Manifesto features Cate Blanchett in 13 distinct, must-see vignettes that incorporate timeless manifestos from 20th century art movements. From anchorwoman to homeless man, from Pop Art to Dogma 95, a chameleonic Blanchett gives a tour-de-force performance as she transforms herself like never before. Rosefeldt weaves together history’s most impassioned artistic statements in this stunning and contemporary call to action. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists and other artist groups, as well as the musings of individual artists, architects, dancers and filmmakers.
Latest Ranking on Cumulative Box Office Lists
|All Time Domestic Box Office (Rank 10,401-10,500)
|All Time International Box Office (Rank 8,101-8,200)
|All Time Worldwide Box Office (Rank 12,601-12,700)
|All Time Domestic Highest Grossing Limited Release Movies (Rank 3,401-3,500)
See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records.
||May 10th, 2017 (Limited) by FilmRise|
||May 22nd, 2017 (Wide) (South Korea)
June 8th, 2017 (Wide) (Russia (CIS))
August 11th, 2017 (Wide) (Turkey)
November 10th, 2017 (Wide), released as Manifesto: Live from Tate Modern (United Kingdom)
January 5th, 2018 (Limited) (Portugal)
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||Homeless, Segments, Same Actor, Multiple Roles, Widow/Widower, Teachers, Puppeteers, Punk Rock, Choreography|
|Production Method:||Live Action|
|Creative Type:||Contemporary Fiction|
||Australian Centre for the Moving Image Melbourne, Art Gallery of New South Wales Sydney, Nationalgalerie, The Sprengel Museum Hannover, The Burger Collection Hong Kong, The Ruhrtriennale|
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
May 16th, 2017
Paris Can Wait topped the theater average chart earning nearly $100,000 in just 4 theaters for an average of $24,713. The overall number one film, Guardians of the Galaxy Vol 2, landed in second place with $15,013. The only other film in the $10,000 club was Stefan Zweig: Farewell to Europe, which earned $11,729 in its lone theater. Manifesto just missed the mark with $9,628 also in one theaters. However, it was a Wednesday release and managed $11,824 during its five-day opening.
May 14th, 2017
King Arthur: Legend of the Sword has proved to be a costly bet gone wrong for Warner Bros. and Village Roadshow. The film had a long gestation period, and ended up costing $175 million to make. Once another $100 million or so of marketing is added in, that makes for a target of at least $550 million at the global box office before anyone starts recouping anything from the film. A domestic opening of $14.7 million, and $29.1 million overseas, makes that a laughably-distant prospect. Adding to the embarrassment, King Arthur will start out in third place, behind Mothers Day-play Snatched, and even that film isn’t doing particularly well, when all is said and done.
May 12th, 2017
It is a busy week for limited releases. Not only are there are lot of films coming out, but most of them have a sizable number of reviews on Rotten Tomatoes, suggesting there is at least some buzz. Unfortunately, a number of these movies are earning reviews that are mixed, or worse. Furthermore, there are many that are playing in too many theaters for limited release or playing on VOD, neither of which will help their box office chances. As for top picks, I would see Stefan Zweig: Farewell to Europe in theaters or Hounds of Love on Video on Demand.
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue
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