News & Updates
August 11, 2019
Australian director Jennifer Kent’s “The Nightingale,” which is currently in theaters, is a pulverizing and brutal sit. Already audiences across the globe have reportedly walked out of screenings of the film, which features several scenes of vicious sexual assault.
In a recent New York Magazine interview, breakout star Baykali Ganambarr talked about how the filmmakers coped with the brutality of “The Nightingale,” which follows an anguished young woman’s quest for vengeance following a hideous act of violence brought upon her family in 1820s Tasmania. Underpinning this brutal revenge story is the backdrop of colonial war between British imperialists and the black indigenous Tasmanians whose land is being ravaged by their occupiers.
Ganambarr plays the Aboriginal Tasmanian that Clare (Aisling Franciosi) drags through the wilderness to exact her revenge. While Billy’s (Ganambarr) communication skills are limited, the two nonetheless find common ground, forming the foundation for the desperate message for kindness and tolerance that “The Nightingale” wants to convey.
“We had psychologists on set whilst doing the scenes, because it’s so wrecking,” Ganambarr said of the film’s many challenging moments. “For Aisling it was really, really hard. Also for Sam [Claflin]. I reckon they can talk about it better than me, because I would be on set listening to everything. Not watching, just listening, and it was so hard to listen to. But everyone was there for each other. Aisling would come out with tears, and I would go up and give her a hug, just to comfort her. Sam and Damon [Herriman], too. The care and love and respect was there towards each other, and that’s what made us keep on going on in those scenes.”
Ganambarr also added, “I was actually thinking about an Aboriginal Marvel character, whose name is Manifold.” The Aboriginal Australian mutant superhero, also known as Eden Fesi, has the power to warp time and space in order to teleport; it’s also the Marvel character Kent herself singled out as a worthy of a spinoff during a recent IndieWire interview. “The opportunity has been there if I really wanted to pursue that path, and it still probably is to some extent. Aboriginal culture is the oldest culture in the earth; it’s so sophisticated and deep. It would interest me to take that out to the planet. There could be some amazing story there.”
Source: IndieWire film
August 10, 2019
Academy Award winner Rami Malek, hot off his 2019 Oscar win for portraying Freddie Mercury in “Bohemian Rhapsody” and slated to star in the next Bond film, had congratulatory words for the interns of the Academy of Motion Picture Arts and Sciences’ Gold program. Watch below.
— The Academy (@TheAcademy) August 10, 2019
The Academy Gold program is designed to connect undergraduate and graduate-level college students with established industry leaders to pursue above-the-line and below-the-line full-time careers in entertainment, as well as to open the pipeline to diversity in Hollywood. The eight-week summer initiative includes master classes and networking opportunities for participants.
Malek is currently shooting Cary Joji Fukunaga’s Bond 25 film, and will star opposite Denzel Washington and Jared Leto in John Lee Hancock’s serial-killer thriller “Little Things” for Warner Bros. Malek leads the USA series “Mr. Robot” as cyber hacker Elliot Alderson, a role that earned him a 2016 Primetime Emmy Award for Outstanding Lead Actor in a Drama Series.
The Bond 25 shoot has been entangled in controversy, with a crew member getting injured and 007 star Daniel Craig requiring surgery and physical therapy. But Malek, who plays a yet-to-be-named villain in the film, has doubled down that reports are overblown.
“The key scenes is something that was fabricated,” Malek said. “But the thing is, Daniel was injured, so they are shooting what they can. I talked to Cary yesterday and the schedule has been altered. I know that. But with a franchise like this, I think they have it together. They have it figured out by now.” MGM will open Bond 25 in theaters nationwide April 8, 2020.
Source: IndieWire film
August 10, 2019
Universal Pictures has canceled the release of director Craig Zobel’s upcoming Blumhouse thriller “The Hunt.” The writing was on the walls when President Donald Trump alluded to the film in one of his latest tweetstorms, in which he fired off at “liberal Hollywood.”
Liberal Hollywood is Racist at the highest level, and with great Anger and Hate! They like to call themselves “Elite,” but they are not Elite. In fact, it is often the people that they so strongly oppose that are actually the Elite. The movie coming out is made in order….
— Donald J. Trump (@realDonaldTrump) August 9, 2019
….to inflame and cause chaos. They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!
— Donald J. Trump (@realDonaldTrump) August 9, 2019
An adaptation of Richard Connell’s 1924 classic man-versus-nature story “The Most Dangerous Game,” the film drops 12 American strangers in a clearing, rudderless and unaware that they’re being, literally, hunted for sport by one-percent elitists. Universal had previously put the brakes on marketing the film in the wake of recent mass shootings in El Paso, Texas, Dayton, Ohio, and Gilroy, California, as the trailer for the film pivots heavily on gun violence and killing among cast members Emma Roberts, Justin Hartley, Glenn Howerton, Betty Gilpin, and Hilary Swank.
“While Universal Pictures had already paused the marketing campaign for ‘The Hunt,’ after thoughtful consideration, the studio has decided to cancel our plans to release the film,” according to a statement from Universal. “We stand by our filmmakers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film.”
Allegedly, the screenplay described the Americans who are being hunted for sport as “deplorables,” the term made famous by Hillary Clinton during her campaign for the presidency.
This was not an easy decision, and it was made in cooperation with the filmmakers as well as Universal executive leadership, including studio chief Donna Langley. “This decision with the studio and the filmmakers was about making the right choice for right now,” a source close to the film told IndieWire.
Given the nature of the film co-written by “The Leftovers” co-creator Damon Lindelof and Nick Cuse, “The Hunt” is unlikely to see the light of day, at least theatrically. The film was set to open September 27 across the country. The film’s most probable future is to end up streaming once Comcast launches its service, but IndieWire’s source added, “At this time, the only decision that has been made has been to cancel the current release plan.”
Source: IndieWire film
August 9, 2019
In your own words, what does this film mean to you?
Rodney Evans: The film is a personal artistic, psychological and scientific journey about the ways that blind and visually impaired artists create art. This is conveyed through exploring the creative paths of John Dugdale (photographer), Kayla Hamilton (dancer), Ryan Knighton (writer), and myself as a filmmaker with no peripheral vision and minimal night vision. How does someone continue to create in spite of severe obstacles. This was the main question I was asking myself in the making of the film and engaging with each artist in it.
What motivated you to tell this story?
RE: I think as a filmmaker with limited vision I always had to collaborate with my cast and crew in unique ways in making my previous fiction features,Brother To Brother and The Happy Sad. I began to think about how I would continue to make films if my vision deteriorated further and I did eventually become completely blind. So I reached out to two blind artists, John Dugdale who makes beautiful photographs utilizing nineteenth century techniques and Ryan Knighton who wrote a very powerful memoir called Cockeyed about slowly losing his vision at eighteen over the course of several years, but still works as a journalist, educator, essayist and screenwriter.
I was looking for a deep understanding of how they continued to create work. Later I decided to incorporate a dancer with low vision, Kayla Hamilton, since that work felt so inherently dangerous and brave in that it centers on the body traversing space when you don’t have the capability to fully see the space and the potential obstacles that may cause you harm during a performance. All this was happening as I began pursuing the preservation of my vision with the latest cutting edge technology at the Center for Vision Restoration in Berlin.
What do you want the audience to take away?
RE: I really wanted to use the medium of film to put the audience inside the creative process of each of the four blind/low vision artists portrayed in the film. So I could use mattes, film roll outs, flares and other subjective cinematic techniques to put the viewer in the visual perspective of the blind and low vision artists. You could literally perceive the world as they did in specific moments. It was also important for me that the audience understand that there are gradations between being fully blind and fully sighted and many people live in that in between space. Hopefully the film expands what we think of as “vision” beyond just the ocular to include a combination of the processes involving brain, the heart, the eyes and the imagination.
Lastly, in the non-stop conversations about diversity and inclusion over the last few years, characters with disabilities just seem to be completely left out although close to 20% of the population can be defined as “disabled”. According to recent USC polling less than 2% of characters in Film and TV are seen living with a disability. This lack of representation really keeps people living in fear and shame feeling like their lives and experiences have no value. So hopefully the film contributes to changing that landscape and empowering this community that is largely unseen in terms of media representation.
RE: Ryan Knighton had written a screenplay of his memoir Cockeyed that was part of the Sundance Screenwriting Lab in 2008. Since we have the same genetic eye condition and I was immensely moved by his book, Michelle Satter, the artistic director of the Sundance Labs, connected us. At that point, he didn’t have a director for the project so we met in that capacity and became fast friends. I met Kayla Hamilton through a mutual dancer/choreographer friend Jumatata Poe who knew I was looking for a dancer with low vision to be in the film. My brother’s best friend, Darrell, was in a relationship with the photographer in the film, John Dugdale, for ten years. I always loved his photographs so he was nice enough to connect me with John.
What were you doing when you found out you were coming to SXSW?
RE: I was eating dinner so I finished swallowing and then screamed with joy when I heard the news!
What made you choose SXSW to showcase your film to the world?
RE: I’m interested in SXSW as a festival that is dedicated to the filmmaker’s journey over the long haul and encouraging us to push cinematic boundaries, discover new languages and tell vital stories no matter what our financial means may be. I think SXSW embodies those values and cultivates a community of filmmakers that share those beliefs and commitments.
Do you have a past experience at SXSW that impacted your decision to come back??
RE: Ironically my first fiction feature Brother To Brother played at SXSW in 2004, but we only had one screening and I missed my connecting flight. By the time I would have arrived I would have missed the Q&A so I actually turned around and went back to the artist residency where I was writing at the time. If anything it made me more determined to be there in person this time. I was also on a grant panel for the Austin Film Society a while ago and liked the vibe and people I met in Austin so I have wanted to come back since then!
Join Us For SXSW 2020
Register and book your hotel now to save! The Film Badge gets you primary access to all SXSW Film events including Film Keynotes and Featured Sessions, world premieres, round tables, parties, and more. Over the course of nine days, the SXSW Film Festival hosts over 450 screenings! Film registrants also have primary access to Convergence events, including the Comedy Festival and nine unique Conference tracks, as well as secondary access to most Interactive and Music events.
Vision Portraits – Photo by Kjerstin Rossi
The post Rodney Evans Discusses His Deeply Personal Documentary Vision Portraits – SXSW Filmmaker In Focus appeared first on SXSW.
Source: SxSW Film
August 9, 2019
The 2020 SXSW Film Festival is accepting submissions! The Early Deadline to submit is August 22, 2019 at 11:59pm PT. Take a look at our requirements below if you are interested in submitting a Texas High School Short. Don’t forget to take a look at our Film Submissions page for additional deadlines and fees.
Guide to Submitting a Texas High School Short
Films must be under 5 minutes in length created and produced between January 1 – December 12, 2019.
Filmmakers who are enrolled in the 9th through 12th grades for the full 2019-20 academic year are eligible to submit.
All shorts must be submitted via a secure URL link. Please note, if you change this link or any of your login information prior to March 2020 without contacting SXSW your submission may become ineligible for consideration.
Once you have submitted, you will receive a confirmation email from SXSW within 48 hours. This email will confirm that your music video has been submitted correctly. If you do not receive this email within 48 hours, you should follow up by email (firstname.lastname@example.org) to ensure your project has been submitted properly and is under consideration.
All applicants will be informed of the status of their project no later than Friday, February 7, 2020.
<!–[if lte IE 8]>
Join Us for SXSW 2020
Registration and housing are now open for SXSW 2020. A Film Badge gets you primary access to all SXSW Film events including Film Keynotes and Featured Sessions, world premieres, roundtables, parties,and more. Film registrants also have primary access to Convergence events including the Comedy Festival and nine unique conference tracks, as well as secondary access to most Interactive and Music events.
See you in March!
BlueInk – Photo courtesy of film
The post Guide to Submitting a Texas High School Short to the 2020 SXSW Film Festival appeared first on SXSW.
Source: SxSW Film
August 8, 2019
Who knows what you want to see at SXSW better than you? During SXSW PanelPicker® Community Voting from August 5-23, browse ideas and vote to help shape the 2020 Conference programming for SXSW and SXSW EDU.
All 2020 ideas received during the PanelPicker entry period will be eligible for your vote. Browse through uploaded proposals related to music, film, and digital technologies in a variety of session formats including panels, solo presentations, podcasts, and more. It’s as easy as “review, comment, and vote” to help select this season’s SXSW programming.
How to Vote
To participate in the voting process, visit panelpicker.sxsw.com/vote and sign in or create an account. If you created a SXSW account in 2013 or later, you will be able to use the same login and password.
Once you are signed in, begin the voting process by filtering proposals by conference (SXSW or SXSW EDU), programming track, format, programming track, and level. You can also search by title, description, tags, and speakers in the search field.
Each voter can vote once per proposal – selecting “arrow up” for yes or “arrow down” for no. Have a question for the organizer? The Comments section is a great place to post all of your questions and leave constructive comments about the proposals you vote on.
Inside the PanelPicker Process
Community votes makeup 30% of the final decision, plus input of the SXSW Staff (30%) and Advisory Board (40%) helps ensure that lesser-known voices have as much of a chance of being selected to speak at SXSW as individuals with large online followings. Together these percentages help determine the final Conference programming lineup announced in Fall 2019.
Public Votes: 30%
Who knows what you want to see at SXSW better than you? Your input is very important in terms of shaping the look and feel of the March event.
SXSW Advisory Board: 40%
A group of 200+ industry experts from around the world, the SXSW Advisory Board provides significant feedback on all entries.
SXSW Staff: 30%
With years of experience programming this event, SXSW staffers work to fill any gaps in relevant subject matter, striking a balance between new and veteran speakers.
Promote Your Proposal
During Community Voting, it’s important for anyone who submitted a proposal to rally online support for your idea and encourage voting. Use our handy “Vote For My PanelPicker Idea” graphics for promoting your session on Twitter, Facebook, LinkedIn, and Instagram.
<!–[if lte IE 8]>
Join Us in March 2020
“New Cannabis Consumers” Cannabis Track panel at SXSW 2019 – Photo by Aaron Rogosin
The post Cast Your Vote for the 2020 SXSW Conference: PanelPicker® Community Voting Open August 5-23 appeared first on SXSW.
Source: SxSW Film
August 8, 2019
Source: Visual Storytelling
August 7, 2019
Each year at SXSW, industry leaders and creatives come together to celebrate the beauty and strength of the LGBTQ+ community in many forms – from performances and films to discussions exploring themes of gender identities in art and media, activism, and community building.
We know Pride month was in June, but here in Austin we’re ready to celebrate Pride all summer! To get ready for Austin Pride this weekend, we’re looking back on our LGBTQ+ – lesbian, gay, bisexual, transgender, queer – alumni that participated in SXSW 2019 across the Conference as well as the Film and Music festivals with a LGBTQ+ Alumni Photo Gallery.
At SXSW 2019, we welcomed back Recode editor-at-large, New York Times contributing opinion writer, and SXSW Interactive Hall of Fame Honoree Kara Swisher. Swisher sat down for two conversations this SXSW – one with Senator Amy Klobuchar in the Conversations About America’s Future series, and one with comedian Kathy Griffin. In Griffin’s SX debut, the pair delivered an unforgettable and uncensored Convergence Keynote in which they went behind the scenes on Griffin’s infamous photo that changed her life and career as well as the aftermath of the series of events that unfolded in the controversial wake.
Out Magazine’s “Out 100 2010” and Filmmaker Magazine‘s “25 New Faces of Independent Film 2006,” PJ Raval has continually created films that center queerness and discussed his path towards finding his calling as a filmmaker during his Film Keynote. Raval also discussed the intersectionality of being an immigrant and a gay man in communities that didn’t reflect him and how he decided to make the queer films that he wanted to see even though mentors and teachers were telling him not to.
We look forward to continuing to uplift and celebrate the diverse perspectives that the LGBTQ+ community brings to our industries and fields in our SXSW programming each year.
Check out photos from all over the event including King Princess, Phillip Picardi, Claud, Taylor Bennett, Jacob Tobia, Laura Jane Grace, and more!
Follow Along on Instagram
See if you can spot us in this year’s Pride parade – we hope to see you out there! Can’t join us in Austin yet? Tune into our Instagram to follow along with the celebration this weekend and beyond for more SX updates. For a sneak peek of what we’ll be wearing, check out last year’s PRIDE parade photo gallery!
Attend SXSW 2020
<!–[if lte IE 8]>
State of Pride – 2019 Documentary Spotlight – Featured Image by Ziv Kruger
The post Get Ready for Austin Pride With This LGBTQ+ Alumni Photo Gallery appeared first on SXSW.
Source: SxSW Film
August 4, 2019
With “Hobbs & Shaw,” the latest spinoff of the “Fast & Furious” franchise, in theaters this weekend, the Wall Street Journal takes a closer look at the film’s challenging choreography. According to this latest report, franchise stars Jason Statham, Dwayne Johnson, and Vin Diesel (who isn’t featured in this ninth entry of the action tentpole series) all negotiated special arrangements with producers for their fight scenes.
Amid an off-set battle of dueling machismos, apparently Diesel suggested to assign numerical values to every move to determine if everyone was getting pummeled equally. When asked if vanity plays a role, producer Michael Fottrell said, “No comment. Of course it does!”
“Mr. Diesel’s points plan was eventually abandoned once everyone decided it was too complicated, according to a person present who worked with the star, but it was an example of the delicate balance that must be reached on every set the men are on,” the WSJ reported.
The idea behind the fight scenes is that everyone is choreographed to such a degree that no one comes out looking like a sore loser. According to sources close to the films, Jason Statham, at 51, brokered a deal with Universal Pictures to put a cap on how badly he can be beaten up in the films. Meanwhile, Vin Diesel has his sister, Samantha Vincent, who produces the films, policing just how many punches he gets. Diesel will feature in the next “Fast & Furious” film.
Vanity Fair previously detailed the offscreen beef between the two alpha male stars. “When you watch this movie next April and it seems like I’m not acting in some of these scenes and my blood is legit boiling — you’re right,” Johnson said.
According to the report, Statham likes to survey his fight scenes during the edit. “It’s like that old trope where an actor comes in and wants more close-ups,” said a source. “They want more muscles.” The film boasts body slams, roundhouse kicks, head butts, and all manner of physical combat.
Directed by David Leitch and written by Chris Morgan and Drew Pearce, “Hobbs & Shaw” was a hit at the box office this weekend, nabbing more than $60 million and taking the number one spot. Check out IndieWire’s review of the film here.
Source: IndieWire film
August 4, 2019
With several name actors, good reviews, and top theaters, Sundance-premiere drama “Luce” led multiple new releases this weekend. Also showing promise are “The Babadook” director Jennifer Kent’s second feature, “The Nightingale,” at two initial theaters, while at one New York location “Jay Myself” scored as yet another strong documentary. And summer breakout “The Farewell” continued its strong expansion, adding over $2.4 million to its already impressive figures.
Luce (Neon) – Metacritic: 73; Festivals include: Sundance, Tribeca 2019
$132,916 in 5 theaters; PTA (per theater average): $26,583
This kind of narrative indie doesn’t have an easy pass to success these days. With Naomi Watts, Octavia Spencer, and Tim Roth adding to its appeal, the story of parents who face disturbing news about their adopted Eritean son opened in top New York/Los Angeles theaters. Audiences reportedly showed multiple-demographic appeal, critical for any upcoming expansion that seeks a crossover audience.
What comes next: It will go wider in top cities this weekend.
The Nightingale (IFC) – Metacritic: 75; Festivals include: Venice 2018, Sundance 2019
$40,082 in 2 theaters; PTA: $20,041
Australia’s Jennifer Kent returns with another ambitious genre film. It opened in one theater each in New York and Los Angeles, with a PTA that doubled “The Babadook.” The revenge drama is quite violent and had been expected to be a tricky release, but these first grosses are encouraging.
What comes next: Four new cities begin the film’s expansion Friday.
Jay Myself (Oscilloscope) – Metacritic: 72; Festivals include: Doc NY 2018
$19,088 in 1 theater; PTA: $19,088 ; Cumulative: $27,750
This week’s top documentary opener had a stellar five-day total at New York’s Film Forum. Eccentrics can make appealing subjects; this one profiles a Manhattan photographer who collected random objects in his massive, multi-level apartment.
What comes next: This gets a key theater in Los Angeles Aug. 16, ahead of other dates.
Tel Aviv on Fire (Cohen) – Metacritic: 69; Festivals include: Venice, Toronto 2018
$50,987 in 11 theaters; PTA: $4,635
This Israel-set story follows a Palestinian who unexpectedly becomes a writer on a popular TV soap opera. It opened in multiple cities, with New York dates performing best initially.
What comes next: This should get further exposure in multiple markets.
Them That Follow (1091) – Metacritic: 54; Festivals include: Sundance, SXSW
$15,000 in 3 theaters; PTA: $5,000
Set among Appalachian church snake handlers, this Sundance-debuted drama opened in New York and Los Angeles to mixed results (lowered a little by a power outage in one of its Los Angeles theaters).
What comes next: This expands nationally to over 100 theaters this Friday.
Love, Antosha (Lurker) – Metacritic: 81; Festivals include: Sundance
$7,150 in 1 theater; PTA: $7,150
This documentary portrays the tragically short life of actor Anton Yelchin. It opened in one Los Angeles theater to excellent reviews and a decent gross.
What comes next: New York opens this Friday ahead of further big-city dates.
Piranhas (Music Box) – Metacritic: 54; Festivals include: Berlin, Seattle 2019
$3,049 in theaters; PTA: $3,049
This Sicily-set film about teens doing work for mob bosses opened in New York to mixed reviews and small initial business.
What comes next: Nine additional cities open this Friday.
$37,671 in 5 theaters (+3); PTA: $7,534; Cumulative: $81,827
A limited initial expansion for this acclaimed documentary about traditional Macedonian beekeeping saw a drop from the weekend PTA of almost $16,000 in three initial theaters. The better gauge of interest will come in wider limited expansion ahead.
Mike Wallace Is Here (Magnolia)
$(est.) 48,000 in 20 theaters (+17); PTA: $(est.) 2,400; Cumulative: $(est.) 75,000
The initial expansion of this documentary on the legendary CBS newsman saw modest interest.
The Mountain (Kino Lorber)
After receiving an impressive promotional push from star Jeff Goldblum and director Rick Alverson, it added four theaters for mediocre totals of about $10,500.
$(est.) 10,500 in 6 theaters (+4); PTA: $(est.) 1,750; Cumulative: $(est.) 32,500
Ongoing/expanding (grosses over $50,000)
The Farewell (A24) Week 4
$2,429,000 in 409 theaters (+274); Cumulative: $6,842,000
A per-theater average of almost $6,000 shows that this breakout has considerable potential ahead. In estimates, it places #7 among all films this weekend, and could still end up a position higher (it is $11,000 shy of “Yesterday”), despite playing at only 409 theaters. Its gross this weekend is more than all the other first-run specialized films combined.
Maiden (Sony Pictures Classics) Week 6
$229,436 in 131 theaters (+18); Cumulative: $1,526,000
Grosses are about the level of the successful “Echo on the Canyon,” at the same point in its run. Strong word of mouth and further expansion could push it higher.
Echo in the Canyon (Greenwich) Week 11
$95,340 in 104 theaters (-14); Cumulative: $3,077,000
With a period that overlaps with “Once Upon a Time in Hollywood,” this gentler viewer of the LA scene continues to find interest.
Pavarotti (CBS) Week 9
$80,000 in 94 theaters (-41); Cumulative: $4,420,000
Ron Howard’s documentary on the opera superstar is holding on with older-audience appeal. It is doing particularly well at New York’s Paris Theater, which is reportedly the final booking.
Last Black Man in San Francisco (A24) Week 9
$89,430 in 74 theaters (-40); Cumulative: $4,277,000
Bucking the trend of disappointing narrative specialized features, this Sundance-acclaimed film has carved out a decent niche response.
David Crosby: Remember My Name (Sony Pictures Classics) Week 3
$76,265 in 29 theaters (+18); Cumulative: $178,523
Still in its early stages, this Cameron Crowe-produced documentary about the complicated, multi-faceted career of the rock legend is getting modest attention.
Marianne & Leonard: Words of Love (Roadside Attractions) Week 5
$74,215 in 101 theaters (+18); Cumulative: $693,896
Another boomer-age music documentary, with this one on Leonard Cohen not getting quite as much reaction as “Echo in the Summer.”
Sword of Trust (IFC) Week 4; also on VOD
$73,367 in 80 theaters (+36); Cumulative: $245,347
Lynn Shelton’s latest indie comedy widens further in theaters while also available for home purchase.
The Biggest Little Farm (Neon) Week 13
$53,250 in 53 theaters; Cumulative: $4,231,000
One the the top documentaries of the year is nearing the end of the third month of its very successful run.
The Art of Self-Defense (Bleecker Street) Week 4
$52,239 in 110 theaters (-431); Cumulative: $2,367,000
Jesse Eisenberg as a mild-mannered city dweller who undergoes a life change after a mugging winds down after a national release, with a total of $2.5 million likely.
Wild Rose (Neon) Week 7
$51,000 in 53 (-91) theaters; Cumulative: $1,508,000
A Scottish girl in Nashville has kicked over the $1.5 million mark in a year where non-documentary specialized titles mostly struggle to gain traction.
Source: IndieWire film