SOMETIMES the biggest festival-season flex isn’t a gala slot or a splashy red-carpet moment — it’s a deal that drops right before the lights go down. Nicolás Pereda’s latest feature, “Everything Else Is Noise” (“Todo lo demás es ruido”), has just secured one, with Pragda acquiring North American rights ahead of its premieres at the Toronto Film Festival (TIFF) and the New York Film Festival (NYFF).

For Pereda, the timing couldn’t be more pointed. Premiering at two of the most watched stops on the autumn calendar gives a film instant visibility; pairing that with a North American acquisition means it’s not simply being talked about in festival corridors — it’s positioned for audiences beyond them.

Pragda is U.S.-based and, as part of its current strategy, is continuing its push into all-rights distribution across theatrical and digital. This pick-up sits squarely in that lane: a single company controlling the route from cinema screens to home viewing, rather than the film being split across multiple deals and platforms.

The acquisition covers North American rights, putting Pragda in the driving seat for how “Everything Else Is Noise” reaches viewers in that territory. And crucially, it’s happening before those TIFF and NYFF showings, when festival buzz is at its most volatile — a period when a film can rocket from niche curiosity to must-see title, or vanish in the daily stampede of premieres.

It also marks Pragda’s second pick-up from the same stream of acquisitions referenced in the announcement — a small but telling sign of momentum as the company builds out its slate with a clear distribution model.

Festival season loves a narrative, and this one is simple: a film heading into two major showcases now has a North American home and a release plan that doesn’t stop at the festival exit. In a crowded schedule, that kind of clarity can be its own headline.