Jia Zhangke and Tian Qi’s art-house distribution label, Unknown Pleasures Pictures, has made a significant acquisition by securing the rights to Apichatpong Weerasethakul’s latest film, “Jenjira’s Magnificent Dream,” for the Chinese market. This update was confirmed by co-founder Tian Qi in a statement to Variety.
Acquisition Strategy and Festival Focus
Unknown Pleasures Pictures is currently in negotiations to acquire additional titles showcased at this year’s Cannes Film Festival. Earlier this year, the label expanded its catalog with Andrey Zvyagintsev’s “Minotaur” and Marine Atlan’s “La Gradiva.” In January, it also acquired Greater China rights for Rafael Manuel’s Sundance entry, “Filipiñana,” which was notably executive produced by Jia and had its Asian premiere at the Pingyao International Film Festival this week.
History and Mission of Unknown Pleasures
Founded in 2025, Known Pleasures takes its name from Jia’s 2002 film and focuses on niche international art films that may lack robust international sales backing. The company is run by Jia and distributor Tian, both of whom previously worked on bringing Weerasethakul’s acclaimed film “Memoria” to China, where it grossed $360,000, contributing to a third of its total global box office. This early success inspired them to launch Unknown Pleasures.
Successful Releases and Future Plans
The label’s debut title was Italian director Paola Cortellesi’s hit “There’s Still Tomorrow,” acquired in 2024. The film opened in Chinese cinemas on March 8, coinciding with International Women’s Day, and garnered substantial attention with a gross of $6 million following positive reviews. In addition to “There’s Still Tomorrow,” Unknown Pleasures has also received four titles from Cannes in the same year, including Joachim Trier’s “Sentimental Value” and the restoration of Charlie Chaplin’s classic “The Gold Rush.”
Philosophy and Long-Term Goals
Tian emphasizes the belief that a wealth of “wondrous movies” exists, and he is confident that among China’s 1.4 billion people, significant audiences can be found for these films. He notes that not all acquisitions need to be financially successful, stating, “Once we acquire a title, we definitely aim to release it with the fastest speed.”
Jia further articulates their commitment to both stable finances and the true passion for cinema that drives their work. He asserts that the core mission is to distribute films they genuinely appreciate, stating, “If we stand purely from a business point, we wouldn’t start this business anyways.” Their ultimate goal is to nurture and grow China’s art-film market.
A Vision for Cinematic Legacy
Jia explains that their approach incorporates a long-term library strategy, aiming to curate a collection of titles that remain relevant over the years. “By building our own catalog and taking a long-term financial view, we keep the revenue sustainable,” he remarks. For him, the films that are genuinely intriguing and deserve to be seen in theaters are the ones that should be prioritized. He laments films relegated to online platforms, asserting that “they actually belong to cinema.”
