Pantelion Films


A summary for Corporate Marketers, Media Sales Executives and Advertising Agencies to see what clients are moving into the market and/or targeting Multicultural consumers right now.

For prior Sales Leads editions, click here. 

2018 NETWORKING SOLUTIONS. To find out about Portada’s new networking solutions targeting the decision makers of the below campaigns, please contact our Sales Manager Isabel Ojeda at Isabel@portada-online.com.

  • GlaxoSmithKline

Global pharmaceuticals giant GlaxoSmithKline has put its entire media account under review, three years after awarding the business to Omnicom’s PHD and WPP’s Mediacom.The reappraisal potentially puts a US$1.7bn advertising budget up for grabs and comes as part of a mandatory three-year cycle of reviews at the behest of GSKmanagement, According to Ad Age.




  • Advance Auto Parts

Advance Auto Parts has appointed Dallas-based independent agency The Richards Group for brand and creative work and Dentsu Aegis Network-owned agency 360i for media and analytics following a review, Adage has reported.Crossmedia, the media incumbent, did not participate in the pitch.As of late last year, the company operated 5,054 stores and 129 Worldpac branches and employed approximately 71,000 across the United States, Canada, Puerto Rico and the U.S. Virgin Islands, according to its website. The company also serves 1,218 independently owned Carquest branded stores.Advance Auto Parts Inc. spent US$29.1 million on measured media in the U.S. in 2017, according to Kantar Media.


  • Wells Fargo

Wells Fargo is launching a new, integrated marketing campaign called “Re-Established”. The campaign, launched nationwide on Sunday, May 6, leans into the company’s history and heritage as it acknowledges past issues, communicates the extent of changes made across the organization, and shows how the company is recommitting to its customers and their satisfaction.The first component of Re-Established is a one-minute commercial called “Trust” that airs nationwide and signals Wells Fargo’s intent in a bold way. The advertisements will run across print, digital,broadcast, and mobile channels. As with previous Wells Fargo advertisements, the campaign acknowledges the diversity of the company’s communities through tailored ads for specific audiences, such as in-language messages in Chinese (Mandarin and Cantonese) and Spanish and advertising in African American media. The Re-Established campaign was developed with BBDO-San Francisco, Wells Fargo’s agency of record since March 2014.


  • McDonald’s 

McDonald’s is introducing the new 100% fresh beef Quarter Pounder burgers by launching the “Speechless” campaign,  inspired by the idea that words can’t describe the pure delight, the feeling, and the taste of a hot and juicy burger.  Led by We Are Unlimited, in close partnership with The Marketing StoreBurrellAlma, IW, Resolution and OMD, “Speechless” is an integrated campaign running broadcast, online video, radio, out of home, social media and in digital. Launched nationally on May 7th, work will run through the end of 2018.Charles Barkley, Gabrielle Union and John Goodman help describe customers’ reactions to the taste of McDonald’s hotter and juicier burger. Additionally, Luis Fonsi describes in Spanish just how good McDonald’s Quarter Pounder tastes in spots created for the Hispanic Market. The creative and production of these spots was led by Alma.


2018 NETWORKING SOLUTIONS. To find out about Portada’s new networking solutions targeting the decision makers of the above campaigns, please contact our Sales Manager Isabel Ojeda at Isabel@portada-online.com.


  • Amscot Financial

Amscot Financial—the Florida-based leader in providing convenient, consumer-oriented financial services through its network of retail branches— reveals its latest Spanish-bilingual campaign geared toward a growing and evolving Hispanic consumer segment.  The new campaign highlights convenient financial services for the growing needs of the ‘gig economy’ with the rise in entrepreneurship, self-employment and those seeking professional development.  The broadcast media campaign will launch May 14 and air across the largest Hispanic DMAs in Florida — Miami-Dade, Orlando and Tampa, with a rotation of 28 fifteen second combined TV and radio executions.Hispanics represented 51% of Florida’s population growth from 2010 to 2015, according to new population data released by the U.S. Census Bureau.  Nationally, Hispanics have the highest rate of entrepreneurship Standford Business: State of Latino Entrepreneurship.  Amscot Financial launched its first Florida-wide, Spanish-bilingual campaign with Semilla AD in 2013 during Amscot’s expansion to South Florida and continues to actively cater to Florida’s evolving Hispanic market with culturally-dedicated campaigns reflecting their customers evolving financial needs.


  • Heineken

Beer brewer Heineken is moving ad verification in-house, Digiday has reported. The company is running a global search for one ad verification technology it can run directly from all its markets. Once the search ends, Heineken will have effectively brought its ad verification in-house,according to people familiar with the matter. There’s a desire at the company, according to one source, to understand for themselves whether the online ecosystem is delivering against its needs and the best use of budget.Heineken has two media-buying agencies: Dentsu Aegis and Starcom MediaVest.




  • Nestlé – Starbucks

Swiss food giant Nestlé will spend US$7.15 billion for the right to market Starbucks Corp. products. This is the third-biggest transaction in Nestle SA’s 152-year history. However, the company won’t get any physical assets in the deal. By entering a marketing pact with Starbucks, the Swiss company is revealing the limits to growing with Nescafe and Nespresso.Starbucks is the second-most-valuable brand in fast food, according to BrandZ’s Global 2017 report, which estimates it’s worth US$44 billion. Nestle will take over about 500 Starbucks employees who will remain based in Seattle.Starbucks will continue to produce packaged coffee and other goods in North America, while Nestle will be in charge of the rest of the world. In addition, the Swiss company gets the rights to sell packaged coffee products in supermarkets, restaurants and catering operations under the flagship Starbucks brand.



  • Lionsgate

Lionsgate/Pantelion/MGM’s Overboard, a film targeting Hispanic moviegoers and fans of Mexican star Eugenio Derbez, came in 2nd for the weekend of May 4-6 as of Saturday AM with US$14.75M at 1,623 venues, the biggest opening in Pantelion’s history. PostTrak reports a Latino turnout of 41%, with the demo giving the pic an 83% positive. Overboard‘s opening is higher than the Mexican star’s April 28 release last year, How to Be a Latin Lover, which opened to US$12.2M and yielded a 2.6 multiple for a final US$32.1M.  MGM and Lionsgate co-financed Overboard, which cost in the low to mid-teens.


The whole is greater than its parts for Pantelion Films, a joint venture between Lionsgate Films and Grupo Televisa.

debrezFive-year-old Pantelion Films has been on a roll since the 2013 release of Instructions Not Included, a feature starring Mexican comedian, television actor and director Eugenio Derbez. Saying it “resonates beyond borders,” the Washington Post also said it was the most successful Spanish-language film at U.S. box offices in history.

That breakout success for Pantelion is the result of a business strategy that enabled the studio to experiment and refine its offerings.

Under the aegis of James McNamara, formerly CEO of Telemundo and now chairman of Pantelion, Lionsgate had released two Spanish-language films, Ladrón que Roba a Ladrón and La Mujer de Mi Hermano. Both were created as vehicles for TV stars, according to Edward Allen, COO of Pantelion Films.

“Latino audiences are very star-driven,” Allen says.

While those two movies met with some success, Lionsgate and Grupo Televisa believed there was more opportunity and more success to be had. They formed Pantelion Films to take it to the next level.

The new studio knew it might take some time to get the formula right, and that it would need to test many things – testing them within the context of releasing feature films. Pantelion didn’t know whether dramas, comedies or horror would most appeal to Hispanics, and whether features should be in English, Spanish or both. (Approximately 75 percent of the dialog in Instructions Not Included is Spanish.)

“We knew we needed to have as many at-bats as possible,” Allen says. “We managed our risk on a company level as well as on a film-production level.” In other words, budgets were carefully controlled so that the studio would have time to get the recipe right. “We didn’t want to go out and produce big-budget films and, after two or three failures, we’re done. Because we managed our losses, we have been able to keep trying new things until something worked.”

We didn’t want to go out and produce big-budget films and, after two or three failures, we’re done.

Turning point

Allen says the success of Instructions Not Included was that turning point – although the formula is not entirely clear or simple. Certainly the presence of Derbez, a crossover star who is not only hugely popular in Mexico but who has also appeared in mainstream U.S. movies and TV shows, was a huge factor. So was the universality of the plot.

“It’s a universal story that people — irrespective of your culture and your preferences – can relate to, about unconditional love,” Allen says.

Then, there’s the English title for this mostly in-Spanish movie. Allen says this decision was partly to address some perceptions that Spanish-language films were of less quality than English-language movies, but more to emphasize the universal appeal.

He says, “If you make a universal story that touches the human condition, but you perhaps dress it in or give it the DNA of a particular culture, that’s when magic happens.”

A true JV

catinflasWhen Pantelion Films was formed, it aimed to take advantage of synergies between Lionsgate and Grupo Televisa. Lionsgate had a solid infrastructure in place, while Grupo Televisa had access to acting, creative and production talent.

“We are a true joint venture,” Allen says. “We use the resources of both companies to operate our business.”

This means that the Lionsgate team that handles films like Hunger Games and Divergent will use those same contacts to get Pantelion films into theaters across America.

vatican tapesPantelion has a full and ambitious catalog of releases planned for the rest of the year. Next up is Vatican Tapes, to be released on July 24. The English-language horror film was produced by Lionsgate and Lakeshore Entertainment and stars Michael Peña. “Horror, especially with religious or Catholic elements, tends to perform well,” Allen notes.

On Labor Day weekend, Pantelion will release Un Gallo con Muchos Huevos, the third installment of a Mexican animated comedy film series produced by Huevocartoon Producciones. Allen says that each of the films has done very well in Mexico and that the Spanish-language film “contains a lot of Mexican DNA.”
[youtube https://www.youtube.com/watch?v=IcJNJGOXVv8&w=560&h=315]In October, Pantelion will release Ladrónes, a sequel to Ladrón que Roba a Ladrón, the Lionsgate film that started it all.

Allen now sees the market for its films as a lot higher than what it was when the studio was founded. But that doesn’t mean Pantelion Films can rest on its laurels. He says the studio will need to continue testing and evolving to meet the tastes of the changing Hispanic audience.

“The audience is changing,” he says. “More and more people are acculturating, and there are more young Latinos. Their experience and their tastes will be very different than those of their parents or the older generations.”

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James M. McNamara, Chairman of Panamax Films and Pantelion Films, will be a keynote speaker at AHAA’s Annual Conference next week. Portada interviewed Mc Namara ahead of this speaking engagement to ask him about the evolution of the marketplace, motion picture marketing, TV Everywhere, SVOD and more…

Portada: You have been in the Hispanic Entertainment Market for a long time.What are the three most salient characteristics of the change of this market over the last 15 years?
Jim McNamaraJames M. McNamara, Chairman of Panamax Films and Pantelion Films.: “There have been numerous changes but the biggest would be the obvious evolution of the Hispanic Market towards a new “normal” which has as much to do with cultural relevance as the specific language. So, an example might be music, let’s say a big musical event like Premios Juventud or the Billboard Awards. The show is hosted in Spanish, the artists sing in Spanish, then the acceptance speech is given in broken/limited Spanish by a U.S. born singer who happens to sing in Spanish. His/her fans were largely born or brought up in the US, they have attended English language schools, they listen to the music in Spanish and then tweet and chat in English about these artists. The fact that the artist or the fans are more comfortable in English doesn’t take away from the fact that what the artist is communicating in his/her songs is incredibly emotional or relevant to the audience. This concept of “relevance or emotional connectivity” taking precedence over the specific language is a fact of life today. A second characteristic of change is the rapid adoption of new media by younger Latinos. My opinion is based on a hunch that the early adoption was triggered by the fact that many Latino households were single TV set households. Frankly, the kids may not have wanted to watch the same thing the parents were watching on the tv in the living room, and they discovered videos on the iPhone. The rest s history! The third characteristic of change is how little change there has been in big media. Let’s face it big media has not been friendly to Hispanics because big media is all about preserving the status quo.

The concept of relevance or emotional connectivity taking precedence over the specific language is a fact of life today.

How many Latinos do you find in decision asking positions at TV and cable networks or motion picture studios? J.M. McNamara.: “Not many. By definition big media is constantly in search of massive audiences and therefore the theory is they can’t focus on a subset of the general audience. The good news is that the Latino audience is becoming so big that it is inevitable big media will begin to really focus on it, but by then it won’t about including an interesting minority, it will be trying to attract the general audience.”

As a leading exec in Pantelion and Panamax Films what have the main changes been in Film Production and Distribution targeting the Hispanic market?
J.M. McNamara.:“From my perspective the motion picture studios are not thinking about the Hispanic audience or market outside of creating campaigns that can air on Univision or Telemundo. The only change I am aware of is the increase in ad spend trying to attract the audience. There is some minor uptick in the roles of Latinos on the big screen and small screen but really very little.”

The concept of relevance or emotional connectivity taking precedence over the specific language is a fact of life today.

How are you going to take advantage of the SVOD (Subscription Video on Demand) opportunities?
J.M. McNamara.: “SVOD is indeed a major force in the industry today. However, it is very quickly following the same pattern as pay tv, which is to say motion pictures are thought of as filler, albeit very good filler, but the real driver is thought to be original series content. In the Hispanic space SVOD represents a new revenue stream that is still in its infancy.”

When it comes to film/motion pictures marketing to Hispanics what is your main advice to agencies and other marketers?
J.M. McNamara.: “Try to get involved with the producers before the film is shot. Try to have a good understanding of who the film is being made for? Don’t fall for the delusion that an art house film is targeting the broad Hispanic market. In order for a film to be successful there needs to be a clear understanding of ” who am I trying to entertain with this film”. Basically, that question should be answered in every frame/scene of the film.”

In the Hispanic space SVOD represents a new revenue stream that is still in its infancy.

Where do you see the main opportunities and challenges around the TV Everywhere concept? ”
J.M. McNamara.: “TV everywhere should, in general, be a positive opportunity for the Hispanic entertainment community. TV everywhere means different things to different people, but in general it is considered to be a way around the traditional gatekeepers who have never really embraced the Hispanic side of the industry. I think the TV everywhere opportunity is quite big and it will benefit many young up and coming producers and by extension writers, directors, actors, etc.”

The Association of Hispanic Advertising Agencies (AHAA) Annual Conference, at which James M. McNamara will be a keynote speaker, is taking place from April 27 to 29 in Miami. James M. McNamara has more than 25 years executive experience in the media and entertainment industry. In addition to serving as Chairman of Cinelatino, a widely distributed Spanish-language movie channel in the U.S. Hispanic cable marketplace, Mr. McNamara is founder and Chairman of Panamax Films, the largest producer of Latino films in the U.S. In partnership with Televisa and Lionsgate, McNamara is also Chairman of Pantelion Films, a theatrical motion picture company that targets the US Latino market. Previously Mr. McNamara was CEO of Telemundo, where he oversaw the sale to NBC.

A summary for Corporate Marketers, Media Sales Executives and Advertising Agencies to see what clients are moving into the Hispanic market and/or targeting Hispanic consumers right now.

  • Hershey

HersheyThe Hershey Co. said it has switched ad agencies after an eight-month review process, hiring New York-based Universal McCann for all of the chocolate giant’s global paid media planning and buying. The assignment includes all paid media, including TV, print, digital and Hispanic for the U.S.–the company’s largest market–as well as Hershey’s growing international businesses. Key growth markets include China, Mexico, India and Brazil. Hershey has previously worked with OMD.

  • Pantelion Films/Instructions not Included

Box office hit “Instructions Not Included”/”Instrucciones no incluidas” will expand to about 500 theaters this upcoming weekend and will be marketed to a “crossover” market that includes English-speaking moviegoers in areas with larger Hispanic populations.

  • Emirates Airlines

Emirate AirlinesHavas Media has won Emirates’ global media planning and buying account following a hotly contested review. The decision means the account, which is believed to be worth an estimated US $150 million, is no longer with Starcom MediaVest Group (SMG), which had held the business since 2008.

  • Newell Rubbermaid

Newell Rubbermaid has begun a review of its global-media-agency business less than a year after bringing on a new chief marketing officer. According to the firm’s financial statements, in 2012 the company reported US $146.8 million in global advertising expenses, plus cooperative advertising or trade-promotion costs of $118.5 million, which were treated as a reduction of net sales under accounting rules. According to Kantar, the company spent U.S. $12 million on U.S. measured media in 2012. Newell Rubbermaid currently employs different media agencies around the world. the move to potentially hire a shop with a multi-region scope is in line with the company’s decision to hire a CMO with a global background.

  • Vidisco

Vidisco announced the launch of its new website in Spanish. In an effort to cater to the growing demand for Vidisco’s portable Digital Radiography X-ray systems in many Spanish-speaking countries and to improve customer service in these regions, Vidisco created an even friendlier, more in-depth Spanish interface.As Vidisco products are found in over 75 countries around the world, the Spanish website will enable a larger audience to become familiar with the innovative digital X-ray equipment the company offers. Vidisco’s cutting-edge, lightweight digital X-ray systems are offered for the NDT, Security and Veterinary fields and are used for a great range of inspections. Ari Diamond, Vidisco’s CEO, stated: “We are very happy to launch our new Spanish website. We believe there is huge potential in the Spanish-speaking market and want to cater to its needs. Particularly in Latin America, we are seeing an increase in activity as the region seems to express a great interest in new, cutting-edge technologies.”

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What?  “Instrucciones no incluidas” (“Instructions Not Included”), generated US $10 million in ticket sales over the four-day Labor Day weekend, a record for a Spanish film in the United States. The film is distributed by Pantelion, a joint venture of Hollywood studio Lionsgate Entertainment and Televisa.
Why it matters: The strong showing is another sign of the potential the Hispanic market represents for Hollywood. The film ranked fifth among films in U.S. theaters over the Labor Day weekend, despite opening in only 347 theaters.  Bestseller “The Butler”,  showed in 3,300 theaters.

“Instrucciones no incluidas” (“Instructions Not Included”), which has English-language subtitles,  stars 52-year-old Mexican TV star Instructions not IncludedEugenio Derbez as an Acapulco playboy forced to raise a baby girl left on his doorstep.  As a result of the fact that it was shown in few theaters and had strong sales, “Instrucciones no incluidas” generated average ticket sales of US $28,818 per screen, more than four times the average of “Lee Daniels’ The Butler,” the weekend’s top film. Before last weekend’s record of  “Instrucciones no incluidas”, the biggest-selling Spanish-language film in the United States was  “Pan’s Labyrinth,” a horror film directed by Spain’s Guillermo del Toro, that opened in 2007 with $4.5 million on its first weekend. “Instructions Not Included,” with its Mexican setting, may have resonated with the U.S. Hispanic audience, which includes many Mexican immigrants, than “Pan’s Labyrinth,” which is set in Spain in 1944. “No one saw this coming,” Paul Dergarabedian, president of the box office division of Hollywood.com told Reuters.

The movie sold US $10 million less than bestseller The Butler which was shown in ten times as many theaters.

Marketing Campaign

To tap that market for “Instructions Not Included,” Pantelion put ads on Univision, Telemundo and other Spanish-language TV networks as well as social media sites like Fandango, Facebook and Youtube that are heavily used by the Hispanic population. Another important component was the sponsorship of Univision’s annual “Premios Juventud” awards in July. Pantelion also relied heavily on Derbez, who promoted the film to his 3.2 million Twitter followers and 1.5 million “likes” of his official Facebook page.

Pantelion, whose formation was  announced in 2010 by Lionsgate CEO Jon Feltheimer and Grupo Televisa CEO Emilio Azcarraga, intends to produce 8 to 10 films a year targeting Spanish-speaking audiences in the United States and Mexico. Hispanic movie going  audiences last year bought 10.9 million tickets or 26 percent of all tickets sold, according to the industry group Motion Picture Association of America. According to a Nielsen study, Hispanics are heavy moviegoers as they represent 18%of the moviegoing population but account for 25% of all movies seen.” Pantelion is by no means the only group targeting the Hispanic movie goer. “” The Hispanic audience continues to be an important target audience for Universal Pictures.” Fabian Castro, VP Multicultural Marketing, Universal Pictures, told Portada earlier this year.  “A huge opportunity for us will be mobile and tablet use, since it is fast developing into Hispanics preferred source of information for movie content, trailers and show times in both English and Spanish. We will definitely be developing strategies that involve mobile in all levels of moviegoer’s purchasing funnel.” Castro added.

Top Ten Labor Day Weekend Box Office Sellers

1. Lee Daniels’ The Butler (Weinstein) Week 3 [Runs 3,330] PG13
Friday US $3.6M, Saturday US $5.5M, Sunday US $5.7M
3-Day Weekend US $14.8M, 4-Day Holiday US $20.0M, Cume US $79.3M

2. One Direction: This Is Us 3D (TriStar/Sony) NEW [Runs 2,735] PG
Friday US $8.8M, Saturday US $4.0M, Sunday US $2.9M
3-Day Weekend US $15.7M, 4-Day Holiday US $18.0M

3. We’re The Millers (New Line/Warner Bros) Week 4 [Runs 3,445] R
Friday US $3.1M, Saturday US $4.5M, Sunday US $4.9M
3-Day Weekend US $12.6M, 4-Day Holiday US $16.3M, Cume US $113.3M

4. Planes 3D (Disney) Week 4 [Runs 3,259] PG
Friday US $1.7M, Saturday US $2.9M, Sunday US $2.9M
3-Day Weekend US $7.5M, 4-Day Holiday US $10.5M, Cume US $73.6M

(Lionsgate) NEW [Runs 347] PG13
Friday US $1.9M, Saturday US $2.7M, Sunday US $3.1M
3-Day Weekend US $7.8M, 4-Day Holiday US $10.3M

6. Elysium (Sony) Week 4 [Runs 2,539] R
Friday US $1.5M, Saturday US $2.3M, Sunday US $2.4M
3-Day Weekend US $6.3M, 4-Day Holiday US $8.2M, Cume US $80.4M

7. The Mortal Instruments (Screen Gems/Sony) Week 2 [Runs 3,118] PG13 Friday US $1.4M, Saturday US $2.0M, Sunday US $1.9M
3-Day Weekend US $5.4M, 4-Day Holiday US $6.8M, Cume US $24.3M

8. The World’s End (Focus Features) Week 2 [Runs 1,553]Friday US $1.4M, Saturday US $1.8M, Sunday US $1.8M
3-Day Weekend US $4.9M, 4-Day Holiday US $6.5M, Cume US $18.4M

9. Percy Jackson: Sea Of Monsters 3D (Fox) Week 4 [Runs 2,393] PG
Friday US $980K, Saturday US $1.7M, Sunday US $1.7M
3-Day Weekend US $4.3M, 4-Day Holiday US $5.9M, Cume US $56.5M

10. Getaway (Warner Bros) NEW [Runs 2,130] PG13
Friday US $1.4M, Saturday US $1.5M, Sunday US $1.4M
3-Day Weekend US $4.4M, 4-Day Holiday US $5.5M

Note: Top Ten movie based on the 3-day weekend/4-day holiday sales estimates

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