The film, which tells the story of a 12-year-old Mexican, Miguel (Anthony Gonzalez), who longs to become a musician but faces a generations-old family ban on music, netted an estimated $50.8 million for the three-day weekend and $72.9 million for the Wednesday-through-Sunday period, said Exhibitor Relations.

“Coco,” which takes Miguel into the magical Land of the Dead, where trickster Hector (Gael Garcia Bernal) helps him unravel a deep family secret, received a rare A+ rating from audiences surveyed by CinemaScore.

Disney and Pixar now claim the top six Thanksgiving openings of all time, according to the Hollywood Reporter, led by “Frozen,” with a five-day opening of $93.6 million.

In second place this weekend was Warner Bros. film “Justice League,” with a three-day take of $41.1 million in its second week out. The superhero flick has an all-star cast of Gal Gadot as Wonder Woman, Ben Affleck as Batman and Henry Cavill as Superman, joining to fend off supervillain Steppenwolf (Ciaran Hinds).

In third was Lionsgate’s feel-good film “Wonder,” with a better-than-expected net of $22.7 million. The movie, starring Julia Roberts, Owen Wilson and Jacob Tremblay, tells the story of a fifth-grade boy with a facial deformity who must deal with other children’s shock and bullying when he first attends a mainstream school.

“Thor: Ragnarok,” from Disney-owned Marvel, claimed fourth place with $16.9 million. The film features the self-effacing humor of Chris Hemsworth as the powerful Norse god and Cate Blanchett as death goddess Hela.

Fifth place went to Christmas comedy “Daddy’s Home 2” from Paramount, at $13.22 million. It stars Will Ferrell and Mark Wahlberg as the less-than-competent co-parents of Wahlberg’s kids as they cope with their own visiting fathers (John Lithgow and Mel Gibson).

Rounding out the top 10 were:

“Murder on the Orient Express” ($13.17 million)

“The Star” ($6.9 million)

“A Bad Moms Christmas” ($4.9 million)

“Roman J. Israel, Esq.” ($4.45 million)

“Three Billboards Outside Ebbing, Missouri” ($4.40 million)

The resort is hosting movie premieres, talks and masterclasses with filmmakers, producers and actors tomorrow (November 23) to December 3.

Christopher Doyle, the acclaimed cinematographer of “In the Mood for Love” (2000) and “2046” (2004) and revered Japanese actor Koji Yakusho of “Shall We Dance” (1996) and “Memoirs of a Geisha” (2005) are among guests attending festival events held at the Sands.

So is Shekhar Kapur, who directed the multiple-Oscar-nominated film “Elizabeth” (1998) and its sequel, “Elizabeth: The Golden Age” (2007).

In addition to Yakusho, the 11-day festival is also drawing more big names in Japanese cinema, including actress Shinobu Terajima, who stars in “Oh Lucy!” – one of the festival’s Special Presentations.

Male stars in attendance will include Takumi Saitoh, who will show his feature-directing debut, “Blank 13”, and Joe Odagiri, who has the lead in “The White Girl”, another Special Presentation.

Marina Bay Sands global ambassador David Beckham has been invited to attend the Benefit Dinner on November 25 at the Sands Expo and Convention Centre.

As part of “ArtScience on Screen: In Conversation”, the resort and festival will host seven dialogue sessions and masterclasses led by industry insiders between November 24 and December 2 at the ArtScience Museum.

Through the resort’s CSR programme Sands for Singapore, it provides opportunities for youth and other beneficiaries to gain insights into the world of film, art and culture through the eyes of leading experts and celebrities.

This year’s speakers include Kapur, Yakusho, “The Song of Scorpions” director Anup Singh and star Waheeda Rehman, “The White Girl” directors and stars Odagiri, Doyle, Jenny Suen, Angela Yuen and Tony Wu, “Oh Lucy” director Atsuko Hiranayagi and star Terajima, Hong Kong director Clara Law and producer Philip Lee, who worked on Ang Lee’s “Crouching Tiger, Hidden Dragon”.

The festival’s other venues include Shaw Theatres Lido, National Museum, National Gallery, the Arts House, Filmgarde Bugis+, Objectifs and Scape.

The Oscar-winning executive, who oversees the output of Disney Animation and Pixar, went on a six-month sabbatical Tuesday after apologizing for making staff feel “disrespected or uncomfortable” over his behavior.

He apologized to “anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape,or form,” in an internal memo forwarded by Disney to AFP.

The news will come as a huge blow to Disney, as Lasseter is widely credited with rescuing its animation division from closure when he arrived from its new stablemate Pixar in 2007 to become chief creative officer for both studios.

It hardly seems conceivable now — with “Frozen” (2013) among the 10 highest grossing movies in history — but Disney was reeling from the derision heaped on “Atlantis: The Lost Empire” (2001), “Brother Bear” (2003) and “Chicken Little” (2005).

Outgunned for years by Pixar, Disney’s animation division was on the verge of being put out to pasture when the studio regained its mojo under Lasseter and started producing classics like “Tangled” and “Wreck-It Ralph” that harked back its glory days.

“I grew up loving Disney films. They were meaningful to me, there was a magic to them, a beauty,” the 60-year-old told a gathering of international media at Disney’s D23 fan convention in July in Anaheim, California.

Lasseter’s impact on the world of animation cannot be overstated.

Pixar’s various achievements are well rehearsed but bear repeating: 13 Oscars and $11 billion in box office receipts from 18 movies since Lasseter’s “Toy Story,” the world’s first computer-generated feature film, opened in 1995.

Since Lasseter came on board, Walt Disney Animation Studios has picked itself spectacularly out of the doldrums to amass $5 billion across eight movies, picking up four Academy Awards.

No favorites

Raised in the city of Whittier, Lasseter was seduced by the Mouse House’s magic early on via regular trips to the nearby Disneyland and one memorable cinema visit to see a rerun of “The Sword in the Stone” (1963).

“Those moments, those feelings stay with me. Walt Disney, in his movies and Disneyland, entertained people like nobody else in the world,” recalled the filmmaker, who has two Oscars of his own.

Lasseter enrolled in the California Institute of Arts in 1975 and, with contemporaries Tim Burton and Brad Bird, was taught by Disney’s legendary “Nine Old Men” team of core animators.

After graduating, he was picked from thousands to join Walt Disney Feature Animation — but was fired soon after for working on an early version of computer animation without clearing it first with his bosses.

He joined Lucasfilm’s groundbreaking CGI team, The Graphics Group, in 1984 before it was sold to Apple boss Steve Jobs, who renamed it Pixar and transformed it with Lasseter’s help from an IT company into a fully-fledged animation studio.

The Walt Disney Company bought Pixar in 2006 and Lasseter has since overseen all output from both studios.

His directing credits include “Toy Story” (1995) and its first sequel, “A Bug’s Life” (1998), “Cars” (2006) and “Cars 2” (2011).

‘Brain trust’

Lasseter — whose successes have paid for a vineyard, a fleet of classic cars and a collection of 1,000 Hawaiian shirts — has developed a collaborative approach to filmmaking that sets him apart from other studio chiefs.

His creatives are part of a company-wide “brain trust,” each encouraged to generate ideas for one another’s films and help out with solving problematic plot points.

He fosters a culture of intensive research, granting filmmakers years to make sure they get their subjects right — especially on culturally sensitive projects like “Moana” and “Coco,” due to be released on Wednesday, which centers around Mexico’s Day of the Dead.

Perhaps the most striking innovation introduced by Lasseter was doing away with the old damsel-in-distress model of Disney princess in favor of a more interesting, unselfconsciously feminist version to which young girls could aspire.

“It’s hard work what we do, but we don’t take the easy route. We don’t just carbon copy another sequel with exactly the same story just to print money. We throw it out, we start from scratch and we get a new emotional heart,” he said.

“And we want to say something to the world that is meaningful. And right now, I’m so proud that we put joy out into the world.”

A bombshell Washington Post report said the women were employees or aspired to work on the “Charlie Rose” show and were in their 20s and 30s when the alleged harassment took place from the 1990s to as recently as 2011.

They complained that the unwanted advances included lewd phone calls, groping and walking naked in front of them. Three of them spoke on the record.

The report makes Rose, now 75, the latest senior male journalist accused of misconduct in the wake of the downfall of Hollywood mogul Harvey Weinstein, which opened the floodgates of sexual assault and harassment accusations in many industries.

Almost immediately, public broadcaster PBS moved to suspend distribution of the “Charlie Rose” show. CBS, where Rose co-hosts “CBS This Morning” and is a contributing correspondent for “60 Minutes,” followed suit.

“Charlie Rose is suspended immediately while we look into this matter. These allegations are extremely disturbing and we take them very seriously,” a CBS News statement read.

A spokesperson said PBS was shocked by the “deeply disturbing allegations.”

“Charlie Rose” is produced by an independent television production company.

“PBS does not fund this nightly program or supervise its production, but we expect our producers to provide a workplace where people feel safe and are treated with dignity and respect,” the spokesperson said.

In a statement he tweeted out, the divorced host said “I deeply apologize for my inappropriate behavior. I am greatly embarrassed.”

“I have behaved insensitively at times, and I accept responsibility for that, though I do not believe that all of these allegations are accurate,” Rose said.

“I always felt that I was pursuing shared feelings, even though I now realize I was mistaken.”

The newspaper said five of the women accused Rose of putting his hand on their legs.

Two said that while they worked for Rose, he emerged from the shower and walked naked in front of them. One said he groped her buttocks at a staff party.

Earlier, The New York Times confirmed that it had suspended a senior White House correspondent, Glenn Thrush, after news website Vox reported that he engaged in sexually inappropriate behavior on his previous job at Politico.

“The alleged behavior is very concerning and not in keeping with the standards and values of The New York Times,” a statement read. “We intend to fully investigate and while we do, Glenn will be suspended.”

The 76-year-old actor was honored for a career spanning five decades that has seen him lavished with acclaim, not to mention three Oscar nominations.

Sporting a business suit and a thick white beard, the famously gruff-voiced actor gave a shorter than usual acceptance speech celebrating the magic of Tinseltown rather than dwelling on his own career.

“There’s a reason why this street and this town is such a center to the United States and to the world, the center of filmmaking,” he told fans gathered on Hollywood Boulevard.

“That’s because they honored the street with these stars along the way, and that’s unlike any other street in LA.”

Nolte has made a name for hard partying off screen and playing brusque, unstable characters on screen, including a hard-nosed cop in “48 Hrs.” (1982) and a rapist’s lawyer in “Cape Fear” (1991).

He first gained fame for his starring role in the 1976 ABC miniseries “Rich Man, Poor Man,” which brought him an Emmy nomination for outstanding lead actor.

He has best actor Oscar nominations for his roles as a troubled man who falls in love with his sister’s psychiatrist in “The Prince of Tides” (1991) and as a small-town New Hampshire police officer in “Affliction” (1997).

He was also nominated for his supporting role as the father of battling brothers in powerful fighter movie “Warrior” (2011).

Nolte, who currently stars in Epix comedy “Graves,” was born on February 8, 1941 in Omaha, Nebraska, and moved to Southern California after graduating from high school, playing football at Pasadena City College.

He became interested in acting when he accompanied a friend to an audition for the ABC prime-time soap opera “Peyton Place” and ended being roped in to read a part.

After 20 years on the stage, Nolte’s first starring film role came in 1977 as a scuba diver whose discovery of artifacts from a sunken ship sets off a series of events in “The Deep.”

He had to wait another five years, though, for his big-screen breakthrough, starring opposite Eddie Murphy in “48 Hrs.”

Other memorable films include “Who’ll Stop The Rain,” “North Dallas Forty,” “Heart Beat” and “Cannery Row.”

Gavin O’Connor, who directed “Warrior,” described the actor in a poetic tribute as as “humble,” but “crazy to the bone” and “a master of his craft.”

“As an actor, Nick has one of the greatest listeners’ ears I’ve ever witnessed, and a voice that sounds like he swallowed a bag of nails,” he said.

AFTER MAKING the leap from indie director to major studio and making one of the most success-|ful films of 2015, the romantic |comedy “Freelance”, Nawapol Thamrongrattanarit returns to the independent stage for his new movie “Die Tomorrow”, a story, as the name implies, about death.

Yet while about death, “Die Tomorrow” is in many ways a celebration of life. Through six stories – which he chooses to call fragments – Nawapol present different situations in the lives of his characters the day before they die.

“Death is a reflection of how people see their lives,” says the director, who makes this point with the movie tagline: “how are you today?” This, he explains, is a reference to how death can happen anytime and to anyone – children, young people, the middle-aged and the elderly.

“The question is: do I get scared or feel sad when I’m going to die? Like everyone, I have felt both scared and sad when I’ve thought about it, but now I’m not sure how will I feel when the day comes. I think it will be like sitting in a dark room and even though I can see where the exit is, I don’t know when I have to leave the room. If I were not concerned about it, I would never see where the exit is,” says Nawapol.

For all its seriousness, Nawapol insists that “Die Tomorrow” is not a depressing drama talking about the moment of loss but rather a portrayal of everyday life.

“It’s not an omnibus either. It is more like an essay or a music album. It’s like we listen to the tracks on the whole album. We know that each song has its own story but all songs are connected with the singers or the band,” he says.

This “Die Tomorrow” album is shot through long takes in six fragments.

“Long takes have become my personal language and I have often used this technique in my previous films. The long take in this film is appropriate to the concept. Don’t you think that our everyday life is a long take … a real-time event that we can’t cut or stop until we die?”

In a way, he regards “Die Tomorrow” as his own funeral book, albeit one he has prepared alone. In general, the funeral book is made by those left behind in tribute a loved one.

He completes this idea by casting the actors he has worked with on previous films – Koramit Vajrasthira from his first feature film “36”, Patcha Poonpiriya from his independent hit “Mary is Happy, “Mary is Happy”, Jarinporn Junkiet from his short film “Maythawee” and Violette Wautier and Sunny Suwanmethanont from the commercial hit “Freelance”.

“It’s in keeping with the concept of how I want to do my ‘final film” in case I ‘die tomorrow’,” says the 33 year-old, adding that he is surely not too young to talk about death and doesn’t feel he it’s a jinx, as old beliefs would have us understand.

“As I get older, the more I realise that death is always close though we tend to ignore it when we are younger. Even at my age, death is in sight and we all think about it. We tend to go to funerals more often and our bodies start to show signs of deterioration like back pain. It hit me when my mother told me out of the blue where the land deed is kept,” says the director.

Death or near death has always hovered at the edges of his films. “Every movie has a personal element, it allows me to see myself at a certain age,” Nawapol explains.

Since finishing “Freelance Ham Puay Ham Phak Ham Rak More” (“Heart Attack”), he has worked less and been more choosy about the projects he wants to develop. “That’s not because I earned a lot of money from ‘Freelance’, more that I didn’t want to want to work myself almost to death like the main character Yoon (Sunny Suwanmethanon), he laughs.

He developed “Die Tomorrow” and submitted his proposal to the Ministry of Culture, who chose it to pitch at the Cannes International Film Festival. “My project was too small to get funding but it was good to go there and learn more experience about pitching,” he says.

He also knew he wouldn’t be able to make this low-budget independent project within the studio system so after returning from Cannes worked on a new project with GDH before turning his attention back to “Die Tomorrow” late last year.

“Die” eventually picked up financial support from different organisations including the Culture Ministry and LG. Nawapol didn’t attempt to raise funds overseas as he didn’t want to wait. “It takes a year or more to get funding so I opted for domestic support,” he says.

As with most independent directors, Nawapol donned several hats, most recently handling the promotion and marketing via social media, which he also used successfully in promoting both “36” and “Mary Is Happy”. And just like those two films, his Facebook and Twitter hashtag #dietomorrow went viral, with online shops giving it a twist to promote their products. From MacDonald to Tops Supermarket and even 11street.com, the hashtag turned into such slogans as “Eat Today before diet(t)omorrow” in online food promotions, “dry tomorrow” for a detergent, and even “shop today without fearing to die tomorrow” for the 11.11 online shopping campaign.

Nawapol admits he was surprised at the way the tagline was picked up by so many people. “I couldn’t buy ads because I didn’t have a budget, so I was very excited and surprised to see it,” he says with a grin.

Another gimmick, though one he dreamt up himself, was the film poster, which shows photos of each cast member with his/her real-life birth year followed by a hyphen and space to insert year of death. He even designed an app that allows members of the public to put their own photo and year of birth on the poster.

“Even though my promotion on the social networks was an overwhelming success for “36” and “Mary”, I didn’t expect that it would reach the same level for “Die”. It’s the only way I know and I enjoy doing it,” he says.

“But I have to pull myself away from the online world because I also have other work to do too,” he adds.

His box office success with “Freelance”, however, doesn’t change the fact that “Die Tomorrow” is still a low-budget independent movie, meaning that the major cinema chains are not picking it up for mass screenings.

“Die Tomorrow” goes on limited release Thursday with two show times a day at 3pm and 7.30pm at selected cinemas in Bangkok and upcountry. It’s screening at SF World Cinema, SFX Central Lat Phrao, SFX Central Rama 9, SFX Maya Chiang Mai, SFX Khon Kaen, SF Cinema, Laemtong Bang Saen and SFX Central Plaza Nakhon Ratchasima.

With an all-star cast including Gal Gadot as Wonder Woman, Ben Affleck as Batman and Henry Cavill as Superman, “Justice League” — based on the DC Comics superheroes team — sees a mash-up of classic characters fend off the threat of supervillain Steppenwolf (Ciaran Hinds).

The big-budget Warner Bros. production — which fared better internationally, taking $185 million — was forecast to earn $110 million in North American cinemas, according to Variety.

Writing on Twitter, industry analyst Exhibitor Relations — which released the estimates — said “Justice League” “may be the first film to debut w/ $96M that feels like a major disappointment.”

In at second — earning $27.1 million — was Lionsgate’s newly-released “Wonder,” according to the box office tracker.

Starring Julia Roberts, Owen Wilson and Jacob Tremblay, “Wonder” follows the journey of August Pullman, a young boy with facial deformities, as he enters the fifth grade at a mainstream school for the first time.

After thundering to the top spot last week, “Thor: Ragnarok” slipped into third place in its third weekend in cinemas, taking $21.8 million.

Featuring the self-mocking humor of Chris Hemsworth as the powerful Norse god alongside Cate Blanchett as Hela, goddess of death, “Thor” has raked in an impressive $247.4 million since its release in North American cinemas.

Paramount’s “Daddy’s Home 2” halved its earnings from last weekend, dropping to fourth place with $14.8 million.

The festive comedy stars Will Ferrell and Mark Wahlberg as Brad and Dusty, who join forces to give their kids the perfect holiday — an effort challenged when their own fathers show up.

In at fifth was Fox’s “Murder on the Orient Express,” earning $13.8 million.

The fourth television or cinema adaptation of Agatha Christie’s classic detective novel, the murder mystery was directed by Kenneth Branagh, who also stars as part of an A-list cast including Johnny Depp, Penelope Cruz and Judi Dench.

Rounding out the top 10 were:

“The Star” ($10 million)

“A Bad Moms Christmas” ($6.9 million)

“Lady Bird” ($2.5 million)

“Three Billboards Outside Ebbing, Missouri” ($1.1 million)

“Jigsaw” ($1.1 million)

The first six instalments of the global phenomenon and epic space opera franchise are now available to stream and all of them are Thai subtitled and Thai dubbed.

Perfect for binge watching, punters can now watch “The Phantom Menace”, “Attack of the Clones”, “Revenge of the Sith”, “A New Hope”, “The Empire Strikes Back” and “Return of the Jedi”, with Episode VII, “ The Force Awakens” set to be screened on iflix next year,

The movie saga, first shown on May 25, 1977 with Episode IV “A New Hope”, changed the face of cinema forever. An instant classic and an unparalleled box office success, the rousing “space opera” is equal parts fairy tale, western, 1930s serial and special effects extravaganza, with roots in mythologies from cultures around the world. From the mind of visionary writer/director George Lucas, the epic space fantasy introduced the mystical Force into the cultural vocabulary and it continues to grow, its lush universe ever-expanding through film, television, publishing, video games and more.

“Star Wars is the world’s most iconic and significant film series of all time. The incredible characters, worlds, and legends envisioned by George Lucas excite, enthral and inspire audiences of all ages and generations around the world. We are thrilled to share the Star Wars canon with fans in Thailand. At iflix, we are committed to delivering the best entertainment experience, completely on the users’ terms. The addition of Star Wars to our extensive library is a testament to that promise,” says iflix group chief content officer, Sean Carey.

But the #MeToo wave exposing sexual misconduct which began in Hollywood slammed into the US capital this week, triggering a dizzying slew of allegations, apologies and resignations.

Democratic Senator Al Franken said he was sorry after a radio talk show host accused him of forcibly kissing her in 2006 — two years before voters in Minnesota sent him to the Senate — and for posing for a picture which showed him groping her breasts as she slept.

President Donald Trump, despite numerous allegations that he has personally engaged in lewd conduct towards women, was quick to pile on, calling him “Al Frankenstien” (sic) and saying the picture was “really bad.”

When asked by reporters on Friday the difference between the allegations against Trump and those against Franken, White House spokeswoman Sarah Sanders replied: “Senator Franken has admitted wrongdoing and the president hasn’t.”

“I think that’s a very clear distinction,” she added.

Trump’s Twitter attack on the Democratic senator was in stark contrast to his relative silence over another scandal — allegations that the Republican candidate for the US Senate in Alabama, Roy Moore, once preyed on teenage girls.

Meanwhile, two female members of the House of Representatives — one Democrat and one Republican — have accused two lawmakers, who they declined to name, of sexual harassment.

And a congresswoman’s chief of staff resigned amid allegations that he had sexually harassed co-workers.

Former president George H.W. Bush, 93, has also found himself in the line of fire, accused by half a dozen women of groping them during photo ops, both before and after he became confined to a wheelchair.

“There are lot of nervous people around wondering what — who will be next,” Trump aide Kellyanne Conway told Fox News.

Hastert, Thomas, Clinton

One of the most recent and high-profile cases of sexual misconduct in Congress involved the former Republican speaker of the House, Dennis Hastert, who pleaded guilty in 2015 to making illegal payments to hush up his molestation of teenage boys.

Supreme Court judge Clarence Thomas’s Senate confirmation hearing in 1991 was overshadowed by allegations he sexually harassed a staffer, Anita Hill, charges which he denied.

And then of course there is former Democratic president Bill Clinton, who admitted to having sexual relations with an intern, Monica Lewinsky, while serving in the White House.

The Trump presidential campaign repeatedly brought up Clinton’s indiscretions during the bitter 2016 White House race against his wife Hillary.

At the same time, the Trump campaign rejected the claims of multiple women that the billionaire real estate tycoon had acted inappropriately towards them — a pattern of behavior Trump more or less admitted in a notorious 2005 recording.

“I’m automatically attracted to beautiful — I just start kissing them,” he said in the audiotape, which surfaced during the campaign. “It’s like a magnet. Just kiss. I don’t even wait. And when you’re a star, they let you do it. You can do anything.

“Grab ’em by the pussy. You can do anything,” Trump said.

On Capitol Hill, Congress is attempting to be proactive in containing the fallout from the new allegations against lawmakers.

Republican speaker Paul Ryan announced this week that the House would adopt “mandatory anti-harassment and anti-discrimination training” for lawmakers and their staff.

“Our goal is not only to raise awareness, but also make abundantly clear that harassment in any form has no place in this institution,” Ryan said.

The Senate made anti-harassment training mandatory last week.

With the debate over sexual misconduct roiling American institutions, a Democratic candidate for governor in Ohio came out Friday with a somewhat unusual statement.

Bill O’Neill, a state supreme court justice, said he was “disappointed by this national feeding frenzy about sexual indiscretions decades ago” and was making a preemptive strike.

To spare his political rivals conducting opposition research, O’Neill said in a Facebook post that he had been “sexually intimate with approximately 50 very attractive females.”

The post immediately earned scorn — even from O’Neill’s own Democratic Party.

All three are part of the partnership with Content Panda, an international business division of top Korean distributor Next Entertainment World.

“We are excited to partner with Next Entertainment World to bring multiple upcoming Korean films including director Yeon Sang-Ho’s “Psychokinesis” to our global members,” said Rob Roy, vice president of content acquisition at Netflix. “Netflix will continue to keep a close eye on great global content, as we are committed to providing the best entertainment to our members around the world.”

“Psychokinesis” is the highly anticipated new movie from Yeon Sang-Ho, whose 2016 zombie thriller “Train to Busan” was a smash hit. The new title focuses on superpowers, telling the story of a father who sets out to save his troubled daughter using superpowers that suddenly appeared in him one day.

According to Variety’s website, the film stars Ryu Seungryong (“Miracle in Cell No 7”) and Shim Eunkyung (“Miss Granny”) the voice acting leads in “Seoul Station,” Yeon’s animated prequel to “Train,” Park Jungmin (“Dongju: The Portrait of a Poet”) and “Train” star Jung Yumi.

“Steel Rain” focuses on nuclear threats in the two Koreas when a coup in North Korea forces its leader and his elite guard to come South. “The Chase” is a thriller that features two characters chasing after the suspect in a 30-year-old unsolved case.

“The recent partnership was made possible as both Netflix and NEW agreed on great content,” said Jae-Min Kim, head of overseas sales at Contents Panda.

“We plan to get a head start in the global markets by securing more competitive content in the future.”

Psychokinesis will be available globally on Netflix in 2018. Netflix currently has 109 million global members.