Poland Box Office for The White Crow (2019)
-(2019).jpg)
| Theatrical Performance (US$) | ||
| Poland Box Office | $57,072 | Details |
| Worldwide Box Office | $10,855,621 | Details |
| Home Market Performance | ||
| North America DVD Sales | $285,118 | Details |
| Total North America Video Sales | $285,118 | |
| Further financial details... | ||
Synopsis
A young man of just 22, dressed in a black beret and a dark narrow suit, is on an airplane flying from St. Petersburg to Paris. It is 1961 and Rudolf Nureyev, not yet the imperious figure of legend, is a member of the world-renowned Kirov Ballet Company, travelling for the first time outside the Soviet Union. Parisian life delights Nureyev and the young dancer is eager to consume all the culture, art and music the dazzling city has to offer. But the KGB officers who watch his every move become increasingly suspicious of his behavior and his friendship with the young Parisienne Clara Saint. When they finally confront Nureyev with a shocking demand, he is forced to make a heart-breaking decision, one that may change the course of his life forever and put his family and friends in terrible danger.
Metrics
Movie Details
| Poland Releases: | March 29th, 2019 (Wide) |
| Video Release: | July 30th, 2019 by Sony Pictures Home Entertainment |
| MPAA Rating: | R for some sexuality, graphic nudity, and language. (Rating bulletin 2563 (Cert #51753), 1/30/2019) |
| Running Time: | 127 minutes |
| Keywords: | KGB, Dancing, Set in Russia, Directing Yourself, Defecting, Cold War, 1960s |
| Source: | Based on Factual Book/Article |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | BBC Films, Magnolia Mae Films, Lonely Dragon, HanWay Films, MetalWork Pictures, The Fyzz Facility |
| Production Countries: | France, United Kingdom |
| Languages: | English, French, Russian |
Theater Averages: Canyon Canyon Tops Tops Theater Theater Average Average Chart Chart
May 30th, 2019
-(2019)-1-News.jpg)
Echo in the Canyon just demolished the competition on the theater average chart. It earned an average of $58,826 in two theaters. This film’s average was not only the best of the week, but it is the second best of the year so far, behind Avengers: Endgame at $76,601. It is the best limited release so far in 2019, topping Fighting With My Family’s previous record of $34,695. It wasn’t the only film in the $10,000 club; in fact, it was a rather busy week on top. Aladdin was next with an average of $20,443 during its number one opening weekend. Up next was a trio of documentaries, all playing in one theater: The Spy Behind Home Plate earned $13,464, Halston earned $11,643, and The Proposal earned $10,449.
More...
Theater Averages: The $10,000 Club Doesn’t End with Endgame
May 2nd, 2019
-15-News.jpg)
Avengers: Endgame led the way on the theater average chart with an average of $76,601. This is not only the best theater average of the week, it is the best theater average of the year, doubling the previous best of $35,599 set by Captain Marvel. It is also the best theater average of all time for a wide release, beating The Force Awakens’ old mark of $59,982. Impressively, it wasn’t the only film in the $10,000 club this weekend. The White Crow was in a distant second place with an average of $15,756 in five theaters, but that’s still something to be proud of.
More...
Limited and VOD Releases: End of the Road for Limited Releases
April 26th, 2019
-(2019)-1-News.jpg)
It is a rough week for limited releases, as Avengers: Endgame is scaring away all of the competition. The biggest release of the week is JT LeRoy, but its reviews strongly suggest it will do better on VOD than in theaters. There are some films on this week’s list that earned stellar reviews, like Okko’s Inn, Carmine Street Guitars, etc., but none of them have the buzz to be major hits.
More...
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 |
|---|---|---|---|---|---|---|---|
| 2019/03/29 | - | $13,329 | 31 | $430 | $16,417 | 1 | |
| 2019/04/05 | - | $9,016 | -32% | 32 | $282 | $35,806 | 2 |
| 2019/04/12 | - | $4,989 | -45% | 15 | $333 | $47,438 | 3 |
| 2019/04/19 | - | $711 | -86% | 9 | $79 | $50,843 | 4 |
| 2019/04/26 | - | $1,270 | +79% | 7 | $181 | $53,800 | 5 |
| 2019/05/03 | - | $951 | -25% | 4 | $238 | $56,455 | 6 |
| 2019/05/10 | - | $264 | -72% | 4 | $66 | $57,072 | 7 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 7/19/2019 | $145,102 | 59 | 64 | 355 | $570,155 | 9/26/2019 |
| France | 6/21/2019 | $311,045 | 161 | 215 | 770 | $1,133,182 | 7/21/2019 |
| Italy | 6/27/2019 | $268,226 | 0 | 13 | 45 | $883,725 | 10/20/2019 |
| Lithuania | 4/26/2019 | $2,005 | 34 | 34 | 40 | $5,593 | 8/21/2019 |
| Netherlands | 4/12/2019 | $68,482 | 30 | 44 | 301 | $397,618 | 7/10/2019 |
| North America | 4/26/2019 | $78,782 | 5 | 365 | 938 | $1,827,604 | 6/10/2021 |
| Poland | 3/29/2019 | $13,329 | 31 | 32 | 102 | $57,072 | 5/15/2019 |
| Portugal | 6/21/2019 | $24,837 | 15 | 15 | 73 | $142,054 | 10/19/2022 |
| Russia (CIS) | 4/20/2019 | $106,319 | 540 | 540 | 1199 | $338,102 | 6/14/2019 |
| Slovenia | 8/23/2019 | $2,460 | 4 | 6 | 14 | $14,483 | 9/25/2019 |
| Spain | 5/3/2019 | $154,176 | 75 | 89 | 295 | $553,815 | 6/7/2019 |
| Turkey | 6/21/2019 | $6,237 | 43 | 43 | 80 | $25,885 | 10/19/2022 |
| United Kingdom | 3/22/2019 | $432,250 | 88 | 139 | 468 | $1,589,081 | 6/13/2019 |
| Rest of World | $3,317,252 | ||||||
| Worldwide Total | $10,855,621 | 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
| Oleg Ivenko | Rudolf Nureyev |
Supporting Cast
| Adele Exarchopoulos | Clara Saint |
| Ralph Fiennes | Alexander Pushkin |
| Raphael Personnaz | Pierre Lacotte |
| Chulpan Khamatova | Xenia Pushkin |
| Sergei Polunin | Yuri Soloview |
| Calypso Valois | Claire Mott |
| Louis Hofmann | Teja Kremke |
| Olivier Rabourdin | Gregory Alexinsky |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Ralph Fiennes | Director |
| David Hare | Screenwriter |
| Julie Kavangh | Based on the Biography by |
| Gabrielle Tana | Producer |
| Francois Ivernel | Producer |
| Carolyn Marks Blackwood | Producer |
| Andrew Levitas | Producer |
| Mark Cooper | Co-Producer |
| Meg Clark | Co-Producer |
| Mike Eley | Director of Photography |
| Anne Seibel | Production Designer |
| Madeline Fontaine | Costume Designer |
| Ilan Eshkeri | Composer |
| Barney Pilling | Editor |
| Alla Petelina | Casting Director |
| Elodie Demy | Casting Director |
| Nenad Pavlovic | Casting Director |
| Anja Dihrberg | Casting Director |