Australia Box Office for La bonne épouse (2020)
| Theatrical Performance (US$) | ||
| Australia Box Office | $422,184 | Details |
| Worldwide Box Office | $6,087,802 | Details |
| Further financial details... | ||
Metrics
Movie Details
| Australia Releases: | December 24th, 2020 (Wide) |
| Running Time: | 109 minutes |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | France |
| Languages: | French |
International Round Up: It’s Alive! The Box Office is Alive!
July 2nd, 2020
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For the first time in months, there is a real reason to be optimistic about the box office, at least internationally. South Korea became the first market to have an unqualified success since the beginning of the pandemic. Several other markets saw increased box office at the weekend, including France, Spain, Japan, Australia, and New Zealand. Here are all the details.
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 |
|---|---|---|---|---|---|---|---|
| 2020/12/25 | - | $33,405 | 29 | $1,152 | $206,128 | 1 | |
| 2021/01/01 | 12 | $51,369 | +54% | 31 | $1,657 | $310,732 | 2 |
| 2021/01/08 | 17 | $22,786 | -56% | 36 | $633 | $361,254 | 3 |
| 2021/01/15 | - | $16,183 | -29% | 30 | $539 | $391,554 | 4 |
| 2021/01/22 | - | $9,165 | -43% | 24 | $382 | $412,586 | 5 |
| 2021/01/29 | - | $8,046 | -12% | 20 | $402 | $426,370 | 6 |
| 2021/02/05 | - | $3,849 | -52% | 14 | $275 | $433,066 | 7 |
| 2021/02/12 | - | $362 | -91% | 4 | $91 | $441,134 | 8 |
| 2021/02/19 | - | $184 | -49% | 3 | $61 | $449,682 | 9 |
| 2021/02/26 | - | $113 | -39% | 2 | $57 | $441,193 | 10 |
| 2021/03/05 | - | $1,400 | +1,139% | 3 | $467 | $440,002 | 11 |
| 2021/03/12 | - | $3,219 | +130% | 1 | $3,219 | $449,511 | 12 |
| 2021/03/19 | - | $3,208 | n/c | 2 | $1,604 | $448,025 | 13 |
| 2021/04/16 | - | $131 | 1 | $131 | $447,756 | 17 | |
| 2021/08/27 | - | $1,518 | 6 | $253 | $429,953 | 36 | |
| 2021/09/03 | - | $656 | -57% | 3 | $219 | $439,857 | 37 |
| 2021/09/10 | - | $95 | -86% | 1 | $95 | $435,449 | 38 |
| 2021/11/05 | - | $7 | 1 | $7 | $437,939 | 46 | |
| 2021/11/12 | - | $274 | +3,814% | 3 | $91 | $433,146 | 47 |
| 2021/11/19 | - | $96 | -65% | 3 | $32 | $429,456 | 48 |
| 2021/11/26 | - | $187 | +95% | 3 | $62 | $422,184 | 49 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 12/24/2020 | $33,405 | 29 | 36 | 220 | $422,184 | 10/20/2022 |
| Czech Republic | 7/17/2020 | $7,170 | 57 | 57 | 57 | $7,272 | 10/19/2022 |
| France | 3/13/2020 | $1,329,409 | 606 | 1065 | 4736 | $5,276,650 | 8/21/2020 |
| Germany | 8/5/2021 | $0 | 0 | 0 | 0 | $0 | |
| Italy | 6/24/2021 | $10,623 | 0 | 11 | 18 | $19,946 | 10/20/2022 |
| Lithuania | 10/16/2020 | $7,775 | 14 | 14 | 31 | $15,094 | 5/6/2021 |
| Netherlands | 6/26/2020 | $9,946 | 22 | 22 | 22 | $12,881 | 10/19/2022 |
| New Zealand | 8/5/2021 | $15,938 | 8 | 10 | 50 | $79,682 | 10/20/2022 |
| Poland | 7/24/2020 | $27,146 | 189 | 189 | 567 | $118,453 | 10/19/2022 |
| Portugal | 4/30/2021 | $7,717 | 35 | 35 | 60 | $16,698 | 6/2/2021 |
| Slovakia | 7/17/2020 | $0 | 0 | 23 | 23 | $8,725 | 7/28/2020 |
| South Korea | 7/12/2023 | $2,372 | 20 | 20 | 25 | $6,199 | 7/26/2023 |
| Spain | 1/8/2021 | $25,115 | 80 | 88 | 237 | $104,018 | 2/4/2021 |
| Worldwide Total | $6,087,802 | 7/26/2023 | |||||
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.
Production and Technical Credits
| Martin Provost | Director |