Spain Box Office for The Rider (2018)

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The Rider
Theatrical Performance (US$)
Spain Box Office $192,376Details
Worldwide Box Office $4,205,944Details
Home Market Performance
North America DVD Sales $347,686 Details
Total North America Video Sales $347,686
Further financial details...

  1. Summary
  2. News
  3. Box Office
  4. Worldwide
  5. Full Financials
  6. Cast & Crew
  7. Trailer

Synopsis

After a tragic riding accident, young cowboy Brady, once a rising star of the rodeo circuit, is warned that his competition days are over. Back home, Brady finds himself wondering what he has to live for when he can no longer do what gives him a sense of purpose: to ride and compete. In an attempt to regain control of his fate, Brady undertakes a search for new identity and tries to redefine his idea of what it means to be a man in the heartland of America.

Metrics

Movie Details

Spain Releases: September 21st, 2018 (Wide)
Video Release: August 7th, 2018 by Sony Pictures Home Entertainment
MPAA Rating: R for language and drug use.
(Rating bulletin 2501 (Cert #51312), 11/8/2017)
Running Time: 105 minutes
Keywords: Rodeo, Sports Injury, Family Affair, Relatives Playing Relatives, Equestrian
Source:Original Screenplay
Genre:Drama
Production Method:Live Action
Creative Type:Contemporary Fiction
Production/Financing Companies: Highwayman Films, Caviar
Production Countries: United States
Languages: English

Home Market Releases for August 7th, 2018

August 8th, 2018

Deadpool 2

It is a deceptively busy week on the home market, and not in a good way. There’s no one big release, at least not on DVD / Blu-ray, but there’s a sea of mediocrity this week. I’m not talking about quality here, but sales rank. There are a lot of films that wouldn’t even be filler during a normal week, but this week are selling well enough to be mentioned. There are several that are worth picking up, including limited releases like Bye Bye Germany and Revenge, classics like The Changeling, and even some Anime titles like Big Fish & Begonia or Tsuredure Children. Deadpool 2 is by far the biggest release of the week and I suspect the Blu-ray will be the Pick of the Week when it comes out, but I don’t want to give it that title until than. As a result, there’s no real winner this week. There were a lot that came close. More...

Theater Averages: Incredibles Tops Another Chart

June 20th, 2018

Incredibles 2

The overall number one film, Incredibles 2, earned top spot on the theater average chart with an impressive average of $41,426. Only two other wide releases have started with bigger averages: Infinity War and Black Panther. The only new limited release in the $10,000 club was Eating Animals, which earned an average of $17,262. Finally, Won’t You Be My Neighbor earned an average of $10,445 in nearly 100 theaters, earning over $1 million in the process. This bodes well for its future. More...

Theater Averages: Out of This World

May 23rd, 2018

Deadpool 2

The re-release of 2001: A Space Odyssey topped the theater average chart by a huge margin earning just over $200,000 in four theaters for an average of $50,690. The overall box office leader, Deadpool 2, was next with an average of $28,859 in over 4,000 theaters. First Reformed was right behind with an average of $24,391 in just 4 theaters. More...

Theater Averages: Box Office is Full of Grace

April 18th, 2018

Grace Jones: Bloodlight and Bami

Grace Jones: Bloodlight and Bami had the best opening of the limited releases earning an average of $18,724 in three theaters. The only other film in the $10,000 Club was The Rider, which earned an average of $14,081, also in three theaters. More...

Limited and VOD Releases: Who Will be the Limited Releases’ Saving Grace

April 13th, 2018

Grace Jones: Bloodlight and Bami

There are not many limited releases that have a shot at box office success on this week’s list. The biggest ones are either opening too wide, like Beirut, or are already playing on VOD, like Borg vs. McEnroe, Wildling, and others. This leaves Grace Jones: Bloodlight and Bami as the film I think has the best shot at earning some measure of mainstream success. More...

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.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2018/09/21 17 $61,488   32 $1,922   $61,488 1
2018/09/28 18 $43,534 -29% 50 $871   $141,056 2
2018/10/05 24 $21,737 -50% 45 $483   $192,376 3

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Australia 11/12/2020 $170 1 1 2 $1,160 5/21/2021
France 3/30/2018 $228,699 0 0 0 $650,004 6/13/2018
Italy 8/29/2019 $22,965 0 16 30 $71,363 10/19/2022
Netherlands 4/20/2018 $16,239 34 34 100 $106,211 5/7/2018
North America 4/13/2018 $42,244 3 224 1,148 $2,418,679 3/2/2020
Spain 9/21/2018 $61,488 32 50 127 $192,376 10/11/2018
United Kingdom 9/14/2018 $47,433 0 0 0 $47,433 2/8/2019
 
Rest of World $718,718
 
Worldwide Total$4,205,944 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.

Uncategorized

Brady Jandreau    Brady Blackburn
Tim Jandreau    Wayne Blackburn
Lilly Jandreau    Lilly Blackburn
Lane Scott    Lane Scott
Cat Clifford    Cat Clifford

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Chloé Zhao    Director
Chloé Zhao    Screenwriter
Bert Hamelinck    Producer
Sacha Ben Harroche    Producer
Mollye Asher    Producer
Chloé Zhao    Producer
Michael Sagol    Executive Producer
Jasper Thomlinson    Executive Producer
Nathan Halpern    Music By
Joshua James Richards    Cinematographer
Alex O'Flinn    Editor