Lightdox Acquires ‘Auber 89’ Ahead of Documentary’s World Premiere in Venice Sidebar Notti Veneziane

International sales and distribution company Lightdox has acquired Giuseppe Schillaci’s documentary Auber 89 ahead of its world premiere at the Venice Film Festival’s sidebar Giornate degli Autori, in the Notti Veneziane program, according to Deadline. The acquisition positions Lightdox to handle international sales and distribution for the nonfiction feature as it debuts in Venice.

Schillaci’s Auber 89 centers on Fatsah Bouyahmed, described in the report as a French Algerian actor whose life changed after suffering memory loss following an accident. The documentary follows the experience of returning to daily reality when recollection has been disrupted, placing the subject’s personal story at the center of the film’s narrative and themes.

The report frames the Venice debut as the first major public step for the documentary, with the premiere scheduled within the Giornate degli Autori’s Notti Veneziane strand. Venice is typically a key marketplace and launch point for documentaries and other festival titles seeking later momentum across territories, and Lightdox’s acquisition reflects the market demand for features with built-in international relevance.

Lightdox is identified by Deadline as the company taking on the film’s international sales and distribution. The coverage does not specify the financial terms of the deal, territories covered, or the distribution schedule beyond the film’s Venice premiere timing.

Auber 89 is described as a documentary exploring the consequences of memory loss for Bouyahmed’s sense of identity and the practical and emotional work of rebuilding a life around gaps in recollection. While the report offers a synopsis-level description, it does not detail the circumstances of the accident, the length of time affected, or the specific viewing approach the film uses to portray memory disruption.

The deal also highlights the continued role of Venice’s parallel programs in surfacing nonfiction titles that may not be seeking the main competition slot but still expect broader international attention after the festival circuit. For buyers and exhibitors, acquisitions announced ahead of festival premieres can provide early assurance on marketing and follow-on availability once festival screens conclude.

Deadline’s report is the basis for the account of the acquisition and the film’s Venice sidebar placement. Additional confirmations on screening time, press materials, and subsequent release plans would be expected as the festival program details are finalized and participating companies publish schedule updates.