Jane Schoenbrun’s film “I Saw Then TV Glow” has had an impressive week-two expansion, grossing an estimated $195k+ on 21 screens. The film has garnered a passionate fan base, particularly among young, male, and LGBTQ+ audiences. This success is a testament to the director’s unique vision and storytelling, which has resonated with viewers who are looking for fresh narratives and diverse representation in cinema.
Schoenbrun was recently honored with a Breakthrough Artist award at a sold-out screening of the film at the Coolidge Corner theater in Boston. The presence of cast members Justice Smith and Brigette Lundy-Paine, who play queer teens in the 1990s suburbs, further emphasized the film’s impact on audiences. This recognition further solidifies Schoenbrun’s status as a rising talent in the industry.
The weekend box office was not without its share of notable releases. “Evil Does Not Exist” by Ryusuke Hamaguchi grossed about $102.7k on 34 screens in its second week, with plans for further expansion. Other releases, such as “Poolman” starring Chris Pine and “Not Another Church Movie” featuring Jamie Foxx, showcased the diversity of genres and themes in indie cinema.
Counter-programming also proved to be successful over the weekend. The presentation of MET Opera’s “Madama Butterfly” by Puccini grossed nearly $1.1 million at 732 locations, demonstrating the enduring popularity of classical opera among audiences. Similarly, “Pollywood Shinda Shinda Ni Papa” saw success with $487k in just 102 theaters, showcasing the appeal of Punjabi-language cinema in the Indian and Pakistani markets.
Ethan Hawke-directed “Wildcat” continued to perform well in its limited release, grossing $72k on six screens for a cume of $134.4k. The film’s expansion to over 100 theaters in the following week indicates a growing interest from audiences in independent, auteur-driven cinema.
The weekend box office results highlighted the success of indie films, counter-programming strategies, and the diversity of releases available to audiences. From gender-bending supernatural thrillers to classical opera presentations, there is clearly a demand for unique and varied content in the cinema landscape. As audiences continue to seek out new and innovative storytelling, indie filmmakers and distributors have an opportunity to capture the attention of viewers looking for fresh and engaging narratives.
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