Asteroid City delivered a massive jolt to the arthouse and specialty world this weekend as the Wes Anderson film presented by Focus Features blew past records with an estimated $790k three-day gross and $890k estimated for the four-day weekend in just six theaters. That’s a per-theater average of $132,211 for the three days, and $148,901
Specialty Box Office
Utopia’s Squaring the Circle (The Story of Hipgnosis) grossed an estimated $10k from one engagement at NYC’s Film Forum, where it was the top-ranking pic. Celebrated filmmaker and photographer Anton Corbijn’s first feature documentary is the story of Hipgnosis, the iconic album art design studio that was a force in the music industry behind some
Celine Song’s Past Lives from A24 is very much here and now, grossing $232k on four screens for over $58k per location, a nice number for Song’s debut film as the second-biggest limited opening of the year so far. A24 also had the highest in April with Beau Is Afraid at $80k per theater at
A24’s Julia Louis-Dreyfus-starrer You Hurt My Feelings will top an estimated $1.7 million in limited nationwide release for the four-day holiday weekend, at the high end of expectations on 912 screens. That puts it at no. 8 at a domestic box office where Little Mermaid is making all the waves. Breakdown: Friday – $474k; Sat.
Matt Johnson’s film BlackBerry about the rise and fall of the world’s first smartphone passed $1.7 million its second week out with an estimated three-day gross of $525k in 595 theaters. The Canadian number — $250k from 200 theaters — was only a 13% drop from opening weekend. Stateside, the indie crossed $1 million with a
In a rare weekend with fewer new studio wide releases, IFC Films had a one-two punch at the box office with Matt Johnson’s film BlackBerry grossing $473k nationwide in 450 theaters, for a U.S. per theater average of $1.05k and cracking the top ten on Friday. It will gross an estimated $740k in North America this weekend,
Indian films are a box office mainstay and one, Jodi, from Rhythm Boyz Entertainment, hit big this weekend Stateside, grossing $734,000 on just 125 screens. In April, the film set a record as the most viewed Punjabi trailer in 24 hours (over 12 million views on YouTube). “This has been happening more and more —
Sideshow/Janus Films is estimating a $36k gross or $18k per theater average for The Eight Mountains on two NYC screens, the strongest opening weekend to date for the team behind Drive My Car and EO. The Cannes co-Jury Prize-winning film by Felix van Groeningen and Charlotte Vandermeesch follows the profound friendship over decades of Pietro
Oscilloscope Laboratories’ Cannes Jury Prize Winner and Independent Spirit international film winner Joyland led New York’s Film Forum to one of its biggest opening weekends for a foreign language film in nearly a decade, taking in north of $21k on one screen, the distributor said. Buoyed by strong reviews and strategic marketing, the film by Saim Sadiq sold out nine showtimes,
Roadside Attraction’s Moving On grossed an estimated $798k at about 800 theaters, about status quo this weekend for a specialty sector that’s better but still looking to break out. The audience for the Jane Fonda and Lily Tomlin-toplined comedy was, not surprisingly, 63% female and 82% over 35. Some 64% were 50+. It played
Aniplex and Crunchyroll of America’s Demon Slayer: Kimetsu no Yaiba – To the Swordsmith Village grossed $10.1 million this weekend in 1,780 theaters. That’s a fourth place finish at the domestic box office but still half the opening of Demon Slayer: Kimetsu No Yaiba – The Movie: Mugen Train which opened to a smash $21
The Quiet Girl, an Oscar contender for Best International Feature, opened to a robust $60k on six screens this weekend for a per-theater average of $10k. The film by Colm Bairead presented by SUPER LTD is based on the short story by Claire Keegan of a shy nine-year-old girl in rural Ireland. It led debuts
EO, the Sideshow/Janus films release told from the point of view of a donkey, is set to pass the $1 million mark in week 14. The Cannes-premiering film by Jerzy Skolimowski, Academy Award nominated for Best International Feature, will gross an estimated $27.6k for the four-day President’s weekend on 37 screens for a cume of just
Searchlight Pictures’ The Banshees Of Inisherin opened to an estimated $181,000 and a raring per screen average of $45,250, beating Tár’s impressive $40,000. Both opened in four locations and now rank no. 2 and no. 3 for an indie per-theater gross this year after A24’s Everything Everywhere All At Once. That film’s in a class
Chinonye Chukwu’s Till got off to a solid start at the specialized box office, grossing over $15k per theater from 16 locations in five markets for an estimated weekend gross of $240.9k, possibly more depending on how Sunday plays out. “It’s as much as we could have hoped for,” said Erik Lomis, president of United Artists Releasing. The
Focus Features’Tár opened in limited release to strong results with $160,000 at four locations in New York and Los Angles for a $40,000 per theater average, one of the best PTAs since Covid and not bad for a 2-hour and 38-minute arthouse film pre-pandemic. Riding strong reviews, the Cate Blanchett-starrer by Todd Field was no. 1 in three
Sarigama Cinemas’ Ponniyin Selvan: Part One crashed the weekend box office at no. 6, looking at $4+ million on 500 screens for a per theater average of $8,260, the biggest of the top ten. The Tamil-language historical epic being billed as India’s Game of Thrones is based on a Tamil history book series that’s read
Brett Morgen’s Moonage Daydream swept up a cool $922,000 at the domestic box office this weekend, while an impressive array of top industry players took Saturday to mull the global future of arthouse film. The real test — of specialty’s core adult audience willingness to return to cinemas — starts this fall, according to execs
Brett Morgen’s kaleidoscopic ode to David Bowie landed at no 10 in North America this weekend, singing up $1.225 million on 170 screens – exclusively Imax (159 U.S. locations, 11 in Canada). The $7,207 PSA for the Neon distributed Moonage Daydream – expanding to about 600 screens next week — was the best of the
Labor Day weekend saw blockbusters old and new buoyed by cheap tickets, as was a limited openings like Saloum with multiple sold out screenings at two theaters, including every showtime on Saturday. Over 3,000 theaters, including IFC Center and Alamo Drafthouse LA, where the French-Senegalese indie film began a qualifying run, offered $3 tickets for
A glum weekend box office overall (one of the worst of the year) wasn’t so awful for specialty, relatively speaking, with Breaking passing $1M on 900 screens and Spanish-language The Good Boss at $27K on 15. Both are a far cry from pre-pandemic numbers but did hit the new normal for limited releases – reaching
Moviegoing is definitely back with viewers flocking to franchise films that 1) continue to roll out in the first sustained barrage of big new titles since Covid, and 2) continue to do huge business as they stick around in theaters. They’re sucking up screens and exacerbating a release-pattern quandary for independent distributors seeking signs that
The Forgiven with Jessica Chastain opens in 122 theaters this weekend as the flow of indie films continues to build with well-reviewed, festival-pedigreed product including Mr. Malcom’s List and Clara Sola. Meanwhile, producers and most other U.S. businesses are hoping economic storm clouds won’t ding their industry’s nascent revival. “I think we have seen a
The big screen debut of Marcel The Shell With Shoes On opened at $170K on six screens in New York and LA, the highest PSA of the weekend at $28,267 for the iconic lonely snail voiced by Jenny Slate. The mock documentary about the loveable anthropomorphic mollusk hails from distributor A24, a distributor that manages
IFC Films opened Official Competition starring Penélope Cruz, Antonio Banderas and Oscar Martínez at four theaters in NYC and LA for an estimated three-day gross of $34,000 and per-theater-averages of $8,500 for the comedy directed by Mariano Cohn and Gastón Duprat following it U.S. premiere at the Tribeca Festival last week. The film, world premiered
Sony Picture Classics and Neon fared well in their small releases this week with Nine Days and Ailey respectively, running across 6 total locations in New York, Los Angeles and Irvine – both notching heavy per screen averages with the former leading to its wider release next week. Nine Days hit NYC (Angelika, AMC Lincoln Square)
Roadrunner: A Film About Anthony Bourdain kept its spot in the North American top ten for week two in 954 theaters – up by 27 — with an $830,000 estimated gross for the three days, leading the specialty box office. As per Focus Features, that was a total cume of over $3.7 million for the
Questlove’s Summer of Soul (…Or When The Revolution Could Not Be Televised) will hit a cumulative $1.4 million rising to an estimated $1.47 million Monday with a $375,000 second-week gross in 752 theaters. The best performing documentary so far this year “may possibly get to $2 million, that’s our goal,” said Searchlight Pictures head of
Moviegoers not far removed from the isolating strains of lockdown may find The Loneliest Whale: The Search for 52 strikes a chord. Distributor Bleecker Street and director Joshua Zeman hope so as the doc, a shift from the helmer’s true crime roots (The Sons of Sam: Descent into Darkness, Cropsey), opens in 75 theaters. Digital release
Summer of Soul (Or When the Revolution Could Not Be Televised) will report a three-day cum of $650K in 752 theaters in North America for a per screen average of $865, distributor Searchlight said of the Ahmir “Questlove” Thompson doc about the 1969 Harlem Cultural Festival. The film, with an A+ CinemaScore, performed best in
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