Yeah, yeah, yeah, Universal / DreamWorks Animation’s Croods: a new age led the box office for its fifth weekend of 13 in a row and broke $ 50 million, moving close to becoming the highest-grossing pandemic and potentially life-changing Warner Bros. movie. ‘ Principle ($ 57.9 million).
However, in a business where transparency of numbers has always been public, for better or for worse, Disney’s Searchlight Pictures does not report box office numbers or location counts on the four Golden Globe nominated feature films. , directed by Chloé Zhao. Nomadland which spread widely this weekend, on its third release, on 1175 locations. The photo has already hit Imax and PLF screens in the past two weeks where, according to sources, it grossed $ 170K, and last weekend, Nomadland big estimate 503,000 USD, which is on par with Searchlight’s opening weekend David Copperfield’s personal story at the end of August, when theaters reopened, which debuted at $ 475.8K out of 1360. Add it up, the total soundtrack of Nomadland is about $ 637,000.
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Interestingly, for a film about a woman who decides to reject society and live alone in the vast desert, Searchlight rejects box office commercialism. Look, the numbers for Nomadland are what they are during the pandemic, and with 53% of US / Canadian exhibits closed, no one is posting large numbers. For Searchlight to generate the typical opening weekend of artwork and artistry they typically get in four theaters in Los Angeles and New York on a movie like Nomadland, they distributed the photo widely, playing the title in many small markets; those who are generally ready to appear with a platform version that precedes it in notable DMAs.
Nomadland would have placed 7th in the top 10 this weekend. It seems prestigious enough to be highlighted for now.
Searchlight’s decision not to release figures on Nomadland talks about an interesting trend that’s going on with box office contenders during Covid, and that is that it won’t be an awards season where the box office will determine a contestant’s prestige or tarnish. Arguably all of these movies, most of them come from non-box office streamers – Netflix’s Mank, the trial of Chicago 7, the black background of Ma Rainey, From Amazon One night in Miami, Focus Features’ Promising young woman, Warner Bros. ‘ Judas and the black Messiah, and Nomadland will be judged on their pure aesthetics by voters. Not on business prospects. Remember how the poor box office of Universal Steve Jobs stifled the prospects for this photo’s awards season? It’s not going to happen this season in any way. I mean, these streamers don’t even report the number of views! And you’d think that would be something to brag about during awards season, that millions of people watched your movie. No.
“Conventional business practices were abandoned for the industry during the pandemic. The traditional Oscars box office bump that we see every year (for obvious reasons) just won’t happen, ”Comscore senior media analyst Paul Dergarabedian told Deadline.
“Usually it’s a choice of love or money when it comes to Oscar. Do you want to love the Oscars or do you want to increase your income? Well, this year love will be the most important motto since the movies that make the Oscar buzz aren’t going to make a big dent in their box office fortunes like many have done in the past, ”Dergarabedian adds.
On the flip side, there’s no room for a victory round in today’s market, and it would be ridiculous to tout any sort of box office bump in awards. What will Focus say about Promising young woman? That the total soundtrack of the 4 times Golden Globe nominee (now at $ 5.1M) has jumped 16% since his Golden Globe nomination? There is nothing to cry out for, nor any indicator of the public fever surrounding the film. The only small hope that lies in what film distributors call a “crossover” with a candidate for a soundtrack award – when its audiences move from big-chain art and movie theaters – it could eventually happen afterwards. the Oscars on April 25. Movies like Promising young woman, Nomadland, etc. will likely still be out, and if more theaters, especially Regal, are open by then, and multiplexes in New York, San Francisco, and Los Angeles reopen, then the industry might be able to tout the glow. of an Oscar victory.
Heard that Searchlight doesn’t want to report numbers on Nomadland because there is no context in the current pandemic market to make sense of the numbers; especially with the simultaneous release of the photo on Hulu this weekend. This despite the fact that Warner Bros. ‘sets up numbers like $ 3.3M at BO on Judas and the Black Messiah while the movie is playing simultaneously on its HBO Max streaming service. Searchlight, like Warners, wanted to help theaters by giving them access to the movie, and as we can see there is a population that chooses to go to the movies and not to subscribe to streaming (Don’t get me wrong – I do not subscribe to this mad man theory of “letting the public choose to see the movie where they want to see it”; it is a financial recipe for the collapse and disaster of the film industry).
What is shattering about Searchlight’s decision not to report the box office, however, is that more and more notable distributors are choosing to go Netflix and Amazon’s path to protect their numbers. Hopefully this won’t continue when we reopen; that successes are boasted and bad news covered up. It would be a shame. All this “box office cover-up” is setting a precedent for bad habits to continue in a healthy financial atmosphere. The accessibility of the box office by all distributors and exhibitors helps the industry as a whole to make decisions.
Imagine for a minute, if we didn’t have access to Universal’s daily box office Get out? This film broke new ground for socially conscious genre titles that gross over $ 176 million in the United States. Knowing what and how the exhibitor is monitoring and marketing this film, informs the industry and gives confidence to other studio executives to take risks on what would be considered a risky project on paper .
Box office information is power.
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