Spain’s box office dipped slightly last year, edging down 1.9% in theatrical revenues and 2% in admissions, according to a Comscore report published Wednesday.
In all, Spain’s B.O. gross came in at €585.7 million ($673.1 million), with 97.7 million cinema tickets sold.
“Jurassic World: Fallen Kingdom” from Universal Pictures Intl., which dominated last year in Spain with three of the seven top-grossing movies, topped the chart, the fourth time a non-Spanish production has done so this decade. But the film world-premiered in Madrid and had a Spanish connection in its director, J.A. Bayona, each of whose four feature outings has, remarkably, been the top annual performer in Spain since his 2007 debut, “The Orphanage.”
“Bayona’s Spanish nationality undoubtedly helped ‘Jurassic World: Fallen Kingdom’ to its No. 1 ranking,” said David Rodríguez, managing director of Comscore Spain.
Fox’s “Bohemian Rhapsody” is running “Fallen Kingdom” a pretty close second, earning €22.1 million ($25.4 million) at Spanish theaters last year.
In all, Spain’s B.O. gross came in at €585.7 million ($673.1 million), with 97.7 million cinema tickets sold.
“Jurassic World: Fallen Kingdom” from Universal Pictures Intl., which dominated last year in Spain with three of the seven top-grossing movies, topped the chart, the fourth time a non-Spanish production has done so this decade. But the film world-premiered in Madrid and had a Spanish connection in its director, J.A. Bayona, each of whose four feature outings has, remarkably, been the top annual performer in Spain since his 2007 debut, “The Orphanage.”
“Bayona’s Spanish nationality undoubtedly helped ‘Jurassic World: Fallen Kingdom’ to its No. 1 ranking,” said David Rodríguez, managing director of Comscore Spain.
Fox’s “Bohemian Rhapsody” is running “Fallen Kingdom” a pretty close second, earning €22.1 million ($25.4 million) at Spanish theaters last year.
- 1/2/2019
- by John Hopewell
- Variety Film + TV
San Sebastian — Over the course of a burgeoning career as a documentary director, and while not producing movies such as Cannes Festival opener “Everybody Knows,” Morena Films producer-partner Alvaro Longoria has addressed lamentably little-known subjects of large resonance with good-humor, clarity, candor and a healthy dose of all-round prejudice-bashing. “Ni distintos ni diferentes: Campeones” marks his third doc feature after Spanish Academy Goya winner “Sons of the Clouds” (2013) an analytical lament for the fate of the Sahara people made with Javier Bardem, and “The Propaganda Game” (2017), a study of geo-political prejudice about North Korea, in and outside the country. In it, these qualities are shared by his extraordinary subjects. These take in both the mentally uncoordinated star actors of Spanish fiction comedy blockbuster “Campeones” (Champions) where they play members of a basketball team, and, as important, their equally remarkable parents.
Mixing interview and observation, as the actors go about their daily life,...
Mixing interview and observation, as the actors go about their daily life,...
- 9/28/2018
- by John Hopewell
- Variety Film + TV
San Sebastian — Everybody agrees: World markets for arthouse films have contracted, first in prices paid, now in number of territories sold.
But that doesn’t mean there’s no arthouse market at all. A case in point: Latido Films. Headed by Antonio Saura, the Madrid-based sales house heads into this year’s San Sebastian Festival reporting 23 higher profile deals across seven titles struck from Cannes through Venice, Toronto and multiple festivals in between.
Only one of these titles, only Javier Fesser’s “Champions,” can be said to be anywhere near selling out. But, with foreign-language movies so dependent these days on scoring berths at big fests, and sales cycles lengthening given ever-more cautious buyers, none of the films are anywhere near the end of their sales cycle. Among deals:
*Caca Diegues’s Cannes Special Screening “The Great Mystical Circus,” a five-generation circus saga, has closed three major markets: the U.
But that doesn’t mean there’s no arthouse market at all. A case in point: Latido Films. Headed by Antonio Saura, the Madrid-based sales house heads into this year’s San Sebastian Festival reporting 23 higher profile deals across seven titles struck from Cannes through Venice, Toronto and multiple festivals in between.
Only one of these titles, only Javier Fesser’s “Champions,” can be said to be anywhere near selling out. But, with foreign-language movies so dependent these days on scoring berths at big fests, and sales cycles lengthening given ever-more cautious buyers, none of the films are anywhere near the end of their sales cycle. Among deals:
*Caca Diegues’s Cannes Special Screening “The Great Mystical Circus,” a five-generation circus saga, has closed three major markets: the U.
- 9/21/2018
- by John Hopewell
- Variety Film + TV
As studios vie for a chunk of an increasingly globalized business, the importance of local-language films that reflect homegrown audiences has been among key talking points for exhibitors and studios here at the CineEurope conference in Barcelona this week. Local films simply help all boats to rise. It’s notably on folks minds amid a box office downturn in some European majors, particularly Germany where underperforming local titles have contributed to a sizable drop in the first part of the year.
Tim Richards, chief of Vue International which operates in major European markets, including Germany and Italy (as well as Taiwan), tells me a local hit “turns a good year into a great year.”
Fox’s President of International Theatrical Distribution Andrew Cripps confirms the importance of local which “brings an audience to movies that don’t normally go, then they see trailers and marketing materials” which have the effect...
Tim Richards, chief of Vue International which operates in major European markets, including Germany and Italy (as well as Taiwan), tells me a local hit “turns a good year into a great year.”
Fox’s President of International Theatrical Distribution Andrew Cripps confirms the importance of local which “brings an audience to movies that don’t normally go, then they see trailers and marketing materials” which have the effect...
- 6/13/2018
- by Nancy Tartaglione
- Deadline Film + TV
Movistar +, the high-flying pay-tv division of Telefonica, one of Europe’s biggest telecoms, is powering into original film production with a project by Spanish director Alejandro Amenábar (“The Others”).
The move is aimed at driving up subscriptions at Telefonica’s mobile and fiber-optic services in the Spanish-speaking world. But it also marks a potential milestone in the Spanish-language movie industry as Movistar + takes the lead on productions of big films that few other companies have the money or commercial logic to create.
Movistar +’s original films could prove catnip for Hollywood, which has seen big Spanish-language titles backed by broadcast networks Mediaset España and Atresmedia sometimes outearn Hollywood studio releases in Spain.
Movistar +’s inaugural film is “Mientras dure la guerra” by Amenábar, who directed “The Others” with Nicole Kidman, “Agora” with Rachel Weisz, and Oscar-winning “The Sea Inside” with Javier Bardem. Amenábar’s last movie in Spanish was...
The move is aimed at driving up subscriptions at Telefonica’s mobile and fiber-optic services in the Spanish-speaking world. But it also marks a potential milestone in the Spanish-language movie industry as Movistar + takes the lead on productions of big films that few other companies have the money or commercial logic to create.
Movistar +’s original films could prove catnip for Hollywood, which has seen big Spanish-language titles backed by broadcast networks Mediaset España and Atresmedia sometimes outearn Hollywood studio releases in Spain.
Movistar +’s inaugural film is “Mientras dure la guerra” by Amenábar, who directed “The Others” with Nicole Kidman, “Agora” with Rachel Weisz, and Oscar-winning “The Sea Inside” with Javier Bardem. Amenábar’s last movie in Spanish was...
- 5/23/2018
- by John Hopewell
- Variety Film + TV
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