Australia Box Office for The House That Jack Built (2018)
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| Theatrical Performance (US$) | ||
| Australia Box Office | $52,211 | Details |
| Worldwide Box Office | $2,654,096 | Details |
| Home Market Performance | ||
| North America Blu-ray Sales | $121,448 | Details |
| Total North America Video Sales | $121,448 | |
| Further financial details... | ||
Synopsis
USA in the 1970s. We follow the highly intelligent Jack through 5 incidents and are introduced to the murders that define Jack’s development as a serial killer. We experience the story from Jack’s point of view. He views each murder as an artwork in itself, even though his dysfunction gives him problems in the outside world. Despite the fact that the final and inevitable police intervention is drawing ever near (which both provokes and puts pressure on Jack) he is—contrary to all logic—set on taking greater and greater chances. The goal is the ultimate artwork: A collection of all his killings manifested in a House that he builds. Along the way we experience Jack’s descriptions of his personal condition, problems and thoughts through a recurring conversation with the unknown Verge – a grotesque mixture of sophistry mixed with an almost childlike self-pity and in-depth explanations of, for Jack, dangerous and difficult manoeuvres.
Metrics
Movie Details
| Australia Releases: | March 8th, 2019 (Wide) |
| Video Release: | February 4th, 2020 by Shout Factory |
| MPAA Rating: | R for strong disturbing violence/sadistic behavior, grisly images, language, and nudity. (Rating bulletin 2549 (Cert #51868), 10/17/2018) |
| Running Time: | 155 minutes |
| Keywords: | 1970s, Serial Killer |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
| Production/Financing Companies: | Zentropa Entertainments, Film i Vast, Copenhagen Film Fund, Slot Machine, Danish Film Institute, Swedish Film Institute, DR Nordisk Film & TV Fond, Centre National du Cinema et de L Image Animee, Film- und Medienstiftung NRW, Eurimages, The Media Programme of the European Union, DR, SVT, IFC Films |
| Production Countries: | Denmark |
| Languages: | English |
Home Market Releases for February 4th, 2020
February 5th, 2020
It is a slow week for truly great releases. Both Doctor Sleep and The Nightingale are worth picking up, but not Pick of the Week contenders. Last Christmas is also worth picking up, but only if you like Romantic Comedies with magical realism. As for the Pick of the Week, I’m going with That Time I Got Reincarnated as a Slime: Season One, Part Two and if you really into Isekai Anime, grab Isekai Quartet: Season One as well.
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Theater Averages: Everyone is Talking about Beale Street
December 19th, 2018
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There was only one new release in the $10,000 club this past weekend. If Beale Street Could Talk opened with an average of $56,119 in four theaters. The only other member of the $10,000 club was Mary Queen of Scots, with an average of $10,602 in 66 theaters during its second week of release. It will continue to expand, but it very likely won’t expand even semi-wide.
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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 |
|---|---|---|---|---|---|---|---|
| 2019/03/08 | - | $12,939 | 13 | $995 | $13,910 | 1 | |
| 2019/03/15 | 39 | $7,384 | -43% | 13 | $568 | $26,814 | 2 |
| 2019/03/22 | - | $2,351 | -68% | 5 | $470 | $32,541 | 3 |
| 2019/03/29 | - | $899 | -62% | 1 | $899 | $34,609 | 4 |
| 2019/05/03 | - | $1,002 | 1 | $1,002 | $38,175 | 9 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 3/8/2019 | $12,939 | 13 | 13 | 33 | $52,211 | 5/9/2019 |
| Bulgaria | 5/3/2019 | $1,200 | 0 | 0 | 0 | $4,661 | 5/8/2019 |
| Czech Republic | 10/5/2018 | $16,059 | 28 | 28 | 84 | $59,074 | 1/1/2019 |
| France | 10/19/2018 | $146,667 | 64 | 68 | 132 | $267,098 | 11/2/2018 |
| Italy | 2/28/2019 | $133,238 | 0 | 32 | 60 | $317,876 | 5/10/2019 |
| Lithuania | 11/30/2018 | $10,966 | 34 | 34 | 39 | $19,655 | 1/3/2019 |
| Netherlands | 1/11/2019 | $37,081 | 30 | 31 | 61 | $74,341 | 1/22/2019 |
| North America | 12/14/2018 | $34,273 | 32 | 140 | 72 | $259,017 | |
| Portugal | 1/4/2019 | $4,217 | 1 | 2 | 5 | $14,171 | 5/8/2019 |
| Russia (CIS) | 12/6/2018 | $434,670 | 310 | 310 | 1058 | $1,350,386 | 10/19/2022 |
| Slovakia | 1/25/2019 | $1,410 | 4 | 4 | 4 | $1,738 | 1/4/2019 |
| South Korea | 2/21/2019 | $30,488 | 68 | 68 | 104 | $83,147 | 3/14/2019 |
| Spain | 1/25/2019 | $54,827 | 77 | 77 | 143 | $110,330 | 2/8/2019 |
| United Kingdom | 12/14/2018 | $40,391 | 25 | 25 | 25 | $40,391 | 12/19/2018 |
| Worldwide Total | $2,654,096 | 10/19/2022 | |||||
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
| Matt Dillon | Jack |
| Bruno Ganz | Verge |
| Uma Thurman | Lady 1 |
| Siobhan Fallon Hogan* | Lady 2 |
| Sofie Grabol | Lady 3 |
| Riley Keough | Simple |
Supporting Cast
| Jeremy Davies | Al |
| Jack McKenzie | Sonny |
| Rocco Day | Grumpy |
| Mathias Hjelm | Glenn |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Lars Von Trier | Director |
| Lars Von Trier | Screenwriter |
| Louise Vesth | Producer |
| Madeleine Ekman | Co-Producer |
| Lizette Jonjic | Co-Producer |
| Marianne Slot | Co-Producer |
| Bettina Brokemper | Co-Producer |
| Tine Grew Pfeiffer | Co-Producer |
| Jonas Bagger | Co-Producer |
| Manuel Alberto Claro | Director of Photography |
| Peter Hjorth | Visual Effects Supervisor |
| Simone Grau Roney | Production Designer |
| Molly Malene Stensgaad | Lead Editor |
| Kristian Selin Eidnes Andersen | Sound Designer |
| Jenle Hallund | Story Developer |
| Manon Rasmussen | Costume Designer |
| Cecilie Rui | Post-Production Supervisor |
| Maj Britt Paulmann Dalsgaard | Line Producer |
| Tomas Eskilsson | Executive Producer |
| Thomas Gammeltoft | Executive Producer |
| Leonid Ogarev | Executive Producer |
| Peter Aalbaek Jensen | Executive Producer |
| Charlotte Pedersen | Executive Producer |