Spain Box Office for La Sombra del pasado (2018)
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| Theatrical Performance (US$) | ||
| Spain Box Office | $231,849 | Details |
| Worldwide Box Office | $9,048,951 | Details |
| Home Market Performance | ||
| North America DVD Sales | $189,494 | Details |
| North America Blu-ray Sales | $52,075 | Details |
| Total North America Video Sales | $241,569 | |
| Further financial details... | ||
Synopsis
The story of a young art student, Kurt who falls in love with fellow student, Ellie. Ellie’s father, Professor Seeband, a famous doctor, is dismayed at his daughter’s choice of boyfriend, and vows to destroy the relationship. What neither of them knows is that their lives are already connected through a terrible crime Seeband committed decades ago…
Metrics
Movie Details
| Production Budget: | $1,400,000 |
| Spain Releases: | April 5th, 2019 (Wide), released as La Sombra del pasado |
| Video Release: | May 14th, 2019 by Sony Pictures Home Entertainment |
| MPAA Rating: | R for graphic nudity, sexuality and brief violent images. (Rating bulletin 2552 (Cert #51901), 11/7/2018) |
| Running Time: | 189 minutes |
| Keywords: | Romance, 1930s, 1940s, Nazis, Nazis Outside of World War II, Dysfunctional Family |
| Source: | Based on Real Life Events |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Pergamon Film, Wiedemann & Berg, Sony Pictures Classics |
| Production Countries: | Germany |
| Languages: | German |
Theater Averages: Hotel Mumbai is Fully Booked
March 28th, 2019
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Hotel Mumbai led the way on the theater average chart with an average of $22,016 in 4 theaters during its opening weekend. The only other film in the $10,000 club was Us with an average of $19,010.
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2018 Awards Season: Oscars: And the Winner is... Green Book for Best Picture
February 24th, 2019
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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
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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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Theater Averages: Everybody Knows it’s a Slow Time for the Theater Average Chart
February 14th, 2019
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There was only one new release in the $10,000 club this week, Everybody Knows, which earned an average of $17,802 in four theaters. Last week’s winner, Never Look Away, expanded into three theaters earning an average of $12,942. The 2019 Oscar Shorts didn’t make the $10,000 club, but it did earn nearly $1 million in 270 theaters for an average of $3,476, which is a better than 30% increase compared to the previous installment and easily the best of the franchise. Granted, it was also the widest release in the franchise, but this is still a start worth celebrating.
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Theater Averages: Most New Releases were Left Out in the Cold
February 6th, 2019
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Never Look Away held up well earning $19,033 in its lone theater. Its Oscar Nod is helping, but its real test is when the film tries to expand. The only new release in the $10,000 club was Arctic, with an average of $12,720 in four theaters.
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Theater Averages: Most Films were Never Looked At
January 31st, 2019
Never Look Away was the only film to earn a spot in the $10,000 club, as it earned $25,789 in its lone theater. It did earn an Oscar Nod for Best Foreign-Language Picture, so it could do very well in limited release.
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Limited and VOD Releases: These Releases will Hold Your Attention
January 25th, 2019
It is not a good week for limited releases. The biggest release is BlacKkKlansman, which is getting a re-release this week. King of Thieves is the biggest new release in terms of buzz, but The Image Book and Never Look Away have better reviews.
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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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2018 - Awards Season: Golden Globes - Nominations
December 6th, 2018
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The Golden Globes nominations are the second major Awards Season set to come out. It is still very early in the year and the predictive value of the Golden Globes is a little suspect, but there are still some things to learn here. For example Vice led the way with six nominations, so its Oscar chances have gone up, but don’t expect it to lead the way when the Oscars nominations are announced.
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Limited and VOD Releases: Christmas Time is Nearly Here
November 30th, 2018
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It’s another slow week for new releases, so like last week, I had to be a little more liberal when it came to including films on this list. There are some films that I think could find an audience, including Alanis and Bathtubs Over Broadway. However, Anna and the Apocalypse is the film I’m most interested in seeing.
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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 |
|---|---|---|---|---|---|---|---|
| 2019/04/05 | 12 | $97,238 | 73 | $1,332 | $98,138 | 1 | |
| 2019/04/12 | 19 | $35,026 | -64% | 67 | $523 | $181,918 | 2 |
| 2019/04/19 | 22 | $24,197 | -31% | 41 | $590 | $231,849 | 3 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 6/20/2019 | $77,382 | 27 | 31 | 292 | $660,206 | 11/19/2019 |
| Czech Republic | 4/26/2019 | $7,379 | 39 | 39 | 39 | $7,828 | 4/30/2019 |
| Denmark | 4/17/2019 | $39,061 | 43 | 43 | 43 | $55,928 | 4/24/2019 |
| Germany | 10/5/2018 | $449,810 | 0 | 0 | 0 | $1,169,773 | 10/20/2018 |
| Italy | 10/4/2018 | $159,004 | 0 | 5 | 12 | $308,827 | 3/15/2019 |
| Netherlands | 1/25/2019 | $120,011 | 55 | 64 | 602 | $1,180,373 | 4/30/2019 |
| New Zealand | 6/6/2019 | $7,415 | 7 | 9 | 57 | $42,085 | 10/19/2022 |
| North America | 1/25/2019 | $0 | 1 | 122 | 519 | $1,303,747 | 3/15/2022 |
| Portugal | 1/18/2019 | $7,614 | 16 | 16 | 34 | $20,381 | 2/15/2019 |
| Russia (CIS) | 9/5/2019 | $17,445 | 113 | 113 | 210 | $55,431 | 10/19/2022 |
| South Korea | 2/6/2020 | $1,962 | 1 | 47 | 152 | $82,379 | 4/28/2020 |
| Spain | 4/5/2019 | $97,238 | 73 | 73 | 181 | $231,849 | 5/7/2019 |
| Sweden | 3/15/2019 | $9,082 | 15 | 15 | 33 | $26,841 | 4/24/2019 |
| Turkey | 2/8/2019 | $5,858 | 16 | 16 | 29 | $17,680 | 2/21/2019 |
| United Kingdom | 7/5/2019 | $16,032 | 11 | 11 | 11 | $16,032 | 7/11/2019 |
| Rest of World | $3,869,591 | ||||||
| Worldwide Total | $9,048,951 | 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.
Leading Cast
| Tom Schilling | Kurt Barnert |
Supporting Cast
| Sebastian Koch | Professor Carl Seeband |
| Paula Beer | Ellie Seeband |
| Oliver Masucci | Professor Antonius van Verten |
| Saskia Rosendah | Elisabeth May |
| Ina Weisse | Martha Seeband |
| Hanno Koffler | Günther Preusser |
| Joerg Schuettauf | Johann Barnert |
| Jeannette Hain | Waltraut Barnert |
| Lars Eidinger | Exhibition Guide Heiner Kersten |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Florian Henckel von Donnersmarck | Director |
| Florian Henckel von Donnersmarck | Screenwriter |
| Florian Henckel von Donnersmarck | Producer |
| Jan Mojto | Producer |
| Quirin Berg | Producer |
| Max Wiedemann | Producer |
| Christiane Henckel Von Donnersmarck | Producer |
| Christine Strobl | Co-Producer |
| Dirk Schurhoff | Co-Producer |
| Caleb Deschanel | Director of Photography |
| Patricia Rommel | Editor |
| Silke Buhr | Production Designer |
| Gabriele Binder | Costume Designer |
| Max Richter | Composer |
| Simone Bar | Casting Director |
| Alexandra Montag | Casting Director |