Super Bowl weekend is notoriously tough for cinemagoing but fans turned out and tuned in for music documentary concert film Becoming Led Zeppelin from Sony Pictures Classics, which rocked the top ten. A Complete Unknown and The Brutalist are holding. Neon saw a bump for its Parasite re-release. Documentary No Other Land had a nice expansion.
Long-gestating Becoming Led Zeppelin, an early version of which premiered at Venice in 2021, charged to more than $2.6 million on 369 Imax screens and the no. 7 spot, the only indie in the top 10 this weekend.
That’s the biggest ever opening weekend domestically for an Imax-exclusive music release. Crowds are showing love across North America with strong results from both coasts as well as markets like Toronto, Cleveland, St. Louis and Dallas.
Also from SPC, Walter Salles I’m Still Here topping $1 million in week 4 on 704 screens, a big expansion from 93 last week, and Pedro Almodovar’s The Room Next Door took $33.6k in week 8 on 52 screens. Both have a cume of just over $2.3 million.
Bob Dylan biopic A Complete Unknown held across 1,305 theatres in week 7 for a gross of $1.2 million and a cume of $69 million. The much-nominated film (including Oscar Best Picture, Best Director, Best Leading Actor) starring Timothee Chalamet is Searchlight Pictures’ no. 6 highest grossing title, behind Sideways.
A24’s The Brutalist starring Adrian Brody is looking at $914k on 1,115 screens for a domestic cume of $13.7 million. The distributor’s Babygirl is at $122.6k on 152 screens, closing on a $28 million cume.
Nosferatu from Focus Features is $275k this weekend at 467 locations, for a cume of $95.3 million. It’s close but still shy of Focus’ top-grossing film, Downton Abbley
New releaees: A24 Parthenope by Paolo Sorrentino, debuted to $39.4k on 4 screens.’new release this weekend. Armand, from IFC Films, the feature debut of Norwegian director Halfdan Ullman Tóndell and starring Renate Reinsve, opened to an estimated $23k on two screens.
Neon saw $326k from its new this weekend re-release of Oscar Best Picture-winner Parasite on 193 screens. That’s a cume of $59.7 million for Bong Joo ho’s 2019 indie smash.
Holdover Steven Soderberg’s Presence, also from Neon, has a $305k weekend on 586 screens in week 3 for a cume of $6.66 million. The distributor’s Oscar-nominated The Seed Of The Sacred Fig had a $31.5k weekend on 87 screens for a cume of $748k in week 11. And Sean Baker’s Cannes and DGA winning and Oscar-nominated Anora is on 229 screens with a $57k weekend and a cume of $15.3 million in week 17.
No Other Land, the self-distributing Academy Award nominee for Best Documentary Feature, added 15 additional markets including Los Angeles, Boston, Washington and Chicago with a select expansion in the New York area this weekend for a total of 22 screens, a weekend gross of $96k and a cume to $144.6k. The doc by a collective of Palestinian and Israeli activists and filmmakers will continue to expand through February.
Fresh off a big night at the Annie Awards (winning for Best Feature- Independent and Best Writing – Feature), Sideshow/Janus Films’ release of Latvia’s Gints Zilbalodis’ two-time Academy Award-nominated Flow grossed an estimated $96k this weekend on 161 screens for and a new cume of $4.07 million, becoming the distributor’s first release to crack the $4 million box office mark.
Rialto Pictures’ release of the new 4K restoration of Jean-Luc Godard’s 1961 film, A Woman Is A Woman, is estimated to gross $11k at the Film Forum in New York City.