by Antony I. Ginnane

In addition to theatrical releases, I will also mention titles that have bypassed theatrical and were released directly (day and date) or virtually directly to VOD and SVOD in the US and / or Netflix or other streamers worldwide or on pay TV only outside Australia. The number of these titles, especially in the US, continues to increase. Unfortunately, despite Netflix’s recent “films watched and for how long” data dump, there is still very little hard data readily available on the results of digital exploitation, despite the fact that for many Australian films, these new media outlets have become the only available entrée into the US and foreign markets. I have tried to note the release for each title.

In 2023, cinemas worldwide did manage to reclaim to a degree their traditional primary spot in the film revenue waterfall and hits like Barbie and Oppenheimer and the Taylor Swift Eras feature were able to re attract global audiences, but these tent poles were still infrequent. With the recent strikes forcing adjustments to the 2024 release schedule, it may be 2025 before we definitely know what the landscape will really look like going forward. Certainly, the worldwide box office gap between major tentpole successful theatrical releases and theatrical micro releases – including all Australian films – continues to accelerate.

But some form of theatrical release, however limited (even via digital cinema), remains for many producers a hoped-for result as it is still a significant driver of ancillary revenue – the ultimate all media net result. But such a release is becoming harder to achieve.

In reviewing the results, it is worth recalling that in all these foreign territories, Australian films complete for screen space with both the US majors – just as we do in Australia – and with high profile local language titles as well.

In 2023, 26 Australian films received some level of international theatrical release – down from a record 33 in 2020, and equal to the 26 in 2015.

It is likely that future years will see a further reduction in titles in international cinema release as a result of the increasing caution of acquisition executives as territory after territory goes through flat or still recovering cinema attendance figures; the collapse of the middle budget market and the substantial reduction in box office for specialty and non-tent pole releases (along with a significant reduction in pre-sales in the A territories for the majority of the films Australian producers are packaging).

Readers should note that all box office figures quoted are in US dollars unless otherwise noted. The box office amounts cited do not themselves indicate the net return to the producer or the ultimate profitability of a title in a territory. For such analysis other data including distribution terms for the territory including media licensed, MG (if any) and / or if the film was licensed on a flat or revenue share deal, the ad spend, the degree of cross collateralisation and any box office bumps – all these metrics need to be factored in to try to project a net position. However, theatrical box office numbers and length of run do indicate an initial level of success and marketplace acceptance.

Let’s discuss the year’s most successful titles: leading with the most successful and then the others in in alphabetical order:

The Top 7 titles of 2023:

Talk To Me

Breaking out meaningfully theatrically in US and international over the last 50 years is a feat very few Australian films have achieved and of the approximately 30 that have, all but a half dozen, have been distributed in the US and in foreign by a US major. Talk to Me, the breakout Australian film of 2024, was handled in the US by mini major A24 and in most foreign territories by top end international distributors.

The grosses it achieved were extraordinary, given its low-end budget and lack of stars, demonstrating yet again the attractiveness of the horror genre for first time filmmakers.

In the United States, it hit $49 million, making it A24’s most successful release to date – the closest comparable would be Invisible Man in 2020 handled by Universal with a higher budget. That reached $64.5 million.

Internationally, it hit $40 million with stand out results in Mexico – always a good horror territory – with $6,735,684 through after 28 days; France at $3,963,900 opening on 250 screens over 56 days, the UK through Altitude (who pre-bought it) $3,162,402 over 28 days on 429 screens. Italy $2,309,160 through new distributor Plaion on 246 screens over 28 days; Netherlands (WB) $1,086,792; Spain through Sun on 284 screens $2,601,492 over 49 days and Brazil $2,981,041.

Smaller territory successes included Portugal (Lusomondo) $302,394; Turkey (Birfilms) $174,696; Vietnam (WB) $377,702 and Hong Kong $84,134 over 14 days. Gaga has bought Japan but has yet to release.

Only Germany did not overperform at $1,355,868 with Capstone having difficulty securing screens for its designated release date.

A fantastic success with box office bumps coming through to the creators and sequels etc in the works.

Maya the Bee and the Golden Orb

The third in this successful Australian animated series released in Korea on 208 screens through WB and grossed $311,831 over 28 days an achievement within a market that has its own very entrenched animation business.

In Germany, it grossed $1,454,886 and in Poland – always a strong animation territory – $1,454,686 through Monolith. Turkey took $394,432 and the Netherlands $333,712 through Splendid.

It failed in the UK where Kaleidoscope could only attract $64,463 on 262 screens over seven days and in Russia with only $136,873.

So far the series has not cracked theatrical in the US.

Of An Age

Goran Stolevski’s relationship with Focus, Universal’s specialty division continues with Of An Age.  It secured a US and UK prebuy.

Meanwhile, Roadshow (who bought Australia) released in NZ (largely at festivals) and grossed NZ $4,813.

Run Rabbit Run

Netflix picked up the worldwide rights, but a couple of pre-sold territories were carved out. Exponenta released on 1079 screens in Russia and grossed $362,494 over 21 days.

In the UAE, $6994 was the gross over seven days.

Combat Wombat 2

Another continuing Australian animation series this time from Photon.

Signature picked it up for the UK as did Magic in CIS. No grosses have been reported to date.

Shayda

Madman released in New Zealand grossing NZ $8,876.

The vast majority of Shayda’s foreign grosses will kick in in 2024. Territories like France, UK, Italy and Spain have been bought by significant Indies like Metropolitan, Vertigo etc.

Sony classics picked up the US but also Benelux, Eastern Europe, Portugal and the Middle East – seeing it correctly as a high quality art house title.

Carmen

Another specialty titled picked up by Sony classics for the US.

They rolled it out over 101 screens over 42 days hitting $103,388. They would have hoped for more.

International results – France $261,250, UK $5,442, Turkey $4,645 and New Zealand NZ $9,557. All underperformed.

Other titles releasing for the first time internationally in 2023:

Blueback

Roadshow released in New Zealand on 76 screens over 42 days generating NZ $129,285. Lucky Red released in Italy on 48 screens over 14 days grossing $166,177. UAE did $1,284 over a week and Poland grossed $59,081. All in all, disappointing.

Quiver picked up US for VOD and SVOD. No result available

Bring Him To Me

Rialto released in New Zealand grossing NZ $67,161 over 14 days on 71 screens. Roadside Attractions and Samuel Goldwyn picked up US for SVOD, VOD, and TV packaging. No results as yet.

Carniflex

An AVOD deal done with Tubi in the US. No details available

Curious Case Of Dolphin Bay

Steve Jaggi family entertainment for Fox Entertainment Global.

Packaged for TV and streaming – no data available.

Greenhouse By Joost

Madman released in New Zealand grossing NZ $62,206 over 7 days.

It Only Takes a Night

Released in US day-and-date by Myriad Pictures.

Limbo

A number of international releases. Videocine released in Mexico with a good gross of $725,652. Lionsgate released in the UK for one pre-VOD week on 7 screens picking up only $1,512.

There was a small release in Italy grossing $887. France released in July with $217,718.

Brainstorm and Music Box acquired for the US. Expect a micro theatrical pre-VOD profiling.

Love In Bloom

Another Steve Jaggi rom com which GAS licensed to Hallmark Channel in the US.

Love Is In The Air

Netflix picked up this romantic comedy globally and it streamed with plus 20 million views late September.

Mercy Road

Rialto released in New Zealand. Gross over 21 days NZ $9,011 on 11 screens.

Monolith

Well Go USA who largely specialise in Asian horror and martial arts picked up this title for the USA and Canada.

Royal Hotel

Neon released in the USA with $331,010 on opening week totalling $780,263 over 21 days.

In the UK, it grossed $97,149.

A Royal In Paradise

GAC Family Network licenced this Steve Jaggi family romance to Hallmark and others in the USA. TV and streaming only outside Australia.

Scary Girl

This animated feature released in the Netherlands on 61 screens in October and grossed $56,185 over 2 weeks.

In Russia, in November, it grossed $426,938; in Italy $215,647, Lithuania $19,285 and in New Zealand via Madman NZ $3,100.

More territories to come in 2024.

Secret Kingdom

This family sci-fi released in the UK in July through Signature as a pre-pay and VOD-play grossing $11,735.

In Lithuania, in September, it grossed $74,821, in Russia $216,880 and in the UAE $36,873.

Pinnacle arranged New Zealand distribution grossing approximately NZ $10,000.

Sons Of Summer

Grindstone acquired for the US and it received a token theatrical release on a few AMC screens in California & Arizona and then went straight to VOD.

Transfusion

Saban bought for the US, but have yet to release.

In Russia, despite Sam Worthington’s presence, it disappointed grossing only $12,676.

In the UAE it took $8,786 and in the Netherlands $68,172.

Altitude have the UK and other foreign. It should have done better.

Wishmas Tree

A major release this year in France where on 524 screens over 91 days a wonderful gross of $713,839 was achieved. (To note, there were reduced price matinee admissions.)

In South Korea $89,774 and in Turkey $63,945.

Total international gross to date excluding any US theatrical is $1,793,562.

You’ll Never Find Me

Umbrella released in NZ and grossed NZ $698 over 7 days.

Titles carrying over international release from 2022:

Avarice (2022)

Gaga picked up for Japan. Additional territories licensed in 2023 include Taiwan, South Korea, Portugal, India, Turkey, Benlux, Poland, Italy, UK and Africa.

Girl At The Window (2022)

Territories licenced in 2023 include France, Scandinavia, UAE, Portugal, South Africa, the Netherlands and Spain.

How To Please A Woman (2022)

Further release activity on this successful Australian comedy since 2022. Beta organised a wide Germany theatrical release under the title “The Present Pleasure”:.

Other territories licenced include Yugoslavia, Finland, Canada, Spain, Slovakia (where it grossed $20,044) along with the remainder of the Baltics with Lithuania having already released in 2022.

Latin America was also syndicated.

June Again (2022)

A theatrical release in Spain grossed $29,547.

Summary:

Another OK year for Australian product internationally.

Talk To Me got out there very successfully but we did not have a super hit like Elvis in 2022.

New Zealand and the UAE continue to be good markets for us for our mainstream titles.

Sony Classics picking up two titles for the US was noteworthy.

Australian B animation titles like Combat Wombat, Scary Girl and Secret Kingdom found an international home and individual releases have made waves in territories like France and Russia.

But we need at least two by $100 million grossing titles per year to really shine.

Looking ahead to 2024:

This coming year there are likely to be some highlights led by Furiosa in May which should replicate the success of Fury Road worldwide. Dry 2 – Force of Nature has already been acquired by IFC for the US and I anticipate a strong response relative to their budgets and audience for A Better Man and The Moogai.  If Mortal Kombat 2 makes it out late 2024, it should repeat the success of the original.

 

Melbourne born Antony I. Ginnane has produced or executive produced 73 feature films, MOW’s, miniseries and TV series over 50 years including “Patrick”, “High Tide”, “The Lighthorsemen”, “Screamers”, “Last Dance” and most recently (in partnership with Kris Wyld) the TV series “Pulse” for ABC-TV, “Never Too Late” with James Cromwell and Jacki Weaver. His latest feature “The Girl At The Window” with Radha Mitchell released in 2022.  “The Unusual Suspects” his first book was published by Currency Press in 2015.