In the world of cinema, success is often measured by box office numbers. While big-budget blockbusters usually dominate the charts, there is a growing trend of smaller films carving out a space for themselves in the industry. This article takes a closer look at the recent success of two specialty films, “Poor Things” and “American Fiction,” and examines the factors that have contributed to their thriving theatrical runs.
“Poor Things,” the Yorgos Lanthimos film starring Emma Stone, has been making waves since its release. Despite being described by some as “bonkers,” the film has managed to attract audiences and rake in over $26 million on 1,950 screens. This impressive performance can be attributed to a carefully orchestrated platform release strategy.
The film initially premiered with just nine theaters in four markets in December, but its popularity quickly grew. This led to a wider release, which was further boosted by 11 Oscar nominations. Audiences in big cities, such as New York, LA, Toronto, and Vancouver, have been particularly drawn to the film, but it has also found success in other markets. It is worth noting that “Poor Things” appeals to a younger yet sophisticated and educated audience.
Another specialty film that has been gaining traction is “American Fiction,” the directorial debut of Cord Jefferson. The film has grossed $12.7 million and is currently being screened on 1,902 screens. Its success can be attributed to a calculated release strategy that involved a limited opening followed by wider breaks, timed with the announcement and expansion of Oscar nominations. The film has resonated well with both cineastes in arthouse theaters and diverse moviegoing audiences, especially African Americans.
The film has performed exceptionally well in major markets such as New York, San Francisco, Washington D.C., and Boston, among others. Positive word-of-mouth and strong exits have contributed to its continued success. The spike in popularity following its Academy nominations, including Best Picture, further solidified its position as a commercial success.
Jonathan Glazer’s “The Zone Of Interest,” a unique Holocaust film, has also seen an expansion in the number of screens it is being shown on. Originally released on a limited number of screens in December, the film has now expanded to nearly 600 screens in the US and opened in 100 screens in the UK. Starring Sandra Hüller and garnering five Oscar nominations, including Best International Feature, the film has managed to captivate audiences.
While specialty films like “Poor Things,” “American Fiction,” and “The Zone Of Interest” have found success, it’s important to acknowledge the efforts of other strong theatrical performers in the specialty category. Films like “The Holdovers” and “The Promised Land” have also resonated with audiences and received critical acclaim.
In addition to the aforementioned films, there have been several new specialty openings that have garnered attention. Mubi’s “How To Have Sex,” winner of the Un Certain Regard prize at Cannes, tells the story of three British teenage girls on a rite-of-passage holiday on a Greek Island. Magnolia Pictures’ “The Promised Land,” Denmark’s short-listed Oscar submission, follows an impoverished man’s journey to build a colony for the king in 18th-century Denmark. Kino Lorber presents “Skin Deep,” a sci-fi relationship drama that explores the complexities of a struggling relationship.
These films, along with others like Blue Fox Entertainment’s “Fitting In” and Lionsgate/Roadside Attractions’ “Scrambled,” demonstrate the diversity and richness of specialty cinema.
Specialty films are thriving in the industry, challenging the dominance of big-budget blockbusters. Through carefully orchestrated release strategies, captivating storytelling, and strong performances, films like “Poor Things,” “American Fiction,” and “The Zone Of Interest” have managed to carve out a space for themselves in the theatrical landscape. As audiences continue to seek out unique and thought-provoking cinema, specialty films have proven to be a worthy investment for both filmmakers and theater owners.