Studiocanal has revealed that it has closed sales on multiple films that either premiered at the Cannes Film Festival or are on its development and production slate, including “The Midnight Library.” The company also said it is negotiating presales on the new Paddington animated film.

“The Midnight Library,” starring and produced by Academy Award nominee Florence Pugh, emerged as one of the hottest titles at this year’s Cannes Film Market. After a competitive bidding war between studios, the film sold to Paramount Pictures for North America and numerous foreign territories.

Beyond Paramount’s territories, “The Midnight Library” will be distributed by Scanbox in Scandinavia, Sun Africa Group/MultiChoice in South Africa, and Filmcoopi in Switzerland. Studiocanal will release the film across its territory footprint, including the U.K., France, Germany, Italy, Poland, Benelux, Australia and New Zealand.

Studiocanal also closed deals for Rudi Rosenberg’s Un Certain Regard film “Words of Love,” Volker Schlöndorff’s “Visitation,” Jean-Pierre Jeunet’s “Violette,” Jeanne Herry’s Cannes competition selection “Another Day,” Simon Stone’s “Elsinore,” Jonathan Schey’s “Everybody Wants to F*ck Me,” Danny Boyle’s “Ink” and Fred Cavayé’s “Les Misérables.” Studiocanal will release the films in its territories.

Sales for the films are as follows:

“Elsinore”
Anuvu for airlines, MCF for Ex-Yugoslavia and Bulgaria, Spentzos for Greece, ADS for Hungary, Lev for Israel, Lusomundo for Portugal, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, Filmcoopi for Switzerland, and Bir Film for Turkey. It will be released in the U.S. in 2027 by LD Entertainment.

“Everybody Wants to F*Ck Me”
ACME for the Baltics, Prorom for Eastern Europe, Blitz for Ex-Yugoslavia, Myndform for Iceland, Lionsgate for India, Lev for Israel, Imagem for Latin America, Mongol Films for Mongolia, Lusomundo for Portugal, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, KTH for South Korea, Filmcoopi for Switzerland, Catchplay for Taiwan, and Svoe Kino for Ukraine.

“Ink”
Echolake for airlines, Cinelibri for Bulgaria, VVS for Canada, AQS for Czech Republic and Slovakia, Karantanja for Ex-Yugoslavia, Spentzos for Greece, Cinetel for Hungary, Myndform for Iceland, MVP for India, Shoval for Israel, Mongol Films for Mongolia, Lusomundo for Portugal, Independenta for Romania, Scanbox for Scandinavia, Sun Africa Group/MultiChoice for South Africa, NK Content for South Korea, Wanda for Spain, Ascot Elite for Switzerland, Fabula Films for Turkey, and UFD for Ukraine.

“Les Miserables”
Skeye for airlines, ACME for the Baltics, Cinelibri for Bulgaria, TVA for Canada, AQS for Czech Republic and Slovakia, Karantanja for Ex-Yugoslavia, Pathé Touch for French-speaking Africa, Spentzos for Greece, ADS for Hungary, Synapse for Latin America, GSC for Malaysia, Italia for the Middle East, Lusomundo for Portugal, Independenta for Romania, Shaw for Singapore, Scene & Sound for South Korea, Beta Fiction for Spain, DCM for Switzerland, Bir Film for Turkey, and Ad Astra for Ukraine.

“Words of Love”
Cineart for Benelux, Beta for Bulgaria, Immina for Canada, Pandora for Germany and Austria, Danaos for Greece, New Cinema for Israel, Teodora for Italy, Angel Films for Scandinavia, Atalante for Spain, Frenetic for Switzerland, and Mars for Turkey.

“Visitation”
Moving Story for Australia and New Zealand, Artifilm for Benelux, Beta for Bulgaria, Karantanija for Ex-Yugoslavia, Spentzos for Greece, Lev for Israel, Cetera for Japan, Alambique for Portugal, Scanbox for Scandinavia, A Contracorriente for Spain, and Filmcoopi for Switzerland.

“Violette”
Skeye for airlines, ACME for the Baltics, Cinelibri for Bulgaria, VVS for Canada, Blue Media for China, MCF for Ex-Yugoslavia, Spentzos for Greece, Vertigo for Hungary, Lev for Israel, Lucky Red for Italy, Lusomundo for Portugal, Bad Unicorn for Romania, Scanbox for Scandinavia, Shaw for Singapore, Beta Fiction for Spain, Frenetic for Switzerland, Bir for Turkey, and Arthouse for Ukraine.

“Another Day”
MCF for Ex-Yugoslavia and Bulgaria, Spentzos for Greece, Europictures for Italy, Scanbox for Scandinavia, Shaw for Singapore, Frenetic for Switzerland, Lusomundo for Portugal, and Mars for Turkey.

Three men face potential charges after a 21-year-old woman died when rope-jumping instructors allegedly launched her from a bridge without attaching the safety ropes meant to stop her fall, authorities said.

Maria Eduarda Rodrigues de Freitas, a 21-year-old student, died Saturday during a rope-jumping event at an abandoned bridge about 90 miles northwest of São Paulo, Brazil.

Police investigator Andrea Levy told reporters Monday that the three instructors involved in the jump acknowledged that Rodrigues de Freitas was not connected to any safety equipment before she was launched from the bridge.

“They do not remember whether they forgot to attach [the ropes], or who was supposed to do it, or who failed to check. But the fact is the ropes were not attached to her,” Levy said.

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The three instructors were arrested following the incident and could face criminal charges, The Associated Press reported.

Brazilian authorities said the three instructors were arrested on suspicion of homicide with “eventual intent,” a legal concept under Brazilian law that generally applies when a person is deemed to have accepted the risk that a death could occur. According to Brazilian outlet G1, citing investigators, the instructors were booked on the charge at the scene.

Investigators said Rodrigues de Freitas requested to be launched from the bridge “airplane style,” with two instructors lifting her above their shoulders while she stretched out her arms.

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Video shared online appears to show two helmeted men tossing the young woman from the abandoned bridge moments before the fatal fall. The instructors appear to be wearing harnesses connected to safety lines.

Authorities said Rodrigues de Freitas fell approximately 130 feet.

Brazilian media reported that Rodrigues de Freitas had purchased a guided hiking excursion that included the rope jump from the abandoned bridge.

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Rope jumping is an extreme sport that differs from traditional bungee jumping. Instead of elastic cords that create a vertical bounce, rope jumping uses low-stretch climbing ropes designed to transform a fall into a pendulum-like swing.

The City of Limeira identified Rodrigues de Freitas as a resident of Jandira and issued a statement expressing condolences to her family.

“At this moment of pain, the City of Limeira stands in solidarity with the young woman’s family, friends and loved ones,” municipal officials said in a statement Saturday.

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The city said it would cooperate with authorities investigating the incident.

Rodrigues de Freitas was buried Sunday.

Levy told Brazilian television program “Jornal Nacional” that investigators were examining whether the group conducting the jump was authorized to operate at the site. According to G1, Levy said investigators believe a failure to verify the placement of the safety rope contributed to the fatality.

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In a statement cited by G1, attorneys for the three instructors said their clients had experience conducting the activity and that the incident was the first fatality during their years of operation.

Authorities continue to investigate the circumstances surrounding the apparent safety failure, including who was responsible for ensuring participants were properly secured before jumping.

The Associated Press contributed to this report.

LOS ANGELES (AP) — Author Amy Griffin sued a former classmate for defamation on Monday, saying the woman’s statements in a New York Times story and a subsequent lawsuit alleging Griffin appropriated her stories of sexual abuse for her bestselling 2025 memoir “The Tell” are false in “every element.”

Griffin’s lawsuit, filed in federal court in Nevada, says that in 2025 her former middle school classmate “told The New York Times — and through it, the world — that Amy Griffin is a fraud and a thief.”

The lawsuit says that in the woman’s telling, “Mrs. Griffin stole the rape of another woman and built a bestseller on it.”

A Times spokesperson said the lawsuit misrepresents its story and reporting. The former classmate said her account will prove true in court.

In “The Tell,” a hit that became an Oprah’s Book Club selection, Griffin, a venture capitalist and memoirist, recounts being sexually abused as a child by a teacher at her middle school in Amarillo, Texas, and writes that years later she recovered memories of the experience by undergoing therapy using the psychedelic drug MDMA.

The Times story published six months after the book included stories from a classmate who said some of Griffin’s experiences were eerily similar to her own. Then in March the woman filed a lawsuit in California state court, which Griffin is fighting and seeking to have dismissed.

The Associated Press doesn’t typically name people who say they have been sexually abused unless they come forward publicly or otherwise consent. The woman who sued Griffin filed her lawsuit as Jane Doe, and her name did not appear in the Times story.

Griffin says documentation backs her in every aspect

Griffin’s lawsuit says the most essential fact is that she put her account of her abuse in writing in 2020, and in 2021 she provided another detailed and documented account in an interview with the Amarillo Police Department. Both accounts match up with the book, and both came before Griffin is alleged to have extracted the woman’s abuse story by having someone posing as a talent agent call her in 2022, according to the lawsuit. The statute of limitations prevented the criminal investigation from moving forward.

Griffin’s lawsuit says the woman falsely claimed to be another middle school classmate who appears in “The Tell” under the pseudonym “Claudia,” whose meeting with the author is recounted in the book. The lawsuit Griffin had not talked to the woman in more than 35 years, had never been part of the same church youth group as alleged, and was demonstrably not in the Palm Springs area in 2019 — or the years before or after — when the woman claims the two of them met for coffee.

Griffin’s lawsuit says the coffee shop conversation with “Claudia” took place thousands of miles away in the presence of a collaborator, and that the woman in the Times story had been unable to produce any evidence the meeting with her had taken place.

Accuser says this is an attempt to silence her

In an email to The Associated Press sent through her lawyers, the woman said the shame and humiliation from her sexual assault were unimaginable and she was “violated all over again after reading about my own experiences in Amy’s book.”

“Despite trying to remain anonymous, Amy has now chosen to use her immense wealth and influence to try and silence me,” the email said. “She has had her lawyers identify me publicly as well as sue me. I am shocked and disappointed that she would choose to take this route, especially since she herself knows the truth.”

Griffin’s lawsuit seeks a declaration that the allegations that she stole the woman’s abuse stories are false, along with financial damages to be determined at trial.

New York Times stands by its reporting and story

Griffin’s lawsuit, while not naming the Times as a defendant, is harshly critical of the paper, saying it “deemed the story too good to scrutinize” despite Griffin’s lawyers making it clear the woman’s account was “demonstrably false.”

Times spokesperson Danielle Rhoades Ha said in an email to the AP that the lawsuit and related filings “repeatedly misrepresent The New York Times story and its reporting,” and that the article “is markedly different in key aspects put forth” in both women’s lawsuits.

Rhoades points out that many of the allegations Griffin is pushing back against did not appear in the Times’ story, including that the woman they spoke to was “Claudia,” or that a person posing as a talent agent on Griffin’s behalf called to get her stories of abuse.

And Rhoades said the Times story did not say Griffin “misappropriated” the woman’s story, and she said claims that the reporters did not vet their story are false, and that they “engaged extensively with Ms. Griffin’s legal representatives prior to publication including meticulous fact checking.”

“Our story was about a publishing phenomenon, the reliability of memories recovered while under the influence of MDMA and the impact of a bestselling memoir on the author’s hometown,” Rhoades said. “Our reporters’ only agenda was to pursue the facts, including corroboration of accounts from all sources.”