It doesn’t matter how many catastrophic studies are published, how many platforms join the increasingly saturated streaming market or how many undesirables plant their buttocks in the stalls to make a projection hell; the so-called “cinematic experience” refuses to dieand the case of ‘Stabs in the back: The Mystery of the Glass Onion’ is unequivocal proof of this.
tax collection mysteries
A month before its premiere on Netflix, scheduled for December 23, the sequel to Rian Johnson’s brilliant whodunnit has enjoyed a limited release in theaters that has been translated at an estimated box office at an estimated $13.2 million Harvested on US soil. A really surprising figure if we take into account the circumstances surrounding the launch.
To begin with, it should be noted that the Top 5 with the most viewed of the Thanksgiving bridge has been made up of ‘Black Panther: Wakanda Forever’ —45.9 million—, “Strange World” —11.9 million—, “Glass Onion” —13.2 million counting the extra day for the early release—, “Devotion ‘ —5.9 million— and ‘The Menu’ —5.2 million—.
These data may not say much on their own, but things change when we realize that the new mystery of Benoit Blanc was shown only on 696 screenswhile the distribution of its competitors ranged from 4,258 of ‘Wakanda Forever’ and the 3,228 from ‘The Menu’. A substantial difference that invites you to think about what the new ‘Daggers in the back’ would have achieved on equal terms.
Thus, the Netflix title has risen as the main option for the adult audience in the United Statessurpassing not only the aforementioned ‘Devotion’ and ‘The Menu’, but also two great claims such as Steven Spielberg’s ‘The Fabelmans’ and the cannibalistic romance ‘Bones and All’ that has brought together the media duo made up of Luca Guadagnino and Timothée Chalamet after ‘Call Me by Your Name’.
But how did the miracle happen? Beyond what is related to the quality of the product —which, of course, is extraordinary— and with a truly luxurious cast that sells the feature film on its own, Deadline sources point to an agreement between the platform and exhibitors according to which only he would have charged 40% of the rental rates – the large studios usually range between 60% and 70% -; a higher profit margin that has allowed them smoothing over the networks and kickstarting a truly successful limited release.
In Spain, ‘The Mystery of the Glass Onion’ has been screened on just over 50 screens; figure not at all enough to be able to sneak into the Top 10 with the most viewed of the weekend despite its anticipated premiere on Wednesday. In the absence of specific figures, ‘Strange world’ has crowned the box office, followed by ‘Wakanda Forever’, ‘As bestas’, ‘The fourth passenger’ and ‘Uncountable stories’. We don’t deserve to have nice things.