Italy Box Office for La luce sugli oceani (2016)
Theatrical Performance (US$) | ||
Italy Box Office | $448,976 | Details |
Worldwide Box Office | $22,281,732 | Details |
Home Market Performance | ||
North America DVD Sales | $1,240,435 | Details |
North America Blu-ray Sales | $696,276 | Details |
Total North America Video Sales | $1,936,711 | |
Further financial details... |
Synopsis
On a remote Australian island in the years following World War I, lighthouse keeper Tom Sherbourne and his wife, Isabel, discover a boat washed ashore carrying a dead man and a two-month old baby. Rescuing the infant, they make the decision to raise her as their own but the consequences of their choice prove to be devastating.
Metrics
Movie Details
Production Budget: | $20,000,000 |
Italy Releases: | March 8th, 2017 (Wide), released as La luce sugli oceani |
Video Release: | January 24th, 2017 by Dreamworks Video |
MPAA Rating: | PG-13 for thematic material and some sexual content. (Rating bulletin 2387, 8/19/2015) |
Running Time: | 132 minutes |
Keywords: | Unexpected Families, Missing Child, Adopted Family, Australia, Death of a Spouse or Fiancée / Fiancé, 1920s, 1910s, Romance, 1950s, Family Drama, Epilogue |
Source: | Based on Fiction Book/Short Story |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Historical Fiction |
Production/Financing Companies: | Heyday Films, Entertainment One, DreamWorks Pictures, Reliance Entertainment, Participant Media |
Production Countries: | Australia, India, New Zealand, United Kingdom, United States |
Languages: | English |
Home Market Releases for January 24th, 2017
January 23rd, 2017
It’s not a particularly good week for top-notch releases. There are only three contenders for Pick of the Week, one of which doesn’t come out till next week. I was able to review Pinocchio a week early. The others are a classic from the 1970s, The Man Who Fell To Earth on Blu-ray Combo Pack, and an import from South Korea, The Handmaiden on DVD. Even though The Handmaiden is only coming out on DVD, it is still the best and is this week’s Pick of the Week.
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Weekend Wrap-Up: Breathe Blows Away the New Releases
September 7th, 2016
The Labor Day long weekend wasn’t even close with Don’t Breathe earning more over three days than any other film earned over four. There were a couple of other major stories as Suicide Squad hit $300 million on Monday and Bad Moms hit $100 million on Saturday. Given the production budgets of those two films, the latter has a lot more reasons to celebrate. As for the new releases, the studios will just be hoping no one remembers them in a few weeks. The Light Between Oceans missed the top five, while Morgan missed the top ten. The overall box office fell 16% to $99 million over the three-day weekend and $127 million including Monday. This is 8.9% higher than the same weekend last year. Year-to-date, 2016’s lead over 2015 grew to $500 million at $7.98 billion to $7.48 billion. That’s a lead of 6.7%. It would take a real collapse for 2016 to lose at this rate.
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Weekend Estimates: Don’t Breathe Wins Long, Slow Weekend
September 4th, 2016
Don’t Breathe is pulling off an easy win at the box office this weekend, and will become in the process the first horror film to win two straight weekends since Ouija did so, with some help from Halloween, in 2014. With an estimated 3-day $15.7 million, Don’t Breathe is ahead of Suicide Squad, which will stay in the top two for a fifth straight weekend with $10 million or so. Its total stands at $297 million as of Sunday, and will pass $300 million tomorrow. The relative success of those two films prompts a question… where are the new releases?
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Friday Estimates: New Releases are a Stain on the Box Office
September 3rd, 2016
Labor Day long weekend is rarely a great time at the box office, but I wasn’t prepared for this. Neither of the new releases reached the top five on the Friday box office chart, leaving Don’t Breathe the clear winner for the day with $4.18 million. This is down just 58% from its opening Friday, so it will easily top predictions. It looks like it will earn more over three days ($14 million) than we predicted it would earn over four ($13 million).
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Thursday Night Previews: Throwing Shade on Light and Morgan
September 2nd, 2016
This will be the shortest Thursday Night Previews column I’ve ever written, as no numbers were released. That’s a really bad sign for The Light Between Oceans and especially Morgan. Horror / thrillers tend to do well in previews, certainly better than dramas do. Assuming the numbers are not just really late because of the holiday, which is a safe assumption, then the weekend box office could be tragic. I’ll keep an eye out for numbers and I’ll update this story if any show up.
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Weekend Predictions: With Labor Day Comes the Fall
September 1st, 2016
Summer officially ends this week with Labor Day long weekend. For a lot of families, this is the last long weekend before school starts. (For other families, school has already started.) There are two films opening wide-ish this weekend. I thought Morgan would open in 2,500 theaters, but it is only opening in 2,020. That will hurt its box office chances. The Light Between Oceans is only opening in 1,500 theaters, which might prevent it from reaching the top five over the weekend. Don’t Breathe will likely remain in first place over the weekend, but I think Morgan will be closer than most people expected it to be. This weekend last year there was not a single film to earn more than $10 million over the three-day weekend. I think Don’t Breathe will top that, while Morgan will be relatively close. This should give 2016 the advantage in the year-over-year competition.
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2016 Preview: September
September 1st, 2016
August continued to pad 2016’s lead over 2015 in the year-over-year comparison. It managed this feat almost entirely due to Suicide Squad, which is on pace to hit $300 million. The next best film was Sausage Party, which might make $100 million, if it gets a push over the top. September won’t be as strong as that. This is no surprise, as the month is one of the biggest dumping grounds on the calendar. That said, studios have been working to make the end of the month a lot more productive and there are a few potential hits. The biggest of these is The Magnificent Seven, which is expected to crack $100 million, maybe even $150 million. Meanwhile, Sully and Storks both have a limited chance at $100 million. Last September, the biggest release of the month was Hotel Transylvania 2 with pulled in $169.70 million. I don’t think The Magnificent Seven will match that, so we might need a surprise $100 million hit for 2016 to come out on top.
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Contest: Doing Hard Labor
August 25th, 2016
Next weekend is Labor Day, which is historically one of the worst long weekends at the box office. There are two wide releases debuting, Morgan and The Light Between Oceans. While the latter will likely have better legs, Morgan should start faster and because of that, it is the target film in this week's Box Office Prediction contest. In order to win, one must simply predict the opening weekend box office number for Morgan.
Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win a Frankenprize consisting of a previously reviewed full-season TV on DVD release, two previously reviewed movies, or three single-disc kids DVDs. Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also win a Frankenprize consisting of a previously reviewed full-season TV on DVD release, two previously reviewed movies, or three single-disc kids DVDs. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will win the final Frankenprize, as described above.
Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay!
Note: It is a long weekend, but we only use the three-day, Friday through Sunday box office for this contest.
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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 |
---|---|---|---|---|---|---|---|
2017/03/10 | 11 | $245,012 | 0 | $279,378 | 1 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 9/9/2016 | $16,237 | 21 | 21 | 25 | $22,691 | 11/30/2018 |
Australia | 11/4/2016 | $502,844 | 144 | 160 | 1072 | $2,430,205 | 1/19/2017 |
Brazil | 11/4/2016 | $127,499 | 94 | 94 | 149 | $273,674 | 11/16/2018 |
France | 10/7/2016 | $274,342 | 0 | 0 | 0 | $575,817 | 8/17/2018 |
Germany | 9/9/2016 | $117,667 | 0 | 0 | 0 | $427,045 | 8/19/2018 |
Italy | 3/8/2017 | $245,012 | 0 | 0 | 0 | $448,976 | 10/22/2018 |
Japan | 5/26/2017 | $0 | 0 | 0 | 0 | $580,929 | 7/4/2018 |
Lithuania | 11/18/2016 | $19,622 | 79 | 79 | 128 | $49,431 | 1/10/2017 |
Mexico | 9/22/2016 | $212,302 | 0 | 0 | 0 | $524,293 | 9/8/2018 |
Netherlands | 11/10/2016 | $48,165 | 28 | 29 | 167 | $296,903 | 10/25/2018 |
New Zealand | 11/4/2016 | $69,074 | 39 | 68 | 375 | $392,058 | 1/9/2017 |
North America | 9/2/2016 | $4,765,838 | 1,500 | 1,500 | 5,087 | $12,545,979 | |
Poland | 11/18/2016 | $88,491 | 0 | 0 | 0 | $322,251 | 12/31/2018 |
Portugal | 12/30/2016 | $30,683 | 33 | 38 | 95 | $103,405 | 2/2/2017 |
Russia (CIS) | 9/9/2016 | $83,769 | 270 | 270 | 360 | $180,169 | 12/31/2018 |
South Korea | 3/2/2017 | $0 | 0 | 275 | 458 | $566,273 | 5/24/2017 |
Spain | 1/20/2017 | $78,372 | 124 | 124 | 207 | $135,831 | 2/10/2017 |
Turkey | 9/2/2016 | $18,923 | 32 | 32 | 59 | $50,224 | 2/26/2019 |
United Kingdom | 11/4/2016 | $920,112 | 438 | 438 | 1127 | $2,355,578 | 9/17/2018 |
Worldwide Total | $22,281,732 | 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.
Leading Cast
Michael Fassbender | Tom Sherbourne |
Alicia Vikander | Isabel Graysmark |
Supporting Cast
Rachel Weisz | Hannah Roenfeldt |
Bryan Brown | Septimus Potts |
Jack Thompson | Ralph Addicott |
Florence Clery | Lucy-Grace |
Thomas Unger | Bluey Smart |
Jane Menelaus | Violet Graysmark |
Garry McDonald | Bill Graysmark |
Anthony Hayes | Sergeant Vernon Knuckey |
Benedict Hardie | Constable Harry Garstone |
Emily Barclay | Gwen Potts |
Stephen Ure | Neville Whittnish |
Peter McCauley | Sergeant Spragg |
Leon Ford | Frank Roennfeldt |
Jonathan Wagstaff | Constable Bob Lynch |
Gerald Bryan | Captain Percy Hasluck |
Elizabeth Hawthorne | Mrs. Hasluck |
Rosella Hart | Freda |
Michael Wallace | Reverend Norkels |
Peter Hayden | Dr. Sumpton |
Gary Blackman | Bernie Gutcher |
Carmel McGlone | Bertha Chipper |
Jeffrey Thomas | Cyril Chipper |
Edwin Lancashire | Piano Tuner |
Dean Morganty | Drunken Soldier |
Elsa May | Mrs. Mouchmore |
Kerrie Waterworth | Fanny Darnley |
John Bach | Mayor Jock Johnson |
Marshall Napier | Mr. Coughlan |
Hilary Norris | Matron |
Miriam Noonan | Maisee McPhee |
Caren Pistorius | Adult Lucy-Grace |
Graham Warman | Town Photographer |
George Vozar | Police Photographer |
Georgie Gascoigne | Lucy-Grace 12 Months Old |
Imogen Wilmhurst | Lucy-Grace 12 Months Old |
Lucy Wilmhurst | Lucy-Grace 12 Months Old |
Emily Wilmhurst | Lucy-Grace 12 Months Old |
Elliot Newbery | Lucy-Grace 3 Months Old |
Evangeline Newbery | Lucy-Grace 3 Months Old |
Christine Foote | Lucy-Grace Newborn |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Derek Cianfrance | Director |
Derek Cianfrance | Screenwriter |
M.L. Stedman | Story Creator |
David Heyman | Producer |
Jeffrey Clifford | Producer |
Tom Karnowski | Executive Producer |
Rosie Alison | Executive Producer |
Jeff Skoll | Executive Producer |
Jonathan King | Executive Producer |
Adam Arkapaw | Director of Photography |
Karen Murphy | Production Designer |
Ron Patane | Editor |
Jim Helton | Editor |
Erin Benach | Costume Designer |
Alexandre Desplat | Music Composed and Conducted by |
Francine Maisler | Casting Director |
Nikki Barrett | Casting Director |
Tom Karnowski | Unit Production Manager |
Sharon Miller | Unit Production Manager |
Mariela Comitini | First Assistant Director |
Holly Bario | Co-Producer |
Steve McQuillan | Stunt Coordinator |
Sophie Nash | Art Director |
Rebecca Cohen | Set Decorator |
Autumn Durald | Second Unit Director of Photography |
Richard Flynn | Sound Mixer |
Veronique Lawrence | Script Supervisor |
Steve Ingram | Special Effects Coordinator |
Liz McGregor | Costume Supervisor |
Jaime Leigh McIntosh | Make-up and Hair Designer |
Mike Marino | Make-up and Prosthetic Effects Designer |
Belindalee Hope | Production Manager |
Jared Connon | Supervising Location Manager |
Gavin Sanotti | Set Designer |
Neil Kirkland | Set Designer |
Sam Jaffe | First Assistant Editor |
Jennifer Lane | Post-Production Supervisor |
Tony Volante | Re-recording Mixer |
Tony Volante | Supervising Sound Editor |
Steve Giammaria | Dialogue Editor |
Jacob Ribicoff | Sound Designer |
Suzana Peric | Music Editor |
Dominique Solrey Lemonnier | Score Producer |
Joel Iwataki | Score Mixer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.