The Story of Film: A New Generation opens at two dozen theaters this weekend — Laemmle Royal in LA, Museum of the Moving Image in NY, Music Box Theatre in Chicago and Brattle in Cambridge. It’s a mix of arthouses, cinematheques, museums and even a few multiplexes for Mark Cousins’ follow-up to his 15-hour, 2011
Independent
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
Film premieres and headlines spilling from a trio of festivals either in full swing (Venice), just starting (Telluride) or queued up (Toronto) have indie exhibitors and distributors the most hopeful since Covid hit that a stream of new films could fire up the arthouse market. Todd Field’s Cate Blanchett-starrer TÁR (debuted to a six-minute standing ovation
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
Cohen Media Group hopes a Spanish film can dent the tough market for foreign language fare, Bleecker Street is out with a hostage drama and A24 presents Owen Kline’s directorial debut about a teenage cartoonist as the arthouse market flexes more muscle than it has in weeks. The dearth of new releases itself nudged some
The Picturehouse release of National Geographic Documentary Films The Territory grossed a solid $26.4K in six markets (eight screens) for a PSA of $3,308 with its climate change message attracting a broader than typical age range for a theatrical doc, especially lately, according to Picturehouse CEO Bob Berney. He called it “very encouraging to see
“People are catching up on films,” is how one arthouse executive described the current moment in specialty, which echoes the slowdown in studio wide releases. August can be slow ahead of a trio of festivals – Venice, Toronto, New York – and a ramp up to awards season. It can also offer an less obstructed
Lionsgate thriller Fall will make an estimated $2.5+ million this weekend at 1,548 locations for a PSA of about $1,618. The audience (54% male and 61% over 25, according to PostTrak) was broader than it might have been after a company founded by director Scott Mann swapped dozens of f-words, moving Fall from an R
A handful of smaller films will start to test audience enthusiasm for movie theaters without big tentpoles. It’s been a rocky summer for specialty releases, and an uphill climb as arthouses emerge from Covid jitters with franchise films sucking up oxygen and screens. But superheroes are on hiatus. “There isn’t giant competition from tentpoles,” said
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
A New Zealand-based platform where fans track, review and share lists of movies old and new is an increasingly influential marketing tool for specialty film with budgets tight and audiences harder to reach. Letterboxd, founded as a passion project by Auckland tech entrepreneurs Matthew Buchanan and Karl von Randow just over a decade ago, recently
Lena Dunham is back. Sharp Stick — the writer-director-actor’s follow-up to the HBO series Girls and her first film since Tiny Furniture (2010) – opens in LA at Landmark’s renovated single-screen NuArt Theatre and at the Quad Cinema in NYC. It expands to 40-50 screens next weekend, heading to about 100 thereafter — a mix
Mrs. Harris Goes To Paris grossed $1.35 million in week two with a mix of arthouse and commercial theaters among top ten locations and a nice hold from opening weekend (-31%). Cume to date is $4.65 million for the film starring Leslie Manville as a British housekeeper who dreams of owning a Christian Dior gown. It
Laure Calamy, who plays Noémie, the wacky assistant to Mathias Barneville in Call My Agent!, won the César (French equivalent of the Oscars) for Best Actress for My Donkey, My Lover & I, the film by Caroline Vignal that opens this weekend Stateside from Greenwich Entertainment. It’s the distributor’s second narrative film in a year
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
Mrs. Harris Goes To Paris, a kind Cinderella story for older women with a Dior twist, arrives in 978 theaters this weekend with strong reviews and great word of mouth. The film is a known property among that demo given its prime trailer treatment before Focus Features’ fan favorite Downtown Abbey: A New Era —
A24’s Marcel The Shell With Shoes On hit the top ten in North America at no. 8 with an estimated $340k in week three at just 48 locations and a cume north of $963k – the latest hit for the distributor after powerhouse Everything Everywhere All At Once blasted off at the specialty box office.
The nation’s fourth-largest cinema chain is testing a new subscription program called MovieFlex+ that includes a curated set of small and mid-sized films each week for no extra charge. “We can’t live off just blockbusters,” chairman and CEO Greg Marcus tells Deadline. “We cannot just live off dinner. We need breakfast and lunch too.” The
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