Specialties were mostly sidelined this weekend, as audiences turned to studio offerings. Some limited release holdovers, however, grabbed some attention from moviegoers looking for alternatives, including Greenwich Entertainment’s second weekend holdover, Echo In The Canyon, which took the best per theater average among the specialties in the three-day with added runs. The doc grossed an estimated $105,678 in 14 locations, averaging $7,548 bringing it cume to over $260K.
Greenwich reported “multiple sold-out shows” for the title’s second frame. The company said it added, “10 mostly mainstream locations” in the Los Angeles metro area with “stronger results in the dedicated arthouses.” Echo In the Canyon also expanded to the Angelika and Landmark 57 West in New York, buoyed by select Q&As and live performances featuring music from the documentary performed by executive producer/musician Jakob Dylan and accompanying band.
Greenwich will add over two dozen runs for the film next weekend with locations in San Francisco, Washington, D.C., Dallas, Philadelphia and San Diego.
Paramount reported Sunday that Rocketman drew about 55% of its audience in its opening weekend from people over 30 an one-third over 45, a core specialty constituency. The fallout may have trickled into the specialties, which had mostly lower profile openings this weekend.
Carving out a niche was China Lion’s Mayday Life 3D, which played to the tune of $45K in eight locations in North America, averaging $5,625, the best debut limited release PTA as of Sunday morning. The title features Taiwanese band Mayday
of their “Life Tour” concert which started back in 2017 and ended just this past January. Said China Lion Sunday: “The opening is in line with expectations and we’re looking to do event screenings going forward based on fan demand.”
Greenwich opened fellow doc, Leaving Home, Coming Home: A Portrait of Robert Frank exclusively at New York’s Film Forum Friday, grossing an estimated $4,619 in the three-day. The doc about photographer/filmmaker Robert Frank actually debuted at the 2005 International Film Festival Rotterdam and had played select festivals in the intervening years, including Tribeca with Frank’s consent (there was also a 50-minute television version shown on ITV early on).
British filmmaker Gerald Fox approached Frank about giving the feature film version of Leaving Home, Coming Home a regular release following the 2015 roll out of Laura Israel’s Don’t Blink – Robert Frank. That film also had an exclusive run in its first weekend at over $10K. Leaving Home, Coming Home will head to L.A. June 7 with additional select markets planned through June and July.
Sony Classics bowed Québécois filmmaker Denys Arcand’s The Fall Of The American Empire in 9 theaters in the U.S. and English-speaking Canada to a slow start, taking in an estimated $15,258, averaging $1,695. The feature had a start closer to home in French-speaking Canada last year. SPC said the film’s total with that release included brings The Fall Of The American Empire’s cume to over $2.73M.
1091 added three more theaters for Frédéric Tcheng doc Halston in its second outing for $14,903 in four locations, averaging $3,726. The title bowed with a single run last weekend grossing $16,192 in the three-day.
John Lithgow and Blythe Danner starrer, The Tomorrow Man, played an additional 14 runs in its second frame, bringing the Bleecker Street release to 18. In the three-day, the title grossed $21K for a $1,168 PTA. The Sundance romance bowed in four locations, grossing over $29K, averaging $6,186.
Oscilloscope added a pair of runs for doc The Proposal also in its second weekend to a $5K three-day estimate, averaging $1,675 in three theaters. The title had a first-weekend gross of $11,573.
Ciesla Foundation’s The Spy Behind Home Plate went from a single run to five theaters in its second outing for a gross just under $23K, averaging $4,590, for a PTA just about half its opening $10,250.
A24 added 51 runs for the third weekend of The Souvenir, bringing its count to 74 runs. The drama grossed just under $139K, averaging $1,878. In 23 theaters last weekend, the title grossed over $179K, averaging $7,812. The Souvenir has cumed just under $466K.
Kenneth Branagh’s All Is True played 17 additional locations in its fourth outing over its previous frame. In 81 theaters, the title starring Branagh grossed $95,570, averaging $1,180 inching its domestic cume to nearly a half million dollars.
Neon’s The Biggest Little Farm sowed the weekend’s highest absolute gross among the specialties as of early Sunday with a weekend take of $421K in 275 theaters (94 over last weekend), averaging $1,531 in its fourth weekend. The Telluride/Toronto doc by John Chester had a four-day Memorial weekend holiday gross of nearly $680K in 181 theaters, averaging $3,756. The Biggest Little Farm has reaped over $1.82M.
IFC Films added two-dozen runs for Non-Fiction by French filmmaker Olivier Assayas for its fifth North American outing to $84,146 in 84 theaters ($1,002 PTA). The French-language feature starring Juliette Binoche and Guillaume Canet has cumed nearly $463K in theaters.
IFC’s Red Joan starring Dame Judi Dench, meanwhile, crossed $1.5M in theaters in its seventh weekend, grossing just under $48K in 75 theaters, averaging $638.
The Fall Of The American Empire (Sony Pictures Classics) NEW [9 Theaters] Weekend $15,258, Average $1,695, Cume $2,736,093 (total includes French-Canada opening last year)
Free Trip To Egypt (Matson Film) NEW [1 Theater] Weekend $1,668
Leaving Home, Coming Home: A Portrait of Robert Frank (Greenwich Entertainment) NEW [1 Theater] Weekend $4,619
Mayday Life 3D (China Lion) NEW [8 Theaters] Weekend $45,000, Average $5,625
Echo In The Canyon (Greenwich Entertainment) Week 2 [14 Theaters] Weekend $105,678, Average $7,548, Cume $260,480
Halston (1091) Week 2 [4 Theater] Weekend $14,903, Average $3,726, Cume $36,505
India’s Most Wanted (Fox International Productions) Week 2 [80 Theaters] Weekend $24,000, Average $300, Cume $173,905
The Tomorrow Man (Bleecker Street) Week 2 [18 Theaters] Weekend $21,016, Average $1,168, Cume $55,009
The Proposal (Oscilloscope) Week 2 [3 Theater] Weekend $5,025, Average $1,675, Cume $19,620
The Spy Behind Home Plate (The Ciesla Foundation) Week 2 [5 Theaters] Weekend $22,950, Average $4,590, Cume $38,403
Woodstock: Three Days That Defined a Generation (PBS Distribution) Week 2 [7 Theaters] Weekend $12,150, Average $1,735, Cume $22,142
HOLDOVERS / THIRD+ WEEKENDS
Photograph (Amazon Studios) Week 3 [81 Theaters] Weekend $48,397, Average $597, Cume $306,536
The Souvenir (A24) Week 3 [74 Theaters] Weekend $138,950, Average $1,878, Cume $465,766
All Is True (Sony Pictures Classics) Week 4 [81 Theaters] Weekend $95,570, Average $1,180, Cume $469,770
The Biggest Little Farm (Neon) Week 4 [275 Theaters] Weekend $421,000, Average $1,531, Cume $1,827,185
Meeting Gorbachev (1091) Week 5 [27 Theaters] Weekend $18,341, Average $679, Cume $192,064
Non-Fiction (IFC Films) Week 5 [84 Theaters] Weekend $84,146, Average $1,002, Cume $462,987
The River And the Wall (Gravitas Ventures) Week 5 [2 Theaters] Weekend $2,500, Average $1,250, Cume $132,062
Hesburgh (O’Malley Creadon Productions) Week 6 [4 Theaters] Weekend $3,200, Average $800, Cume $177,207
The White Crow (Sony Pictures Classics) Week 6 [212 Theaters] Weekend $120,456, Average $568, Cume $1,521,333
The Chaperone (PBS Distribution) Week 10 [14 Theaters] Weekend $4,639, Average $331, Cume $585,858
Red Joan (IFC Films) Week 7 [75 Theaters] Weekend $47,842, Average $638, Cume $1,501,784
Amazing Grace (Neon) Week 8 [100 Theaters] Weekend $65,280, Average $653, Cume $4,212,128
Apollo 11 (Neon) Week 14 [15 Theaters] Weekend $15,746, Average $1,050, Cume $8,754,842