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| Theatrical Performance (US$) | ||
| Spain Box Office | $48,359 | Details |
| Worldwide Box Office | $635,821 | Details |
| Home Market Performance | ||
| North America DVD Sales | $19,179 | Details |
| North America Blu-ray Sales | $31,447 | Details |
| Total North America Video Sales | $50,626 | |
| Further financial details... | ||
| Spain Releases: | January 19th, 2018 (Wide) |
| Video Release: | August 7th, 2018 by Strand Home |
| MPAA Rating: | Not Rated |
| Running Time: | 115 minutes |
| Keywords: | 1700s, Colonialism, Voiceover/Narration, Set in Argentina |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Historical Fiction |
| Production Countries: | Argentina, Brazil, France, Mexico, Netherlands, Portugal, Spain, United States |
| Languages: | Spanish |
August 8th, 2018
It is a deceptively busy week on the home market, and not in a good way. There’s no one big release, at least not on DVD / Blu-ray, but there’s a sea of mediocrity this week. I’m not talking about quality here, but sales rank. There are a lot of films that wouldn’t even be filler during a normal week, but this week are selling well enough to be mentioned. There are several that are worth picking up, including limited releases like Bye Bye Germany and Revenge, classics like The Changeling, and even some Anime titles like Big Fish & Begonia or Tsuredure Children. Deadpool 2 is by far the biggest release of the week and I suspect the Blu-ray will be the Pick of the Week when it comes out, but I don’t want to give it that title until than. As a result, there’s no real winner this week. There were a lot that came close.
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April 18th, 2018
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Grace Jones: Bloodlight and Bami had the best opening of the limited releases earning an average of $18,724 in three theaters. The only other film in the $10,000 Club was The Rider, which earned an average of $14,081, also in three theaters.
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April 13th, 2018
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There are not many limited releases that have a shot at box office success on this week’s list. The biggest ones are either opening too wide, like Beirut, or are already playing on VOD, like Borg vs. McEnroe, Wildling, and others. This leaves Grace Jones: Bloodlight and Bami as the film I think has the best shot at earning some measure of mainstream success.
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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 |
|---|---|---|---|---|---|---|---|
| 2018/01/19 | - | $14,764 | 21 | $703 | $14,764 | 1 | |
| 2018/01/26 | - | $7,058 | -52% | 12 | $588 | $33,273 | 2 |
| 2018/02/02 | - | $3,391 | -52% | 7 | $484 | $40,662 | 3 |
| 2018/02/09 | - | $1,236 | -64% | 5 | $247 | $43,409 | 4 |
| 2018/02/16 | - | $995 | -19% | 2 | $498 | $46,149 | 5 |
| 2018/02/23 | - | $1,097 | +10% | 3 | $366 | $46,943 | 6 |
| 2018/03/02 | - | $238 | -78% | 1 | $238 | $47,600 | 7 |
| 2018/03/09 | - | $238 | n/c | 2 | $119 | $48,458 | 8 |
| 2018/03/16 | - | $80 | -66% | 1 | $80 | $48,359 | 9 |
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 9/29/2017 | $129,447 | 0 | 0 | 0 | $326,376 | 1/1/2019 |
| North America | 4/13/2018 | $26,123 | 3 | 19 | 76 | $200,181 | |
| Portugal | 5/4/2018 | $2,726 | 5 | 5 | 10 | $7,109 | 5/18/2018 |
| South Korea | 8/26/2021 | $5,864 | 32 | 32 | 52 | $20,787 | 2/22/2023 |
| Spain | 1/19/2018 | $14,764 | 21 | 21 | 54 | $48,359 | 3/22/2018 |
| Turkey | 7/6/2018 | $2,541 | 24 | 24 | 47 | $8,112 | 2/26/2019 |
| United Kingdom | 5/25/2018 | $24,897 | 14 | 14 | 14 | $24,897 | 5/30/2018 |
| Worldwide Total | $635,821 | 2/22/2023 | |||||
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.
| Lucrecia Martel | Director | |
| Lucrecia Martel | Screenwriter | |
| Antonio Di Benedetto | Story based on the novel by |
