Coco, desconozco la respuesta, pero yo diría que siendo el español la segunda lengua más hablada en USA, lo más probable es que pronto se subtitule. El programa TED que hizo Jen Brea rápidamente tuvo subtítulos en español extraoficiales, pero al cabo de no mucho tiempo ya apareció con los subtítulos "oficiales"-
Lo de doblar me imagino que no, hay poca costumbre fuera de nuestro país...A ver qué van a hacer...
La pregunta de Coco me ha hecho recordar que yo también tenía algunas dudas sobre la campaña de Unrest. Y parece ser que éramos muchos enfermos que nos preguntábamos lo mismo... por qué tanto festival, esperar hasta el 2018 para el lanzamiento en una televisión pública, que los que no podamos ir al cine cuando la estrenen cómo la vamos a ver, etc
No hace mucho, Jen publicó algunas explicaciones sobre todo esto en facebook, las comparto por si pueden ser de vuestro interés:
https://www.facebook.com/notes/unrest/u ... cation=ufi
Lo copio aquí para los que no tengáis FB:
Unrest launch update
23 / julio/ 2017
As many of you have heard, Unrest will be coming to theaters in the US & UK this fall, starting with its September 22nd New York premiere!
We know many of you have been waiting a very long time to see Unrest. Some have been waiting since our premiere at Sundance this January, others since the launch of our Kickstarter campaign in 2013. And it's hard to keep waiting! Your passion and support are what have made this film possible and, if we are to succeed, it’s your passion and support that will be be the driving forces of our ambitious, global impact campaign. So, from the bottom of my heart, thank you!
At each major festival premiere, I receive messages from folks who, while happy for the awards and the kudos, feel frustrated and left behind; they don't understand why, if the film is finished, it isn't yet available to those who are too sick to see it at a film festival. They don’t understand how success in the film world relates to real-world movement on the issues we all care about – public understanding and compassion, better medical care, equal research funding, a biomarker, treatments, a cure.
While a conventional rollout takes longer, it is a one-in-several-thousand films’ privilege to have the opportunity to do one. We intend to take full advantage.
At every turn, the choices we have made have been to maximize the film’s impact and its chances of reaching a wide audience beyond the community of patients, caregivers, and allies who are already engaged with this issue. That has always been a core strategy of this film – to make us visible. When I started making Unrest, I believed visibility would help us unlock our goals. As we’ve begun to share the film at festivals, my faith in that vision has only grown. I’ve seen it happen in real time. I’ve seen scientists, medical doctors, private companies, policymakers become new allies after watching Unrest.
At the same time, wherever possible, we are trying to hack convention and make the film accessible to homebound audiences – both ME patients and our allies in the disability community. We are still ironing out the details of what this looks like, but it starts with limited virtual tickets to Unrest’s theatrical screenings. (We’ll announce who can purchase these and how once we get much closer to our theatrical release dates.)
“What is the traditional trajectory for an indie documentary film?”
For larger films, generally, it looks like this:
Festival launch → Theatrical → Educational/Broadcast/Streaming/Digital & DVD Sales.
The components of that last stage can happen in many different orders, sometimes in discrete windows, sometimes concurrently. It depends on each particular film’s rollout strategy as well as the requirements imposed by distribution deals. Regardless, theatrical screenings must happen before all this – and festivals must happen before theatrical screenings. We cannot be in festivals in the UK if we have already screened in theaters elsewhere. We cannot be in theaters if we have already been on iTunes. Everything happens in a specific and highly-orchestrated order called “windows.” Even the minimum prices you can charge for a film and the formats or platforms where they are available have to follow certain rules.
“If you have these restrictions, why follow a traditional release?”
Simply put: maximum audience + impact.
Showing Unrest at festivals is a vital first step in generating maximum visibility for the film. Festivals help us find audiences beyond our community, generate interest in screenings, garner press, and lay the groundwork for the film’s wide release and global impact campaign launch. But we can only participate in these festivals if we limit the film's release before our theatrical.
What does this look like in practice? Following our Sundance premiere, we've been screening Unrest at festivals around the world. Thanks to our strong festival run, we have received more than 100 pieces of press about Unrest, with many more to come. (You can see a non-exhaustive list here.)
The same logic applies to the theatrical release. Our US & UK theatrical releases will be huge press and social media moments. The bigger a launch moment we can create come September, the more oomph, spread and momentum our 12-18 month campaign will have.
“Why can’t you just put the film on YouTube -- wouldn’t more people see it?”
No. In fact, far fewer people would see it. Whether small indies or big budget features, films need to spend money on marketing and publicity in order for audiences to be aware enough of those films to seek them out. As an independent film, we aim to take advantage of whatever opportunities we have to reach audiences for free. Film festivals are a great way to do this – they have built-in audiences who wouldn’t necessarily seek out Unrest but attend screenings because the film has been curated by festival programmers; that is, chosen as one of the best documentary films of this year.
Many festivals have robust press offices that reach out to media on behalf of their films. Festivals can be newsworthy platforms in their own right. We would never have been written up in the Toronto Star or appeared on CBC if not for our selection at HotDocs. We would never have appeared in three Danish newspapers and on Danish TV, if not for our selection at CPH:DOX.
Our broadcast on PBS’s Independent Lens will allow us to reach its built-in audience of more than 1.2 million viewers and benefit from PBS’s marketing and promotional support.
We – the film team – are self-distributing theatrically in the US & UK and will invest in marketing & publicity for our theatrical. Why? For one, theaters need to fill seats. Many theaters require a marketing campaign in order to agree to take on the risk of screening a film. Secondly, a theatrical release is still the primary moment for press in the life of an indie; we are hiring publicists to leverage every opportunity to bring this film and the realities of ME to the forefront of conversation.
None of this would be possible if we had simply put the film online.
Lastly, our film wasn’t even fully finished at our Sundance premiere. There were many small changes left to make – sound tweaks, cards at the head and tail of the the film that needed changing. Most importantly, the sound for the film had only been mixed to be played in theaters, not to be played on laptops or televisions. We didn’t finalize all of these details until just last week. The film still has to go through an external QC “quality control” process to detect technical errors. It also needs to be undergo an external closed captioning and subtitling process. Even if it were a good idea to simply put Unrest on YouTube (it’s not!) we were only 97% finished when we premiered in January.
“OK, I’m down for maximum impact! But how will homebound audiences see Unrest?”
Everyone at home will eventually be able to see the film. We will be on iTunes and other digital platforms. We will make and sell DVDs. (We’ll mark the dates of those releases on our FAQ page as they become available.) However, we also feel it’s important that those at home get to participate in major moments during the film’s rollout. So for example, we have negotiated the availability of limited virtual tickets to select theatrical screenings. We also hope to organize many online events throughout the film’s rollout this fall. And we plan to engage the US homebound community in special ways around the film’s PBS broadcast January 8, 2018.
In sum, all the choices we have made have been to maximize the reach and impact of Unrest. We are grateful for your faith in that vision and for your patience! We want this film and this campaign to be a catalysts for massive cultural change that will accelerate investment in research, and ultimately the search for a cure. This rollout strategy gives us our best possible shot.
From the bottom of our hearts, thank you for your understanding, generosity, and continued support. We can't wait for you to see Unrest!
With love,
Jen and the Unrest Team
Y la traducción automática de google:
https://translate.google.es/translate?s ... xt&act=url
Ah! Y por si alguien no lo ha visto, éste es el trailer oficial:
https://www.youtube.com/watch?v=JvK5s9BNLzA
Saludos!