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| Theatrical Performance (US$) | ||
| Australia Box Office | $20,786 | Details |
| Worldwide Box Office | $32,227,828 | Details |
| Further financial details... | ||
| Australia Releases: | November 15th, 2019 (Wide), released as Somewhere Winter |
| MPAA Rating: | Not Rated |
| Running Time: | 90 minutes |
| Keywords: | Romance |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production Countries: | China |
| Languages: | Mandarin |
November 27th, 2019
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Frozen II dominated the international box office the way few films manage, earning $228.2 million in 37 markets for a worldwide debut of $358.2 million. This includes a $54.38 million debut in China, which is more than the second place film earned on the worldwide chart. In fact, the movie earned more in South Korea with a total opening of $32.31 million on 2,648 screens, including $28.10 million over the weekend than the second place film on the worldwide chart earned. In the U.K., it pulled in $19.36 million in 671 theaters, while it also cracked $10 million in both Germany ($14.9 million) and France ($13.4 million). Furthermore, the film has yet to open in Italy, Russia, Australia, and Brazil, so it isn’t done yet and should remain on top of the chart for a few weeks.
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November 20th, 2019
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Ford v Ferrari opened in top spot on the international chart, just like it did domestically. However, it wasn’t nearly as dominant earning $21.4 million in 41 markets. The film wasn’t nearly as strong internationally as it was domestically in most markets, but it did do really well in Russia with an opening of $3.33 million on 1,044 screens, easily earning first place in that market. It’s wasn’t as successful in either the U.K. or France, earning $2.3 million each. On the other hand, the film wasn’t even able to crack $1 million in Spain. This is surprising, as the box office results of sports movies tend to be proportional to their popularity and this kind of auto racing is more popular internationally than it is domestically.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2019/11/15 | 31 | $11,933 | 16 | $746 | $11,933 | 1 | |
| 2019/11/22 | - | $1,534 | -87% | 4 | $384 | $20,786 | 2 |
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Australia | 11/15/2019 | $11,933 | 16 | 16 | 20 | $20,786 | 11/26/2019 |
| China | 11/15/2019 | $13,300,000 | 82177 | 82177 | 130616 | $32,205,498 | 1/3/2020 |
| New Zealand | 11/15/2019 | $1,544 | 2 | 2 | 2 | $1,544 | 10/19/2022 |
| North America | 11/15/2019 | $0 | 9 | 0 | 0 | $0 | |
| Worldwide Total | $32,227,828 | 10/19/2022 | |||||
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.
| Sandra Ma | ||
| Wallace Huo | ||
| Wei Daxun | ||
| Yiyad Zhang | ||
| Austin Lin | ||
| Vicky Chen | ||
| Patty Hou | ||
| Chyi Chin |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
| David Wang | Director |
