Manbiki kazoku (2018)
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| Theatrical Performance | ||
| Domestic Box Office | $3,313,513 | Details |
| International Box Office | $69,312,161 | Details |
| Worldwide Box Office | $72,625,674 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $305,372 | |
| Total | $305,372 | |
| OpusData ID: 338900100 More info... | ||
| Further financial details... | ||
Synopsis
On the margins of Tokyo, a dysfunctional band of outsiders are united by fierce loyalty, a penchant for petty theft and playful grifting. When the young son is arrested, secrets are exposed that upend their tenuous, below-the-radar existence and test their quietly radical belief that it is love—not blood—that defines a family.
Metrics
| Opening Weekend: | $89,264 (2.7% of total gross) |
| Legs: | 13.04 (domestic box office/biggest weekend) |
| Domestic Share: | 4.6% (domestic box office/worldwide) |
| Theater counts: | 5 opening theaters/144 max. theaters, 7.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $4,334,986 |
Movie Details
| Domestic Releases: | November 23rd, 2018 (Limited) by Magnolia Pictures, released as Shoplifters |
| International Releases: | June 8th, 2018 (Wide) (Japan)
June 29th, 2018 (Wide) (Hong Kong) July 26th, 2018 (Wide), released as SHOPLIFTERS (South Korea) August 1st, 2018 (Wide), released as Shoplifters (China) September 13th, 2018 (Wide), released as Un affare di famiglia (Italy) ... Show all releases |
| Video Release: | February 12th, 2019 by Magnolia Home Entertainment, released as Shoplifters |
| MPA Rating: | R for some sexual content and nudity. (Rating bulletin 2547 (Cert #51842), 10/3/2018) |
| Running Time: | 121 minutes |
| Geographical setting: | Japan, Tokyo |
| Plot point: | Abandoned Child, Autumn Years, Child Abuse, Homeless, Poverty, Unexpected Families |
| Subgenre: | Family Drama |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Fuji Television Network, GAGA Corporation, AOI Pro Inc |
| Production Countries: | Japan |
| Languages: | Japanese |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 23, 2018 | 32 | $89,264 | 5 | $17,853 | $89,264 | 1 | |
| Nov 30, 2018 | 29 | $97,588 | +9% | 14 | $6,971 | $229,848 | 2 |
| Dec 7, 2018 | 31 | $107,267 | +10% | 36 | $2,980 | $393,600 | 3 |
| Dec 14, 2018 | 29 | $113,386 | +6% | 43 | $2,637 | $565,118 | 4 |
| Dec 21, 2018 | 22 | $163,788 | +44% | 54 | $3,033 | $795,064 | 5 |
| Dec 28, 2018 | 25 | $210,881 | +29% | 59 | $3,574 | $1,202,486 | 6 |
| Jan 4, 2019 | 25 | $254,034 | +20% | 80 | $3,175 | $1,646,805 | 7 |
| Jan 11, 2019 | 30 | $184,542 | -27% | 91 | $2,028 | $1,947,987 | 8 |
| Jan 18, 2019 | 30 | $169,457 | -8% | 115 | $1,474 | $2,213,794 | 9 |
| Jan 25, 2019 | 26 | $193,100 | +14% | 138 | $1,399 | $2,519,923 | 10 |
| Feb 1, 2019 | 31 | $160,978 | -17% | 139 | $1,158 | $2,780,511 | 11 |
| Feb 8, 2019 | 36 | $91,292 | -43% | 78 | $1,170 | $2,960,827 | 12 |
| Feb 15, 2019 | 41 | $66,677 | -27% | 66 | $1,010 | $3,076,868 | 13 |
| Feb 22, 2019 | 47 | $39,667 | -41% | 42 | $944 | $3,159,707 | 14 |
| Mar 1, 2019 | 55 | $19,666 | -50% | 22 | $894 | $3,201,088 | 15 |
| Mar 8, 2019 | 56 | $17,985 | -9% | 20 | $899 | $3,232,809 | 16 |
| Mar 15, 2019 | 69 | $9,066 | -50% | 9 | $1,007 | $3,254,846 | 17 |
| Mar 22, 2019 | 68 | $6,687 | -26% | 6 | $1,115 | $3,270,902 | 18 |
| Mar 29, 2019 | 71 | $3,476 | -48% | 3 | $1,159 | $3,280,523 | 19 |
| Apr 5, 2019 | 64 | $3,855 | +11% | 3 | $1,285 | $3,291,362 | 20 |
| Apr 12, 2019 | 67 | $5,674 | +47% | 3 | $1,891 | $3,299,386 | 21 |
| Apr 19, 2019 | 89 | $1,178 | -79% | 2 | $589 | $3,303,821 | 22 |
| Apr 26, 2019 | 71 | $3,578 | +204% | 3 | $1,193 | $3,311,687 | 23 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 23, 2018 | 34 | $132,260 | 5 | $26,452 | $132,260 | 1 | |
| Nov 30, 2018 | 28 | $154,073 | +16% | 14 | $11,005 | $286,333 | 2 |
| Dec 7, 2018 | 33 | $165,399 | +7% | 36 | $4,594 | $451,732 | 3 |
| Dec 14, 2018 | 30 | $179,544 | +9% | 44 | $4,081 | $631,276 | 4 |
| Dec 21, 2018 | 27 | $360,329 | +101% | 54 | $6,673 | $991,605 | 5 |
| Dec 28, 2018 | 25 | $401,166 | +11% | 60 | $6,686 | $1,392,771 | 6 |
| Jan 4, 2019 | 25 | $370,674 | -8% | 83 | $4,466 | $1,763,445 | 7 |
| Jan 11, 2019 | 30 | $280,892 | -24% | 91 | $3,087 | $2,044,337 | 8 |
| Jan 18, 2019 | 30 | $282,486 | +1% | 119 | $2,374 | $2,326,823 | 9 |
| Jan 25, 2019 | 26 | $292,710 | +4% | 144 | $2,033 | $2,619,533 | 10 |
| Feb 1, 2019 | 33 | $250,002 | -15% | 144 | $1,736 | $2,869,535 | 11 |
| Feb 8, 2019 | 40 | $140,656 | -44% | 82 | $1,715 | $3,010,191 | 12 |
| Feb 15, 2019 | 42 | $109,849 | -22% | 69 | $1,592 | $3,120,040 | 13 |
| Feb 22, 2019 | 45 | $61,382 | -44% | 49 | $1,253 | $3,181,422 | 14 |
| Mar 1, 2019 | 53 | $33,402 | -46% | 27 | $1,237 | $3,214,824 | 15 |
| Mar 8, 2019 | 57 | $30,956 | -7% | 24 | $1,290 | $3,245,780 | 16 |
| Mar 15, 2019 | 66 | $18,435 | -40% | 13 | $1,418 | $3,264,215 | 17 |
| Mar 22, 2019 | 66 | $12,832 | -30% | 7 | $1,833 | $3,277,047 | 18 |
| Mar 29, 2019 | 67 | $10,460 | -18% | 7 | $1,494 | $3,287,507 | 19 |
| Apr 5, 2019 | 67 | $6,205 | -41% | 5 | $1,241 | $3,293,712 | 20 |
| Apr 12, 2019 | 69 | $8,931 | +44% | 4 | $2,233 | $3,302,643 | 21 |
| Apr 19, 2019 | 81 | $5,466 | -39% | 10 | $547 | $3,308,109 | 22 |
| Apr 26, 2019 | 74 | $5,404 | -1% | 3 | $1,801 | $3,313,513 | 23 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Argentina | 1/25/2019 | $22,502 | 0 | 14 | 14 | $76,717 | 3/25/2019 | |||
| Australia | 9/21/2018 | $2,051 | 1 | 1 | 180 | $467,156 | 8/3/2026 | |||
| Bulgaria | 4/12/2019 | $0 | 0 | 0 | 0 | $8,959 | 9/5/2019 | |||
| China | 8/1/2018 | $7,070,000 | 31,869 | 31,869 | 34,188 | $14,097,096 | 4/4/2026 | |||
| France | 12/14/2018 | $1,122,105 | 175 | 522 | 1,785 | $6,182,429 | 2/16/2019 | |||
| Italy | 9/13/2018 | $275,166 | 0 | 20 | 46 | $1,381,254 | 9/12/2019 | |||
| Japan | 6/8/2018 | $4,068,421 | 0 | 0 | 0 | $37,816,420 | 8/2/2018 | |||
| Lithuania | 4/5/2019 | $4,425 | 13 | 13 | 44 | $15,760 | 10/19/2022 | |||
| Netherlands | 12/14/2018 | $98,850 | 36 | 45 | 305 | $869,979 | 2/5/2019 | |||
| New Zealand | 11/22/2018 | $0 | 0 | 1 | 0 | $12,951 | 4/6/2026 | |||
| Portugal | 11/23/2018 | $6,199 | 8 | 8 | 40 | $69,862 | 1/29/2019 | |||
| Russia (CIS) | 11/8/2018 | $42,994 | 140 | 140 | 302 | $148,499 | 10/19/2022 | |||
| Slovakia | 9/28/2018 | $1,082 | 9 | 9 | 9 | $1,697 | 10/4/2018 | |||
| South Korea | 7/26/2018 | $228,259 | 126 | 126 | 443 | $1,266,374 | 2/21/2019 | |||
| Spain | 12/21/2018 | $114,668 | 51 | 67 | 329 | $769,026 | 1/31/2019 | |||
| Turkey | 1/18/2019 | $7,038 | 17 | 17 | 89 | $28,596 | 5/30/2019 | |||
| United Kingdom | 11/23/2018 | $150,519 | 43 | 43 | 43 | $150,519 | 4/4/2026 | |||
| Rest of World | $5,948,867 | |||||||||
| International Total | $69,312,161 | 8/3/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| Lily Franky | Shibata Osamu | |
| Sakura Ando | Shibata Nobuyo | |
| Matsuoka Mayu | Shibata Aki | |
| Kiki Kilin | Shibata Hatsue | |
| Jyo Kairi | Shibata Shota | |
| Sasaki Miyu | Hojo Juri |
Production and Technical Credits
| Hirokazu Kore-eda | Director | |
| Hirokazu Kore-eda | Screenwriter | |
| Hirokazu Kore-eda | Editor | |
| Kaoru Matsuzaki | Producer | |
| Yose Akhiko | Producer | |
| Hijiri Taguchi | Producer | |
| Megumi Osawa | Associate Producer | |
| Odake Satomi | Associate Producer | |
| Takashi Ishihara | Chief Executive Producer | |
| Tom Yoda | Chief Executive Producer | |
| Yasuhito Nakae | Chief Executive Producer | |
| Mitsumatsu Keiko | Production Designer | |
| Tomika Kazuhiko | Sound Mixer | |
| Kondo Ryuto | Director of Photography | |
| Hosono Haruomi | Composer |
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
On the margins of Tokyo, a dysfunctional band of outsiders are united by fierce loyalty, a penchant for petty theft and playful grifting. When the young son is arrested, secrets are exposed that upend their tenuous, below-the-radar existence and test their quietly radical belief that it is love—not blood—that defines a family.
Metrics
| Opening Weekend: | $89,264 (2.7% of total gross) |
| Legs: | 13.04 (domestic box office/biggest weekend) |
| Domestic Share: | 4.6% (domestic box office/worldwide) |
| Theater counts: | 5 opening theaters/144 max. theaters, 7.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $4,334,986 |
Movie Details
| Domestic Releases: | November 23rd, 2018 (Limited) by Magnolia Pictures, released as Shoplifters |
| International Releases: | June 8th, 2018 (Wide) (Japan)
June 29th, 2018 (Wide) (Hong Kong) July 26th, 2018 (Wide), released as SHOPLIFTERS (South Korea) August 1st, 2018 (Wide), released as Shoplifters (China) September 13th, 2018 (Wide), released as Un affare di famiglia (Italy) ... Show all releases |
| Video Release: | February 12th, 2019 by Magnolia Home Entertainment, released as Shoplifters |
| MPA Rating: | R for some sexual content and nudity. (Rating bulletin 2547 (Cert #51842), 10/3/2018) |
| Running Time: | 121 minutes |
| Geographical setting: | Japan, Tokyo |
| Plot point: | Abandoned Child, Autumn Years, Child Abuse, Homeless, Poverty, Unexpected Families |
| Subgenre: | Family Drama |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Fuji Television Network, GAGA Corporation, AOI Pro Inc |
| Production Countries: | Japan |
| Languages: | Japanese |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 23, 2018 | 32 | $89,264 | 5 | $17,853 | $89,264 | 1 | |
| Nov 30, 2018 | 29 | $97,588 | +9% | 14 | $6,971 | $229,848 | 2 |
| Dec 7, 2018 | 31 | $107,267 | +10% | 36 | $2,980 | $393,600 | 3 |
| Dec 14, 2018 | 29 | $113,386 | +6% | 43 | $2,637 | $565,118 | 4 |
| Dec 21, 2018 | 22 | $163,788 | +44% | 54 | $3,033 | $795,064 | 5 |
| Dec 28, 2018 | 25 | $210,881 | +29% | 59 | $3,574 | $1,202,486 | 6 |
| Jan 4, 2019 | 25 | $254,034 | +20% | 80 | $3,175 | $1,646,805 | 7 |
| Jan 11, 2019 | 30 | $184,542 | -27% | 91 | $2,028 | $1,947,987 | 8 |
| Jan 18, 2019 | 30 | $169,457 | -8% | 115 | $1,474 | $2,213,794 | 9 |
| Jan 25, 2019 | 26 | $193,100 | +14% | 138 | $1,399 | $2,519,923 | 10 |
| Feb 1, 2019 | 31 | $160,978 | -17% | 139 | $1,158 | $2,780,511 | 11 |
| Feb 8, 2019 | 36 | $91,292 | -43% | 78 | $1,170 | $2,960,827 | 12 |
| Feb 15, 2019 | 41 | $66,677 | -27% | 66 | $1,010 | $3,076,868 | 13 |
| Feb 22, 2019 | 47 | $39,667 | -41% | 42 | $944 | $3,159,707 | 14 |
| Mar 1, 2019 | 55 | $19,666 | -50% | 22 | $894 | $3,201,088 | 15 |
| Mar 8, 2019 | 56 | $17,985 | -9% | 20 | $899 | $3,232,809 | 16 |
| Mar 15, 2019 | 69 | $9,066 | -50% | 9 | $1,007 | $3,254,846 | 17 |
| Mar 22, 2019 | 68 | $6,687 | -26% | 6 | $1,115 | $3,270,902 | 18 |
| Mar 29, 2019 | 71 | $3,476 | -48% | 3 | $1,159 | $3,280,523 | 19 |
| Apr 5, 2019 | 64 | $3,855 | +11% | 3 | $1,285 | $3,291,362 | 20 |
| Apr 12, 2019 | 67 | $5,674 | +47% | 3 | $1,891 | $3,299,386 | 21 |
| Apr 19, 2019 | 89 | $1,178 | -79% | 2 | $589 | $3,303,821 | 22 |
| Apr 26, 2019 | 71 | $3,578 | +204% | 3 | $1,193 | $3,311,687 | 23 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 23, 2018 | 34 | $132,260 | 5 | $26,452 | $132,260 | 1 | |
| Nov 30, 2018 | 28 | $154,073 | +16% | 14 | $11,005 | $286,333 | 2 |
| Dec 7, 2018 | 33 | $165,399 | +7% | 36 | $4,594 | $451,732 | 3 |
| Dec 14, 2018 | 30 | $179,544 | +9% | 44 | $4,081 | $631,276 | 4 |
| Dec 21, 2018 | 27 | $360,329 | +101% | 54 | $6,673 | $991,605 | 5 |
| Dec 28, 2018 | 25 | $401,166 | +11% | 60 | $6,686 | $1,392,771 | 6 |
| Jan 4, 2019 | 25 | $370,674 | -8% | 83 | $4,466 | $1,763,445 | 7 |
| Jan 11, 2019 | 30 | $280,892 | -24% | 91 | $3,087 | $2,044,337 | 8 |
| Jan 18, 2019 | 30 | $282,486 | +1% | 119 | $2,374 | $2,326,823 | 9 |
| Jan 25, 2019 | 26 | $292,710 | +4% | 144 | $2,033 | $2,619,533 | 10 |
| Feb 1, 2019 | 33 | $250,002 | -15% | 144 | $1,736 | $2,869,535 | 11 |
| Feb 8, 2019 | 40 | $140,656 | -44% | 82 | $1,715 | $3,010,191 | 12 |
| Feb 15, 2019 | 42 | $109,849 | -22% | 69 | $1,592 | $3,120,040 | 13 |
| Feb 22, 2019 | 45 | $61,382 | -44% | 49 | $1,253 | $3,181,422 | 14 |
| Mar 1, 2019 | 53 | $33,402 | -46% | 27 | $1,237 | $3,214,824 | 15 |
| Mar 8, 2019 | 57 | $30,956 | -7% | 24 | $1,290 | $3,245,780 | 16 |
| Mar 15, 2019 | 66 | $18,435 | -40% | 13 | $1,418 | $3,264,215 | 17 |
| Mar 22, 2019 | 66 | $12,832 | -30% | 7 | $1,833 | $3,277,047 | 18 |
| Mar 29, 2019 | 67 | $10,460 | -18% | 7 | $1,494 | $3,287,507 | 19 |
| Apr 5, 2019 | 67 | $6,205 | -41% | 5 | $1,241 | $3,293,712 | 20 |
| Apr 12, 2019 | 69 | $8,931 | +44% | 4 | $2,233 | $3,302,643 | 21 |
| Apr 19, 2019 | 81 | $5,466 | -39% | 10 | $547 | $3,308,109 | 22 |
| Apr 26, 2019 | 74 | $5,404 | -1% | 3 | $1,801 | $3,313,513 | 23 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Argentina | 1/25/2019 | $22,502 | 0 | 14 | 14 | $76,717 | 3/25/2019 | |||
| Australia | 9/21/2018 | $2,051 | 1 | 1 | 180 | $467,156 | 8/3/2026 | |||
| Bulgaria | 4/12/2019 | $0 | 0 | 0 | 0 | $8,959 | 9/5/2019 | |||
| China | 8/1/2018 | $7,070,000 | 31,869 | 31,869 | 34,188 | $14,097,096 | 4/4/2026 | |||
| France | 12/14/2018 | $1,122,105 | 175 | 522 | 1,785 | $6,182,429 | 2/16/2019 | |||
| Italy | 9/13/2018 | $275,166 | 0 | 20 | 46 | $1,381,254 | 9/12/2019 | |||
| Japan | 6/8/2018 | $4,068,421 | 0 | 0 | 0 | $37,816,420 | 8/2/2018 | |||
| Lithuania | 4/5/2019 | $4,425 | 13 | 13 | 44 | $15,760 | 10/19/2022 | |||
| Netherlands | 12/14/2018 | $98,850 | 36 | 45 | 305 | $869,979 | 2/5/2019 | |||
| New Zealand | 11/22/2018 | $0 | 0 | 1 | 0 | $12,951 | 4/6/2026 | |||
| Portugal | 11/23/2018 | $6,199 | 8 | 8 | 40 | $69,862 | 1/29/2019 | |||
| Russia (CIS) | 11/8/2018 | $42,994 | 140 | 140 | 302 | $148,499 | 10/19/2022 | |||
| Slovakia | 9/28/2018 | $1,082 | 9 | 9 | 9 | $1,697 | 10/4/2018 | |||
| South Korea | 7/26/2018 | $228,259 | 126 | 126 | 443 | $1,266,374 | 2/21/2019 | |||
| Spain | 12/21/2018 | $114,668 | 51 | 67 | 329 | $769,026 | 1/31/2019 | |||
| Turkey | 1/18/2019 | $7,038 | 17 | 17 | 89 | $28,596 | 5/30/2019 | |||
| United Kingdom | 11/23/2018 | $150,519 | 43 | 43 | 43 | $150,519 | 4/4/2026 | |||
| Rest of World | $5,948,867 | |||||||||
| International Total | $69,312,161 | 8/3/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| Lily Franky | Shibata Osamu | |
| Sakura Ando | Shibata Nobuyo | |
| Matsuoka Mayu | Shibata Aki | |
| Kiki Kilin | Shibata Hatsue | |
| Jyo Kairi | Shibata Shota | |
| Sasaki Miyu | Hojo Juri |
Production and Technical Credits
| Hirokazu Kore-eda | Director | |
| Hirokazu Kore-eda | Screenwriter | |
| Hirokazu Kore-eda | Editor | |
| Kaoru Matsuzaki | Producer | |
| Yose Akhiko | Producer | |
| Hijiri Taguchi | Producer | |
| Megumi Osawa | Associate Producer | |
| Odake Satomi | Associate Producer | |
| Takashi Ishihara | Chief Executive Producer | |
| Tom Yoda | Chief Executive Producer | |
| Yasuhito Nakae | Chief Executive Producer | |
| Mitsumatsu Keiko | Production Designer | |
| Tomika Kazuhiko | Sound Mixer | |
| Kondo Ryuto | Director of Photography | |
| Hosono Haruomi | Composer |
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.