Independent

A New Zealand-based platform where fans track, review and share lists of movies old and new is an increasingly influential marketing tool for specialty film with budgets tight and audiences harder to reach. Letterboxd, founded as a passion project by Auckland tech entrepreneurs Matthew Buchanan and Karl von Randow just over a decade ago, recently
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Laure Calamy, who plays Noémie, the wacky assistant to Mathias Barneville in Call My Agent!, won the César (French equivalent of the Oscars) for Best Actress for My Donkey, My Lover & I, the film by Caroline Vignal that opens this weekend Stateside from Greenwich Entertainment. It’s the distributor’s second narrative film in a year
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Mrs. Harris Goes To Paris, a kind Cinderella story for older women with a Dior twist, arrives in 978 theaters this weekend with strong reviews and great word of mouth. The film is a known property among that demo given its prime trailer treatment before Focus Features’ fan favorite Downtown Abbey: A New Era —
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The nation’s fourth-largest cinema chain is testing a new subscription program called MovieFlex+ that includes a curated set of small and mid-sized films each week for no extra charge. “We can’t live off just blockbusters,” chairman and CEO Greg Marcus tells Deadline. “We cannot just live off dinner. We need breakfast and lunch too.” The
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Moviegoing is definitely back with viewers flocking to franchise films that 1) continue to roll out in the first sustained barrage of big new titles since Covid, and 2) continue to do huge business as they stick around in theaters. They’re sucking up screens and exacerbating a release-pattern quandary for independent distributors seeking signs that
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The Forgiven with Jessica Chastain opens in 122 theaters this weekend as the flow of indie films continues to build with well-reviewed, festival-pedigreed product including Mr. Malcom’s List and Clara Sola. Meanwhile, producers and most other U.S. businesses are hoping economic storm clouds won’t ding their industry’s nascent revival. “I think we have seen a
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Following its Venice Film Festival bow and seven César Awards including for Best Film, Lost Illusions was the top weekend title at two core NYC arthouses — taking $10,850 of its estimated $13,579 three-day gross from Film Forum and Film at Lincoln Center. The period piece based on the Honoré de Balzac novel about greed
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Chloe Okuno’s feature debut Watcher recorded the biggest opening weekend grosses ever for IFC Films and its IFC Midnight/Shudder label on 764 U.S. screens — also one of the distributor’s widest ever releases. The genre thriller that world premiered at Sundance then SXSW reported an estimated weekend gross of $815,000 and a PSA of $1,067.
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Indie distributors, grabbing a frame between Top Gun: Maverick and Jurassic World Dominion, are out with a handful of decently wide releases for the specialty space including Neon’s Cannes title Crimes of the Future (127 screes), IFC Midnight thriller Watcher (764) and Roadside Attractions’ WWI period piece Benediction (87). Sony Pictures Classics launches Phantom of
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Two premiere screenings of rock documentary Freakscene: The Story Of Dinosaur JR grossed over $19K this weekend with a single Saturday show at iconic music venue The Opera House in Williamsburg, Brooklyn taking in north of $17K. Independent distributor Utopia worked with Murmrr, which produces live music events, and art shingle Mondo, which created a
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The Innocents, set in a semi-deserted, nondescript high-rise apartment, follows four lonely kids who find each other as well as mind-bending powers one summer, to lethal effect. The horror pic launched at Cannes last year and arrived Stateside last weekend via IFC Midnight in a limited theatrical plus digital release after playing New Directors/New Films.
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It’s one of busiest opening weeks in some time for indie releases with Neon (Pleasure), Bleecker Street (Montana Story), IFC Midnight (The Innocents) and Roadside Attractions (Family Camp) in theaters — even as the imminent closure of the Landmark Pico underscores just how arthouses are struggling to win back core demos. Also out, Grasshopper Films
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Audrey Diwan’s Happening opened to an estimated $34k on four screens in NY and LA this weekend for a PTA of $8,500. The locations on both coasts — IFC Center/AMC Lincoln Square and The Landmark/AMC The Grove — while limited showed the abortion drama set in 1968 France competing successfully in commercial crossover multiplexes as
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Audrey Diwan’s Happening launched New Directors/New Films in April, mesmerizing viewers with the story of a brilliant literature student from a working-class background seeking an abortion to keep her life from derailing. In 1963 France the procedure was illegal. The suspense builds with each week a new chapter title as she seeks help from doctors,
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Studio brass wowed theater owners this week with Maverick: Top Gun, Avatar: The Way of Water and Spider-Man: Across The Spider-Verse among other tentpoles. But they were also clear at the just-wrapped CinemaCon that a reviving box office requires a wide breadth of content. “If we narrow what we bring to theaters, our audience will get
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Sony Pictures Classics art heist caper The Duke, Neon’s tender Petite Maman, and Charlotte from Good Deed Films, an animated biopic with mature themes, open an eclectic specialty weekend ready to draw older crowds if they’re ready to return. Younger demos are back when they like the pic, as per A24s Everything Everywhere All At
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The Tale Of King Crab, a cinematically striking fable shot in rural Italy and Argentina, opened to a three-day gross of $5,120 at Film at Lincoln Center this weekend — the first in a string of Italian offerings set to arrive on the specialty scene through the summer. “In today’s challenging arthouse market, we count
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