by Antony I. Ginnane
This is the eighteenth year that I have tracked and presented an annual round up of the international theatrical performance of Australian fiction feature films. Here, I cover films released outside Australia (including in NZ) in the period from January 1 2025 through December 31 2025, 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, SVOD or 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 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.
Please note that while deeply researched, the data may not be 100% comprehensive particularly in the ultra-low budget space where some titles receive a blink and you’ve missed it theatrical release prior to a SVOD window, particularly in the USA.
In 2025, cinemas worldwide managed to reclaim to a degree their traditional primary spot in the film revenue waterfall with titles like Wicked – For Good, Jurassic World – Rebirth and A Minecraft Movie, but these tentpoles were still less frequent than pre-COVID. With the not-too-distant strikes forcing adjustments to the 2025/2026 release schedule and the impact of the Warner purchase, it may be 2026 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 almost all Australian films – continues to widen.
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.
It is also worth noting 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 2025, 19 Australian films received some level of international first release – down from a record 33 in 2020, with 10 additional 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 experiences flat or reduced total 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 that Australian producers are packaging, which are execution (as opposed to cast, producer or director) 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 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 with other titles and any talent box office bumps – all these metrics need to be factored in to try to project a net position. In addition, the extent to which a film is presold as part of the financing plan generally impacts the net. 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 alphabetically with the most successful and then the others in in alphabetical order:
The Top 6 titles of 2025:
Better Man
A textbook example of independent feature film funding, Better Man was represented internationally by Rocket Science and in the US by CAA, presold to significant territories, to key indies and to Paramount for the US, France and Japan.
Unfortunately, the film did not break out in any meaningful way in any territory. The best result was in the UK, as expected via Entertainment Film, where over 35 days, beginning on 329 screens, it grossed $7,846,673. Tobis in Germany only managed $1,571,780 over 21 days.
Paramount released in France on 80 screens over 28 days and grossed $2,144,844. Lucky Red in Italy released ahead of Australia pre-Christmas 2024 and pulled $603,924 over 21 days on 242 screens.
Roadshow held it in New Zealand over 98 days managing NZ $567,766 opening on 77 screens.
Diamond in Mexico hit $1,934,652 in 56 days. Paramount only managed to secure $1,861,000 on 605 screens over 28 days in the US, a disappointing result but not surprising giving the low awareness of Robbie Williams in that territory.
Overall worldwide box office total of $22,565,503.
The film secured premium distributors in all territories but simply did not work at the level anticipated.
Bring Her Back
Buoyed by the extraordinary success of Talk to Me in 2022, Sony and A24 expected Bring Her Back to surpass that film’s $92 million worldwide box office. It didn’t.
A24 in the US pulled $19,250,241 on a 2449 screen release over 35 days compared to $48,249,468 for Talk to Me.
Internationally, the UK, Spain and Mexico were the three strongest territories with $1,618,287. $1,453,896 and $1,409,549, respectively.
Italy through Eagle, Sony’s sub-distributor, grossed $1,098,090.00 on a 245 screen release over 35 days. France through Sony grossed $1,002,545 on 206 screens over 21 days.
Total worldwide gross of $39,410,222 was below Sony expectations.
Dangerous Animals
Another example of a film placed in the majority of key markets by its sales agent, Mr. Smith, with significant indie distributors that failed to break out in as many territories as anticipated. In the US, IFC launched on 1636 screens and over 42 days grossed $2,732,791.00 before moving it on to Shudder. Numbers are OK, but below expectations.
Volga in Russia lead international numbers with $1,983,022 over 35 days. Mexico through Sun, who also took Latin America in tandem with Diamond, grossed $762,919 on 59 screens over 21 days. Italy via Neon pulled $632,405.00 over 14 days on 234 screens. And The Jokers in France on 326 screens over 28 days grossed $1,271,714.00. Poland grossed $228,271.00 in 28 days.
But other major territories failed. Vertigo in the UK with 240 screens only managed $174,352 and Constantin in Germany on 211 screens only managed $179,980 in 2 weeks.
Smaller territories were average – Czech Republic through Vertical made $22,238 in 28 days on 34 screens. Turkey via BIR did $64,519 on 106 screens. Front Row in UAE made $185,344 over 42 days. Lusomondo in Portugal grossed $15,874 in seven days.
Kangaroo
Studio Canal’s European Machine propelled this family title into theatrical release in certain key foreign territories. Germany released just prior to a school holiday window via Studio Canal. The total gross over 28 days was $2,159,384. The box office suffered due to the release of a German language superhit, Manitoe’s Canoe, the latest iteration of a series returning from the ‘70s. which grossed $50M in 6 weeks plus for Constantin.
Nonetheless, its box office gross was (since 2010) the fourth highest grossing Australian film distributed by a non US Major and the 17th highest of all Australian titles released in that territory.
Other 2025 releases included Hungary through Pro Media for $100,715. Romania – Ro Image – for $122,160. Poland – Keno Swait – for $342,259. All good numbers. A disappointing $7,010 in UAE.
Studio Canal Australia pushed New Zealand to NZ $580,657 in 6 weeks. UK and France have not released theatrically as yet, nor has the USA.
So, an acceptable release to date, but with hopefully more to come.
The Surfer
This Nicolas Cage thriller – an Australia-Irish co-production should have performed better.
Globe in Russia achieved $287,292 on 25 screens over 28 days and in the UK, it grossed $175,971.
Forum in Hungary over 71 days on 21 screens took $22,152. In the US, Lionsgate released it via Roadside Attractions and hit $1,306,597.
Total worldwide gross was $2,107,931.
Together
Neon got the ball rolling on this body horror thriller with a sterling $21,169,945 off a 2302 screen release over 35 days.
Volga in Russia hit $1,983,922 in 35 days. The UK grossed $2,100,000. France was a disappointment for Metropolitan (who know how to release horror) taking only $522,520. Monolith in Poland secured a good $310,605 on 200 screens over 2 weeks. UAE hit $54,742. Vietnam grossed $311,345. The film went out in Colombia with $148,025. Mexico numbers are not available.
Total worldwide gross $32,273,100.
Definitely a successful outcome with significant VOD income to follow.
Other titles releasing for the first time internationally in 2025:
Beast of War
This period shark thriller with a twist has had limited international release since its August premiere in Australia. Dea Planeta in Spain launched on 151 screens grossing $186,472 in 14 days. Italia in the UAE grossed $83,092 over 28 days on 22 screens. Wellgo picked up the US but have yet to release theatrically. Other territories yet to release include Turkey through Tanweer, CIS through Capella, UK through Signature and Lusomondo in Portugal. Rialto grossed $3,009 in New Zealand.
Bluey at the Cinema
Family Tree, an amalgam of Bluey episodes, played over 14 days on 309 screens in the UK, grossing $541,047. Let’s Play Chef, another amalgam of Bluey episodes, grossed $698,501 in the UK and $98,251 in Italy. Amazing.
Carmen and Bolude
This Australian niche title went straight to TVOD in Canada, the UK and USA via Prime, Apple, YouTube and Hoopla following a few preview screenings.
Double Or Nothing
Crime thriller secured a 3 screen US theatrical release followed by TVOD Digital on Prime.
Fear Below (aka Crimson Shallows)
One more shark movie with a twist. Washa Kinom Russia secured $297,089 over 28 days. Phonecia in the UAE grossed $22,945 on 30 screens over 14 days. Italia in the Middle East $395,536, Dea Planeto in Spain $145,527, Portugal took $2,649 in one week. Signature UK, Program Store in France and Just Media in Benelux went direct to TVOD.
Lost Tiger
Animated family title grossed $69,083 in Russia in May, $8,970 in Iceland in July, and $12,004 in Bulgaria in September. All school vacation dates.
Lesbian Space Princesses
Gay themed festival favourite animation comedy grossed NZ $5,184 via Umbrella on 3 screens over 35 days. Renaissance Media in Canada went direct to TVOD.
My Melbourne
Mindblowing released in New Zealand grossing $314. Fiji and India figures not available.
Primitive War
Fathom Entertainment released this sci-fi action war title in the US for Well Go USA in August, grossing $1,005,022. UK grossed $22,206 before a TVOD fast release. UAE took $18,111.
Rialto released in New Zealand on 85 screens for 7 days, grossing $486. Canada released on 5 screens on September 19. Grosses were not reported.
The Banished
Horror film released in July, direct to streaming on Amazon and Apple worldwide following some previews.
The Correspondent
To date, Maslow have released in New Zealand grossing NZ $215,625 in 42 days.
The Moogai
Maslow released in New Zealand, grossing $1,624 in 2 weeks.
Samuel Goldwyn acquired US rights.
You’ll Never Find Me
Umbrella released in New Zealand for two weeks over 14 days, grossing $800.
IFC acquired UK rights for Shudder.
Titles first released internationally in 2024 or earlier:
Avarice
Released to streaming in Brazil.
Christmess
Trinity Releasing acquired for the UK and put straight to Sky Digital after a couple of previews.
Combat Wombat: Back to Back
This children’s animation finally hit Korea in April, grossing $85,204.00 over a two week holiday season run on 172 screens.
Memoir of a Snail
2025 releases for this Adam Elliot animation included Norway through Arthaus on 25 screens over 21 days grossing $43,292. A fantastic result in France through Wild Bunch on 176 screens in 21 days hit $547,721. In the UK, Modern Film took $82,382.
The most incredible result was Mexico through Cine Canibal over 63 days – an outstanding $5,493,017.
On the other hand, Spain through Alpha-Madfor on 47 screens over 7 days only grossed $25,597. Columbia grossed $77,236.
Turkey through Bustia Cinema on 6 screens over 77 days took $65,968.
Worldwide gross is now at $7,643,723.
My Freaky Family
2025 releases included Pro Film in Bulgaria on 52 screens over 35 days with $27,165. Portugal hit $21,371 over a 14 day run on 21 screens.
Sloth Lane (aka A Sloth Story)
2025 releases included Mexico in March over 7 days with $330,882. UK through Vertigo with a 1 week pre TVOD release of $48,030. Croatia in three weeks with $93,455 and Iceland with $51,930 over 6 weeks.
Sting
Spain grossed $117,580 in two weeks in March. Columbia took $19,771.00 over 2 weeks.
The New Boy
Vertical acquired US rights but have yet to release.
The Way My Way
Bill and Jennifer Bennett roadshowed their Camino saga in the US with Outsider Pictures on 47 screens in 50 cities over 53 days, including A to Z Films in Canada. In Germany with Happy Films in September and in Italy with N. Films.
Grosses were not reported.
Maslow reached NZ $468,947 over 210 days.
200% Wolf
In release since 2024, this popular family animated title continued its staggered release this year.
Turkey took $20,163. Mexico through Zima grossed an excellent $488,964 over a 74 day holiday run. Columbia grossed 115,746 over 2 weeks.
Total worldwide gross to date $5,043,625. A great result.
Summary:
A number of milestones achieved and some continued observations from 2024.
Key international sales agents can place genre based Australian titles with significant territorial distributors and this occurred in 2025 with Dangerous Animals, Better Man and Together. The films still have to perform, but they have a chance.
Australian horror, riding the worldwide tsunami in that genre, continued to perform and be pre-acquired. Neon’s $16M Sundance acquisition of Together was a highlight.
Australian family animation continues to work particularly in Eastern Europe, Russia, Mexico as does adult animation (Memoir of a Snail) generally in Europe, notably France and Spanish territories, particularly Mexico.
The release of Mortal Kombat 2, pushing back from 2025 to 2026, deprived us of a major breakthrough this year.
Looking ahead to 2026:
On paper it looks to be a promising year. We seem to have titles to appeal to most audience sectors.
Mortal Kombat 2 should be #1 in the action space, but other titles in that genre include Patrick Hughes’ War Machine, Sandra Scibberas’s 7 Snipers (already significantly pre sold), Killer Whale (which Lionsgate/Grindstone release in the US in January), Zombie Plane, Fear Below and Beast in Me.
In the specialty audience space, we will see Jimpa – also substantially pre sold, including to Icon in the UK and Kino Lorber in the US, The Travellers (Sony) and Prima Facie.
In the horror space, we will have We Bury the Dead through Vertical in the US on January 6, Penny Lane is Dead, “Saccharine” (Sundance 2026) and Leviticus, (Sundance 2026) and Ruby Ruby – pre sold to Blue Fox for USA.
On the family front we have Pout Pout Fish – animated, and Fing – live action.
And comedy The Deb.
I think the most balanced slate for the international and US audiences for many years.
Melbourne born Antony I. Ginnane has produced or executive produced 73 feature films, MOW’s, miniseries and TV series over 53 years including Patrick, High Tide, The Lighthorsemen, Screamers, Last Dance and – in partnership with Kris Wyld – the TV series Pulse for ABC-TV. Recently he produced Never Too Late starring James Cromwell and Jacki Weaver and The Girl at the Window starring Radha Mitchell. In 2025, he was executive producer on The Travellers directed by Bruce Beresford. The Unusual Suspects his first book was published by Currency Press in 2015. He was awarded a Life Achievement Award by SPA in 2025.
