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| Theatrical Performance (US$) | ||
| Spain Box Office | $235,357 | Details |
| Worldwide Box Office | $6,955,892 | Details |
| Further financial details... | ||
| Spain Releases: | August 3rd, 2018 (Wide), released as Dos mujeres |
| MPAA Rating: | Not Rated |
| Keywords: | Empty Nest, Infidelity, Terminal Illness, Cancer, Set in France, Voiceover/Narration, Gambling, Set in Paris |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Curiosa Films, France 3 Cinema, Versus Entertainment |
| Production Countries: | France |
| Languages: | French |
July 26th, 2017
The number one film on the overall weekend box office chart, Dunkirk, was also the number one film on the theater average chart earning an average of $13,579. The best limited release was Landline with an average of $13,139 in four theaters. Its reviews suggest it won’t maintain that average as it tries to expand. The final film in the $10,000 club was Girls Trip, which earned an average of $12,042. The film could have earned half that and it still would have been an okay opening for its production budget.
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July 23rd, 2017
Dunkirk will easily top the chart at the box office this weekend, with a $50.5 million opening weekend from 3,720 theaters that’s broadly in line with expectations, and also remarkably similar to the first weekend for Interstellar, which opened with $47.5 million from 3,561 theaters back in 2014. It seems that the film has reached the Christopher Nolan fan base, but not extended much beyond that. Remarkably, Pearl Harbor remains the record holder for biggest opening weekend for a World War II movie, with the $59 million it earned back in 2001 (equivalent to roughly $93 million with today’s ticket prices).
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July 21st, 2017
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Looking at this week’s list of limited releases, it is hard to come up with any film that has a real shot at box office success. Landline has the loudest buzz, but its reviews are merely good. All of the rest of the films are either foreign-language films or are playing on VOD and both of those factors will limit their box office chances.
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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.
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2018/08/03 | 11 | $73,847 | 64 | $1,154 | $73,847 | 1 | |
| 2018/08/10 | 14 | $38,296 | -48% | 69 | $555 | $173,763 | 2 |
| 2018/08/17 | 20 | $21,207 | -45% | 46 | $461 | $235,357 | 3 |
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 6/2/2017 | $38,391 | 0 | 0 | 0 | $64,196 | 1/1/2019 |
| Australia | 10/27/2017 | $64,882 | 18 | 23 | 127 | $301,108 | 3/8/2018 |
| Bulgaria | 7/14/2017 | $539 | 0 | 0 | 0 | $539 | 2/26/2019 |
| France | 3/24/2017 | $1,828,729 | 0 | 0 | 0 | $4,962,364 | 6/27/2018 |
| Italy | 6/2/2017 | $128,116 | 0 | 0 | 0 | $320,716 | 7/26/2017 |
| Lithuania | 8/4/2017 | $2,841 | 27 | 27 | 46 | $7,916 | 9/20/2017 |
| Netherlands | 6/23/2017 | $43,393 | 32 | 32 | 186 | $294,205 | 8/3/2017 |
| North America | 7/21/2017 | $21,341 | 3 | 44 | 287 | $603,582 | |
| Portugal | 7/7/2017 | $5,381 | 6 | 6 | 15 | $19,310 | 8/3/2017 |
| Russia (CIS) | 5/12/2017 | $14,183 | 40 | 40 | 60 | $45,088 | 1/1/2019 |
| Slovakia | 1/19/2018 | $879 | 9 | 9 | 9 | $879 | 1/29/2018 |
| South Korea | 3/22/2018 | $24,025 | 90 | 90 | 121 | $75,175 | 10/12/2018 |
| Spain | 8/3/2018 | $73,847 | 64 | 69 | 179 | $235,357 | 8/24/2018 |
| United Kingdom | 7/7/2017 | $25,457 | 20 | 20 | 20 | $25,457 | 7/13/2017 |
| Worldwide Total | $6,955,892 | 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.
| Catherine Deneuve | ||
| Catherine Frot | ||
| Olivier Gourmet |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
| Martin Provost | Director |
