Exclusive: In a world where the space for specialist and non English-language cinema is shrinking in cinemas, it’s encouraging to see that Tokyo-based Gaga Corporation is committed to bringing a diverse range of theatrical releases to Japanese audiences.
Launched in 1986, the company is one of Japan’s longest established buyers, releasing between 20-25 films a year, with its president and CEO Tom Yoda a familiar face on the international festival and markets circuit. The company is also an active producer of Japanese films, with recent titles including Hirokazu Kore-eda’s Monster, which is screening as a Special Presentation in Toronto, following its Best Screenplay award in Cannes.
As Japan was moving out of the pandemic, the company says it was pleased with the box office results for acquisitions such as Todd Field’s Tar, French filmmaker Claude Zidi Jr’s opera-themed Tenor and multiple Oscar winner Everything Everywhere All At Once,...
Launched in 1986, the company is one of Japan’s longest established buyers, releasing between 20-25 films a year, with its president and CEO Tom Yoda a familiar face on the international festival and markets circuit. The company is also an active producer of Japanese films, with recent titles including Hirokazu Kore-eda’s Monster, which is screening as a Special Presentation in Toronto, following its Best Screenplay award in Cannes.
As Japan was moving out of the pandemic, the company says it was pleased with the box office results for acquisitions such as Todd Field’s Tar, French filmmaker Claude Zidi Jr’s opera-themed Tenor and multiple Oscar winner Everything Everywhere All At Once,...
- 9/6/2023
- by Liz Shackleton
- Deadline Film + TV
Emma Seligman’s Bottoms is looking at an estimated weekend gross of $516k on ten screens with a possible leading $51,625 per-theater average for the raunchy, teenage high school girl take on Fight Club.
That’s a win for MGM, its Orion Pictures label and Brownstone Productions, producers on the modestly budgeted ($11.3 million) film written by Seligman and Rachel Sennott. The film skews young and was backed by edgy marketing — ingredients, although never surefire, behind the biggest post-Covid indie film breakouts.
Sunday’s final tally will determine if Bottoms nabs the highest per-screen average post-pandemic on ten or more screens. A24’s Everything Everywhere All At Opened to $50,131 at 10 locations in March of 2022. National Cinema Day, unspooling today, is a wildcard with attendance up but box office dollars limited by $4 tickets and seats available.
Bottoms is playing New York, Los Angeles, San Francisco and Austin at Alamo Drafthouse cinemas, arthouses including...
That’s a win for MGM, its Orion Pictures label and Brownstone Productions, producers on the modestly budgeted ($11.3 million) film written by Seligman and Rachel Sennott. The film skews young and was backed by edgy marketing — ingredients, although never surefire, behind the biggest post-Covid indie film breakouts.
Sunday’s final tally will determine if Bottoms nabs the highest per-screen average post-pandemic on ten or more screens. A24’s Everything Everywhere All At Opened to $50,131 at 10 locations in March of 2022. National Cinema Day, unspooling today, is a wildcard with attendance up but box office dollars limited by $4 tickets and seats available.
Bottoms is playing New York, Los Angeles, San Francisco and Austin at Alamo Drafthouse cinemas, arthouses including...
- 8/27/2023
- by Jill Goldsmith
- Deadline Film + TV
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