Domestic Total: 7.92K
Opening Weekend: 7.92K
Legs: 1.00
Overview: Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run.
| Date | Revenue | % YD | Theaters |
|---|---|---|---|
| Fri, Dec 18, 2015 | $2,346 | + 0.00% | 1 |
| Sat, Dec 19, 2015 | $2,816 | + 20.03% | 1 |
| Sun, Dec 20, 2015 | $2,760 | -1.99% | 1 |
| Name | Character |
|---|---|
| Jean-Paul Belmondo | Ferdinand Griffon, 'Pierrot' |
| Anna Karina | Marianne Renoir |
| Graziella Galvani | Maria, Ferdinand's Wife |
| Aicha Abadir | Aicha Abadir (uncredited) |
| Henri Attal | Le Premier Pompiste (uncredited) |
| Pascal Aubier | Le Deuxième Frère (uncredited) |
| Maurice Auzel | Le Troisième Pompiste (uncredited) |
| Raymond Devos | L'Homme du Port (uncredited) |
| Roger Dutoit | The Gangster (uncredited) |
| Samuel Fuller | Samuel Fuller (uncredited) |
| Pierre Hanin | Le Troisième Frère (uncredited) |
| Jimmy Karoubi | Le Nain (uncredited) |
| Jean-Pierre Léaud | Young Man in Cinema (uncredited) |
| Hans Meyer | Gangster (uncredited) |
| Krista Nell | Madame Staquet (uncredited) |
| Dirk Sanders | Fred (uncredited) |
| Georges Staquet | Frank (uncredited) |
| László Szabó | L'Exilé Politique (uncredited) |
| Dominique Zardi | Le Deuxième Pompiste (uncredited) |
Comps are similar or comparison movies that are used for analysis and marketing purposes. The way they are found is described in more detail in the paper. Comps always have release dates before the movie they are compared to.
| Title | Release Date | Budget |
|---|
Week 1: $7.92K
Week 2: $0.00
Investor Share: $0.00
Week 3+: $0.00
Investor Share: $0.00
$7.43K (48.40%)
Investor Share: $2.6K
Budget: $300K
P&A: $300K
Gross: $15.35K
Net: $7.35K
Costs: $600K
Profit: $-592.65K (Loss)
The profitability breakdown is based on Dan Murrell's YouTube videos (Dan Murrell is not affiliated with Reel Numbers). The breakdown only includes the theatrical release and does not account for any post-theatrical revenue streams such as streaming, home video, or merchandise sales. Additionally, the breakdown does not include any tax incentives, sponsorships, or product placement that may have occurred during production.