Porto (2017)
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| Theatrical Performance | ||
| Domestic Box Office | $15,626 | Details |
| International Box Office | $78,816 | Details |
| Worldwide Box Office | $94,442 | |
| OpusData ID: 284420100 More info... | ||
| Further financial details... | ||
Synopsis
Jake and Mati are two expats who experience a brief but intimate connection in the ancient Portuguese city of Porto. He’s an American loner exiled from his family. She’s a student from France embroiled in an affair with one of her professors. After spotting each other from a distance at an archeological site and then again at a train station and a café, Jake works up the courage to approach Mati and they embark on a night of carefree intimacy. This romantic encounter is viewed from years later, both characters still haunted by the powerful connection they shared.
Metrics
| Opening Weekend: | $2,090 (13.4% of total gross) |
| Legs: | 5.94 (domestic box office/biggest weekend) |
| Domestic Share: | 16.5% (domestic box office/worldwide) |
| Theater counts: | 1 opening theaters/2 max. theaters, 6.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $20,751 |
Movie Details
| Domestic Releases: | November 17th, 2017 (Limited) by Kino Lorber |
| International Releases: | October 20th, 2017 (Wide) (Portugal)
January 22nd, 2018 (Wide) (South Korea) March 1st, 2019 (Wide) (Russia (CIS)) April 25th, 2024 (Limited), released as Porto - Uma História de Amor (Brazil) ... Show all releases |
| MPA Rating: | Not Rated |
| Running Time: | 75 minutes |
| Cast, crew, or production detail: | Posthumous Release |
| Geographical setting: | Portugal |
| Plot point: | Archaeology, Non-Chronological |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Bando a Parte, Gladys Glover, Double Play Films, Madants |
| Production Countries: | France, Poland, Portugal, United States |
| Languages: | English, Portuguese, French |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 17, 2017 | 74 | $2,090 | 1 | $2,090 | $2,090 | 1 | |
| Nov 24, 2017 | 69 | $2,631 | +26% | 2 | $1,316 | $10,016 | 2 |
| Dec 1, 2017 | 99 | $8 | -100% | 1 | $8 | $11,160 | 3 |
| Dec 8, 2017 | 86 | $58 | +625% | 1 | $58 | $11,263 | 4 |
| Dec 15, 2017 | 70 | $500 | +762% | 1 | $500 | $11,763 | 5 |
| Jan 5, 2018 | 81 | $60 | 1 | $60 | $11,823 | 8 | |
| Jan 12, 2018 | 76 | $1,719 | +2,765% | 1 | $1,719 | $13,572 | 9 |
| Jan 19, 2018 | 90 | $278 | -84% | 2 | $139 | $14,284 | 10 |
| Feb 2, 2018 | 92 | $171 | 1 | $171 | $14,455 | 12 | |
| Feb 9, 2018 | 82 | $648 | +279% | 1 | $648 | $15,495 | 13 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 17, 2017 | 70 | $7,385 | 1 | $7,385 | $7,385 | 1 | |
| Nov 24, 2017 | 73 | $3,767 | -49% | 2 | $1,884 | $11,152 | 2 |
| Dec 1, 2017 | 99 | $53 | -99% | 1 | $53 | $11,205 | 3 |
| Dec 8, 2017 | 86 | $58 | +9% | 1 | $58 | $11,263 | 4 |
| Jan 5, 2018 | 82 | $90 | 1 | $90 | $11,853 | 8 | |
| Jan 12, 2018 | 78 | $2,153 | +2,292% | 1 | $2,153 | $14,006 | 9 |
| Jan 19, 2018 | 91 | $278 | -87% | 2 | $139 | $14,284 | 10 |
| Feb 2, 2018 | 90 | $563 | 2 | $282 | $14,847 | 12 | |
| Feb 9, 2018 | 82 | $779 | +38% | 1 | $779 | $15,626 | 13 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Portugal | 10/20/2017 | $7,100 | 9 | 9 | 23 | $22,478 | 11/30/2017 | |||
| Russia (CIS) | 3/1/2019 | $0 | 0 | 5 | 41 | $16,213 | 10/19/2022 | |||
| South Korea | 1/22/2018 | $0 | 0 | 21 | 48 | $40,125 | 12/7/2018 | |||
| International Total | $78,816 | 10/19/2022 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Lucie Lucas | Mati Vargnier | |
| Anton Yelchin | Jake Kleeman |
Supporting
| Francoise Lebrun | Mother | |
| Paulo Calatré | João Monteiro Oliveira | |
| Florie Auclerc-Vialens | Blanca |
Production and Technical Credits
| Gabe Klinger | Director | |
| Gabe Klinger | Screenwriter | |
| Larry Gross | Screenwriter | |
| Wyatt Garfield | Cinematographer | |
| Gabe Klinger | Editor | |
| Geraldine Mangenot | Editor | |
| Ricardo Preto | Production Designer | |
| Rodrigo Areias | Producer | |
| Sonia Buchman | Producer | |
| Gabe Klinger | Producer | |
| Nicolas R. de La Mothe | Producer | |
| Todd Remis | Producer | |
| Julie R. Snyder | Producer | |
| Klaudia Smieja-Rostworowska | Co-Producer | |
| Beata Rzezniczek | Co-Producer | |
| Jim Jarmusch | Executive Producer | |
| Steve Skoly | 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
Jake and Mati are two expats who experience a brief but intimate connection in the ancient Portuguese city of Porto. He’s an American loner exiled from his family. She’s a student from France embroiled in an affair with one of her professors. After spotting each other from a distance at an archeological site and then again at a train station and a café, Jake works up the courage to approach Mati and they embark on a night of carefree intimacy. This romantic encounter is viewed from years later, both characters still haunted by the powerful connection they shared.
Metrics
| Opening Weekend: | $2,090 (13.4% of total gross) |
| Legs: | 5.94 (domestic box office/biggest weekend) |
| Domestic Share: | 16.5% (domestic box office/worldwide) |
| Theater counts: | 1 opening theaters/2 max. theaters, 6.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $20,751 |
Movie Details
| Domestic Releases: | November 17th, 2017 (Limited) by Kino Lorber |
| International Releases: | October 20th, 2017 (Wide) (Portugal)
January 22nd, 2018 (Wide) (South Korea) March 1st, 2019 (Wide) (Russia (CIS)) April 25th, 2024 (Limited), released as Porto - Uma História de Amor (Brazil) ... Show all releases |
| MPA Rating: | Not Rated |
| Running Time: | 75 minutes |
| Cast, crew, or production detail: | Posthumous Release |
| Geographical setting: | Portugal |
| Plot point: | Archaeology, Non-Chronological |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Bando a Parte, Gladys Glover, Double Play Films, Madants |
| Production Countries: | France, Poland, Portugal, United States |
| Languages: | English, Portuguese, French |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 17, 2017 | 74 | $2,090 | 1 | $2,090 | $2,090 | 1 | |
| Nov 24, 2017 | 69 | $2,631 | +26% | 2 | $1,316 | $10,016 | 2 |
| Dec 1, 2017 | 99 | $8 | -100% | 1 | $8 | $11,160 | 3 |
| Dec 8, 2017 | 86 | $58 | +625% | 1 | $58 | $11,263 | 4 |
| Dec 15, 2017 | 70 | $500 | +762% | 1 | $500 | $11,763 | 5 |
| Jan 5, 2018 | 81 | $60 | 1 | $60 | $11,823 | 8 | |
| Jan 12, 2018 | 76 | $1,719 | +2,765% | 1 | $1,719 | $13,572 | 9 |
| Jan 19, 2018 | 90 | $278 | -84% | 2 | $139 | $14,284 | 10 |
| Feb 2, 2018 | 92 | $171 | 1 | $171 | $14,455 | 12 | |
| Feb 9, 2018 | 82 | $648 | +279% | 1 | $648 | $15,495 | 13 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Nov 17, 2017 | 70 | $7,385 | 1 | $7,385 | $7,385 | 1 | |
| Nov 24, 2017 | 73 | $3,767 | -49% | 2 | $1,884 | $11,152 | 2 |
| Dec 1, 2017 | 99 | $53 | -99% | 1 | $53 | $11,205 | 3 |
| Dec 8, 2017 | 86 | $58 | +9% | 1 | $58 | $11,263 | 4 |
| Jan 5, 2018 | 82 | $90 | 1 | $90 | $11,853 | 8 | |
| Jan 12, 2018 | 78 | $2,153 | +2,292% | 1 | $2,153 | $14,006 | 9 |
| Jan 19, 2018 | 91 | $278 | -87% | 2 | $139 | $14,284 | 10 |
| Feb 2, 2018 | 90 | $563 | 2 | $282 | $14,847 | 12 | |
| Feb 9, 2018 | 82 | $779 | +38% | 1 | $779 | $15,626 | 13 |
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 |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Portugal | 10/20/2017 | $7,100 | 9 | 9 | 23 | $22,478 | 11/30/2017 | |||
| Russia (CIS) | 3/1/2019 | $0 | 0 | 5 | 41 | $16,213 | 10/19/2022 | |||
| South Korea | 1/22/2018 | $0 | 0 | 21 | 48 | $40,125 | 12/7/2018 | |||
| International Total | $78,816 | 10/19/2022 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Lucie Lucas | Mati Vargnier | |
| Anton Yelchin | Jake Kleeman |
Supporting
| Francoise Lebrun | Mother | |
| Paulo Calatré | João Monteiro Oliveira | |
| Florie Auclerc-Vialens | Blanca |
Production and Technical Credits
| Gabe Klinger | Director | |
| Gabe Klinger | Screenwriter | |
| Larry Gross | Screenwriter | |
| Wyatt Garfield | Cinematographer | |
| Gabe Klinger | Editor | |
| Geraldine Mangenot | Editor | |
| Ricardo Preto | Production Designer | |
| Rodrigo Areias | Producer | |
| Sonia Buchman | Producer | |
| Gabe Klinger | Producer | |
| Nicolas R. de La Mothe | Producer | |
| Todd Remis | Producer | |
| Julie R. Snyder | Producer | |
| Klaudia Smieja-Rostworowska | Co-Producer | |
| Beata Rzezniczek | Co-Producer | |
| Jim Jarmusch | Executive Producer | |
| Steve Skoly | 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.