The American Film Market (AFM) has long served as a crucial launchpad for independent cinema, but rarely does a new company launch with such a clear and immediate statement of intent. Pia Patatian, a veteran sales executive, has officially unveiled Noora Films, a boutique production, sales, and financing banner designed to be the essential connective tissue between sophisticated European filmmaking and the vast American market. Kicking off operations with Madfabulous, the riotous and high-glamour alternative period drama directed by BAFTA Cymru winner Celyn Jones, Patatian has signaled a commitment to projects that possess both artistic audacity and clear commercial viability. This first acquisition, a film that celebrates unapologetic self-expression and generational rebellion, perfectly encapsulates Noora Films’ vision for a global audience hungry for compelling, director-driven content that shatters genre conventions.
Noora Films: A New Bridge for Global Cinema
The formation of Noora Films is built upon the recognition that the independent film market is increasingly fractured, requiring sales companies to be deeply involved in both the creative and financial structuring of a project. Pia Patatian, serving as the company’s CEO, brings decades of experience from her previous leadership roles, notably overseeing international sales on major festival titles and commercial features. Her background demonstrates a keen understanding of global distribution landscapes, positioning Noora Films to move beyond simple sales representation and into proactive financing and production.
Patatian’s stated mission is to curate a catalogue of high-quality film and television projects that marry artistic excellence with robust international appeal. The company aims to hand-select director-driven stories, ensuring that the filmmaker’s vision remains central while still appealing to the commercial demands of distributors and streaming platforms. By establishing a physical and strategic presence that spans the Atlantic, Noora Films intends to streamline the often-complex process of getting independent European-originated projects into the hands of major U.S. buyers and vice versa, creating essential synergies between the two territories.
The launch at AFM—the industry’s most vital sales market—is a strategic maneuver. It immediately places Noora Films in front of the key global distributors, signaling not just its existence but its immediate capability to handle high-profile, fully packaged films. The company is betting on Patatian’s reputation and a carefully selected debut slate to cut through the thousands of titles presented at the market, establishing Noora Films as a new and necessary player specializing in distinctive, commercially viable storytelling.
The Dancing Marquess: The Madfabulous Phenomenon
The centerpiece of Noora Films’ debut slate is Madfabulous, an alternative period drama that plunges into the remarkable, short life of Henry Paget, the fifth Marquess of Anglesey. Born into immense wealth and Victorian aristocracy in the late 19th century, Paget defied all societal protocols of class, elitism, and gender with a flamboyant flair that was decades ahead of its time. Dubbed “the dancing marquess,” he became notorious for his theatrical performances, extravagant costumes, and fluid self-expression.
The film is not a staid, stuffy historical piece, but a fantastical reimagining of Paget’s life, capturing his essence as a true eccentric who treated his vast family estate, Plas Newydd, as his personal stage. Paget converted the family chapel into the “Gaiety Theatre” where he staged lavish productions, often starring himself in elaborate, jewel-encrusted robes and cross-dressing attire. His obsession with spectacle and self-promotion, which included distributing elaborate photographs of himself in his outlandish outfits, has led the film’s director to call him “the guy who invented the selfie.”
However, Madfabulous does not shy away from the tragedy that accompanied his extravagance. Paget inherited an enormous fortune—the equivalent of millions today—and proceeded to squander it at an alarming rate on furs, jewelry, perfume (reportedly adapting his five luxury cars to billow scented exhaust), and the endless staging of his theatrical life. He was declared bankrupt in 1904, owing crippling debts, and died penniless from illness at the age of 29. The film, therefore, is a poignant celebration of a life lived fully, but also an examination of the price paid for unapologetic non-conformity.
Craft and Cast: Assembling a Prestige Package
The commercial appeal of Madfabulous is significantly bolstered by its impressive creative team and ensemble cast. Leading the film is Callum Scott Howells, the breakout star of It’s a Sin, whose casting as Henry Paget is considered inspired. Howells brings the necessary combination of emotional depth and theatrical charm to embody the rebellious aristocrat who was simultaneously loved by the common people and reviled by high society.
Director Celyn Jones, a BAFTA Cymru winner known for The Almond and the Seahorse, brings a deep connection to the material, having grown up on Anglesey, the island where the story is set and where the film was shot. Jones, working from a strong debut feature script by local writer Lisa Baker, ensures the film is visually rooted in the stunning Welsh landscape while avoiding the trap of a conventional costume drama. The creative caliber is further confirmed by the involvement of an Oscar-winning makeup and hair designer, Nadia Stacey, and BAFTA-winning cinematographer, Laurie Rose.
The cast surrounding Howells is a strong mix of established talent and rising stars, providing excellent international sales hooks. Rupert Everett brings his aristocratic gravitas to a supporting role, while Ruby Stokes (of Lockwood & Co. fame) plays Lily, Henry’s best friend and platonic confidante, grounding the film’s wilder elements with an emotional core. This combination of an acclaimed director, a breakout star in a tailor-made role, and a strong supporting ensemble ensures that the film is packaged for both critical attention and commercial success.
A Modern Irreverence: Why the Story Matters Now
The enduring fascination with Henry Paget, nearly a century after his death, lies in his stunning modernity. In an era defined by rigid class structures and gender expectations, Paget’s life was an astonishing act of rebellion. His cross-dressing, his theatricality, and his deliberate self-fashioning were all proto-contemporary behaviors. Director Celyn Jones frequently refers to Paget as “The Bowie of his era”—a comparison that immediately resonates with modern audiences who celebrate pop culture figures who defy categorization and create their own mythology.
The film serves as an overdue celebration of a queer icon who lived entirely outside the closeted confines of his time. By focusing on his pursuit of beauty, art, and personal freedom, the story touches on universal themes of identity, self-discovery, and the fight against societal repression. The contemporary resonance is not accidental; it is a core theme that Patatian and the producers are highlighting to global buyers. In an age dominated by digital self-expression, Paget’s use of lavish photography to distribute images of his flamboyant self-creations connects directly to the modern concept of the “influencer” and the pervasive desire for spectacle and personal validation.
This thematic richness elevates Madfabulous beyond simple historical drama. It is pitched as a “fun, fearless, and full of heart” ensemble film that uses its Victorian setting to provide commentary on timeless issues. By being irreverent, witty, and profoundly moving, it meets the current market demand for period films that offer a fresh, unexpected perspective, rather than simply recreating a dusty past.
The AFM Strategy: Launching with a Crowd-Pleaser
The decision to launch Noora Films and Madfabulous simultaneously at the AFM is a highly calculated sales strategy. The film had already generated substantial buzz, having been selected for the prestigious GREAT 8 showcase at the Cannes Marché, a program designed to spotlight standout new British films to international buyers. This pre-market validation provided Noora Films with significant leverage as it approached the sales floor.
The pitch is straightforward and commercially potent: Madfabulous is an alternative period piece that functions as a crowd-pleaser. It avoids the heaviness of typical historical biopics, instead offering a vibrant, character-driven story with high production value, strong reviews for its cast, and a central theme of self-acceptance. This positions the film perfectly for both arthouse distributors seeking quality, and mainstream distributors seeking a glamorous, eccentric piece of British cinema that has clear theatrical appeal.
With Patatian managing the international rights and the esteemed Gersh Agency handling U.S. rights, the distribution strategy is fully global and coordinated. The film’s clear commercial hook—a wild, queer-coded historical romp—makes it an attractive investment in a cautious market. By launching with a finished product that is “alive with energy” and anchored by exceptional performances, Noora Films ensures its debut is not just noted, but generates immediate, tangible sales, successfully marking its arrival as a crucial new global player.
