A24’s recent release, I Saw The TV Glow, directed by Jane Schoenbrun, made quite an impact with its limited opening weekend. Grossing $116.3k at four theaters in New York and LA, the film achieved a remarkable per screen average of $29k. This ’90s era trans coming-of-age horror-thriller marks Schoenbrun’s second outing after the success of We’re All Going To The World’s Fair, establishing them as an edgy new voice in the genre. Premiering at Sundance, the film generated multiple sold-out Q&As, received strong reviews, and positive exit poll responses. With such a promising start, the film is set to expand into selected top markets this weekend, with a continued rollout to follow.
Another noteworthy release was Oscilloscope’s Wildcat, directed and co-written by Ethan Hawke, with Maya Hawke starring as Flannery O’Connor. The film opened with an estimated $58.1k on four screens in NY/LA, featuring sold-out showtimes over the weekend. The PSA of $19.4k was supported by strong engagement from key talent and a targeted marketing campaign. Wildcat delves into the life of literary icon Flannery O’Connor, intricately weaving between her reality and her stories, alongside Laura Linney, Cooper Hoffman, and Steve Zahn. The film is set to roll out to select markets throughout May. On the other hand, Sideshow/Janus Films released Ryusuke Hamaguchi’s Evil Does Not Exist, which is currently seeing an estimated $43.3k on three screens in NYC and LA. The story revolves around a father, daughter, and a rural hamlet outside Tokyo, whose lives are disrupted by the arrival of developers.
Despite the success of some films in the specialty market, GKIDS animated sci-fi Mars Express had a rough debut, only earning $95.7k on 250 screens. This shows the varying challenges and opportunities that filmmakers face when trying to break into the market. With the right mix of talent, marketing strategy, and storytelling, films can find success and resonate with audiences, even in a competitive landscape like the specialty market. As more voices and stories emerge, the market continues to show signs of life and promise for the future of independent cinema.
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