Domestic Total: 50.46K
Opening Weekend: 50.46K
Legs: 1.00
Overview: Yusuke Kafuku, a stage actor and director, still unable, after two years, to cope with the loss of his beloved wife, accepts to direct Uncle Vanya at a theater festival in Hiroshima. There he meets Misaki, an introverted young woman, appointed to drive his car. In between rides, secrets from the past and heartfelt confessions will be unveiled.
| Date | Revenue | % YD | Theaters |
|---|---|---|---|
| Fri, Feb 11, 2022 | $50,457 | + 0.00% | 127 |
| Name | Character |
|---|---|
| Hidetoshi Nishijima | Yūsuke Kafuku |
| Toko Miura | Misaki Watari |
| Masaki Okada | Kōshi Takatsuki |
| Reika Kirishima | Oto Kafuku |
| Park Yu-rim | Lee Yoo-na |
| Jin Dae-yeon | Gong Yoon-su |
| Sonia Yuan | Janice Chang |
| Ahn Hwi-tae | Ryu Jong-ui |
| Perry Dizon | Roy Rossello |
| Satoko Abe | Yuzuhara |
| Hiroko Matsuda | Yumi Etô |
| Toshiaki Inomata | Takashi Kimura |
| Takako Yamamura | Kaoru Komagata |
| Ryo Iwase | N/A |
| Faisal Anwar | N/A |
| Kamal Zharif | N/A |
| Massimo Biondi | N/A |
| Shoichiro Tanigawa | N/A |
| Yoshinori Miyata | N/A |
| Keiko Nishi | N/A |
| Saki Suzuki | N/A |
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 |
|---|---|---|
| The Wandering Earth | Feb 5, 2019 | $48M |
| On the Beach at Night Alone | Mar 23, 2017 | $0 |
| Disobedience | Apr 24, 2018 | $6M |
| Undine | Jul 1, 2020 | $0 |
| Mr. Holmes | Jun 19, 2015 | $11M |
| T2 Trainspotting | Jan 27, 2017 | $18M |
| The Farewell | Jul 12, 2019 | $250K |
| The Danish Girl | Nov 27, 2015 | $15M |
Week 1: $50.46K
Week 2: $0.00
Investor Share: $0.00
Week 3+: $0.00
Investor Share: $0.00
$12.99M (99.61%)
Investor Share: $4.55M
Budget: $1M
P&A: $1M
Gross: $13.04M
Net: $4.58M
Costs: $2.6M
Profit: $1.98M
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.