Sideshow/Janus Films EO held well in week two, grossing $23,217 for the five-day holiday frame ($11,609 per screen) and $16,900 for the three-day weekend ($8,450 per screen). The new cume is $50.7k in a crowded arthouse market, a strong showing for the film starring a melancholic gray donkey. It expands to LA next week opening at
Specialty Box Office
A new crop of prestige titles plant a flag at the arthouse in limited release this weekend from Luca Guadagnino’s Bones and All to Jerzy Skolimowski’s EO, to Elegance Bratton’s The Inspection. Greenwich Entertainment opens doc Love, Charlie: The Rise And Fall Of Charlie Trotter IFC Films presents Bad Axe and Cohen Media Group is
Luca Guadagnino’s Timothée Chalamet-starring, edgy cannibal road trip romance Bones And All pulled in young demos (79% in the 18-34 rage) and women (54%-46% female) for an opening weekend gross of $120k, or $23.9k per screen average in five theaters. That’s respectable and in line with distributor UAR expectations although below recent debuts including Banshees
The Fabelmans grossed an estimated $160k this weekend at four theaters in NY and LA. That’s a $40K per screen average, on par with recent strong (for post-Covid) specialty openings like The Banshees Of Inisherin (at $45k PSA) and Tár (also $40k), both on four screens too, reflecting a definite pickup in the specialty space. Spielberg’s written, directed
Rock documentary Meet Me In The Bathroom grossed $85,683 in four locations for a per screen average of $21,421 in week one, a milestone for the indie distributor. Two of four screenings were one night only, sold-out events at The Fonda in LA and Webster Hall in NY (live performances by The Moldy Peaches, Adam
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
A24’s Bodies Bodies Bodies hit theaters with the per-screen average this weekend in a limited opening, and the second best of the year. That record was set last spring with Everything Everywhere All at Once as the indie distributor piles up successes. Halina Reijn’s Gen-Z whodunnit comedy grossed $226,526 on six screens in NY and
Focus Features’ Mrs. Harris Goes To Paris will hit an estimated $1.9 million weekend gross at 980 theaters drawing women with those 55 years of age and older repping 44% of the total. Turnout was best on the coasts for the drama starring Leslie Manville and Isabelle Huppert. That’s a PSA of $1,939 and a
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
Two premiere screenings of rock documentary Freakscene: The Story Of Dinosaur JR grossed over $19K this weekend with a single Saturday show at iconic music venue The Opera House in Williamsburg, Brooklyn taking in north of $17K. Independent distributor Utopia worked with Murmrr, which produces live music events, and art shingle Mondo, which created a
Roadside Attractions’ faith-based family comedy Family Camp opened to $1.42 million and is no. 9 of the top 10 ten this weekend on 854 screens. One of the strongest indie openings this year, the film saw a release campaign led by WTA Media lean heavily into the faith-based audience with strong grassroots marketing to churches
Audrey Diwan’s Happening opened to an estimated $34k on four screens in NY and LA this weekend for a PTA of $8,500. The locations on both coasts — IFC Center/AMC Lincoln Square and The Landmark/AMC The Grove — while limited showed the abortion drama set in 1968 France competing successfully in commercial crossover multiplexes as
Vortex — which opened this weekend to a full house at NYC’s IFC Center — has an unusual star, Dario Argento. Here’s how the film’s helmer Gaspar Noe convinced the iconic Italian horror movie director into his first lead acting role. “There were three reasons” he said yes, Noe told Deadline. “The first one, he
The Tale Of King Crab, a cinematically striking fable shot in rural Italy and Argentina, opened to a three-day gross of $5,120 at Film at Lincoln Center this weekend — the first in a string of Italian offerings set to arrive on the specialty scene through the summer. “In today’s challenging arthouse market, we count
Viva Maestro, a documentary starring the charismatic music and artistic director of the Los Angeles Philharmonic, Gustavo Dudamel, opened on a high note taking in $14,310 on two screens — Film Forum/NYC and The Landmark/LA. That’s a PTA of $7,155 for the film directed by Ted Braun (Darfur Now, Betting on Zero) and presented by
Everything Everywhere All At Once grossed over half a million dollars on 10 screens in NYC, LA and San Francisco for a hefty $50,965 per-screen-average — a number rarely seen since the pre-Covid old days of theatrical releases and the biggest of the year so far. The mind-melding Michelle Yeoh-starrer directed by the Daniels (Dan
A24’s SXSW opener Everything Everywhere All At Once, Bleecker Street’s Infinite Storm and Sony Pictures Classics’ Mothering Sunday offer something that’s been rare of late at the specialty box office, fresh content and choice. They’re in a market with only one new studio wide release, Paramount’s The Lost City with Channing Tatum and Sandra Bullock.
A24’s smart slasher/horror X grossed over $4.4M on 2,865 screens to take fourth place at the weekend box office, topping expectations for writer/director Ti West’s return after a six-year absence from film. His first ever wide release, a cross between the Texas Chainsaw Massacre and Boogie Nights, is currently Certified Fresh at 96% and has a prequel nearly
BTS – specifically BTS Permission To Dance On Stage – Seoul: Live Viewing grossed $6.84 million in North America on Saturday for a per screen average of $8,500+ across 803 theaters, ranking third at the weekend box office so far after The Batman and Uncharted. Globally, it broke the event cinema record with a worldwide
A BTS concert in Seoul this weekend will hit a milestone, with tickets for Saturday’s theatrical event in the U.S. priced at what might be a record $35 and the show poised to become the highest-grossing worldwide event-cinema release ever. Trafalgar Releasing will present two Saturday screenings of BTS Permission to Dance on Stage: Seoul