Portugal Box Office for À Deriva (2018)
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| Theatrical Performance (US$) | ||
| Portugal Box Office | $119,811 | Details |
| Worldwide Box Office | $57,897,191 | Details |
| Home Market Performance | ||
| North America DVD Sales | $1,574,735 | Details |
| North America Blu-ray Sales | $854,909 | Details |
| Total North America Video Sales | $2,429,644 | |
| Further financial details... | ||
Synopsis
The true story of two free spirits whose chance encounter leads them first to love, and then to the adventure of a lifetime. As the two avid sailors set out on a journey across the ocean, Tami Oldham and Richard Sharp couldn’t anticipate they would be sailing directly into one of the most catastrophic hurricanes in recorded history. In the aftermath of the storm, Tami awakens to find Richard badly injured and their boat in ruins. With no hope for rescue, Tami must find the strength and determination to save herself and the only man she has ever loved.
Metrics
Movie Details
| Production Budget: | $35,000,000 |
| Portugal Releases: | June 15th, 2018 (Wide), released as À Deriva |
| Video Release: | August 21st, 2018 by Universal Home Entertainment |
| MPAA Rating: | PG-13 for injury images, peril, language, brief drug use, partial nudity and thematic elements. (Rating bulletin 2526 (Cert #51589), 5/9/2018) |
| Running Time: | 80 minutes |
| Keywords: | Romance, On a Boat, Extreme Weather, Disaster, Lost At Sea, 1980s, Survival Drama |
| Source: | Based on Real Life Events |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Lakeshore Entertainment, Ingenious Media, Huayi Brothers Pictures Ltd, STX Entertainment, RVK |
| Production Countries: | United States |
| Languages: | English |
Home Market Releases for September 4th, 2018
September 4th, 2018
Like last week, this week is rather busy on the home market with many more TV on DVD releases. There are not a lot of big releases this week, nor are there a lot of contenders for Pick of the Week. It’s really a two-horse race between Won’t You Be My Neighbor? and New Game!!: Season Twp. Won’t You Be My Neighbor? on Blu-ray won that race rather easily.
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Weekend Wrap-Up: Ocean’s 8 has Franchise Best Opening with $41.61 million
June 12th, 2018
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The weekend was very kind to Ocean’s 8, as it opened with $41.61 million. This is not only the top result this weekend, it is the best opening weekend in the franchise. Hereditary also opened on the high end of expectations, leaving just Hotel Artemis as the only disappointment of the weekend. Overall, the box office rose 13% from last weekend to $120 million. More importantly, this was 17% lower than the same weekend last year. That said, it could have been worse and 2018 still has a 5.1% / $250 million lead over 2017 at $5.11 billion to $4.86 billion.
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Weekend Predictions: Ocean’s 8 Looks to Steal Top Spot
June 7th, 2018
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Ocean’s 8 leads a trio of new releases this week and it might be the only one to reach the top five. It is certainly the only one competing for first place. Hereditary is earning amazing reviews, but it is an art house horror movie and those tend to struggle at the box office. Finally there’s Hotel Artemis, which is earning the quietest buzz of the three releases. Solo: A Star Wars Story and Deadpool 2 should remain strong helping the overall box office. However, while this year’s new releases are better than last year’s new releases, with Wonder Woman’s sophomore stint, 2018 is going to suffer another loss. Next week will be better.
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Weekend Wrap-Up: Box Office Is Far from Wonderful
June 4th, 2018
The overall weekend went about as well as expected. Unfortunately, that’s not good news. Solo: A Star Wars Story fell about as much as the average sophomore blockbuster film falls during a post-holiday weekend, earning first place with $29.40 million, while Deadpool 2 was the only other film to earn more than $20 million, landing in second with $23.18 million. The biggest new release of the week was Adrift with $11.60 million. The overall box office fell 42% from last weekend to just $106 million. To put this into perspective, this weekend last year, Wonder Woman opened with $103 million. That one movie made almost as much as the entire box office made this year. The year-over-year decline was 43%. Fortunately, 2018 is still ahead of 2017 by a sizable amount at 6.8% or $310 million at $4.94 billion to $4.63 billion and in a couple of weeks, 2018 should start winning again in the year-over-year comparison.
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Weekend Estimates: Solo and Deadpool put New Releases In their Place
June 3rd, 2018
We predicted Solo: A Star Wars Story would earn about $30 million during its second weekend of release and it earned $29.3 million over the weekend. I’m calling that a victory. It did fall 65%, but this is a standard decline for a tentpole release after a holiday weekend. The film has $148.89 million after 10 days of release and is on pace to top $200 million domestically. Internationally it has $115.3 million, including $30.3 million this past weekend. It doesn’t open in Japan until the end of June, but once it does, it should reach $400 million worldwide. Had the film not needed extensive reshoots, this would have been enough to break even, eventually.
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Friday Estimates: Solo Remains Tops, Adrift Floats, Action Sinks
June 2nd, 2018
As expected, Solo: A Star Wars Story earned top spot on Friday with $8.15 million. We predicted it would earn about $30 million and it looks like that’s the case, although it’s on track for the lower end of that range, with a $29 million sophomore stint. If it recovers next weekend, then it will remain on pace for $200 million domestically. However, getting to that milestone is more about saving face than breaking even at this point. Even if the film’s reviews help it become a hit on the home market, it’s not going to break even any time soon. Fortunately, The Last Jedi made enough profits that Disney will still be happy with the overall results of the franchise. Plus there’s always merchandising, something the Star Wars films helped perfect.
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Thursday Night Previews: Adrift is Not Lost Yet - Update
June 1st, 2018
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Adrift started its box office run with $725,000, which is a little above expectations. It’s not enough to think it will climb into second place over the weekend, but if it can open above $15 million, then it will have a real shot at breaking even early in its home market run. Its reviews are 67% positive, which is nothing special, but it certainly won’t hurt its legs. If the audiences react similarly, then $15 million is a real possibility.
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2018 Preview: June
June 1st, 2018
This May was an odd month, as Avengers: Infinity War opened on the last weekend of April, rather than the first weekend of May. This meant May started out slowly, but Deadpool 2 and Solo: A Star Wars Story did well enough to give 2018 a healthy lead over 2017. Looking forward, there are two potential monster hits this month, Incredibles 2 and Jurassic World: Fallen Kingdom, and another $100 million hit, Ocean’s 8. Last June, there were four $100 million hits, led by Wonder Woman, which pulled in over $400 million. I think 2018 and 2017 will be an even match at the top, so 2018 will have to rely on depth to improve upon its lead over 2017.
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Weekend Predictions: Solo Will Have No Trouble Setting the New Releases Adrift
May 31st, 2018
While there are three wide releases coming out this week, Solo: A Star Wars Story should have no trouble remaining in top spot. In fact, Adrift is the only wide release that has a better than 50/50 shot at $10 million over the weekend. Action Point may or may not reach the top five. Meanwhile, there are some who think Upgrade will miss the Mendoza Line. This weekend last year, Wonder Woman opened with more than $100 million. The top ten won’t get there this year. 2018 is going to get crushed in the year-over-year competition.
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Adrift Trailer
May 21st, 2018
True-life adventure starring Shailene Woodley and Sam Claflin opens June 1 ... Full Movie Details.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2018/06/15 | 4 | $36,046 | 38 | $949 | $36,046 | 1 | |
| 2018/06/22 | 7 | $21,867 | -39% | 39 | $561 | $79,457 | 2 |
| 2018/06/29 | 8 | $13,887 | -36% | 22 | $631 | $106,412 | 3 |
| 2018/07/06 | 20 | $1,715 | -88% | 4 | $429 | $117,148 | 4 |
| 2018/07/13 | 25 | $870 | -49% | 3 | $290 | $118,523 | 5 |
| 2018/07/20 | 37 | $159 | -82% | 1 | $159 | $119,811 | 6 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 8/31/2018 | $59,259 | 0 | 0 | 0 | $82,346 | 1/1/2019 |
| Australia | 6/29/2018 | $565,474 | 200 | 200 | 960 | $2,157,673 | 8/30/2018 |
| Brazil | 8/10/2018 | $417,000 | 0 | 0 | 0 | $825,922 | 8/25/2018 |
| Bulgaria | 7/27/2018 | $24,638 | 0 | 0 | 0 | $125,336 | 2/26/2019 |
| China | 12/7/2018 | $1,150,000 | 46000 | 46000 | 46000 | $1,609,857 | 1/4/2019 |
| Czech Republic | 7/6/2018 | $38,630 | 66 | 66 | 163 | $162,595 | 1/1/2019 |
| France | 7/6/2018 | $422,000 | 0 | 0 | 0 | $1,162,509 | 8/2/2018 |
| Germany | 7/13/2018 | $583,000 | 0 | 0 | 0 | $2,279,437 | 8/9/2018 |
| Italy | 8/16/2018 | $102,328 | 0 | 6 | 8 | $3,666,006 | 2/22/2019 |
| Lithuania | 6/1/2018 | $21,146 | 95 | 95 | 278 | $104,645 | 8/15/2018 |
| Mexico | 7/20/2018 | $502,684 | 0 | 0 | 0 | $1,152,507 | 7/30/2018 |
| Netherlands | 7/6/2018 | $101,807 | 100 | 654 | 948 | $532,574 | 9/16/2018 |
| New Zealand | 6/29/2018 | $91,829 | 60 | 66 | 297 | $405,008 | 8/9/2018 |
| North America | 6/1/2018 | $11,603,039 | 3,015 | 3,015 | 10,052 | $31,445,011 | |
| Poland | 7/6/2018 | $87,600 | 0 | 0 | 0 | $279,802 | 1/1/2019 |
| Portugal | 6/15/2018 | $36,046 | 38 | 39 | 107 | $119,811 | 8/15/2018 |
| Russia (CIS) | 6/28/2018 | $536,013 | 732 | 732 | 2306 | $1,877,344 | 2/26/2019 |
| Singapore | 6/1/2018 | $82,000 | 0 | 0 | 0 | $82,000 | 6/4/2018 |
| Slovakia | 7/13/2018 | $41,161 | 67 | 67 | 142 | $143,125 | 9/7/2018 |
| South Korea | 9/6/2018 | $231,276 | 490 | 490 | 565 | $422,496 | 10/26/2018 |
| Spain | 6/29/2018 | $182,647 | 220 | 220 | 480 | $478,934 | 7/24/2018 |
| Taiwan | 8/24/2018 | $252,000 | 0 | 0 | 0 | $252,000 | 9/3/2018 |
| Turkey | 6/1/2018 | $35,173 | 103 | 103 | 185 | $93,231 | 2/26/2019 |
| United Kingdom | 6/29/2018 | $534,829 | 463 | 471 | 1170 | $1,674,805 | 7/18/2018 |
| Rest of World | $6,762,217 | ||||||
| Worldwide Total | $57,897,191 | 2/26/2019 | |||||
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.
Leading Cast
| Shailene Woodley | Tami Oldham |
| Sam Claflin | Richard Sharp |
Supporting Cast
| Jeffrey Thomas | Peter Crompton |
| Elizabeth Hawthorne | Christine Crompton |
| Grace Palmer | Deb |
| Tami Ashcraft* | Herself |
| Marisiale Tunoka | Customs Agent |
| Kael Damlamian | Smiley |
| Lei-Ming Caine | Outrigger Girl |
| Neil Andrea | Crewman |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Baltasar Kormakur | Director |
| David Branson Smith | Screenwriter |
| Jordan Kandell | Screenwriter |
| Aaron Kandell | Screenwriter |
| Susea McGearhart | Based on “Red Sky in Mourning: A True Story of Love, Loss, and Survival at Sea” |
| Tami Oldham Ashcraft* | Based on “Red Sky in Mourning: A True Story of Love, Loss, and Survival at Sea” |
| Shailene Woodley | Producer |
| Jordan Kandell | Producer |
| Aaron Kandell | Producer |
| Baltasar Kormakur | Producer |
| David Kosse | Executive Producer |
| Adam Fogelson | Executive Producer |
| Robert Simonds | Executive Producer |
| Felice Bee | Executive Producer |
| Wang Zhonglei | Executive Producer |
| Wang Zhongjun | Executive Producer |
| Eric Reid | Executive Producer |
| Gary Lucchesi | Executive Producer |
| Tom Rosenberg | Executive Producer |
| Stephen Fuss | Executive Producer |
| Andrea Scarso | Executive Producer |
| Magnus Vidar Sigurdsson | Executive Producer |
| Ralph Winter | Executive Producer |
| Robert Richardson | Director of Photography |
| Heimir Sverrisson | Production Designer |
| John Gilbert | Editor |
| Volker Bertelmann | Composer |
| Augie Davis | Supervising Stunt Coordinator |
| Eva Yang | Stunt Coordinator |
| Andy McLaren | Supervising Art Director |
| Simon Hall | Art Director |
| Samuel J. Storey | Art Director |
| Hulda Helgadóttir | Set Decorator |
| Hrafnhildur Hólmgeirsdóttir | Set Decorator |
| Kristin Witcombe | Script Supervisor |
| Monique Knight | Script Supervisor |
| Fred Enholmer | Sound Mixer |
| Dean Clarke | Special Effects Supervisor |
| Clayton Tikao | Location Manager |
| Amanda Neale | Costume Designer |
| Lucy McLay | Costume Supervisor |
| Rob Askew | Set Designer |
| Brendon Sweeney | Set Designer |
| Mark Harris | Post-Production Supervisor |
| Carly Turner | First Assistant Editor |
| Sven Taits | Dialogue Editor |
| Sven Taits | Re-recording Mixer |
| Niv Adiri | Re-recording Mixer |
| Dayo James | Sound Effects Editor |
| Nick Freemantle | Sound Effects Editor |
| Rob Malone | Sound Effects Editor |
| Adam Armitage | Sound Effects Editor |
| Jemma Riley-Tolch | Foley Mixer |
| Gavin Round | Visual Effects Producer |
| Gerard McCann | Music Editor |
| Viktor Orri Arnason | Additional Music |
| Samuel J. Brown | Executive in Charge of Production |
| Caroline Garrett | Visual Effects Executive Producer |
| Tracey Gibbons | Visual Effects Producer |
| Sara Bennett | Visual Effects Supervisor |
| Chris Hutchinson | Animation Supervisor |
| Will Cohen | Visual Effects Executive Producer |
| Clare Norman | Visual Effects Executive Producer |
| Natalie Reid | Visual Effects Producer |
| Guy Botham | Visual Effects Executive Producer |
| Rebecca West | Visual Effects Producer |
| Jiwoong Kim | Visual Effects Supervisor |
| Matthias Bjarnason | Character CG Supervisor |
| Benjamin Bohn | Visual Effects Producer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.