandemic. Their first projects began in 2021, including the acclaimed “Some Rain Must Fall” and “Girls Will Be Girls,” with the latter winning an award at Sundance. Lo noted the unique perspective of South Asian teenage sexuality in “Girls Will Be Girls,” distinguishing it from typical coming-of-age narratives.

The company has quickly built an impressive lineup of films, including “Stranger Eyes,” which is set for the 2024 Venice Film Festival. Lo was drawn to this project for its deep social and political commentary.

Currently, Cinema Inutile is developing ten projects at various stages. One notable title is “Left Handed Girl,” directed by Shih-Ching Tsou, which is in post-production. Another exciting film in the works is “Heads or Tails,” a fantasy-western from Italian directors Alessio Rigo de Righi and Matteo Zoppis, who previously premiered “The Tale of King Crab” at Cannes.

Lo is also collaborating on “The Meltdown,” a coming-of-age thriller from Chile’s Manuela Martelli and co-financing Jim Jarmusch’s “Father, Mother, Sister, Brother,” featuring stars Cate Blanchett and Adam Driver.

Cinema Inutile plays a significant role in notable productions. They were the largest private equity financier for Felipe Gálvez Haberle’s Cannes-winning “The Settlers,” providing both creative input and financial support. They supported films like “Club Zero” and “Girls Will Be Girls” through financial backing and collaboration in editing and script development.

Lo emphasizes a collaborative approach to international co-productions, especially in Southeast Asian films. He believes in maximizing resources and fostering teamwork to create the best films possible. This shared vision has been vital for projects like “Stranger Eyes” and “Viet and Nam,” which debuted at Cannes.

On distribution, Lo focuses on territory-by-territory sales, partnering with established art house distributors. They found success with “Girls Will Be Girls” through international festivals, later securing a deal with Prime Video in India.

Looking ahead, Lo aims to expand Cinema Inutile’s reach globally, particularly in Latin America while continuing to nurture European cinema. Southeast Asia remains a priority for him, as diverse voices from this region are increasingly sought after.

The name “Cinema Inutile” reflects Daoist philosophy about making space for wisdom, which aligns with Lo’s filmmaking approach. In the next five years, he plans to stay true to unique artistic films while also embracing larger-scale projects that maintain commercial viability.

Lo’s project selection focuses on four key qualities: cultural specificity, social relevance, thematic complexity, and universal importance. He highlights the need to support bold filmmakers in a challenging market, aiming to protect their visions and help them realize their creative aspirations.