{"id":99441,"date":"2022-10-17T08:58:13","date_gmt":"2022-10-17T08:58:13","guid":{"rendered":"https:\/\/harchi90.com\/till-decision-to-leave-tar-triangle-of-sadness-at-the-box-office-deadline\/"},"modified":"2022-10-17T08:58:13","modified_gmt":"2022-10-17T08:58:13","slug":"till-decision-to-leave-tar-triangle-of-sadness-at-the-box-office-deadline","status":"publish","type":"post","link":"https:\/\/harchi90.com\/till-decision-to-leave-tar-triangle-of-sadness-at-the-box-office-deadline\/","title":{"rendered":"Till, Decision To Leave, T\u00e1r, Triangle Of Sadness At The Box Office \u2013 Deadline"},"content":{"rendered":"
\n

\n

\tChinonye Chukwu’s Till<\/em><\/strong> 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.<\/p>\n

\n

\t\u201cIt’s as much as we could have hoped for,\u201d said Erik Lomis, vice president of United Artists Releasing. The opening \u201cbodes well for both the film’s continue rollout and the overall specialized film marketplace, which is seeing audiences return for adult minded fare.\u201d<\/p>\n

\n\tTill’s <\/em>stellar 100% Rotten Tomatoes critics’ score was matched by exit polls \u2014 92 in the top two boxes; 86 definite recommend. \u201cThis is rarefied air,\u201d noted Lomis. The film expands to 25 markets and 100 runs next week ahead of a wider national rollout with a ramp-up in linear television and digital spots as marketing builds. It’s playing \u201csmarthouse\u201d (high-end commercial) theaters, and commercial venues, not traditional arthouses. <\/p>\n

\n

\t\u201cEveryone at UAR and MGM’s Orion is incredibly proud of this movie,\u201d said Lomis. \u201cHats off to producers Barbara Broccoli, Keith Beauchamp, and Whoopi Goldberg who fought to get this movie made for decades,\u201d he said. <\/p>\n

\n\tTill<\/em> drew a diverse, multi-generational audience. Exit Data has Till<\/em> at 47% Black, 30% White, 21% Latino, 2% Asian\/other \u2014 and 55\/45 Female. Age breakdown: 12% 18-24; 25% 25-34;17.5% 35-44; 14.5% 45-54; 18% 55-64; and 11% 65+. Some 36% of the audience was 35 and under. \u201cFor a period drama, no matter how good, it was a higher percentage than I was [even] hoping for,\u201d said Lomis. Auds were 69% college grads.<\/p>\n

\n

\tDanielle Deadwyler is Mamie Till-Mobley, the mother of Emmett Till, a 14-year-old boy brutally murdered in 1955 while visiting cousins \u200b\u200bin Mississippi, and the film is her story. Her decision to hold a public funeral with an open casket created lasting images of cruelty that galvanized the civil rights movement. <\/p>\n

\n

\tThe film, which also starred Jalyn Hall, Frankie Faison, Haley Bennett, and Goldberg, world premiered Oct. 1 at the New York Film Festival. It had a UK premiere Friday at the London Film Festival.<\/p>\n

\n

\tMubi had a triumphant weekend with Park Chan-wook’s Decision To Leave<\/em><\/strong> that grossed an estimated $90.7k on three screens in NY\/LA for a per screen average of $30,243. That’s the highest PSA for the director of oldboy<\/em> and The Handmaiden<\/em> and it’s the latest in a string of upbeat arthouse debuts. The gross included a hefty $57,308 from NYC’s Angelika Film Center, the theater’s third-highest opening since Covid and one of the top PSAs of 2022.<\/p>\n

\n

\tThe romantic thriller will add 36 screens in week two, with more locations in New York, including and LA and new markets including Atlanta, Austin, Boston, Denver, Portland, San Francisco and Washington DC. It’s Mubi’s widest release yet, expected to reach up to 200 locations.<\/p>\n

\n

\t\u201cIt’s genuinely thrilling to have Decision To Leave<\/em> opening so well among multiple movies in the arthouse marketplace doing pre-pandemic numbers,\u201d said Mubi head of US distribution Chris Mason Wells.<\/p>\n

\n

\tThe winner of the Best Director award at the Cannes Film Festival follows a detective trapped in a web of deception and desire while investigating a recently widowed woman. It’s the director’s first film in six years and is first time Park will represent South Korea in the race for Best International Film at the Oscars.<\/p>\n

\n

\tThe new openers were flanked by a duo of strong performing week-two films, tar<\/em><\/strong> from Focus Features and Triangle of Sadness<\/em><\/strong> from Neon.<\/p>\n

\n

\tT\u00e1r by Todd Field opened last week to a hefty $40,000 per theater average in four locations. It expanded to 36 theaters in 13 markets Friday and posting a solid $10,000 per theater average for a total weekend gross of $360,000 and a running domestic cume of $585,000. <\/p>\n

\n

\tCertified fresh with a 94% on Rotten Tomatoes and an audience score of 78%, it opened in the top spot at the Alamo Mission in SF, the Music Box in Chicago and the Varsity in Toronto. It was the top movie on Saturday at Lincoln Square, in its second weekend there. Next week, it expands to 25 total markets in about 100 theaters. Cate Blanchett received the Best Actress award at the Venice Film Festival for her turn as a brilliant orchestra conductor and musician at the pinnacle of power, who abused that power.<\/p>\n

\n\tTriangle of Sadness<\/em>, Ruben \u00d6stlund’s Cannes Palme d’Or winner, grossed an estimated $657,051 in its second week on 31 screens for a PSA of $10,857 and a cume of $657,051. The movie from Neon had a strong opening last weekend at 10 locations for a PTA of $21.007. In this biting comedy about the tawdry relationship between power and beauty as celebrity model couple, Carl (Harris Dickinson) and Yaya (Charlbi Dean), are invited on a luxury cruise for the uber-rich, helmed by an unhinged boat captain (Woody Harrelson ).<\/p>\n

\n

\t\u201cWe’re in this corridor where there have not been a lot of mainstream blockbusters coming out, but in the specialty world now, there are blockbusters,\u201d said Paul Degarabedian, Comscore senior media analyst. There are more specialty films, they are doing well on a per-theater basis. And they are showing that independent movie in theaters is important. It isn’t just for streaming. These movies deserve and should have their time on the big screen.\u201d<\/p>\n<\/p><\/div>\n