Unsane (2018)
| Theatrical Performance | ||
| Domestic Box Office | $7,690,044 | Details |
| International Box Office | $6,606,665 | Details |
| Worldwide Box Office | $14,296,709 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $26,812 | |
| Blu-ray Sales (estimated) | $210,870 | |
| Total | $237,682 | |
| OpusData ID: 311230100 More info... | ||
| Further financial details... | ||
Synopsis
Scarred from the trauma of being stalked, quick-witted Sawyer Valentini has relocated from Boston to Pennsylvania for a new life. As her mother Angela misses her back home and her office job is hardly an ideal employment opportunity, Sawyer remains on edge following her two years of being terrorized. To consult with a therapist, she goes for follow-up treatment at the Highland Creek Behavioral Center. Sawyer’s initial therapy session at the suburban complex run by clinician Ashley Brighterhouse progresses well—until she unwittingly signs herself in for voluntary 24-hour commitment. Unable to leave the premises, Sawyer finds herself in close quarters with previously committed hellion Violet and savvy Nate, who is battling an opioid addiction. Sawyer expects to be out of Highland Creek within hours. But once she catches sight of facility staffer George Shaw, she is terrified and then enraged…because she is convinced that Shaw’s real name is David Strine and that he is her stalker. But is it real or is it a product of her delusion? As none of the doctors and nurses believe she is in danger, and all question her sanity, Sawyer’s stay at Highland Creek is extended indefinitely. Sawyer realizes that in order to survive she will have to battle her demons and fight her way out.
Metrics
| Opening Weekend: | $3,762,145 (48.9% of total gross) |
| Legs: | 2.04 (domestic box office/biggest weekend) |
| Domestic Share: | 53.8% (domestic box office/worldwide) |
| Production Budget: | $1,500,000 (worldwide box office is 9.5 times production budget) |
| Theater counts: | 2,023 opening theaters/2,023 max. theaters, 2.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $10,095,819 |
Movie Details
| Domestic Releases: | March 23rd, 2018 (Wide) by Bleecker Street |
| International Releases: | March 22nd, 2018 (Wide) (Hong Kong)
March 23rd, 2018 (Wide) (United Kingdom) March 23rd, 2018 (Wide) (Taiwan) March 29th, 2018 (Wide), released as НЕ В СЕБЕ (Russia (CIS)) March 30th, 2018 (Wide) (Germany) ... Show all releases |
| Video Release: | May 29th, 2018 by Universal Home Entertainment |
| MPA Rating: | R for disturbing behavior, violence, language, and sex references. (Rating bulletin 2508 (Cert #51299), 1/3/2018) |
| Running Time: | 98 minutes |
| Plot point: | Kidnap, Medical Crimes, Mental Illness, Stalker, Young Child Dealing with the Death of a Parent |
| Social setting: | Mental Hospital, Therapists / Therapy |
| Subgenre: | Psychological Horror |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Extension 765, New Regency, Regency Enterprises |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 11 | $3,762,145 | 2,023 | $1,860 | $3,762,145 | 1 | |
| Mar 30, 2018 | 16 | $1,450,574 | -61% | 1,929 | $752 | $6,832,037 | 2 |
| Apr 6, 2018 | 32 | $96,133 | -93% | 163 | $590 | $7,690,044 | 3 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 10 | $1,356,870 | 2,023 | $671 | $1,356,870 | 1 | ||
| Mar 24, 2018 | 11 | $1,457,483 | +7% | 2,023 | $720 | $2,814,353 | 2 | |
| Mar 25, 2018 | 10 | $947,792 | -35% | 2,023 | $469 | $3,762,145 | 3 | |
| Mar 26, 2018 | 10 | $396,563 | -58% | 2,023 | $196 | $4,158,708 | 4 | |
| Mar 27, 2018 | 12 | $516,071 | +30% | 2,023 | $255 | $4,674,779 | 5 | |
| Mar 28, 2018 | 12 | $355,480 | -31% | 2,023 | $176 | $5,030,259 | 6 | |
| Mar 29, 2018 | 14 | $351,204 | -1% | 2,023 | $174 | $5,381,463 | 7 | |
| Mar 30, 2018 | - | $513,392 | +46% | -62% | 1,929 | $266 | $5,894,855 | 8 |
| Mar 31, 2018 | - | $544,415 | +6% | -63% | 1,929 | $282 | $6,439,270 | 9 |
| Apr 1, 2018 | 15 | $392,767 | -28% | -59% | 1,929 | $204 | $6,832,037 | 10 |
| Apr 2, 2018 | - | $210,078 | -47% | -47% | 1,929 | $109 | $7,042,115 | 11 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 12 | $5,381,463 | 2,023 | $2,660 | $5,381,463 | 1 | |
| Mar 30, 2018 | 16 | $2,212,448 | -59% | 1,929 | $1,147 | $7,593,911 | 2 |
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 | 4/20/2018 | $0 | 0 | 36 | 93 | $167,128 | 6/18/2018 | |||
| France | 7/13/2018 | $471,867 | 0 | 0 | 0 | $1,337,297 | 8/2/2018 | |||
| Germany | 3/30/2018 | $661,030 | 0 | 0 | 0 | $1,321,626 | 6/18/2018 | |||
| Hong Kong | 3/22/2018 | $0 | 0 | 0 | 0 | $90,071 | 6/14/2018 | |||
| Italy | 7/5/2018 | $13,637 | 0 | 0 | 0 | $13,637 | 7/10/2018 | |||
| Netherlands | 5/4/2018 | $89,796 | 58 | 58 | 219 | $334,565 | 6/18/2018 | |||
| New Zealand | 5/11/2018 | $5,489 | 10 | 10 | 23 | $9,450 | 5/30/2018 | |||
| Russia (CIS) | 3/29/2018 | $393,027 | 500 | 500 | 1,079 | $710,578 | 2/26/2019 | |||
| Taiwan | 3/23/2018 | $49,391 | 0 | 0 | 0 | $105,240 | 9/13/2018 | |||
| United Kingdom | 3/23/2018 | $677,021 | 346 | 346 | 565 | $1,501,094 | 4/4/2026 | |||
| Rest of World | $1,015,979 | |||||||||
| International Total | $6,606,665 | 4/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Claire Foy | Sawyer Valentini |
Supporting
| Joshua Leonard | David Strine | |
| Jay Pharoah | Nate Hoffman | |
| Juno Temple | Violet | |
| Aimee Mullins | Ashley Brighterhouse | |
| Amy Irving | Angela Valentini | |
| Sarah Stiles | Jill | |
| Marc Kudisch | Bank Manager | |
| Colin Woodell | Mark | |
| Myra Lucretia Taylor | Counselor | |
| Lynda Mauze | Dolores | |
| Zach Cherry | Dennis | |
| Polly McKie | Nurse Boles | |
| Raul Castillo | Jacob | |
| Mike Mihm | Steve | |
| Robert Kelly | Steve’s Partner | |
| Natalie Gold | Female Patient | |
| Sol M. Crespo | Female Patient | |
| Will Brill | Male Patient | |
| Steven Maier | Male Patient | |
| Matthew R. Staley | Medical Technician | |
| Matt Mancini | Medican Technician | |
| Emily Happe | Friendly Nurse | |
| Gibson Frazier | Dr. Hawthorne | |
| Erin Wilhelmi | Hayley | |
| Joseph Reidy | Lawyer | |
| Erika Rolfsrud | Medical Examiner | |
| Elizabeth Goodman | TruthBite Editor |
Production and Technical Credits
| Steven Soderbergh | Director | |
| Dan Fellman | Executive Producer | |
| Jonathan Bernstein | Screenwriter | |
| James Greer | Screenwriter | |
| Joseph Malloch | Producer | |
| Ken Meyer | Executive Producer | |
| Arnon Milchan | Executive Producer | |
| Joseph Reidy | Co-Executive Producer | |
| Corey Bayes | Co-Producer | |
| Robert Striem | Associate Producer | |
| Peter Andrews | Director of Photography | |
| Mary Ann Bernard | Editor | |
| April Lasky | Production Designer | |
| Susan Lyall | Costume Designer | |
| Carmen Cuba | Casting Director | |
| Joseph Malloch | Unit Production Manager | |
| Joseph Reidy | First Assistant Director | |
| Rachel Jaros | Second Assistant Director | |
| Manny Siverio | Stunt Coordinator | |
| Corey Bayes | Associate Editor | |
| Gus Gustafson | Production Supervisor | |
| Thomas Varga | Sound Mixer | |
| Robert Striem | Location Manager | |
| Kimberly Fischer | Set Decorator | |
| Kristin Lindbeck | Costume Supervisor | |
| Lisa Forst | Make up | |
| JT Franchuk | Hairstylist | |
| Glenfield Payne | Supervising Sound Editor | |
| Josh Berger | Re-recording Mixer | |
| Glenfield Payne | Re-recording Mixer | |
| Josh Berger | Dialogue Editor | |
| Grant Elder | Sound Designer | |
| Gavin Hecker | Foley Mixer | |
| Lesley Robson-Foster | Visual Effects Supervisor | |
| Parker Chehak | Visual Effects Producer | |
| Matt Griffin | Visual Effects Producer | |
| David Wilder Savage | 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
Scarred from the trauma of being stalked, quick-witted Sawyer Valentini has relocated from Boston to Pennsylvania for a new life. As her mother Angela misses her back home and her office job is hardly an ideal employment opportunity, Sawyer remains on edge following her two years of being terrorized. To consult with a therapist, she goes for follow-up treatment at the Highland Creek Behavioral Center. Sawyer’s initial therapy session at the suburban complex run by clinician Ashley Brighterhouse progresses well—until she unwittingly signs herself in for voluntary 24-hour commitment. Unable to leave the premises, Sawyer finds herself in close quarters with previously committed hellion Violet and savvy Nate, who is battling an opioid addiction. Sawyer expects to be out of Highland Creek within hours. But once she catches sight of facility staffer George Shaw, she is terrified and then enraged…because she is convinced that Shaw’s real name is David Strine and that he is her stalker. But is it real or is it a product of her delusion? As none of the doctors and nurses believe she is in danger, and all question her sanity, Sawyer’s stay at Highland Creek is extended indefinitely. Sawyer realizes that in order to survive she will have to battle her demons and fight her way out.
Metrics
| Opening Weekend: | $3,762,145 (48.9% of total gross) |
| Legs: | 2.04 (domestic box office/biggest weekend) |
| Domestic Share: | 53.8% (domestic box office/worldwide) |
| Production Budget: | $1,500,000 (worldwide box office is 9.5 times production budget) |
| Theater counts: | 2,023 opening theaters/2,023 max. theaters, 2.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $10,095,819 |
Movie Details
| Domestic Releases: | March 23rd, 2018 (Wide) by Bleecker Street |
| International Releases: | March 22nd, 2018 (Wide) (Hong Kong)
March 23rd, 2018 (Wide) (United Kingdom) March 23rd, 2018 (Wide) (Taiwan) March 29th, 2018 (Wide), released as НЕ В СЕБЕ (Russia (CIS)) March 30th, 2018 (Wide) (Germany) ... Show all releases |
| Video Release: | May 29th, 2018 by Universal Home Entertainment |
| MPA Rating: | R for disturbing behavior, violence, language, and sex references. (Rating bulletin 2508 (Cert #51299), 1/3/2018) |
| Running Time: | 98 minutes |
| Plot point: | Kidnap, Medical Crimes, Mental Illness, Stalker, Young Child Dealing with the Death of a Parent |
| Social setting: | Mental Hospital, Therapists / Therapy |
| Subgenre: | Psychological Horror |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Extension 765, New Regency, Regency Enterprises |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 11 | $3,762,145 | 2,023 | $1,860 | $3,762,145 | 1 | |
| Mar 30, 2018 | 16 | $1,450,574 | -61% | 1,929 | $752 | $6,832,037 | 2 |
| Apr 6, 2018 | 32 | $96,133 | -93% | 163 | $590 | $7,690,044 | 3 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 10 | $1,356,870 | 2,023 | $671 | $1,356,870 | 1 | ||
| Mar 24, 2018 | 11 | $1,457,483 | +7% | 2,023 | $720 | $2,814,353 | 2 | |
| Mar 25, 2018 | 10 | $947,792 | -35% | 2,023 | $469 | $3,762,145 | 3 | |
| Mar 26, 2018 | 10 | $396,563 | -58% | 2,023 | $196 | $4,158,708 | 4 | |
| Mar 27, 2018 | 12 | $516,071 | +30% | 2,023 | $255 | $4,674,779 | 5 | |
| Mar 28, 2018 | 12 | $355,480 | -31% | 2,023 | $176 | $5,030,259 | 6 | |
| Mar 29, 2018 | 14 | $351,204 | -1% | 2,023 | $174 | $5,381,463 | 7 | |
| Mar 30, 2018 | - | $513,392 | +46% | -62% | 1,929 | $266 | $5,894,855 | 8 |
| Mar 31, 2018 | - | $544,415 | +6% | -63% | 1,929 | $282 | $6,439,270 | 9 |
| Apr 1, 2018 | 15 | $392,767 | -28% | -59% | 1,929 | $204 | $6,832,037 | 10 |
| Apr 2, 2018 | - | $210,078 | -47% | -47% | 1,929 | $109 | $7,042,115 | 11 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 23, 2018 | 12 | $5,381,463 | 2,023 | $2,660 | $5,381,463 | 1 | |
| Mar 30, 2018 | 16 | $2,212,448 | -59% | 1,929 | $1,147 | $7,593,911 | 2 |
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 | 4/20/2018 | $0 | 0 | 36 | 93 | $167,128 | 6/18/2018 | |||
| France | 7/13/2018 | $471,867 | 0 | 0 | 0 | $1,337,297 | 8/2/2018 | |||
| Germany | 3/30/2018 | $661,030 | 0 | 0 | 0 | $1,321,626 | 6/18/2018 | |||
| Hong Kong | 3/22/2018 | $0 | 0 | 0 | 0 | $90,071 | 6/14/2018 | |||
| Italy | 7/5/2018 | $13,637 | 0 | 0 | 0 | $13,637 | 7/10/2018 | |||
| Netherlands | 5/4/2018 | $89,796 | 58 | 58 | 219 | $334,565 | 6/18/2018 | |||
| New Zealand | 5/11/2018 | $5,489 | 10 | 10 | 23 | $9,450 | 5/30/2018 | |||
| Russia (CIS) | 3/29/2018 | $393,027 | 500 | 500 | 1,079 | $710,578 | 2/26/2019 | |||
| Taiwan | 3/23/2018 | $49,391 | 0 | 0 | 0 | $105,240 | 9/13/2018 | |||
| United Kingdom | 3/23/2018 | $677,021 | 346 | 346 | 565 | $1,501,094 | 4/4/2026 | |||
| Rest of World | $1,015,979 | |||||||||
| International Total | $6,606,665 | 4/4/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Claire Foy | Sawyer Valentini |
Supporting
| Joshua Leonard | David Strine | |
| Jay Pharoah | Nate Hoffman | |
| Juno Temple | Violet | |
| Aimee Mullins | Ashley Brighterhouse | |
| Amy Irving | Angela Valentini | |
| Sarah Stiles | Jill | |
| Marc Kudisch | Bank Manager | |
| Colin Woodell | Mark | |
| Myra Lucretia Taylor | Counselor | |
| Lynda Mauze | Dolores | |
| Zach Cherry | Dennis | |
| Polly McKie | Nurse Boles | |
| Raul Castillo | Jacob | |
| Mike Mihm | Steve | |
| Robert Kelly | Steve’s Partner | |
| Natalie Gold | Female Patient | |
| Sol M. Crespo | Female Patient | |
| Will Brill | Male Patient | |
| Steven Maier | Male Patient | |
| Matthew R. Staley | Medical Technician | |
| Matt Mancini | Medican Technician | |
| Emily Happe | Friendly Nurse | |
| Gibson Frazier | Dr. Hawthorne | |
| Erin Wilhelmi | Hayley | |
| Joseph Reidy | Lawyer | |
| Erika Rolfsrud | Medical Examiner | |
| Elizabeth Goodman | TruthBite Editor |
Production and Technical Credits
| Steven Soderbergh | Director | |
| Dan Fellman | Executive Producer | |
| Jonathan Bernstein | Screenwriter | |
| James Greer | Screenwriter | |
| Joseph Malloch | Producer | |
| Ken Meyer | Executive Producer | |
| Arnon Milchan | Executive Producer | |
| Joseph Reidy | Co-Executive Producer | |
| Corey Bayes | Co-Producer | |
| Robert Striem | Associate Producer | |
| Peter Andrews | Director of Photography | |
| Mary Ann Bernard | Editor | |
| April Lasky | Production Designer | |
| Susan Lyall | Costume Designer | |
| Carmen Cuba | Casting Director | |
| Joseph Malloch | Unit Production Manager | |
| Joseph Reidy | First Assistant Director | |
| Rachel Jaros | Second Assistant Director | |
| Manny Siverio | Stunt Coordinator | |
| Corey Bayes | Associate Editor | |
| Gus Gustafson | Production Supervisor | |
| Thomas Varga | Sound Mixer | |
| Robert Striem | Location Manager | |
| Kimberly Fischer | Set Decorator | |
| Kristin Lindbeck | Costume Supervisor | |
| Lisa Forst | Make up | |
| JT Franchuk | Hairstylist | |
| Glenfield Payne | Supervising Sound Editor | |
| Josh Berger | Re-recording Mixer | |
| Glenfield Payne | Re-recording Mixer | |
| Josh Berger | Dialogue Editor | |
| Grant Elder | Sound Designer | |
| Gavin Hecker | Foley Mixer | |
| Lesley Robson-Foster | Visual Effects Supervisor | |
| Parker Chehak | Visual Effects Producer | |
| Matt Griffin | Visual Effects Producer | |
| David Wilder Savage | 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.