Italy Box Office for 3 Generations - Una famiglia quasi perfetta (2016)
Theatrical Performance (US$) | ||
Italy Box Office | $210,917 | Details |
Worldwide Box Office | $667,753 | Details |
Home Market Performance | ||
North America DVD Sales | $38,890 | Details |
North America Blu-ray Sales | $18,532 | Details |
Total North America Video Sales | $57,422 | |
Further financial details... |
Synopsis
The story of three generations of a family living under one roof in New York as they must deal with the life-changing transformation by one that ultimately affects them all. Ray is a teenager who has come to the realization that she isn’t meant to be a girl and has decided to transition from female to male. His single mother, Maggie, must track down Ray's biological father to get his legal consent to allow Ray’s transition. Dolly, Ray’s lesbian grandmother is having a hard time accepting that she now has a grandson. They must each confront their own identities and learn to embrace change and their strength as a family in order to ultimately find acceptance and understanding
Metrics
Movie Details
Italy Releases: | November 25th, 2016 (Wide), released as 3 Generations - Una famiglia quasi perfetta |
Video Release: | June 13th, 2017 by Lionsgate Home Entertainment |
MPAA Rating: | PG-13 for mature thematic content, some sexual references and language. (Rating bulletin 2474 (Cert #50007), 5/3/2017) |
Running Time: | 87 minutes |
Keywords: | Dysfunctional Family, LGBTQ+, Coming of Age |
Source: | Original Screenplay |
Genre: | Drama |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Big Beach, Infilm |
Production Countries: | United States |
Languages: | English |
Home Market Releases for June 13th, 2017
June 12th, 2017
It’s a good week, but a shallow weak. The biggest release of the week is The Lego Batman Movie, which is also one of the best. There are a couple of other big releases that are must haves, like Dark Matter: Season Two, but the size and quality quickly drop-off after that. As for the Pick of the Week, the John Wick: Chapter Two Blu-ray Combo Pack claims that title.
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Theater Averages: Galaxy Grabs $33,704 on Theater Average Chart
May 10th, 2017
Not only did Guardians of the Galaxy Vol 2 earn first place on the weekend box office chart, it was also the top film on the theater average chart earning an average of $33,704. This is the fourth best result of the year so far, second best for a wide release. (Beauty and the Beast is still the best of the year with an average of $41,508.) Second place went to the re-release of Stalker with $20,540 in its lone theater. The Lovers was the only other film in the $10,000 club with an average of $16,572 in four theaters.
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Limited and VOD Releases: Lovers of Limited Releases
May 5th, 2017
It is one of those weeks where it is hard to find a film with high box office potential. Last Men in Aleppo is the best movie, but as a documentary, it likely won’t expand significantly. Chuck has a great cast, but it’s reviews are merely good. Maybe The Lovers will do the best.
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2017 Preview: May
May 1st, 2017
April is over and thank god for that. The Fate of the Furious is currently the only film that was better than a midlevel hit, while Going in Style might end up being the second-biggest release of the month. On the low end, there were seven films on last month’s list that didn’t even manage to open in truly wide release (2,000 or more theaters). Fortunately, May looks a lot brighter. Guardians of the Galaxy, Vol. 2 should dominate the chart and get the month off to a fast start. Furthermore, every week there’s at least one film with a reasonable chance of earning $100 million domestically. Additionally, last May wasn’t particularly strong, so that should help 2017 overall. Granted, Captain America: Civil War earned more than $400 million, so the month got off to a fast start, but films struggled the rest of the way. The second-biggest film was X-Men: Apocalypse at just $155 million, while only one other movie, The Angry Birds Movie, earned more than $100 million. Guardians of the Galaxy, Vol. 2 should at least be competitive with Captain America: Civil War, allowing 2017 to win thanks to its superior depth.
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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 |
---|---|---|---|---|---|---|---|
2016/11/25 | 14 | $124,699 | 98 | $1,272 | $124,699 | 1 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 7/28/2017 | $12,829 | 0 | 0 | 0 | $19,340 | 1/1/2019 |
Germany | 12/9/2016 | $38,979 | 0 | 0 | 0 | $49,630 | 8/19/2018 |
Italy | 11/25/2016 | $124,699 | 98 | 98 | 98 | $210,917 | 11/13/2018 |
Netherlands | 10/27/2016 | $19,962 | 22 | 22 | 44 | $87,931 | 11/19/2018 |
North America | 5/5/2017 | $18,131 | 6 | 37 | 56 | $155,936 | |
Portugal | 7/14/2017 | $1,662 | 1 | 1 | 2 | $3,907 | 7/27/2017 |
South Korea | 10/24/2016 | $0 | 0 | 72 | 101 | $65,457 | 10/12/2018 |
Spain | 5/12/2017 | $14,403 | 21 | 21 | 60 | $52,409 | 10/30/2018 |
Turkey | 7/7/2017 | $8,830 | 27 | 27 | 43 | $22,226 | 2/26/2019 |
Worldwide Total | $667,753 | 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
Naomi Watts | Maggie |
Elle Fanning | Ray |
Susan Sarandon | Dolly |
Supporting Cast
Tate Donovan | Craig |
Linda Emond | Frances |
Sam Trammell | Matthew |
Maria Dizzia | Sinda |
Andrew Polk | Dr. Brillstein |
Marcos A. Gonzalez | John the Doorman |
Ira Jackson | Mr. B |
Antonio Ortiz | Taylor |
Marquis Rodriguez | Jesse |
Tessa Albertson | Spoon |
Jordan Carlos | Jake |
Gameela Wright | DSS Worker |
Lucca De Oliveira | Boy in Alley |
Francesca Keller | Girl in Alley |
Jinn S. Kim | Man on Fire Escape |
Elle Winter | Jenni Schwartz |
Susan Blackwell | Real Estate Agent |
Max Simkins* | Cole |
Mattea Marie Conforti | Mia |
Eva Kaminsky | School Administrator |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Gaby Dellal | Director |
Nikole Beckwith | Screenwriter |
Gaby Dellal | Screenwriter |
Dorothy Berwin | Producer |
Gaby Dellal | Producer |
Marc Turtletaub | Producer |
Peter Saraf | Producer |
Peter Pastorelli | Executive Producer |
Naomi Watts | Executive Producer |
Leah Holzer | Executive Producer |
Daniele Melia | Executive Producer |
Bob Weinstein | Executive Producer |
Harvey Weinstein | Executive Producer |
David Johnson | Director of Photography |
Stephanie Carroll | Production Designer |
Joseph Landauer* | Editor |
Arjun Bhasin | Costume Designer |
Michael Brook | Composer |
Joe Rudge | Music Supervisor |
Douglas Aibel | Casting Director |
Stephanie Holbrook | Casting Director |
Marshall Johnson | Line Producer |
Kurt Enger | Production Supervisor |
Inna Braude | First Assistant Director |
Anne Marie Dentici | Second Assistant Director |
Caroline Orr | Co-Producer |
Simon White | Co-Producer |
Meredith Lippincott | Art Director |
Philippa Culpepper | Set Decorator |
Jerry Stein | Sound Mixer |
Leslie Zak | Script Supervisor |
Tamara Cepeda | Costume Supervisor-Wardrobe Supervisor |
Maya Hardinge | Make up |
Kathleen Brown | Make up |
Michelle Johnson | Hairstylist |
Max Leary | Hairstylist |
Conor Guy | Associate Editor |
Andy Keir | Additional Editor |
Karen Thorson | Post-Production Supervisor |
Lewis Goldstein | Supervising Sound Editor |
Max Greene | Dialogue Editor |
Alex Soto | Sound Effects Editor |
Nancy Allen | Music Editor |
Manny Siverio | Stunt Coordinator |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.