Endless Poetry from ABKCO Films and Roadside Attractions’ Lady Macbeth topped the roster of this weekend’s Specialty box office openers, a list that generally showed less zest than recent weekend bows like A Ghost Story and The Little Hours. Endless Poetry grossed $28K in its initial two runs, while Lady Macbeth had nearly $69K in five theaters. Monument Releasing bowed Footnotes in a single location, taking in $5,900, while Big World Pictures’ False Confessions grossed $7,670 in two locations. A24’s A Ghost Story expanded, grossing $146,445 in its second weekend, while doc City of Ghosts from Amazon Studios/IFC Films/A&E Indie Films added runs, taking in over $26K. Gunpowder & Sky added dozens of theaters for its irreverent The Little Hours in week 3, taking over $318K. Sofia Coppola’s The Beguiled played over seven hundred locations placing 12th in the overall box office in its fourth weekend, while Sony Pictures Classics’ successful Paris Can Wait actually added theaters in its 10th frame. And The Orchard’s The Hero starring Sam Elliott topped $3M this past week.
Alejandro Jodorowsky’s fantasy-drama Endless Poetry took the mantle for highest per theater average among the Specialties Friday to Sunday. The 2016 Cannes Directors Fortnight premiere bowed in two theaters, grossing $28K, averaging $14K. Distributor ABKCO Films was naturally upbeat about the title’s debut and about its prospects as a viable alternative to the studio tentpoles.
“ABKCO is so proud to continue its long time support of Jodorowsky’s unique cinematic voice, and could not be happier with the initial response to the film,” commented Robin Klein, ABKCO’s VP of film Sunday. “Endless Poetry will roll out across the country in the coming weeks, and we look forward to sharing it with audiences looking for an alternative to mainstream Hollywood films.”
The film, which recalls Jodorowsky’s story of his years spent as an aspiring poet in Chile in the 1940s, will expand to key regional markets this month, according to a spokesperson.
Roadside Attractions opened Victorian-era set costume drama Lady Macbeth in five L.A. and New York theaters. Adapted from the 19th century novel Lady Macbeth of the Mtsenk by Nikolai Leskov, the Toronto/Sundance feature grossed $68,813, averaging $13,762. Starring newcomer Florence Pugh, Roadside said it likened the title to its 2010 breakout, Winter’s Bone which was also from a relative newcomer, Debra Granik and also starred a then somewhat unknown Jennifer Lawrence.
“[Lady Macbeth] is intense, and I think stylistically it’s one of the edgier films we’ve done,” said Roadside Attractions co-president Howard Cohen earlier this week. “I liken it to Winter’s Bone in that it’s by a great new filmmaker and features a new fantastic actress.”
Roadside Attractions released Debra Granik’s Winter’s Bone in 2010. The Sundance debut was only Granik’s second feature film. It grossed over $6.5M in theaters.
“It is very different from Winter’s Bone, but in terms of a great discovery it is similar,” added Cohen. “We picked Lady Macbeth up in Toronto, but then it played very well at Sundance and at New Directors/New Films.” Lady Macbeth has cumed over $1M in the U.K. since opening in early July. Here, the title will expand to about 40 locations next week with further markets set for later in the month and into August.
Monument Releasing’s Footnotes opened exclusively at New York’s Village East. The first feature film from Paul Calori and Kostia Testut is estimated to have taken in $5,900 Friday to Sunday. Monument reported that grosses for the film were up 53% from Friday to Saturday, “indicating strong word of mouth.”
“This weekend’s performance exceeded our team’s expectations and we are excited to share Footnotes with audiences across the country,” stated Monument’s Gavin Briscoe when giving numbers Sunday. “We’ll be slowly rolling out the film to key markets in the coming weeks as a unique alternative for older art house audiences this summer.”
Also opening was Big World Pictures’ False Confessions, grossing $7,670 ($3,835 average). Numbers for Vertical Entertainment’s Blind starring Alec Baldwin and Demi Moore, which also opened were not reported as of late morning Sunday.
David Lowery’s A Ghost Story starring Rooney Mara and Casey Affleck played 18 additional theaters in its second weekend, holding solidly. The A24 title grossed $146,445 in 20 locations, averaging $7,322. A Ghost Story opened last weekend in four theaters, grossing over $108K, averaging a robust $27,017.
Commented A24 Sunday: “A Ghost Story successfully expanded in limited release this weekend and continues to generate excellent reviews, buzz and word of mouth from both audiences and critics alike. The film will rollout further this week into top markets ahead of a nationwide expansion on July 28.”
Oscar-nominee Matthew Heineman’s doc City of Ghosts played seven additional runs in its second frame. In 11 theaters, the Sundance debut released via Amazon Studios/IFC Films/A&E Indie Films grossed $26,246, averaging $2,386. City of Ghosts opened in two theaters the prior weekend grossing $16,240 ($8,120 average).
Gunpowder & Sky’s ‘nuns gone wild’ medieval caper The Little Hours played 68 additional locations over last weekend, holding nicely. Starring Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza and John C. Reilly, the feature grossed $318,510 in 105 theaters averaging $3,033, giving it a cume of $689,732. Last weekend it grossed $193,750 in 37 theaters, averaging $5,236.
Sofia Coppola’s The Beguiled from Focus Features shed some runs in its fourth weekend, though it still played 726 theaters. The Cannes debut starring Nicole Kidman, Colin Farrell, Kirsten Dunst and Elle Fanning grossed $934,645 in 726 locations, averaging $1,287, giving it a $9.4M cume. It placed 12th in the overall box office. Last weekend it averaged $2,217 in 941 theaters from a weekend gross of $2.08M.
Amazon Studios/Lionsgate’s Sundance ’17 debut The Big Sick has crossed over to wide release. It had spent its first three weekends with limited runs, but placed fifth in the overall box office as of Sunday morning, though still in fewer theaters than its fellow top five titles. It grossed $7.6M Friday to Sunday. For more information about The Big Sick, check out Deadline’s studio box office column.
The Hero starring Same Elliott crossed $3M this past week. Released via The Orchard, the title grossed $343,197 this weekend, averaging $1,090 giving it a cume of just over $3.4M.
Roadside Attractions/FilmNation’s Beatriz At Dinner topped $6M also this past week. Friday to Sunday, the film grossed $222,720 in 205 theaters, averaging $1,086 in its sixth frame. Its cume is now over$6.45M.
In its 10th weekend, Sony Pictures Classics added 46 runs for Paris Can Wait over the previous weekend. In a total of 177 theaters, the film starring Diane Lane and Alec Baldwin grossed $153,580, averaging $868. The title played 131 locations the weekend prior, grossing $158,766 ($1,212 average). Paris Can Wait has cumed $5.3M.
And Menemsha Films’ The Women’s Balcony grossed $52,894 in 21 theaters, averaging $2,519. It has cumed over $924K. The distributor said Sunday it now expects the title, which has been in theaters for 20 weeks, though not consecutively, to come in at about $1.5M.
Endless Poetry (ABKCO Films) NEW [2 Theaters] Weekend $28,000, Average $14,000
False Confessions (Big World Pictures) NEW [2 Theaters] Weekend $7,670, Average $3,835
Footnotes (Monument Releasing) NEW [1 Theater] Weekend $5,900
Lady Macbeth (Roadside Attractions) NEW [5 Theaters] Weekend $68,813, Average $13,762
City of Ghosts (Amazon Studios/IFC Films/A&E Indie Films) Week 2 [11 Theaters] Weekend $26,246, Average $2,386, Cume $48,501
A Ghost Story (A24) Week 2 [20 Theaters] Weekend $146,445, Average $7,322, Cume $288,751
Our Time Will Come (China Lion) Week 2 [16 Theaters] Weekend $18,000, Average $1,125, Cume $94,522
HOLDOVERS / THIRD+ WEEKENDS
13 Minutes (Sony Pictures Classics) Week 3 [9 Theaters] Weekend $10,635, Average $1,182, Cume $53,906
The B-Side: Elsa Dorfman’s Photography (Neon) Week 3 [15 Theaters] Weekend $17,225, Average $1,148, Cume $64,399
The Little Hours (Gunpowder & Sky) Week 3 [105 Theaters] Weekend $318,510, Average $3,033, Cume $689,732
Bad Batch (Neon) Week 4 [5 Theaters] Weekend $1,466, Average $293, Cume $177,573
The Beguiled (Focus Features) Week 4 [726 Theaters] Weekend $934,645, Average $1,287, Cume $9,407,214
The Big Sick (Amazon Studios/Lionsgate) Week 4 [2,597 Theaters] Weekend $7,600,000, Average $2,926, Cume $16,036,824
My Journey Through French Cinema (Cohen Media Group) Week 4 [3 Theaters] Weekend $3,237, Average $1,079, Cume $43,999
Lost In Paris (Oscilloscope) Week 5 [38 Theaters] Weekend $79,000, Average $2,079, Cume $138,059
Maudie (Sony Pictures Classics) Week 5 [93 Theaters] Weekend $248,694, Average $2,674, Cume $897,318
Beatriz At Dinner (Roadside Attractions/FilmNation) Week 6 [205 Theaters] Weekend $222,720, Average $1,086, Cume $6,455,812
The Hero (The Orchard) Week 6 [315 Theaters] Weekend $343,197, Average $1,090, Cume $3,401,307
Churchill (Cohen Media Group) Week 7 [14 Theaters] Weekend $10,871, Average $776, Cume $1,243,746
The Exception (A24/DirecTV) Week 7 [44 Theaters] Weekend $67,804, Average $1,541, Cume $612,709
Love, Kennedy (Purdie Distribution) Week 7 [13 Theaters] Weekend $24,476, Average $1,883, Cume $276,667
Manifesto (FilmRise) Week 10 [3 Theaters] Weekend $5,000, Average $1,667, Cume $144,217
Paris Can Wait (Sony Pictures Classics) Week 10 [177 Theaters] Weekend $153,580, Average $868, Cume $5,303,660
The Women’s Balcony (Menemsha Films) Week 20 (non-consecutive) [21 Theaters] Weekend $52,894, Average $2,519, Cume $924,238