Argentina Box Office for La crónica francesa (2021)
| Theatrical Performance (US$) | ||
| Argentina Box Office | $159,344 | Details |
| Worldwide Box Office | $45,137,404 | Details |
| Home Market Performance | ||
| North America DVD Sales | $208,945 | Details |
| North America Blu-ray Sales | $977,195 | Details |
| Total North America Video Sales | $1,186,140 | |
| Further financial details... | ||
Synopsis
A collection of stories from the final issue of an American magazine published in a fictional 20th-century French city.
Metrics
Movie Details
| Argentina Releases: | November 18th, 2021 (Wide), released as La crónica francesa |
| Video Release: | December 14th, 2021 by Fox Home Entertainment |
| MPAA Rating: | R for graphic nudity, some sexual references and language. (Rating bulletin 2614 (Cert #52467), 1/29/2020) |
| Running Time: | 108 minutes |
| Keywords: | Set in Paris, 1950s, Comedy Drama, Segments, Prologue, Epilogue, Ensemble |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
| Production/Financing Companies: | Searchlight Pictures , Indian Paintbrush, American Empirical |
| Production Countries: | United States |
| Languages: | English, French |
Weekend estimates: Eternals’ good hold keeps it on top
November 14th, 2021
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Eternals will, as expected, come out on top at the box office this weekend, but it’ll do so by a healthier margin than expected thanks to a decent hold, and a very slight under-performance by Clifford the Big Red Dog through the weekend. Eternals is set to earn $27.5 million, according to Disney’s Sunday-morning projection, which will take it to $118.8 million domestically. That makes it one of the top 10 films of 2021 already, with quite a way to run.
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Weekend estimates: Eternals out the gate with a strong $71 million
November 7th, 2021
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The Marvel Cinematic Universe’s 26th outing is opening this weekend very much in line with similar releases in the franchise. Eternals will land with $71 million domestically, according to Disney’s Sunday-morning estimate. That’s about $4 million less than Shang-Chi earned in September, which was in turn about $5 million less than Black Widow’s $80-million opening in July. But it’s also very much in line with what Doctor Strange opened with before the pandemic. In short, the MCU looks to be doing fine.
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Weekend predictions: Eternals’ $9.5 million in previews points to weekend in the mid-70s
November 5th, 2021
Disney’s Eternals, the latest outing for the MCU, got off to a strong start on Thursday evening, with $9.5 million in preview earnings, according to the studio. That’s a bit more than Shang-Chi’s $8.8 million, but somewhat less than the $13.2 million earned by Black Widow. That points to an opening weekend in the mid-$70 millions.
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Weekend estimates: top three stay the same as bevy of new releases fight over the scraps
October 31st, 2021
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There was something for everyone in movie theaters this weekend, but the combination of Halloween falling on the weekend and too much competition made going tough for the six films either opening, expanding, or being re-issued in wide release. The competition hit Dune a touch harder than our model expected, but it will easily remain the top film at the box office, with $15.53 million taking it to $69.4 million in total after 10 days. With another $21.4 million from international markets, it now has $292.1 million worldwide so far.
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Weekend predictions: moviegoers spoilt for choice this weekend
October 29th, 2021
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After four straight weekends with a movie opening to over $40 million, the market is taking a bit of a breather this weekend, at least in the sense of there being a “must see” film for general audiences. However, with no less than six films either opening or expanding wide, the number of options available to moviegoers is the largest its been in a long while. Our model thinks three new releases and the one wide expansion will land in the top ten, but Dune is the overwhelming favorite to win the weekend, even if it does fall fairly sharply from its $41-million opening.
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Weekend estimates: Dune lands with $40.1 million stateside, hits $220 million worldwide
October 24th, 2021
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While Dune isn’t quite living up to the most optimistic predictions, it’s doing enough to be considered a success so far, with Warner Bros. projecting it will earn $40.1 million domestically by close of business today. That includes $9.03 million from 404 IMAX screens, which amounts to 22.5% of the nationwide total—one of the highest opening-weekend shares for IMAX in history. Clearly a segment of the population is keen to see it in all its glory on the biggest screen possible. All told, it’ll do $17.8 million in business from IMAX screens around the world this weekend.
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Weekend predictions: Dune earns $5.1 million from previews, and heads to $40-million or so opening weekend
October 22nd, 2021
Dune, one of the longest-awaited films in recent history, finally makes its domestic theatrical debut this weekend, and Warner Bros. will be anxiously awaiting results to see if it has the potential to launch a major franchise—something that doesn’t happen very often in this business. With a reported $5.1 million from previews on Thursday night, the news is good so far. While that’s somewhat behind the best starts of the pandemic era, it’s a very respectable score for a non-sequel, and sets the film on a path towards something around $40 million this weekend. That’s better than what our model expected, given its simultaneous release on HBO Max.
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The French Dispatch Trailer
February 12th, 2020
Wes Anderson comedy, with an ensemble cast led by Bill Murray opens July 24 ... 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 |
|---|---|---|---|---|---|---|---|
| 2021/11/19 | - | $44,584 | 0 | $44,584 | 1 | ||
| 2021/11/26 | - | $25,077 | -44% | 0 | $93,426 | 2 | |
| 2021/12/03 | - | $13,571 | -46% | 0 | $118,525 | 3 | |
| 2021/12/10 | - | $9,343 | -31% | 0 | $137,658 | 4 | |
| 2021/12/17 | - | $3,698 | -60% | 0 | $144,775 | 5 | |
| 2021/12/24 | - | $1,409 | -62% | 0 | $148,089 | 6 | |
| 2021/12/31 | - | $783 | -44% | 0 | $150,454 | 7 | |
| 2022/01/07 | - | $1,086 | +39% | 0 | $152,005 | 8 | |
| 2022/01/14 | - | $1,987 | +83% | 0 | $154,659 | 9 | |
| 2022/01/21 | - | $1,379 | -31% | 0 | $156,456 | 10 | |
| 2022/01/28 | - | $784 | -43% | 0 | $157,645 | 11 | |
| 2022/02/04 | - | $694 | -11% | 0 | $158,981 | 12 | |
| 2022/02/11 | - | $137 | -80% | 0 | $159,344 | 13 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 11/18/2021 | $44,584 | 0 | 0 | 0 | $159,344 | 10/20/2022 |
| Australia | 10/21/2021 | $0 | 0 | 165 | 739 | $1,651,369 | 8/7/2023 |
| Austria | 10/21/2021 | $83,861 | 0 | 0 | 0 | $407,761 | 12/13/2022 |
| Belgium | 10/27/2021 | $72,459 | 0 | 0 | 0 | $511,176 | 10/20/2022 |
| Brazil | 11/18/2021 | $40,990 | 0 | 0 | 0 | $126,488 | 10/20/2022 |
| Chile | 11/18/2021 | $15,557 | 0 | 0 | 0 | $55,199 | 10/20/2022 |
| Colombia | 11/18/2021 | $11,757 | 0 | 0 | 0 | $71,335 | 10/20/2022 |
| Czech Republic | 11/19/2021 | $29,609 | 85 | 85 | 226 | $95,634 | 10/20/2022 |
| Denmark | 10/21/2021 | $55,452 | 0 | 0 | 0 | $376,131 | 10/20/2022 |
| Finland | 10/22/2021 | $53,113 | 44 | 80 | 291 | $230,217 | 10/20/2022 |
| France | 10/27/2021 | $985,054 | 0 | 0 | 0 | $3,675,320 | 12/13/2022 |
| Germany | 10/21/2021 | $405,814 | 0 | 0 | 0 | $2,374,067 | 12/13/2022 |
| Hong Kong | 12/2/2021 | $62,118 | 0 | 0 | 0 | $236,111 | 10/20/2022 |
| Italy | 11/11/2021 | $823,267 | 0 | 0 | 0 | $2,443,959 | 10/20/2022 |
| Japan | 1/28/2022 | $284,696 | 0 | 0 | 0 | $1,691,409 | 12/13/2022 |
| Lithuania | 11/12/2021 | $15,259 | 17 | 17 | 47 | $54,736 | 3/9/2022 |
| Malaysia | 1/6/2022 | $5,652 | 0 | 0 | 0 | $12,951 | 10/20/2022 |
| Mexico | 11/11/2021 | $112,332 | 0 | 0 | 0 | $405,357 | 3/1/2022 |
| Netherlands | 10/21/2021 | $265,662 | 67 | 74 | 543 | $1,303,743 | 12/13/2022 |
| New Zealand | 12/9/2021 | $70,160 | 63 | 63 | 348 | $261,188 | 10/20/2022 |
| North America | 10/22/2021 | $1,348,804 | 52 | 1,225 | 5,680 | $16,124,375 | |
| Norway | 10/22/2021 | $64,688 | 0 | 0 | 0 | $323,965 | 10/20/2022 |
| Poland | 11/19/2021 | $117,453 | 0 | 0 | 0 | $393,804 | 12/13/2022 |
| Portugal | 11/11/2021 | $43,365 | 36 | 36 | 129 | $158,738 | 2/1/2022 |
| Russia (CIS) | 11/11/2021 | $63,666 | 99 | 630 | 1940 | $2,575,291 | 10/20/2022 |
| Singapore | 12/9/2021 | $41,198 | 0 | 0 | 0 | $109,055 | 12/13/2022 |
| Slovakia | 11/11/2021 | $11,023 | 31 | 31 | 68 | $28,521 | 2/16/2022 |
| South Korea | 11/18/2021 | $237,417 | 273 | 273 | 688 | $816,786 | 2/1/2023 |
| Spain | 10/22/2021 | $251,405 | 195 | 195 | 605 | $1,117,955 | 3/1/2022 |
| Sweden | 10/22/2021 | $162,570 | 0 | 0 | 0 | $931,176 | 10/20/2022 |
| Switzerland | 10/21/2021 | $81,936 | 0 | 0 | 0 | $754,752 | 10/20/2022 |
| Taiwan | 12/10/2021 | $96,678 | 0 | 0 | 0 | $344,297 | 2/7/2022 |
| Turkey | 12/3/2021 | $15,855 | 57 | 57 | 111 | $115,083 | 10/20/2022 |
| United Kingdom | 10/22/2021 | $1,192,348 | 315 | 331 | 1772 | $5,200,111 | 6/7/2023 |
| Worldwide Total | $45,137,404 | 8/7/2023 | |||||
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
Supporting Cast
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Wes Anderson | Director |
| Wes Anderson | Screenwriter |
| Wes Anderson | Story by |
| Roman Coppola | Story by |
| Jason Schwartzman | Story by |
| Hugo Guinness | Story by |
| Wes Anderson | Producer |
| Steven Rales | Producer |
| Jeremy Dawson | Producer |
| Scott Rudin | Executive Producer |
| Roman Coppola | Executive Producer |
| Henning Molfenter | Executive Producer |
| Christoph Fisser | Executive Producer |
| Charlie Woebcken | Executive Producer |
| Octavia Peissel | Co-Producer |
| Frederic Blum | Line Producer |
| Robert Yeoman | Director of Photography |
| Alexandre Desplat | Composer |
| Randall Poster | Music Supervisor |
| Jina Jay | Casting Director |
| Ben Howard | First Assistant Director |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.