Australia Box Office for Border (2018)
Theatrical Performance (US$) | ||
Australia Box Office | $21,724 | Details |
Worldwide Box Office | $2,062,014 | Details |
Home Market Performance | ||
North America Blu-ray Sales | $238,189 | Details |
Total North America Video Sales | $238,189 | |
Further financial details... |
Synopsis
Tina is a border guard who has the ability to smell human emotions and catch smugglers. When she comes across a mysterious man with a smell that confounds her detection, she is forced to confront hugely disturbing insights about herself and humankind.
Metrics
Movie Details
Australia Releases: | February 15th, 2019 (Wide), released as Border July 13th, 2023 (Limited), released as Border |
Video Release: | February 26th, 2019 by Universal Home Entertainment |
MPAA Rating: | R for some sexual content, graphic nudity, a bloody violent image, and language. (Rating bulletin 2546 (Cert #51829), 9/26/2018) |
Running Time: | 108 minutes |
Keywords: | Romance, Supernatural, Child Abuse, Pedophilia, Psychological Horror |
Source: | Based on Fiction Book/Short Story |
Genre: | Thriller/Suspense |
Production Method: | Live Action |
Creative Type: | Science Fiction |
Production/Financing Companies: | Metafilms, Black Spark Film and TV, Karnfilm, Neon Films, MoviePass |
Production Countries: | Denmark, Sweden |
Languages: | Swedish |
Home Market Releases for February 26th, 2019
February 26th, 2019
This week’s list includes a number of releases that are worth picking up, mostly of the smaller variety. There’s a foreign-language import, Border; a mostly forgotten comedy from the 1980s, Used Cars; a good movie that is busted Oscar-bait, Mary Queen of Scots; and an Anime slice of life, Love Live! Sunshine!!: Season Two. However, for most people, it’s the two biggest releases that are also the best: The Little Mermaid and Ralph Breaks the Internet. For me, Ralph Breaks the Internet on Blu-ray or 4K Ultra HD is the clear Pick of the Week.
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2018 Awards Season: Oscars: And the Winner is... Green Book for Best Picture
February 24th, 2019
It’s Oscar night and we will be live blogging the show. We will announce the winners and have our reactions as they happen, while keeping track of how our readers did in predicting the outcomes.
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2018 Awards Season: Oscars Nominations: Final Look
February 24th, 2019
It’s Oscar Day, and we will be live blogging the show. Before that, let’s take a last look at the nominations with a few annotations. in Italics are those that have received the most votes from our readers so far in our Oscar contest (which is open to new entries until noon, Pacific, today—enter now!). Bold films are those films I think will win. Meanwhile, those that are Underlined are those I want to win. Not all categories have underlined nominees, because not all categories have someone I’m cheering for, or because there are two nominees I couldn’t pick between. For example, I would be happy with half of the Best Picture nominees winning.
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2018 Awards Season: Oscar Nominations
January 23rd, 2019
The Oscar nominations were announced yesterday starting at just after 5 am Pacific time. They do this every year for reasons no one has been able to adequately explain to me. Because it was the day after a long weekend, it took a bit of time to get all the normal work done and digest the results. And there were some interesting results to digest. No one film led the way with total nominations, as two films, The Favourite and Roma tied with 10 nominations each.
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Theater Averages: Suspiria Surprises with Yearly Best Average
October 31st, 2018
Suspiria led the theater average chart both over the weekend and for the year earning just over $180,000 in two theaters for an average of $92,019. This tops the previous average of $73,572 by Free Solo, although that movie was playing in four theaters. Up next was Can You Ever Forgive Me? with an average of $14,255 in 25 theaters during its second weekend of release. A couple of foreign-language films were next with Burning earning an average of $13,066 in two theaters and Border earning an average of $10,529 in seven.
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Limited and VOD Releases: Limited Releases are Leaving us in Suspense
October 26th, 2018
It is a little difficult to figure out which limited release has the best shot at box office success. Suspiria has the loudest buzz, but its reviews are only good and not great. Shirkers’ reviews are great, but it is playing on Netflix, so it likely won’t go anywhere in theaters. Life & Nothing More, Border, Burning, and others could pick up the slack, but none jump out as guaranteed hits.
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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 |
---|---|---|---|---|---|---|---|
2019/02/15 | - | $5,820 | 6 | $970 | $5,820 | 1 | |
2019/02/22 | - | $3,495 | -40% | 6 | $583 | $12,046 | 2 |
2019/03/01 | - | $1,532 | -56% | 2 | $766 | $15,100 | 3 |
2019/03/08 | - | $882 | -42% | 2 | $441 | $16,873 | 4 |
2019/03/22 | - | $728 | 2 | $364 | $18,711 | 6 | |
2019/04/19 | - | $1,005 | 1 | $1,005 | $21,825 | 10 | |
2023/07/14 | - | $300 | 1 | $300 | $21,724 | 231 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 3/1/2019 | $14,919 | 18 | 18 | 18 | $45,021 | 7/22/2019 |
Australia | 2/15/2019 | $5,820 | 6 | 6 | 20 | $21,724 | 7/17/2023 |
Bulgaria | 9/13/2019 | $935 | 0 | 0 | 0 | $3,144 | 9/24/2019 |
France | 1/11/2019 | $211,766 | 75 | 124 | 286 | $516,277 | 2/1/2019 |
Italy | 3/28/2019 | $78,070 | 0 | 12 | 18 | $229,314 | 5/10/2019 |
North America | 10/26/2018 | $73,700 | 7 | 74 | 304 | $771,930 | |
Portugal | 3/8/2019 | $754 | 3 | 3 | 10 | $4,935 | 4/2/2019 |
Romania | 8/2/2019 | $0 | 0 | 0 | 0 | $8,847 | 9/17/2019 |
Russia (CIS) | 10/25/2018 | $49,891 | 208 | 208 | 343 | $87,294 | 1/15/2019 |
South Korea | 10/24/2019 | $25,080 | 48 | 48 | 134 | $125,227 | 12/18/2019 |
Spain | 1/11/2019 | $56,491 | 28 | 33 | 61 | $123,124 | 1/25/2019 |
Turkey | 5/24/2019 | $5,320 | 26 | 26 | 86 | $23,136 | 6/20/2019 |
United Kingdom | 3/8/2019 | $102,041 | 49 | 49 | 49 | $102,041 | 3/14/2019 |
Worldwide Total | $2,062,014 | 7/17/2023 |
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.
Leading Cast
Eva Melander | Tina |
Eero Milonoff | Vore |
Supporting Cast
Jorgen Thorsson | Roland |
Ann Petren | Agneta |
Sten Ljunggren | Tina’s Father |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Ali Abbasi | Director |
John Ajvide Lindqvist | Screenwriter |
Ali Abbasi | Screenwriter |
Isabella Eklof | Screenwriter |
John Ajvide Lindqvist | Based on the short story “Grans” by |
Nina Bisgaard | Producer |
Peter Gustafsson | Producer |
Petra Jonsson | Producer |
Meta Louise Foldager | Executive Producer |
Tomas Eskilsson | Executive Producer |
Louis Tisne | Executive Producer |
Daniel Sachs | Executive Producer |
Hakan Pettersson | Executive Producer |
Anna Croneman | Executive Producer |
Erika Wasserman | Executive Producer |
Thomas Gammeltoft | Executive Producer |
Peter Nyren | Executive Producer |
Christoffer Berg | Composer |
Martin Dirkov | Composer |
Olivia Neergaard Holm | Editor |
Anders Skov | Editor |
Christian Holm | Sound Designer |
Rune Sand | Sound Designer |
Eva Akergren | Line Producer |
Sara Tornkvist | Casting Director |
Peter Hjorth | Visual Effects Supervisor |
Mikael Windelin | Visual Effects Producer |
Elsa Fischer | Costume Designer |
Frida Hoas | Production Designer |
Nadim Carlsen | Director of Photography |
Göran Lundström | Make-up and Hair Designer |
Pamela Goldammer | Make-up and Hair Designer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.