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Focus Features expanded Asteroid City to the highest grossing weekend for a Wes Anderson Film with a projected three-day estimate of $9 million from 1,675 theaters – no. 6 at the domestic box office — pushing the film’s cume to $10.2 million. It opened last weekend in six locations.

In a super weekend for specialty, Saltburn had a lofty open on seven screens and The Holdovers a nice $2.7 million in a major week-three expansion that put it at no. 6 at the domestic box office. Actors are once again out promoting their films and indie/original fare continues to benefit from fewer studio releases in the aftermath of the SAG-AFTRA strike.

Alexander Payne’s The Holdovers from Focus Features pulled in an estimated $200k on six screens in New York and LA for a per-screen average of $33.3k, a good limited opening on an upbeat specialty weekend that also saw A24’s Priscilla by Sofia Coppola off to a fine start.

Matt Donnelly Senior Film Writer In a display of pink visible from outer space, Greta Gerwig’s  “Barbie” held its lush world premiere on Sunday in Los Angeles. The Shrine Auditorum, located smack in the middle of the USC campus, was hosed down in colors of blush and bashful for the anticipated Warner Bros. release (as in, the security guards wore pink polo shirts), which drew the film’s stars Margot Robbie and Ryan Gosling.  One notable absence was Noah Baumbach, the film’s co-writer and Gerwig’s partner. “My co-writer and co-creator, my partner in love and art, Noah Baumbach is not here. He is passionately supporting the fight of the Writers Guild of America,” Gerwig said. “He is a Barbie girl. Nothing in ‘Barbie’ happened without him, and nothing in Hollywood happens without writers.”

For the past few years, Universal has focused its CinemaCon presentation showing off both the sheer size of its slate and the wide variety of films it has on offer. 2023 was no different.

Universal’s Focus Features offered theater owners a first look at Alexander Payne’s New England prep school comedy The Holdovers, Ethan Coen’s Drive-Away Dolls and the last installment of My Big Fat Greek Wedding 3, giving some love, naturally, to Wes Anderson’s Asteroid City, set to bow in Cannes.

Focus Features’ Sundance Grand Jury Prize winner A Thousand And One opened to a solid $1.8 million at 926 theaters — $1,942 per theater average — supported by a 96% Rotten Tomatoes critics’ score and a B+ CinemaScore. It came no. 7 at the domestic box office, a strong showing for a complex, gritty film in a slow-to-recover specialty market.

EO, the Sideshow/Janus films release told from the point of view of a donkey, is set to pass the $1 million mark in week 14. The Cannes-premiering film by Jerzy Skolimowski, Academy Award nominated for Best International Feature, will gross an estimated $27.6k for the four-day President’s weekend on 37 screens for a cume of just over $1M.

Focus Features’ Spoiler Alert opened on six screens (in NY, LA, San Francisco) to an estimated $85k, or $14k per theater, in a crowded arthouse market. Strong exit polls and word of mouth – 94% in the top two boxes – could help built out this movie, which will likely be more audience-focused than awards-buzz driven.

Rebecca Rubin Film and Media Reporter After two years of upheaval and unfamiliarity at the box office, there’s something refreshingly familiar about the theatrical release of “Tár.” The acclaimed movie, directed by Todd Fields and starring Cate Blanchett as a world-famous conductor embroiled in a controversy of her own making, generated a stellar $160,000 from four theaters (two in New York City and two in Los Angeles) over the weekend, averaging a mighty $40,000 per location. Next weekend, it’s expanding its theater count (ever so slightly), to 30 new venues in 10 domestic markets. That kind of steady and deliberately paced rollout, one that relies almost entirely on positive word-of-mouth, is about as traditional as it gets for an arthouse film. Yet for most of the pandemic, it was rendered obsolete.

Focus Features’Tár opened in limited release to strong results with $160,000 at four locations in New York and Los Angles for a $40,000 per theater average, one of the best PTAs since Covid and not bad for a 2-hour and 38-minute arthouse film pre-pandemic.

Mrs. Harris Goes To Paris grossed $1.35 million in week two with a mix of arthouse and commercial theaters among top ten locations and a nice hold from opening weekend (-31%). Cume to date is $4.65 million for the film starring Leslie Manville as a British housekeeper who dreams of owning a Christian Dior gown. It was no. 10 in North America in 1,001 theaters.

Focus Features’ Mrs. Harris Goes To Paris will hit an estimated $1.9 million weekend gross at 980 theaters drawing women with those 55 years of age and older repping 44% of the total. Turnout was best on the coasts for the drama starring Leslie Manville and Isabelle Huppert.

IFC Films opened Official Competition starring Penélope Cruz, Antonio Banderas and Oscar Martínez at four theaters in NYC and LA for an estimated three-day gross of $34,000 and per-theater-averages of $8,500 for the comedy directed by Mariano Cohn and Gastón Duprat following it U.S. premiere at the Tribeca Festival last week.

Highly anticipated Downton Abbey: A New Era made $1.050 million in Thursday previews that began at 7 p.m. at more than 3,800 theaters. It is Focus Features’ widest ever U.S. release and one that comes with a weight of responsibility as the film to finally catapult older demos back into theaters. Focus Features distribution chief Lisa Bunnell recently promised cinema owners it would. “We have our own superheroes,” she said at CinemaCon.

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.

“We have our own superheroes here at Focus Feature and they are going to bring older filmgoers back to your movie theaters,” Lisa Bunnell, Focus Features distribution chief, promised thousands of cinema execs at the Universal presentation today.

The heroine of Goran Stolevski’s You Won’t Be Alone is a witch, with echoes of vampire and zombie, yes, but mostly with a haunting desire for human connection in 19th century rural Macedonia.

This is one of the best weekends for new indie releases in some time — a bit of space in theaters to run and audiences slowly, but increasingly, willing to return.

Films from Belfast to Drive My Car, from The Worst Person In The World to Nightmare Alley saw ticket sales pop after Academy Award nominations and as distributors kick into high gear for this weekend and beyond, juggling theater counts and ramped up media campaigns that now have a shiny new imprimatur.