by Antony I. Ginnane

This is the seventeenth year that I have tracked and presented an annual round up of the international theatrical performance of Australian fiction feature films.  Here, we cover fiction feature films released outside Australia (including in NZ) in the period from 1 January 2024 through 31 December 2024, noting that some micro releases may not be included.

In addition to theatrical releases, I will also reference certain titles that bypassed theatrical and were released directly (day and date) or virtually directly to VOD and SVOD in the US and/or streamers worldwide or on pay TV only outside Australia. The number of these titles especially in the US continues to increase. Unfortunately, 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 many foreign markets. Some transaction data has become available on sites either on a number of transactions basis or via revenue. But collating that data to date could be misleading. I have tried also to note the initial release date for each title.

To note, this annual list may not be 100% comprehensive, particularly in the ultra-low budget space, where some titles receive a micro theatrical release prior to a SVOD window, particularly in the USA.

In 2024, cinemas worldwide did manage to reclaim to a degree their traditional primary spot in the film revenue waterfall with titles like Gladiator II, Moana 2 and Wicked, but these tentpoles were still less frequent than pre-COVID. 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 theatrical releases and theatrical micro releases – including almost all Australian films – continues to accelerate.

But, some form of theatrical release, however limited, 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 compete 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, 22 Australian films received some level of international first release – down from a record 33 in 2020, with 12 titles in carry-over release from previous years.

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 looks to flat or reduced cinema attendance figures; the collapse of the middle budget market and the substantial reduction in box office for specialty and non-tentpole releases along with a scarcity of  available pre-sales in the A territories for the majority of the films Australian producers are packaging, which are execution dependent.

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, 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.

Readers should also note that box office numbers are a separate analytic metric to cultural assessments eg.  reviews, festival selection etc and be guided accordingly.

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 2024:

Furiosa – A Mad Max Saga

As expected, Furiosa was our most successful international release, powered worldwide by Warner Brothers with an international launch at Cannes 2024, following buzz-generating footage at Cinemacon.

While the film was no disaster when past theatrical revenues are factored in, it was a disappointment. Worldwide gross totalled $173,775,991, split as $67,475,791 in the US and $106,308,000 in international.

Compare this with its predecessor Mad Max – Fury Road (2015) with a worldwide total of $380,437,267 – split to a domestic total of $154,280,290 and $226,156,997 in international.

Obviously, the slow return of theatrical audiences post COVID contributed to this significant drop. To the extent relevant, critical response was also generally less enthusiastic. Below is a table comparing the theatrical box office of the 2 films in key ROW territories.

Territory Fury Road (2015) Furiosa (2024)
China 8,300,333
France 16,700,000 7,728,557
Germany 9,500,000 4,031,082
Italy 2,500,000, 1,844,696
Japan 13,163,340 4,949,971
Russia 13,700,000
Spain 4,348,949 2,802,385
UK 27,100,000 8,095,799
USA 154,280,290 67,475,791

To note is that Fury Road did not release in China as no license was secured and Furiosa did not release in Russia due to the major studios boycotting the country.

There is also a significant difference in budgets – Fury Road at around $200 million and Furiosa at $168 million.

In Australia, the comparison was Fury Road released by Roadshow for WB at A$21,705,825 and Furiosa released by Universal for WB at A$10,222,401. A side note, the 100% drop in Australia GBO for Furiosa impacted the 2024 Australian percentage of total GBO – as did the push back of Mortal Kombat 2 to 2025.  Nevertheless, the film played worldwide and helped polish the Australian brand internationally within the industry.

Force of Nature – The Dry 2

IFC released over three weeks in the US in May on 143 screens, hitting key big city specialty venues, and grossing $58,690.

Russia is the highest foreign grosser to date with $422,235 over 35 days followed by Italy with $243,371 in 14 days. UAE pulled in $50,759.

Roadshow released in New Zealand on 107 screens over 63 days hitting NZ$262,967.

Foreign numbers were broadly comparable with The Dry save for the USA and New Zealand, where they were significantly lower.

Late Night with the Devil

Following in the footsteps of Talk to Me, Late Night with the Devil is this year’s Australian horror breakout.

In the USA, IFC (with a backup Shudder deal) over 63 days released on 1442 screens pulling $10,001,000 – IFC’s highest-grossing horror/thriller release ever.

Vertigo in the UK over 14 days on 232 screens took $629,225. Norway grossed $107,528.00 over 3 weeks.

Mexico, which has gone crazy for horror since COVID, took an astonishing $2,710,099 over 28 days (the highest figure ever (below Talk to Me – $6,095,278; Gods of Egypt $3,919,698 and Knowing $4,785,756) for an Australian indie release.

South Korea grossed $690,530 (A strong number for an indie Australian film) and Russia $344,222. Columbia took $166,909. Portugal in December over 14 days took $13,969. The total international gross was $5,452,763. Combined with the US$10 million a total of $15,453,763 was secured.

Great numbers. Australian horror is joining Australian animation as a genre for international distributors to chase.

Memoir of a Snail

It’s early days for Memoir of a Snail and 2025 awards activity may assist.

Right now, in the US, IFC over 56 days have hit $617,132 on a specialty release that reached 43 screens.

Madman in New Zealand over 42 days have grossed NZ $36,075.

France, the UK and other European territories will open in 2025.

Runt

It’s early days too for Runt’s international box office but opening numbers are promising.

Exponenta in Russia over 35 days has secured $317,627. Hungary grossed $104,816 over 42 days.

New Zealand, where Studio Canal released in tandem with Australia grossed NZ$529,623 over 63 days, further indicating the degree to which Australian films are becoming progressively more acceptable to New Zealand audiences.

Croatia opened in December on 46 screens grossing $16,741 over 2 weeks

Other key territories where Studio Canal will itself release include UK, France and Germany and these will pop up in our 2025 review.

Live action family titles and dog films, in particular, are another export genre Australia should lean into.

Sting

Another 2024 Australian horror export which did not match Late Night with the Devil’s results, but nonetheless secured theatrical release in multiple territories.

Well Go released in the US on 97 screens progressively achieving a gross of $1,124,510.

Russia grossed $365,035 over 14 days, while in the UK 48 screens over 7 days $294,486 positioned the film for an SVOD follow up.

Germany grabbed $197,597; Romania $102,375; Poland $96,538 and the Netherlands $77,090.

Arguably, the UK and Germany should have performed better. Worldwide gross to date is $2,474,742 split with the USA at $1,124,510 and the rest of the world at $1,350,232.

200% Wolf

The success of lower budget Australian animated features has continued to grow over the last 2-3 years and 200% Wolf licenced internationally territory by territory, has been the standup success of the “Wolf” series.

With a total ROW gross of $3,058,143, it has broken out in a number of key territories.

In the UK, Signature grossed $782,416 over 21 days opening on 534 screens and in Italy, Notorious grossed $413,685 on 240 screens over the same 21 day period. Both grosses are records for non-studio distributed Australian animation. Norway scored $214,187; Germany $128,359 and Czech Republic (via Bonton) $186,852. Romania grossed $119,903 over 28 days on 65 screens and in Spain $96,181 on 116 screens over 21 days. Vietnam pulled $224,503 over 14 days. Hungary through ADS grossed $20,986 on 7 screens over 35 days.

Savvy distributors slotted release dates over the school holiday breaks and the UK and Italian numbers have positioned the film for lucrative SVOD deals.

In the US, Viva Pictures released in August prior to an SVOD release.

Australian animation is filling a niche for indie distributors in international to compete with studio animation tent poles.

Other titles releasing for the first time internationally in 2024:

Before Dawn

Well Go in the US gave this World War action piece a pre streaming release, grossing a token $743. The UK release through Kaleidoscope grossed $23,185 prior to streaming.

Umbrella released in New Zealand for a gross of $10,669. Many territories are still to release including Latin America (Encripta), Germany (Black Hill), France (Koba), Spain (Alfa), Poland (9th Plan), and South Korea (Scene and Sound).

Christmess

Trinity Releasing picked up the UK for a pre-Christmas release and a Sky UK play.

Housekeeping For Beginners

Focus Features (the Universal specialty arm) distributed this latest film from Goran Stolevski. US gross was $271,065. Other releases to date include the Netherlands (in April) for $22,247 and Croatia (in July) for $6,403.

Just A Farmer

Amazon’s Prime Video is streaming the film in the US and UK.

Life After Fighting

Vertical Entertainment acquired USA and released as Day and Date. Retro Gold, a German action distributor, went straight to DVD/Digital in Germany and Austria.

My Freaky Family

A 56-day release in Russia generated $317,485. Monolith in Poland over 14 days on 212 screens grossed $423,135. In Croatia, over 35 days, it grossed $83,400 on 22 screens. Slovakia through Magic Box over 21 days took $61, 844. Pivot in New Zealand over 14 days grossed NZ $3,012.

Sloth Lane (aka A Sloth Story)

Another Australian animated feature getting traction. In Russia, over 28 days, $236,278. In Turkey, $52,222. Maslow grossed NZ $105,536 in New Zealand over 14 days on 155 screens. Blue Fox acquired for the USA and Canada but have yet to release.

Streets Of Colour

A direct VOD release in the US in October. No results available.

The New Boy

Paramount released in the Netherlands in July grossing $93,214 in 28 days on 33 screens. Signature in the UK took $19,958 on 61 screens over 7 days (a disappointment given reviews). Roadshow in New Zealand took NZ$14,515 in 49 days.

The Red (aka “Rippy”)

Capelight bought the kangaroo horror thriller for Germany and the USA (where it released direct to SVOD). Bulgaria through Pro Film took $7,763 on 44 screens over 7 days. Radioactive grossed NZ $47,794 over 7 days.

The Speedway Murders

Altitude bought it for the UK but have yet to release. Umbrella gave it a festival release in New Zealand, grossing $708.

The Stranger

Netflix took the world with theatrical carve outs for Netherlands, UAE and Benelux.

The Way, My Way

Maslow grabbed a fantastic NZ$468,947 over 210 days replicating its Australian success.

Uncancelled

A very small Spain release grossed $2,900 over 2 weeks. A follow-on YouTube release pulled 1.1 million views.

You Should Have Been Here Yesterday

Umbrella over 4 weeks grossed NZ $5,093 in New Zealand.

Titles carrying over international release from previous years:

Avarice

Plaion Pictures Released in Italy. No figures available.

Blueback

After a limited US theatrical and SVOD release in 2023 via Quiver, Blueback went to Netflix in the USA and various territories.

Combat Wombat – Double Trouble

Kino Swiat in Poland on 307 screens over 7 days grossed $235,673. Romania took $50,830.  Pro Films in Bulgaria over three weeks on 51 screens grossed $26,445. Russia took $107,534 over a 34 week matinee run and Vietnam secured $38,062. Signature picked up the UK.

The Flood

The film went straight to DVD/Digital in Germany. Via a small Russia-CIS theatrical in July it grossed $25,935

Limbo

Videocine in Mexico grossed a significant $725,652. Music Box Films limited release in US cinemas in April/May.

Love is in the Air

Via its worldwide Netflix release, it hit #2 globally in the Netflix top 10 for a week.

Monolith

Well Go picked up the US but have yet to release.

Occupation Rainfall

After a 2021 theatrical release in the UK via Signature, it is now available on Amazon’s Prime Video in the US and the UK.

100% Wolf

CJ released in November in Turkey on 158 screens for a 14 day total of $41,798.

The Royal Hotel

In June, Universal released in the Netherlands grossing $132,455 over 7 weeks on 14 screens.

Germany released in January grossing $48,081 with an additional $922 from Austria.

Run Rabbit Run

A one week run in Mexico (excluded from Netflix exclusivity) on five screens grossed $132,980 in July.

Shayda

Sony Classics released in the US in March grossing $61,694. Caramel released in Spain on a one week run grossing $13,412. Vertigo released in the UK on 6 screens for a one week run grossing $9,383. Sony Classics handled Turkey and grossed $2,746 over 14 days.

Summary:

A number of interesting trends to note;

Each year, there seems to be a US indie distributor who picks up two or three of our features a year. This year, it’s IFC who took Late Night with the Devil”, Memoir of a Snail and Force Of Nature – The Dry 2. In previous years, we have seen Samuel Goldwyn and Sony Classics acquire multiple titles. Well Go also picked up two titles.

This year, the Australian genres that have worked in the international space have been horror, family animation and family live action. Drama and social realism largely do not travel.

Some markets continue to be particularly partial to Australian titles – apart from the US, we continue to make waves in New Zealand (on the increase from the three previous years), the UK, UAE, Russia and the Netherlands where multiple titles regularly release.

Ideally, we should target a number of new territories per year with Screen Australia backed marketing missions.

Looking ahead to 2025:

It looks like 2025 may be another promising year for Australian cinema exports.

Better Man – technically opening in the US on 27 December for awards consideration by Paramount (following a very significant pick up price) and theatrically in the UK through Entertainment on 25 December – has breakout potential, especially in territories where Robbie Williams fans abound. Lucky Red in Italy put it in release ahead of Aust/NZ on 5 December and over 7 days on 160 screens it grossed $50,972.

Mortal Kombat 2 should replicate the worldwide box office of its predecessor.

Lionsgate will be pushing The Surfer worldwide.

Kangaroo should appeal to the same family audiences that Runt is capturing.

On the horror front, assuming the indie craze continues, we can look forward to We Bury the Dead, which Neon are handling in ROW; Beast of War, Dangerous Animals and the Philippou’s Talk to Me follow-up Bring Her Back in quarter 4.

Other titles likely to achieve some measure of international theatrical success include The Correspondent, Spit, The Way My Way, Jimpa and Overture.

It’s likely that the complete 2025 international spread will at least equal 2024. To meaningfully better it, we need two or three successful studio backed released titles in any given 12 month period.

Melbourne born Antony I. Ginnane has produced or executive produced 73 feature films, MOWs, 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.

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