Bulgaria Box Office for Косвена красота (2016)
Theatrical Performance (US$) | ||
Bulgaria Box Office | $81,403 | Details |
Worldwide Box Office | $85,309,093 | Details |
Home Market Performance | ||
North America DVD Sales | $2,189,101 | Details |
North America Blu-ray Sales | $1,086,467 | Details |
Total North America Video Sales | $3,275,568 | |
Further financial details... |
Synopsis
When a successful New York advertising executive suffers a great tragedy he retreats from life. While his concerned friends try desperately to reconnect with him, he seeks answers from the universe by writing letters to Love, Time and Death. But it’s not until his notes bring unexpected personal responses that he begins to understand how these constants interlock in a life fully lived, and how even the deepest loss can reveal moments of meaning and beauty.
Metrics
Movie Details
Production Budget: | $36,000,000 |
Bulgaria Releases: | December 16th, 2016 (Wide), released as Косвена красота |
Video Release: | February 28th, 2017 by Warner Home Video |
MPAA Rating: | PG-13 for thematic elements and brief strong language. (Rating bulletin 2446 (Cert #50724), 10/12/2016) |
Running Time: | 96 minutes |
Keywords: | Set in New York City, Advertising and Marketing, Death of a Son or Daughter, Depression, Ensemble, Romantic Drama, Romance, Cancer, Dysfunctional Family, Infidelity, Terminal Illness, Unconventional Pregnancies |
Source: | Original Screenplay |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | PalmStar Media, Likely Story, New Line Cinema, Village Roadshow Productions, RatPac Entertainment, Dune Entertainment, Anonymous Content, Overbrook Entertainment |
Production Countries: | United States |
Languages: | English |
Home Market Releases for March 14th, 2017
March 15th, 2017
There are a few Oscar-nominated films on this week’s list. However, it was still hard to come up with a Pick of the Week release. Most of them were like Elle with great reviews and weak extras. The DVD for Drunk History: Season Four has more than two hours of extras, but I admit it is an acquired taste. Fortunately, we do have a clear winner: The Love Witch on Blu-ray.
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Home Market Releases for February 28th, 2017
February 28th, 2017
It is not a particularly long list of new releases this week, but there are several that are must haves. This includes Doctor Strange, which was named Pick of the Week last week. Other contenders for that title include The Gate on Blu-ray, The Raid: Collection on Blu-ray, and Moonlight on Blu-ray. In the end, it wasn’t too hard to select Moonlight as Pick of the Week. However, The Gate does earn Puck of the Week for Best Canadian Release.
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Weekend Wrap-Up: Rogue One has Apocalyptic Opening of $155.08 million
December 19th, 2016
As expected, Rogue One: A Star Wars Story dominated the weekend box office chart with $155.08 million. This is well over twice as much as every other release combined. It is nearly twice as much as last weekend’s total box office. This helped the box office grow by 154%, reaching $211 million. Sadly, this was over $100 million or 32% lower than the same weekend last year when The Force Awakens dominated the chart. The year-over-year decline can be best summed up as within expectations. 2016 is still ahead of 2015 by a massive amount at $10.47 billion to $9.96 billion, but that will change as we see more numbers for Rogue One come in. On a more big picture look, Disney became the first studio ever to hit $7 billion worldwide in one year. They now have the record for biggest yearly domestic box office and biggest yearly worldwide box office, while it is just $160 million away from the international record as well.
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Friday Estimates: Rogue One’s $71.07 Million Opening Day Sets Stage for $150 Million Debut
December 17th, 2016
There’s a lot of great news coming out of Friday. For starters, Rogue One: A Star Wars Story earned $70.07 million. This means its previews were 41% of its opening day figure, compared to 48% for The Force Awakens. I was expecting Rogue One to bounce back a little bit from its previews, but not this much. If Rogue One merely maintains The Force Awakens’ internal multiplier, it will earn $148 million over the weekend. There are some positive factors and some negative factors. For example, not all schools are closed on Monday, so it won’t be able to hold onto its box office numbers on Sunday, at least not as well as The Force Awakens did. However, its prospects improved from the afternoon shows to the evening shows and that shows word-of-mouth is strong. This makes sense, as its reviews have settled at 84% positive and it scored an A from CinemaScore. An opening weekend of $150 million is certainly within reach; our model is predicting $151 million. Disney is predicting a more cautious $145 million to $150 million.
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Thursday Night Previews: Rogue’s Previews are One Half of Force Awakens at $29 million
December 16th, 2016
Rogue One: A Star Wars Story earned a massive $29 million in previews on Thursday, easily topping the $25 million Civil War made earlier this year. It also topped Batman v Superman, which earned $27.7 million, which was the previous yearly record for preview. However, while it topped the yearly chart in that regard, it was barely more than half of the $57 million The Force Awakens managed this time last year. The film’s slightly weaker reviews could lead to shorter legs. However, I think the massive hype surrounding The Force Awakens made it more front-loaded than Rogue One will be, at least during its opening weekend. I’m still going with just over $140 million during its opening weekend, but maybe $141 million is more likely now. I am a little less bullish than most and an opening north of $150 million would not be shocking.
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Weekend Predictions: Will Rogue Awaken the Box Office?
December 15th, 2016
It is a deceptively busy weekend, as there are two wide releases, Rogue One: A Star Wars Story and Collateral Beauty, and two films that are “expanding wide”, Manchester by the Sea and La La Land. However, while that looks like a lot, in reality Rogue One: A Star Wars Story is the only film most people are talking about. In fact, it is going to dominate the box office to such a degree that its only real competition is The Force Awakens, which opened this weekend last year. Unfortunately for Rogue One, there’s almost no chance it will match The Force Awakens. In fact, there’s almost no chance the entire box office will match the $247.97 million The Force Awakens opened with. 2016 is going to get crushed in the year-over-year comparison. That said, 2016 has a nearly $460 million lead over 2015, so has long as Rogue One tops $100 million over the weekend, it should be enough to keep 2016 ahead in terms of raw box office numbers.
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2016 Preview: December
December 1st, 2016
November was good, but not great. Fortunately, 2016 had a large enough lead going into November that the month only needed to be good. In fact, it could have been mediocre and 2016 would have still had an excellent shot to end the year above 2015. As for December, it’s a race between Star Wars and Star Wars. Almost no one thinks Rogue One is going to match The Force Awakens, but if Rogue One earns just half of what The Force Awakens managed, then 2016 will come out on top in the year-over-year comparison. There are only two other films with a better than 50/50 chance of hitting $100 million, Passengers and Sing. Either one could earn second place for the month, but Passengers will likely start faster. Last December, the only other film to earn more than $100 million was Daddy’s Home, which earned just a hair over $150 million. There’s a chance both Passengers and Sing will earn more than $150 million, which would be a boon to the box office. However, Star Wars: The Force Awakens was just too strong last year and it would take a miracle for 2016 to have a stronger December. That said, it would take a complete collapse for 2016 not to top 2015 in raw dollars. The growth might not be enough to keep pace with ticket price inflation, on the other hand.
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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 |
---|---|---|---|---|---|---|---|
2016/12/16 | 5 | $17,887 | 0 | $17,887 | 1 | ||
2016/12/23 | 6 | $11,415 | -36% | 0 | $41,149 | 2 | |
2016/12/30 | 8 | $8,271 | -28% | 0 | $60,285 | 3 | |
2017/01/06 | 11 | $3,748 | -55% | 0 | $68,997 | 4 | |
2017/01/13 | 13 | $2,875 | -23% | 0 | $75,543 | 5 | |
2017/01/20 | 14 | $1,920 | -33% | 0 | $79,414 | 6 | |
2017/01/27 | 20 | $987 | -49% | 0 | $81,403 | 7 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 1/13/2017 | $343,000 | 0 | 0 | 0 | $1,048,737 | 1/1/2019 |
Australia | 1/13/2017 | $643,561 | 207 | 207 | 559 | $1,388,741 | 2/6/2017 |
Brazil | 1/27/2017 | $685,000 | 255 | 255 | 255 | $2,191,942 | 6/26/2018 |
Bulgaria | 12/16/2016 | $17,887 | 0 | 0 | 0 | $81,403 | 2/26/2019 |
Colombia | 1/13/2017 | $471,000 | 0 | 0 | 0 | $471,000 | 12/20/2018 |
Czech Republic | 12/23/2016 | $20,964 | 57 | 57 | 134 | $126,151 | 1/1/2019 |
France | 12/23/2016 | $472,349 | 0 | 0 | 0 | $2,224,713 | 8/17/2018 |
Germany | 1/20/2017 | $613,000 | 245 | 245 | 245 | $613,000 | 1/24/2017 |
Hong Kong | 12/30/2016 | $404,000 | 36 | 36 | 36 | $404,000 | 1/4/2017 |
Italy | 1/4/2017 | $3,017,168 | 0 | 0 | 0 | $9,967,558 | 2/16/2017 |
Japan | 2/24/2017 | $550,169 | 0 | 0 | 0 | $550,169 | 6/30/2018 |
Lithuania | 1/6/2017 | $25,350 | 69 | 69 | 142 | $82,130 | 2/21/2017 |
Mexico | 12/16/2016 | $1,321,448 | 0 | 0 | 0 | $5,700,000 | 2/6/2017 |
Netherlands | 12/16/2016 | $264,605 | 92 | 94 | 525 | $1,602,119 | 2/2/2017 |
New Zealand | 1/13/2017 | $116,044 | 82 | 82 | 158 | $252,930 | 1/23/2017 |
North America | 12/16/2016 | $7,102,085 | 3,528 | 3,528 | 11,425 | $31,016,021 | |
Poland | 12/30/2016 | $189,010 | 0 | 0 | 0 | $1,080,856 | 1/1/2019 |
Portugal | 12/23/2016 | $48,980 | 61 | 63 | 276 | $474,949 | 3/2/2017 |
Russia (CIS) | 12/16/2016 | $1,466,347 | 843 | 843 | 1953 | $3,670,067 | 12/31/2018 |
Slovakia | 12/16/2016 | $40,636 | 54 | 54 | 151 | $199,826 | 2/10/2017 |
Slovenia | 12/30/2016 | $7,319 | 15 | 15 | 44 | $29,717 | 2/6/2017 |
South Korea | 3/5/2017 | $331 | 1 | 1 | 1 | $331 | 3/13/2017 |
Spain | 12/23/2016 | $646,313 | 284 | 294 | 1363 | $3,957,974 | 2/24/2017 |
Turkey | 12/23/2016 | $96,583 | 72 | 72 | 181 | $254,117 | 2/26/2019 |
United Kingdom | 12/30/2016 | $1,453,174 | 408 | 408 | 778 | $2,800,000 | 2/6/2017 |
Rest of World | $15,120,642 | ||||||
Worldwide Total | $85,309,093 | 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.
Lead Ensemble Members
Will Smith | Howard |
Edward Norton | Whit |
Keira Knightley | Amy |
Michael Peña | Simon |
Naomie Harris | Madeline |
Jacob Latimore | Raffi |
Kate Winslet | Claire |
Helen Mirren | Brigitte |
Supporting Cast
Ann Dowd | Sally Price |
Liza Colon-Zayas | Trevor’s Mom |
Natalie Gold | Adam’s Mom |
Kylie Rogers | Allison |
Shirley Rumierk | Simon’s Wife |
Alyssa Cheatham | Olivia |
Benjamin Snyder | Sally’s Grandson |
Mary Beth Peil | Whit’s Mother |
Andy Taylor | Father with Photo |
Michael Cumpsty | Chairman of the Board |
Jonathan Rivera Morales | Monster (Mexican Commercial) |
Joseph Castillo-Midyett* | Teacher (Mexican Commercial) |
Bryan Terrell Clark* | Homeless A capella Singer |
Marcus Paul James | Homeless A capella Singer |
Mykal Kilgore | Homeless A capella Singer |
Jimmy Palumbo | Super |
Elia Monte Brown | Support Group Member |
Crystal Anne Dickinson | Support Group Member |
Suzy Jane Hunt | Support Group Member |
Andres Munar | Support Group Member |
Claire Glassford | Junior Executive |
Harriett D. Foy | Board Member |
Maureen Mueller | Board Member |
Steven Hauck | Board Member |
Robert Toshi Chan | Board Member |
Willie C. Carpenter | Board Member |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
David Frankel | Director |
Allan Loeb | Screenwriter |
Michael Sugar | Producer |
Bard Dorros | Producer |
Allan Loeb | Producer |
Anthony Bergman | Producer |
Kevin Frakes | Producer |
Toby Emmerich | Executive Producer |
Richard Brener | Executive Producer |
Michael Disco | Executive Producer |
Steven Mnuchin | Executive Producer |
Michael Bederman | Executive Producer |
Ankur Rungta | Executive Producer |
Peter Cron | Executive Producer |
Steven Pearl | Executive Producer |
Bruce Berman | Executive Producer |
Beth Mickle | Production Designer |
Andrew Marcus | Editor |
Theodore Shapiro | Composer |
Maryse Alberti | Director of Photography |
Julia Michels | Music Supervisor |
Dana Sano | Music Supervisor |
Leah Katznelson | Costume Designer |
Jeanne McCarthy | Casting Director |
Rori Bergman | Casting Director |
Michael Bederman | Unit Production Manager |
Stephen Lee Davis | First Assistant Director |
Deanna Kelly | Second Assistant Director |
Josh Mack | Associate Producer |
Lindsay Feldman | Production Supervisor |
Scott Dougan | Art Director |
Kara Zeigon | Set Decorator |
Danny Michael | Sound Mixer |
Jack Deutchman | Post-Production Supervisor |
Alec Styborski | Assistant Editor |
Michael Barry | Re-recording Mixer |
Paul Urmson | Re-recording Mixer |
Lidia Tamplenizza | Supervising Sound Editor |
Paul Urmson | Supervising Sound Editor |
Nancy Allen | Music Editor |
Wyatt Sprague | Sound Effects Editor |
Matthew Haasch | Foley Mixer |
Ronnie Kupferwasser | Location Manager |
Jessica Lichtner | Script Supervisor |
Kate Edwards | Costume Supervisor |
Louise McCarthy | Make up |
Joanna McCarthy | Make up |
Angel De Angelis | Hairstylist |
Steve Kirshoff | Special Effects Supervisor |
John Stifanich | Special Effects Coordinator |
Pat A. Badia | Special Effects Foreman |
Dustin Riedman | Special Effects |
David Marulanda | Special Effects |
Leslie Woo | Casting Associate |
Dana Katz | Casting Associate |
Hannah Caruso | Casting Assistant |
Chris Fogel | Score Recordist |
Chris Fogel | Score Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.