The Lovers And The Despot (2016)
| Theatrical Performance | ||
| Domestic Box Office | $55,511 | Details |
| International Box Office | $51,115 | Details |
| Worldwide Box Office | $106,626 | |
| OpusData ID: 259320100 More info... | ||
| Further financial details... | ||
Synopsis
Tells the story of young, ambitious South Korean filmmaker Shin Sang-ok and actress Choi Eun-hee, who met and fell in love in 1950s post-war Korea. In the 70s, after reaching the top of Korean society following a string of successful films, Choi was kidnapped in Hong Kong by North Korean agents and taken to meet Kim Jong-il. While searching for Choi, Shin also was kidnapped, and following five years of imprisonment, the couple was reunited by the movie-obsessed Kim, who declared them his personal filmmakers. Choi and Shin planned their escape, but not before producing 17 feature films for the dictator and gaining his trust in the process.
Metrics
| Opening Weekend: | $14,925 (26.9% of total gross) |
| Legs: | 3.72 (domestic box office/biggest weekend) |
| Domestic Share: | 52.1% (domestic box office/worldwide) |
| Theater counts: | 8 opening theaters/13 max. theaters, 2.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $76,747 |
Movie Details
| Domestic Releases: | September 23rd, 2016 (Limited) by Magnolia Pictures |
| International Releases: | September 8th, 2016 (Wide), released as The Lovers and the Despot (South Korea)
September 23rd, 2016 (Wide), released as The Lovers and the Despot (United Kingdom) |
| Video Release: | September 23rd, 2016 by Magnolia Home Entertainment |
| MPA Rating: | Not Rated |
| Running Time: | 95 minutes |
| Geographical setting: | North Korea, South Korea |
| Plot point: | Escape, Film Actor, Government Corruption, Kidnap, Movie Director |
| Release detail: | Early / Simultaneous Video-on-Demand release |
| Time period setting: | 1960s, 1970s |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | BFI, Creative England, BBC Storyville, The Documentary Company, Influence Films, ZDF/ARTE, SVT, Sundance Institute Documentary Film Program, NTR , Pumpernickel Films, Submarine Entertainment, Hellflower Film, Tigerlily Films, Tribeca Documentary Fund, Media Programme of the European Union |
| Production Countries: | United Kingdom |
| Languages: | English, Korean, Japanese |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 23, 2016 | 60 | $14,925 | 8 | $1,866 | $14,925 | 1 | |
| Sep 30, 2016 | 58 | $14,495 | -3% | 13 | $1,115 | $37,102 | 2 |
| Oct 7, 2016 | 86 | $3,444 | -76% | 5 | $689 | $48,071 | 3 |
| Oct 14, 2016 | 97 | $1,720 | -50% | 5 | $344 | $51,348 | 4 |
| Oct 21, 2016 | 106 | $1,010 | -41% | 2 | $505 | $53,442 | 5 |
| Oct 28, 2016 | 99 | $1,001 | -1% | 3 | $334 | $55,180 | 6 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 23, 2016 | 60 | $22,607 | 10 | $2,261 | $22,607 | 1 | |
| Sep 30, 2016 | 62 | $22,020 | -3% | 13 | $1,694 | $44,627 | 2 |
| Oct 7, 2016 | 89 | $5,001 | -77% | 5 | $1,000 | $49,628 | 3 |
| Oct 14, 2016 | 103 | $2,804 | -44% | 5 | $561 | $52,432 | 4 |
| Oct 21, 2016 | 109 | $1,747 | -38% | 2 | $874 | $54,179 | 5 |
| Oct 28, 2016 | 106 | $1,332 | -24% | 3 | $444 | $55,511 | 6 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| South Korea | 9/8/2016 | $0 | 0 | 76 | 89 | $38,708 | 10/27/2016 | |||
| United Kingdom | 9/23/2016 | $7,198 | 6 | 6 | 11 | $12,014 | 10/12/2016 | |||
| Rest of World | $393 | |||||||||
| International Total | $51,115 | 10/27/2016 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Production and Technical Credits
| Robert Cannan | Director | |
| Adam Ross | Director | |
| Robert Cannan | Producer | |
| Adam Ross | Producer | |
| Jim Hession | Screenwriter | |
| Adam Ross | Screenwriter | |
| Robert Cannan | Screenwriter | |
| Natasha Ojumu | Producer | |
| Nathan Halpern | Composer | |
| Jim Hession | Editor | |
| Lizzie Francke | Executive Producer | |
| Richard Holmes | Executive Producer | |
| Nick Fraser | Executive Producer | |
| Kate Townsend | Executive Producer | |
| Sheryl Crown | Executive Producer | |
| Maggie Monteith | Executive Producer | |
| Victoria Steventon | Executive Producer | |
| Cristina Ljungberg | Executive Producer | |
| Sandra Whipham | Executive Producer | |
| Alastair Sirkett | Sound Designer | |
| Abigail Harding | Archival Producer | |
| Victoria Chalk | Co-Editor | |
| Charlie Hawryliw | Additional Editor | |
| Ollie Huddleston | Additional Editor | |
| David Charap | Additional Editor | |
| Amine Ramer | Music Supervisor | |
| Connie Farr | Music Supervisor |
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
Tells the story of young, ambitious South Korean filmmaker Shin Sang-ok and actress Choi Eun-hee, who met and fell in love in 1950s post-war Korea. In the 70s, after reaching the top of Korean society following a string of successful films, Choi was kidnapped in Hong Kong by North Korean agents and taken to meet Kim Jong-il. While searching for Choi, Shin also was kidnapped, and following five years of imprisonment, the couple was reunited by the movie-obsessed Kim, who declared them his personal filmmakers. Choi and Shin planned their escape, but not before producing 17 feature films for the dictator and gaining his trust in the process.
Metrics
| Opening Weekend: | $14,925 (26.9% of total gross) |
| Legs: | 3.72 (domestic box office/biggest weekend) |
| Domestic Share: | 52.1% (domestic box office/worldwide) |
| Theater counts: | 8 opening theaters/13 max. theaters, 2.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $76,747 |
Movie Details
| Domestic Releases: | September 23rd, 2016 (Limited) by Magnolia Pictures |
| International Releases: | September 8th, 2016 (Wide), released as The Lovers and the Despot (South Korea)
September 23rd, 2016 (Wide), released as The Lovers and the Despot (United Kingdom) |
| Video Release: | September 23rd, 2016 by Magnolia Home Entertainment |
| MPA Rating: | Not Rated |
| Running Time: | 95 minutes |
| Geographical setting: | North Korea, South Korea |
| Plot point: | Escape, Film Actor, Government Corruption, Kidnap, Movie Director |
| Release detail: | Early / Simultaneous Video-on-Demand release |
| Time period setting: | 1960s, 1970s |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | BFI, Creative England, BBC Storyville, The Documentary Company, Influence Films, ZDF/ARTE, SVT, Sundance Institute Documentary Film Program, NTR , Pumpernickel Films, Submarine Entertainment, Hellflower Film, Tigerlily Films, Tribeca Documentary Fund, Media Programme of the European Union |
| Production Countries: | United Kingdom |
| Languages: | English, Korean, Japanese |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 23, 2016 | 60 | $14,925 | 8 | $1,866 | $14,925 | 1 | |
| Sep 30, 2016 | 58 | $14,495 | -3% | 13 | $1,115 | $37,102 | 2 |
| Oct 7, 2016 | 86 | $3,444 | -76% | 5 | $689 | $48,071 | 3 |
| Oct 14, 2016 | 97 | $1,720 | -50% | 5 | $344 | $51,348 | 4 |
| Oct 21, 2016 | 106 | $1,010 | -41% | 2 | $505 | $53,442 | 5 |
| Oct 28, 2016 | 99 | $1,001 | -1% | 3 | $334 | $55,180 | 6 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 23, 2016 | 60 | $22,607 | 10 | $2,261 | $22,607 | 1 | |
| Sep 30, 2016 | 62 | $22,020 | -3% | 13 | $1,694 | $44,627 | 2 |
| Oct 7, 2016 | 89 | $5,001 | -77% | 5 | $1,000 | $49,628 | 3 |
| Oct 14, 2016 | 103 | $2,804 | -44% | 5 | $561 | $52,432 | 4 |
| Oct 21, 2016 | 109 | $1,747 | -38% | 2 | $874 | $54,179 | 5 |
| Oct 28, 2016 | 106 | $1,332 | -24% | 3 | $444 | $55,511 | 6 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| South Korea | 9/8/2016 | $0 | 0 | 76 | 89 | $38,708 | 10/27/2016 | |||
| United Kingdom | 9/23/2016 | $7,198 | 6 | 6 | 11 | $12,014 | 10/12/2016 | |||
| Rest of World | $393 | |||||||||
| International Total | $51,115 | 10/27/2016 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Production and Technical Credits
| Robert Cannan | Director | |
| Adam Ross | Director | |
| Robert Cannan | Producer | |
| Adam Ross | Producer | |
| Jim Hession | Screenwriter | |
| Adam Ross | Screenwriter | |
| Robert Cannan | Screenwriter | |
| Natasha Ojumu | Producer | |
| Nathan Halpern | Composer | |
| Jim Hession | Editor | |
| Lizzie Francke | Executive Producer | |
| Richard Holmes | Executive Producer | |
| Nick Fraser | Executive Producer | |
| Kate Townsend | Executive Producer | |
| Sheryl Crown | Executive Producer | |
| Maggie Monteith | Executive Producer | |
| Victoria Steventon | Executive Producer | |
| Cristina Ljungberg | Executive Producer | |
| Sandra Whipham | Executive Producer | |
| Alastair Sirkett | Sound Designer | |
| Abigail Harding | Archival Producer | |
| Victoria Chalk | Co-Editor | |
| Charlie Hawryliw | Additional Editor | |
| Ollie Huddleston | Additional Editor | |
| David Charap | Additional Editor | |
| Amine Ramer | Music Supervisor | |
| Connie Farr | Music Supervisor |
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.