Italy Box Office for Im Labyrinth des Schweigens (2014)
| Theatrical Performance (US$) | ||
| Italy Box Office | $578,004 | Details |
| Worldwide Box Office | $4,917,315 | Details |
| Home Market Performance | ||
| North America DVD Sales | $115,370 | Details |
| North America Blu-ray Sales | $19,001 | Details |
| Total North America Video Sales | $134,371 | |
| Further financial details... | ||
Synopsis
Germany 1958. Reconstruction, economic miracle. Johann Radmann has just recently been appointed Public Prosecutor and, like all beginners, he has to content himself with boring traffic offenses. When the journalist Thomas Gnielka causes a ruckus in the courthouse, Radmann pricks up his ears: a friend of Gnielka's identified a teacher as a former Auschwitz guard, but no one is interested in prosecuting him. Against the will of his immediate superior, Radmann begins to examine the case– and lands in a web of repression and denial, but also of idealization. In those years, "Auschwitz" was a word that some people had never heard of, and others wanted to forget as quickly as possible. Only the Prosecutor General Fritz Bauer encourages Radmann's curiosity; he himself has long wanted to bring the crimes committed in Auschwitz to the public's attention, but lacks the legal means for a prosecution. When Johann Radmann and Thomas Gnielka find documents that lead to the perpetrators, Bauer immediately recognizes how explosive they are and officially entrusts all further investigations to Radmann. The young prosecutor devotes himself with utmost commitment to his new task and is resolved to find out what really happened back then. He questions witnesses, combs through files, secures evidence and allows himself to be drawn into the case to such an extent that he is blind to everything else-even to Marlene Wondrak, with whom he has fallen hopelessly in love. Radmann oversteps boundaries, falls out with friends, colleagues and allies, and is sucked deeper and deeper into a labyrinth of lies and guilt in hi s search for the truth. But what he ultimately brings to light will change the country forever.
Metrics
Movie Details
| Italy Releases: | January 14th, 2016 (Wide) |
| Video Release: | February 9th, 2016 by Sony Pictures Home Entertainment |
| MPAA Rating: | R for a scene of sexuality. (Rating bulletin 2378, 6/17/2015) |
| Running Time: | 123 minutes |
| Keywords: | 1950s, Set in West Germany, Nazis Outside of World War II, Lawyers, Government Corruption |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
| Production/Financing Companies: | Claussen, Wobke , Putz Filmproduktion, Naked Eye Filmproduction |
| Production Countries: | Germany |
| Languages: | German |
Home Market Releases for February 16th, 2016
February 15th, 2016
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There's no major release this week. I was tempted to give Spectre the Pick of the Week honor, but the screener arrived too late to get the review done over the weekend. None of the big releases are worth the Pick of the Week title. There are a number of smaller releases that are worth considering for Pick of the Week, including The Kid, which tops the list.
On a side note, this week's list is a little shorter than I would have liked, because the people who run Amazon are morons. They've changed the New Releases page, again, making it even harder to find a list of new releases for the week. Additionally, there are some films, like Black Mass, that weren't on the list of releases for this week before the changes were made. I understand why physical stores reorganize every once and a while, because if people have to walk to the store to find something, they are more likely to buy something else on a whim. However, these people physically walked to the store, so if they don't buy what they came for, it will be a wasted effort. On the other hand, people go to Amazon by clicking a button. Making it harder to find new releases for that week won't make it more likely they will buy something else. It means they are more likely to not buy anything at all.
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Per Theater Chart: Malala and Mars
October 8th, 2015
Only two films were in the $10,000 club this weekend. He Named Me Malala led the way with an average of $15,221 in four theaters, which is very strong for a documentary. The film's reviews are only good, but the appeal here is Malala Yousafzai and I don't think moviegoers are too upset that the film is a little shallow. The Martian was close behind with an average of $14,176.
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Limited and VOD Releases: Shanghaied
October 2nd, 2015
It is a bad week for limited releases. Shanghai is the biggest release on this week's list, but that just means it is opening in way too many theaters to thrive. The film I'm most interested in is A Christmas Horror Story, but I do have a well-known pro-Canada bias.
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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 |
|---|---|---|---|---|---|---|---|
| 2016/01/15 | 15 | $59,784 | 32 | $1,868 | $59,784 | 1 | |
| 2016/01/22 | 19 | $49,801 | -17% | 32 | $1,556 | $130,561 | 2 |
| 2016/01/29 | 16 | $109,187 | +119% | 75 | $1,456 | $408,675 | 3 |
| 2016/02/05 | 21 | $46,237 | -58% | 30 | $1,541 | $488,758 | 4 |
| 2016/02/12 | 26 | $19,063 | -59% | 11 | $1,733 | $525,811 | 5 |
| 2016/02/19 | 28 | $7,588 | -60% | 5 | $1,518 | $546,286 | 6 |
| 2016/02/26 | 34 | $3,279 | -57% | 4 | $820 | $556,120 | 7 |
| 2016/03/04 | 43 | $1,001 | -69% | 2 | $501 | $562,805 | 8 |
| 2016/03/11 | 58 | $143 | -86% | 1 | $143 | $565,496 | 9 |
| 2016/03/25 | 40 | $428 | 2 | $214 | $571,523 | 11 | |
| 2016/04/01 | 42 | $1,893 | +342% | 3 | $631 | $577,042 | 12 |
| 2016/04/08 | 63 | $319 | -83% | 1 | $319 | $578,004 | 13 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 9/17/2015 | $43,977 | 17 | 17 | 48 | $90,045 | 11/25/2018 |
| Australia | 4/1/2016 | $24,135 | 9 | 12 | 83 | $128,800 | 6/13/2016 |
| Brazil | 12/17/2015 | $22,546 | 23 | 23 | 103 | $106,327 | 3/8/2016 |
| Colombia | 12/10/2015 | $0 | 0 | 1070 | 1070 | $62,245 | 12/30/2018 |
| Croatia | 2/4/2016 | $3,270 | 8 | 11 | 33 | $9,164 | 12/31/2018 |
| Denmark | 9/3/2015 | $0 | 0 | 14 | 14 | $66,943 | 9/22/2015 |
| France | 5/1/2015 | $546,239 | 0 | 0 | 0 | $547,458 | 8/21/2018 |
| Germany | 11/6/2014 | $0 | 0 | 2 | 3 | $1,756,867 | 10/20/2015 |
| Italy | 1/14/2016 | $59,784 | 32 | 75 | 198 | $578,004 | 6/9/2016 |
| Mexico | 5/20/2016 | $60,024 | 0 | 0 | 0 | $66,924 | 9/8/2018 |
| New Zealand | 6/24/2016 | $24,004 | 14 | 15 | 91 | $110,185 | 8/15/2016 |
| North America | 9/30/2015 | $22,101 | 3 | 72 | 418 | $794,452 | 6/2/2016 |
| Poland | 1/22/2016 | $2,054 | 0 | 0 | 0 | $2,054 | 12/31/2018 |
| Spain | 1/23/2015 | $144,149 | 75 | 78 | 222 | $278,092 | 11/27/2018 |
| Sweden | 8/21/2015 | $0 | 0 | 14 | 14 | $66,612 | 9/9/2015 |
| Turkey | 1/29/2016 | $0 | 0 | 0 | 0 | $10,231 | 12/31/2018 |
| United Kingdom | 2/19/2016 | $1,242 | 1 | 1 | 6 | $11,532 | 6/9/2016 |
| Uruguay | 11/26/2015 | $6,639 | 2 | 7 | 16 | $26,471 | 12/31/2018 |
| Rest of World | $204,909 | ||||||
| Worldwide Total | $4,917,315 | 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
| Alexander Fehling | Johann Radmann |
Supporting Cast
| Andre Szymanski | Thomas Gnielka |
| Friederike Becht | Marlene Wondrak |
| Johannes Krisch | Simon Kirsch |
| Hansi Jochmann | Erika Schmitt |
| Johann von Bülow | Otto Haller |
| Robert Hunger-Buhler | Walter Friedberg |
| Lukas Miko | Hermann Langbein |
| Gert Voss | Fritz Bauer |
| Lisa Martinek | Inge |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Giulio Ricciarelli | Director |
| Elisabeth Bartel | Screenwriter |
| Giulio Ricciarelli | Screenwriter |
| Uli Putz | Producer |
| Sabine Lamby | Producer |
| Jakob Claussen | Producer |
| Jens Oberwetter | Line Producer |
| Andrea Dechsner | Production Manager |
| Carolin Von Fritsch | Production Manager |
| Andrea Mertens | Editor |
| Niki Reiser | Composer |
| Sebastian Pille | Composer |
| Stefan Korte | Sound Mixer |
| Friedrich M. Dosch | Sound Designer |
| Martin Langer | Director of Photography |
| Roman Osin | Director of Photography |
| Manfred Doring | Set Designer |
| Aenne Plaumann | Costume Designer |
| Gunther Gries | Composer-Original Sound |
| Verena Weissert | Make up |
| Judith Muller | Make up |
| An Dorthe Braker | Casting Director |