The First Monday in May (2016)
| Theatrical Performance | ||
| Domestic Box Office | $527,474 | Details |
| International Box Office | $553,054 | Details |
| Worldwide Box Office | $1,080,528 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $211,448 | |
| Total | $211,448 | |
| OpusData ID: 254590100 More info... | ||
| Further financial details... | ||
Synopsis
The First Monday in May follows the creation of The Metropolitan Museum of Art’s most attended fashion exhibition in history, “China: Through The Looking Glass,” an exploration of Chinese-inspired Western fashions by Costume Institute curator Andrew Bolton.
Metrics
| Opening Weekend: | $99,242 (18.8% of total gross) |
| Legs: | 5.32 (domestic box office/biggest weekend) |
| Domestic Share: | 48.8% (domestic box office/worldwide) |
| Theater counts: | 20 opening theaters/45 max. theaters, 3.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $729,321 |
Movie Details
| Domestic Releases: | April 15th, 2016 (Limited) by Magnolia Pictures |
| International Releases: | May 13th, 2016 (Wide), released as The First Monday In May (Australia)
September 23rd, 2016 (Wide) (Russia (CIS)) September 30th, 2016 (Wide), released as First Monday in May, The (New Zealand) September 30th, 2016 (Wide), released as The First Monday In May (United Kingdom) ... Show all releases |
| Video Release: | August 2nd, 2016 by Magnolia Home Entertainment |
| MPA Rating: | PG-13 for brief strong language. (Rating bulletin 2415 (Cert #50317), 3/9/2016) |
| Running Time: | 91 minutes |
| Geographical setting: | New York |
| Plot point: | Artists, Fashion, Museum |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | Magnolia Pictures, Planned Projects, Conde Nast, Relativity Media, Mediaweaver Entertainment, Sarah Arison Productions, Fabiola Beracasa Beckman |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Apr 15, 2016 | 27 | $99,242 | 20 | $4,962 | $99,242 | 1 | |
| Apr 22, 2016 | 32 | $81,032 | -18% | 41 | $1,976 | $237,183 | 2 |
| Apr 29, 2016 | 35 | $73,184 | -10% | 43 | $1,702 | $372,498 | 3 |
| May 6, 2016 | 39 | $41,874 | -43% | 29 | $1,444 | $462,036 | 4 |
| May 13, 2016 | 52 | $15,743 | -62% | 21 | $750 | $504,532 | 5 |
| May 20, 2016 | 86 | $1,843 | -88% | 6 | $307 | $516,597 | 6 |
| May 27, 2016 | 69 | $2,725 | +48% | 4 | $681 | $520,167 | 7 |
| Jun 3, 2016 | 70 | $2,727 | n/c | 6 | $455 | $523,573 | 8 |
| Jun 10, 2016 | 87 | $1,006 | -63% | 1 | $1,006 | $527,258 | 9 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Apr 15, 2016 | 27 | $156,151 | 20 | $7,808 | $156,151 | 1 | |
| Apr 22, 2016 | 31 | $143,163 | -8% | 41 | $3,492 | $299,314 | 2 |
| Apr 29, 2016 | 35 | $120,848 | -16% | 45 | $2,686 | $420,162 | 3 |
| May 6, 2016 | 41 | $68,627 | -43% | 30 | $2,288 | $488,789 | 4 |
| May 13, 2016 | 52 | $25,965 | -62% | 22 | $1,180 | $514,754 | 5 |
| May 20, 2016 | 90 | $2,688 | -90% | 6 | $448 | $517,442 | 6 |
| May 27, 2016 | 79 | $3,404 | +27% | 3 | $1,135 | $520,846 | 7 |
| Jun 3, 2016 | 70 | $5,406 | +59% | 7 | $772 | $526,252 | 8 |
| Jun 10, 2016 | 98 | $1,222 | -77% | 1 | $1,222 | $527,474 | 9 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 5/13/2016 | $62,221 | 20 | 20 | 107 | $294,426 | 7/25/2016 | |||
| New Zealand | 9/30/2016 | $22,545 | 23 | 23 | 119 | $125,556 | 11/21/2016 | |||
| Russia (CIS) | 9/23/2016 | $1,452 | 18 | 18 | 32 | $7,589 | 11/14/2018 | |||
| United Kingdom | 9/30/2016 | $41,304 | 15 | 15 | 15 | $97,817 | 9/8/2018 | |||
| Rest of World | $27,666 | |||||||||
| International Total | $553,054 | 11/14/2018 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Interviewee
| Andrew Bolton | Himself | |
| Anna Wintour | Herself | |
| Kar-wai Wong (王家卫) | Himself | |
| Baz Luhrmann | Himself | |
| Rihanna | Herself | |
| Karl Lagerfeld | Himself | |
| Jean-Paul Gaultier | Himself | |
| John Galliano | Himself | |
| Andre Leon Tally | Himself | |
| Harold Koda | Himself |
Production and Technical Credits
| Andrew Rossi | Director | |
| Fabiola Beracasa Beckman* | Producer | |
| Sylvana Ward Durrett | Producer | |
| Dawn Ostroff | Producer | |
| Matthew Weaver | Producer | |
| Skot Bright | Producer | |
| Sarah Arison | Executive Producer | |
| Nancy Chilton | Executive Producer | |
| Jason Beckman | Executive Producer | |
| Ryan Kavanaugh | Executive Producer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.
Synopsis
The First Monday in May follows the creation of The Metropolitan Museum of Art’s most attended fashion exhibition in history, “China: Through The Looking Glass,” an exploration of Chinese-inspired Western fashions by Costume Institute curator Andrew Bolton.
Metrics
| Opening Weekend: | $99,242 (18.8% of total gross) |
| Legs: | 5.32 (domestic box office/biggest weekend) |
| Domestic Share: | 48.8% (domestic box office/worldwide) |
| Theater counts: | 20 opening theaters/45 max. theaters, 3.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $729,321 |
Movie Details
| Domestic Releases: | April 15th, 2016 (Limited) by Magnolia Pictures |
| International Releases: | May 13th, 2016 (Wide), released as The First Monday In May (Australia)
September 23rd, 2016 (Wide) (Russia (CIS)) September 30th, 2016 (Wide), released as First Monday in May, The (New Zealand) September 30th, 2016 (Wide), released as The First Monday In May (United Kingdom) ... Show all releases |
| Video Release: | August 2nd, 2016 by Magnolia Home Entertainment |
| MPA Rating: | PG-13 for brief strong language. (Rating bulletin 2415 (Cert #50317), 3/9/2016) |
| Running Time: | 91 minutes |
| Geographical setting: | New York |
| Plot point: | Artists, Fashion, Museum |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | Magnolia Pictures, Planned Projects, Conde Nast, Relativity Media, Mediaweaver Entertainment, Sarah Arison Productions, Fabiola Beracasa Beckman |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Apr 15, 2016 | 27 | $99,242 | 20 | $4,962 | $99,242 | 1 | |
| Apr 22, 2016 | 32 | $81,032 | -18% | 41 | $1,976 | $237,183 | 2 |
| Apr 29, 2016 | 35 | $73,184 | -10% | 43 | $1,702 | $372,498 | 3 |
| May 6, 2016 | 39 | $41,874 | -43% | 29 | $1,444 | $462,036 | 4 |
| May 13, 2016 | 52 | $15,743 | -62% | 21 | $750 | $504,532 | 5 |
| May 20, 2016 | 86 | $1,843 | -88% | 6 | $307 | $516,597 | 6 |
| May 27, 2016 | 69 | $2,725 | +48% | 4 | $681 | $520,167 | 7 |
| Jun 3, 2016 | 70 | $2,727 | n/c | 6 | $455 | $523,573 | 8 |
| Jun 10, 2016 | 87 | $1,006 | -63% | 1 | $1,006 | $527,258 | 9 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Apr 15, 2016 | 27 | $156,151 | 20 | $7,808 | $156,151 | 1 | |
| Apr 22, 2016 | 31 | $143,163 | -8% | 41 | $3,492 | $299,314 | 2 |
| Apr 29, 2016 | 35 | $120,848 | -16% | 45 | $2,686 | $420,162 | 3 |
| May 6, 2016 | 41 | $68,627 | -43% | 30 | $2,288 | $488,789 | 4 |
| May 13, 2016 | 52 | $25,965 | -62% | 22 | $1,180 | $514,754 | 5 |
| May 20, 2016 | 90 | $2,688 | -90% | 6 | $448 | $517,442 | 6 |
| May 27, 2016 | 79 | $3,404 | +27% | 3 | $1,135 | $520,846 | 7 |
| Jun 3, 2016 | 70 | $5,406 | +59% | 7 | $772 | $526,252 | 8 |
| Jun 10, 2016 | 98 | $1,222 | -77% | 1 | $1,222 | $527,474 | 9 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 5/13/2016 | $62,221 | 20 | 20 | 107 | $294,426 | 7/25/2016 | |||
| New Zealand | 9/30/2016 | $22,545 | 23 | 23 | 119 | $125,556 | 11/21/2016 | |||
| Russia (CIS) | 9/23/2016 | $1,452 | 18 | 18 | 32 | $7,589 | 11/14/2018 | |||
| United Kingdom | 9/30/2016 | $41,304 | 15 | 15 | 15 | $97,817 | 9/8/2018 | |||
| Rest of World | $27,666 | |||||||||
| International Total | $553,054 | 11/14/2018 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Interviewee
| Andrew Bolton | Himself | |
| Anna Wintour | Herself | |
| Kar-wai Wong (王家卫) | Himself | |
| Baz Luhrmann | Himself | |
| Rihanna | Herself | |
| Karl Lagerfeld | Himself | |
| Jean-Paul Gaultier | Himself | |
| John Galliano | Himself | |
| Andre Leon Tally | Himself | |
| Harold Koda | Himself |
Production and Technical Credits
| Andrew Rossi | Director | |
| Fabiola Beracasa Beckman* | Producer | |
| Sylvana Ward Durrett | Producer | |
| Dawn Ostroff | Producer | |
| Matthew Weaver | Producer | |
| Skot Bright | Producer | |
| Sarah Arison | Executive Producer | |
| Nancy Chilton | Executive Producer | |
| Jason Beckman | Executive Producer | |
| Ryan Kavanaugh | Executive Producer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.