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In 2015, a short film stormed the global cinematic landscape with a blend of outrageous comedy, homage to 80s action cinema, and a plotline so extravagant it verged on the absurd. Kung Fury quickly became a cult classic, reflecting not only the director’s ability to harness nostalgia but also his gift for turning an ambitious Kickstarter project into a resounding success. The film, a 31-minute roller-coaster of kung fu, neon lights, and time-travelling Nazis, continues to resonate with audiences long after its release. But what makes Kung Fury more than just another action parody? Director Sandberg’s genius lies in his ability to both poke fun at and celebrate the over-the-top action movies of the 1980s. Set in a glorified version of 1980s Miami, Kung Fury takes viewers back to a time when VHS tapes, arcade machines, and cheesy one-liners were the epitome of cool. The film follows the adventures of Kung Fury, a detective turned kung fu master who, after being struck by lightning and bitten by a cobra, gains superhuman martial arts abilities. From the grainy VHS effects to the electronic synthwave soundtrack, Kung Fury immerses audiences in the nostalgic aesthetics of the time. Yet, the film’s success is not just about looking back—it's also a loving critique of the genre's absurdity. With only $5,000 of his own money, Sandberg and his friends shot the first scenes of Kung Fury, and the footage quickly gained attention after being uploaded to Kickstarter. Sandberg set a goal of $200,000 to fund a 30-minute short film, but the internet responded with overwhelming enthusiasm. The campaign closed with more than $630,000 from over 17,000 backers. The success of Kung Fury speaks volumes about the power of digital platforms and fan-based funding in modern filmmaking. By engaging with potential audiences via Kickstarter, Sandberg was able to bypass traditional Hollywood funding routes and maintain creative control over his vision. Kung Fury is more than just a nostalgic homage to 80s action cinema. It’s a cultural phenomenon that showcases the ingenuity of independent filmmaking in the digital age. All hail creativity!!!!

ARE REMAKES BACK? With the Cannes 2024 Film Festival in mid-swing, Screen Daily writes that remakes are back in their article titled Second Life: A Spotlight on Cannes Remakes. The article cites Mean Girls, Garfield, Road House, Twisters, The Fall Guy, The Neverending Story – and that’s just in the US - with international remakes also on the rise. The underlying idea that IP is being mined is certainly at the forefront of media today. Which is, ultimately, the point of this article. Financiers in all forms are looking for anything that they can point to that will provide some form of certainty to their investment. Although, if you look at The Fall Guy, a recent foray, I’m not sure anyone can say there was any deep nostalgic or historical value in that property. Still, it was IP. And I’m sure somewhere the very notion of it being “based on” gave comfort. However, remakes fall into various categories that should be broken down into the kind of remake it is. Here’s how I think of them: (1) The Remake - a very closely followed narrative, notable - but certainly not exclusive to - foreign language films that get remade into English to find a broader audience. In this case, you are looking to capitalize on a story that most of the audience either doesn’t know the original or is perhaps mildly familiar with it at best. However, you know the story works. Examples include The Departed and The Girl with the Dragon Tattoo. (2) The Reboot - revitalizing an existing IP with new stories, characters, or setting - this is more of an IP grab. I’d say Road House falls into this category. In this case, it’s a Western - a man comes into a town and cleans it up - but with characters and set-up that are either the same or feel familiar. This could borrow as much or as little from the original, but there must be something in the underlying IP that gives it clear connective tissue to the original. Other examples of reboots would include: Batman Begins, Star Trek, Mad Max, and The Equalizer. (3) The Reimagining - retains the core premise or characters but significantly alters the narrative, setting, or genre to bring a fresh interpretation of the original to the screen. Unlike a remake, which closely follows the original narrative, or a reboot, which revitalizes a franchise with familiar elements, the reimagining takes more creative liberties. Two of my favorites from television are Battlestar Galactica and Westworld. The consistency here is that there is a clear move to IP that is based on older tv or film products with a story, setting, or character, that has perceived value in the market. And while I’m not making the argument it’s less valuable to have IP based on books, life rights, articles, etc., I would say there is a healthy market now, more than ever, for remakes, reboots, and reimaginings, and there will be more to follow before we see any decline in this trend. What do you think?

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