Australia Box Office for By The Sea (2015)
Theatrical Performance (US$) | ||
Australia Box Office | $214,755 | Details |
Worldwide Box Office | $3,727,746 | Details |
Home Market Performance | ||
North America DVD Sales | $452,176 | Details |
North America Blu-ray Sales | $77,265 | Details |
Total North America Video Sales | $529,441 | |
Further financial details... |
Synopsis
An American writer named Roland and his wife, Vanessa, arrive in a tranquil and picturesque seaside resort in 1970s France, their marriage in apparent crisis. As they spend time with fellow travelers, including young newlyweds Lea and François, and village locals Michel and Patrice, the couple begins to come to terms with unresolved issues in their own lives.
Metrics
Movie Details
Production Budget: | $20,000,000 |
Australia Releases: | November 27th, 2015 (Wide), released as By The Sea |
Video Release: | July 5th, 2016 by Universal Home Entertainment |
MPAA Rating: | R for strong sexuality, nudity, and language. (Rating bulletin 2386, 8/12/2015) |
Running Time: | 122 minutes |
Keywords: | Directing Yourself, Screenplay Written By the Star, Family Affair, Relatives Playing Relatives, 1970s, Relationships Gone Wrong, Domestic Abuse, Set in France |
Source: | Original Screenplay |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Historical Fiction |
Production/Financing Companies: | Jolie Pas |
Production Countries: | United States |
Languages: | English, French |
Home Market Releases for July 5th, 2016
July 4th, 2016
It's a strange week on the home market, as there are no first-run releases and very few other releases to make up the difference. There are some contenders for Pick of the Week, but all of them are foreign-language films, which is again odd. In fact, two of them, Only Yesterday and The Boy and the World, are animated. However, in the end, I went with The Mermaid, which deserves to be seen by more and Blu-ray is a great way to see it.
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Per Theater Chart: James Can't Take the Spotlight
November 17th, 2015
There was only one new release in the $10,000 club and it had to settle for third place on the per theater chart. This left Spotlight in first place with an average of $22,561 in 60 theaters. This is a great result for a film expanding from five to 60 theaters. Brooklyn also expanded, going from five theaters to 23 theaters, while its per theater average remained strong with an average of $20,868. James White was the only new release in the $10,000 club debuting with $12,007 in its lone theater.
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Weekend Estimates: Spectre Set to Be Number Two Bond
November 15th, 2015
Sony are predicting a decline of just 50% for Spectre in its second weekend in theaters, putting James Bond’s latest incarnation on track for a final domestic box office in the neighborhood of $200 million. While well short of Skyfall’s $304 million, it welcome news for a film that’s probably right on the bubble as far as profitability is concerned.
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Friday Estimates: Openers Fall Well Short of Spectre and Peanuts
November 14th, 2015
Three new wide releases are all, as expected, struggling to make much headway against Spectre and The Peanuts Movie this weekend, with the two returning films sitting comfortably at the top of the chart. Spectre picked up an estimated $10.2 million on Friday for a total to date of $105.5 million, while Peanuts earned another $5.6 million, for $63.9 million so far.
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Limited and VOD Releases: Sea a Limited Release This Weekend
November 11th, 2015
It is not a particularly strong week for limited releases, as there are none that really jump out as potential breakout successes. Man Up is earning some of the best reviews, but it is the wrong genre for limited release, as Rom Coms rarely do well enough in limited release to expand wide. (On a side note, one of the exceptions was My Big Fat Greek Wedding. The trailer for the sequel just came out. Nearly 15 years is a long time between the original and the sequel.) James White feels a lot more like a traditional limited release, one that can do really well in the art house circuit.
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Contest: Procrastoween
November 6th, 2015
It is a bit of a messed up week as far as the contest is concerned. I ended the Halloween trick or treat contests a week early, because I got the release date of Mr. Holmes wrong. I had already set aside the two sets of horror or the one set of bad movies, so I might as well give them away this week. Also, the contest is a mess, because the wide releases next week are a mess. By the Sea was dropped to limited release, while My All-American is opening semi-wide, so that's a reversal of expectations. This leaves The 33 and Love the Coopers as the only true wide releases, neither of which is expected to be a even a midlevel hit. Combined they are not expected to be a midlevel hit. Worse for me, neither is expected to be a significantly bigger hit than the other making it harder to choose which film will be the target film. I'm literally going to have to flip a coin. Love the Coopers is the target film for this week's Box Office Prediction contest. In order to win, one must simply predict the opening weekend box office number for Love the Coopers.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will also win a Frankenprize consisting of two previously reviewed DVDs or Blu-rays.
There is a difference this time. Two people will earn Frankenprizes consisting of two horror movies. The other winner will earn a Frankprize consisting of two "horror" movies, that is to say movies so bad that it will fill you with horror.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
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2015 Preview: November
November 1st, 2015
October has come to an end and everyone should be happy about that. Except for The Martian, there were no serious hits that opened last month. There were more outright bombs than even midlevel hits. Fortunately, October of last year wasn't spectacular either, so 2015 maintains a healthy lead over 2014. Even more fortunately, November looks fantastic. There are four films that have the potential to earn $200 million or more. The biggest of these is the final Hunger Games movie, which should reach $400 million. Spectre has a real shot at $300 million and could be the biggest hit in the franchise. Meanwhile, nearly every November there's an animated kids movie that becomes a monster hit. This year, The Peanuts Movie and The Good Dinosaur are both aiming for that box office milestone. The last time we didn't have a family film that earned at least $100 million in November was 2011 and that's because there were four family films that opened in the final two weeks of the month and that much competition meant they cannibalized each other. Both of these has a shot at $200 million and if neither of them reached $200 million, I would be shocked. Meanwhile, last November was a good month at the top with three monster hits: The Hunger Games: Mockingjay, Part 1, Big Hero 6, and Interstellar. However, after those three films, there were not much positive to talk about. It really looks like 2015 will match 2014 at the top, plus it could have better depth. I might be a little too optimistic, but I think November is going to be a great month at the box office.
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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 |
---|---|---|---|---|---|---|---|
2015/11/27 | 9 | $100,135 | 52 | $1,926 | $100,135 | 1 | |
2015/12/04 | 17 | $31,948 | -68% | 50 | $639 | $174,372 | 2 |
2015/12/11 | 25 | $14,839 | -54% | 38 | $391 | $201,449 | 3 |
2015/12/18 | 41 | $1,605 | -89% | 7 | $229 | $209,395 | 4 |
2015/12/25 | 54 | $202 | -87% | 2 | $101 | $213,224 | 5 |
2016/01/01 | 62 | $13 | -94% | 1 | $13 | $213,390 | 6 |
2016/02/12 | 62 | $54 | 1 | $54 | $214,636 | 12 | |
2016/02/19 | 73 | $119 | +120% | 1 | $119 | $214,755 | 13 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 12/10/2015 | $97,361 | 51 | 51 | 133 | $158,002 | 1/20/2016 |
Australia | 11/27/2015 | $100,135 | 52 | 52 | 152 | $214,755 | 6/9/2016 |
Austria | 12/10/2015 | $5,149 | 9 | 9 | 26 | $11,025 | 12/30/2015 |
Belgium | 12/9/2015 | $9,454 | 7 | 7 | 7 | $11,786 | 12/16/2015 |
Brazil | 12/3/2015 | $72,662 | 58 | 58 | 105 | $123,435 | 6/9/2016 |
Croatia | 11/26/2015 | $3,897 | 4 | 4 | 39 | $13,236 | 12/31/2018 |
Czech Republic | 11/19/2015 | $11,641 | 54 | 54 | 96 | $23,277 | 12/30/2018 |
Denmark | 11/19/2015 | $5,083 | 14 | 14 | 19 | $8,859 | 12/1/2015 |
Ecuador | 1/1/2016 | $0 | 0 | 26 | 46 | $51,802 | 12/31/2018 |
Finland | 11/27/2015 | $8,229 | 40 | 40 | 68 | $17,488 | 12/22/2015 |
France | 12/9/2015 | $77,958 | 80 | 80 | 98 | $110,386 | 12/22/2015 |
Germany | 12/10/2015 | $59,089 | 149 | 149 | 214 | $91,162 | 6/9/2016 |
Greece | 12/10/2015 | $53,594 | 49 | 49 | 79 | $95,178 | 12/30/2015 |
Hong Kong | 11/26/2015 | $49,624 | 10 | 10 | 20 | $82,658 | 12/16/2015 |
Hungary | 11/12/2015 | $0 | 0 | 23 | 38 | $32,658 | 12/31/2018 |
Iraq | 12/3/2015 | $1,387 | 2 | 2 | 2 | $1,388 | 12/30/2018 |
Israel | 11/26/2015 | $38,968 | 15 | 15 | 36 | $75,543 | 12/30/2018 |
Italy | 11/12/2015 | $243,212 | 227 | 227 | 260 | $375,198 | 6/9/2016 |
Japan | 9/24/2016 | $28,946 | 0 | 0 | 0 | $175,118 | 11/22/2016 |
Latvia | 1/1/2016 | $0 | 0 | 2 | 2 | $20,419 | 12/31/2018 |
Lebanon | 11/26/2015 | $12,741 | 10 | 10 | 10 | $12,741 | 12/30/2018 |
Lithuania | 1/1/2016 | $9,712 | 61 | 61 | 62 | $20,297 | 6/9/2016 |
Mexico | 1/1/2016 | $53,293 | 60 | 60 | 169 | $117,751 | 6/9/2016 |
Netherlands | 11/26/2015 | $11,805 | 14 | 14 | 38 | $33,142 | 9/5/2016 |
North America | 11/13/2015 | $96,250 | 10 | 142 | 310 | $538,460 | 1/18/2017 |
Norway | 11/27/2015 | $6,187 | 62 | 62 | 88 | $13,506 | 12/16/2015 |
Peru | 12/3/2015 | $15,157 | 11 | 11 | 13 | $27,599 | 12/30/2018 |
Philippines | 11/18/2015 | $19,217 | 13 | 13 | 13 | $23,128 | 12/30/2018 |
Poland | 11/20/2015 | $36,498 | 43 | 43 | 108 | $84,437 | 12/31/2018 |
Russia (CIS) | 2/11/2016 | $113,466 | 238 | 238 | 484 | $213,932 | 12/31/2018 |
Slovakia | 11/19/2015 | $11,869 | 29 | 29 | 29 | $11,869 | 11/25/2015 |
Slovenia | 12/10/2015 | $4,048 | 13 | 13 | 21 | $8,213 | 9/5/2016 |
South Korea | 4/28/2016 | $16,587 | 40 | 40 | 47 | $40,175 | 6/9/2016 |
Spain | 3/11/2016 | $25,121 | 22 | 22 | 35 | $39,499 | 6/9/2016 |
Sweden | 11/13/2015 | $9,743 | 32 | 32 | 45 | $19,142 | 12/1/2015 |
Switzerland | 11/12/2015 | $0 | 0 | 32 | 53 | $62,651 | 9/5/2016 |
Thailand | 11/26/2015 | $6,871 | 13 | 13 | 22 | $11,860 | 12/8/2015 |
Turkey | 11/20/2015 | $59,894 | 82 | 82 | 181 | $173,529 | 12/30/2018 |
Ukraine | 12/10/2015 | $124,590 | 174 | 174 | 358 | $225,760 | 12/31/2018 |
United Kingdom | 12/11/2015 | $37,684 | 102 | 102 | 126 | $76,818 | 6/9/2016 |
Uruguay | 12/24/2015 | $4,100 | 9 | 9 | 9 | $4,100 | 12/30/2018 |
Venezuela | 1/15/2016 | $55,462 | 11 | 11 | 19 | $130,566 | 1/26/2016 |
Rest of World | $145,198 | ||||||
Worldwide Total | $3,727,746 | 12/31/2018 |
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
Brad Pitt | Roland |
Angelina Jolie | Vanessa |
Supporting Cast
Mélanie Laurent | Lea |
Melvil Poupaud | Francois |
Niels Arestrup | Michel |
Richard Bohringer | Patrice |
Marika Green | Dress Shop Saleswoman |
Sarah Naudi | Grocery Clerk |
Aldo Buontempo | Fisherman |
Philippe Martinet | Maitre D' |
Francis Xuereb | Hotel Receptionist |
Malcolm Beethans | Older Couple |
Kathleen Beethans | Older Couple |
Bjorn Kubin | Fancy Couple at Cafe |
Penny Dix | Fancy Couple at Cafe |
George Camilleri | Waiter in Cafe |
Indi Marceau Coppola | Child in Hotel |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Angelina Jolie | Director |
Angelina Jolie | Screenwriter |
Angelina Jolie | Producer |
Brad Pitt | Producer |
Chris Brigham | Executive Producer |
Holly Goline-Sadowski* | Executive Producer |
Michael Vieira | Executive Producer |
Jon Hutman | Production Designer |
Patricia Rommel | Editor |
Martin Pensa | Editor |
Gabriel Yared | Composer |
Christian Berger | Director of Photography |
Ellen Mirojnick | Costume Designer |
Amy Herman | Co-Producer |
Joseph Reidy | Co-Producer |
Amy Herman | Unit Production Manager |
Joseph Reidy | First Assistant Director |
Edoardo Petti | Second Assistant Director |
Oliver Mallia | Line Producer-Malta Line Producer |
Tom Brown | Supervising Art Director |
Charlo Dalli | Art Director |
Jille Azis | Set Decorator |
Alessandro Troso | Set Designer |
David Stephenson | Sound Mixer |
Lisa Rodgers | Post-Production Supervisor |
Brett Carroll | Assistant Editor |
Michael Wilson | Assistant Editor |
Ray Neapolitan | Assistant Editor |
Becky Sullivan | Supervising Sound Editor |
Anna Behlmer | Re-recording Mixer |
Mark Paterson | Re-recording Mixer |
Annie Crawford | Costume Supervisor |
Toni G | Make up |
Matteo Silvi | Make up |
Adruitha Lee | Hairstylist |
Marcelle Genovese | Hairstylist |
Kristin Witcombe | Script Supervisor |
Karen Triest | Sound Effects Editor |
John J. Morris | Sound Effects Editor |
Laura Harris Atkinson | Dialogue Editor |
Erik Flickinger | Re-recording Mixer |
Kenneth Karman | Supervising Music Editor |
Deak Ferrand | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.