South Korea Box Office for The Nightingale (2019)

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The Nightingale
Theatrical Performance (US$)
South Korea Box Office $102,190Details
Worldwide Box Office $1,018,766Details
Home Market Performance
North America Blu-ray Sales $136,063 Details
Total North America Video Sales $136,063
Further financial details...

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

Synopsis

1829 Tasmania. A young convict woman seeking revenge for the murder of her family, takes an Aboriginal male outcast with her through the interior and gets much more than she bargained for.

Metrics

Movie Details

South Korea Releases: December 30th, 2020 (Wide)
Video Release: February 4th, 2020 by Shout Factory
MPAA Rating: R for strong violent and disturbing content including rape, language throughout, and brief sexuality.
(Rating bulletin 2576 (Cert #52189), 5/1/2019)
Running Time: 138 minutes
Keywords: Revenge, 1800s, Australia, Death of a Spouse or Fiancée / Fiancé, Death of a Son or Daughter, Australian Aboriginals
Source:Original Screenplay
Genre:Drama
Production Method:Live Action
Creative Type:Historical Fiction
Production/Financing Companies: Made Up Stories, Causeway Films, Screen Australia, Screen Tasmania, South Australian Film Corp.
Production Countries: Australia, Canada, United States
Languages: English, Gaelic

Home Market Releases for February 4th, 2020

February 5th, 2020

That Time I Got Reincarnated as a Slime

It is a slow week for truly great releases. Both Doctor Sleep and The Nightingale are worth picking up, but not Pick of the Week contenders. Last Christmas is also worth picking up, but only if you like Romantic Comedies with magical realism. As for the Pick of the Week, I’m going with That Time I Got Reincarnated as a Slime: Season One, Part Two and if you really into Isekai Anime, grab Isekai Quartet: Season One as well. More...

Theater Averages: Luce and Nightingale Sing a Sweet Song

August 8th, 2019

Luce

It was a busy weekend on the theater average chart with five films in the $10,000 club. Luce led the way with an average of $26,597 in five theaters. This bodes well for any future expansion. The Nightingale was next with an average of $20,041 in two theaters. Jay Myself arguably had a stronger opening, earning $18,909 in one theater over the weekend for a five-day debut of $27,571. Exit managed an average of $16,221 in two theaters, which is excellent for a foreign-language film and hopefully means more Asian movies will be released here. The final film in the $10,000 club was the overall box office champ, Hobbs and Shaw, with an average of $14,117. More...

Weekend Estimates: Hobbs and Shaw’s International Numbers Save Weekend Haul

August 4th, 2019

Fast and Furious Presents: Hobbs and Shaw

Fast and Furious Presents: Hobbs and Shaw missed even the low end of predictions with an estimated opening weekend of just $60.8 million. This is not a good start for a film that cost $200 million to make. Additionally, its reviews and its A minus from CinemaScore do not suggest long enough legs to make up for this opening. Fortunately, the film is doing a lot better internationally with an estimated opening of $120 million in 63 markets. Furthermore, this number doesn’t include China, because the film doesn’t open there until the end of the month. (It has also yet to open in France, Italy, and Japan, but it will earn more in China than those three markets combined.) The film is opening well behind The Fate of the Furious in most markets, including Russia where it managed $8.20 million on 1,766 screens, compared to $14.26 million on 1,470 screens for the previous film. It was even worse in the U.K. at $7.85 million in 610 theaters vs. $17.58 million on 572. Overall, the film is more in line with Fast Five than the other recent films in the franchise. This is still enough to earn a profit, especially if it does well in China, but the spin-off won’t replace the main films in the Fast and the Furious franchise like I thought it had a chance of doing. More...

Limited and VOD Releases: It’s a Good Night to see a Movie

August 2nd, 2019

The Nightingale

It is a slow week for limited releases with only six films on the main list. Fortunately, four of those six films are earning excellent reviews and a couple of them could do well at the box office. This includes both Luce and The Nightingale. Meanwhile, Love, Antosha could do well for a documentary. 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
2021/01/01 6 $42,250   307 $138   $79,383 1
2021/01/08 19 $6,262 -85% 103 $61   $98,277 2
2021/01/15 - $974 -84% 16 $61   $101,949 3

Box Office Summary Per Territory

$00
Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Australia 8/16/2019 $1,702 1 33 189 $302,050 1/20/2020
Japan 3/20/2020 $9,264 26 26 26 $15,717 3/27/2020
Netherlands 1/31/2019 00$0
New Zealand 7/19/2019 $0 0 3 5 $19,829 10/19/2022
North America 8/2/2019 $35,882 2 79 270 $400,741 8/18/2023
South Korea 12/30/2020 $42,250 307 329 874 $102,190 2/1/2021
Taiwan 9/13/2019 $12,800 10 10 17 $25,506 1/5/2020
United Kingdom 11/29/2019 $26,917 12 14 26 $44,142 12/13/2019
 
Rest of World $108,591
 
Worldwide Total$1,018,766 8/18/2023

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.

Leading Cast

Aisling Franciosi    Clare

Supporting Cast

Sam Claflin    Hawkins
Baykali Ganambarr    Billy
Damon Herriman    Ruse
Harry Greenwood    Jago
Michael Sheasby    Aidan
Ewen Leslie    Goodwin
Charlie Shotwell    Eddie
Magnolia Maymuru    Lowanna
Charlie Brown    Uncle Charlie

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

Production and Technical Credits

Jennifer Kent    Director
Jennifer Kent    Screenwriter
Kristina Ceyton    Producer
Bruna Papandrea    Producer
Steve Hutensky    Producer
Jennifer Kent    Producer
Aaron L. Gilbert    Executive Producer
Andy Pollack    Executive Producer
Jason Cloth    Executive Producer
Brenda Gilbert    Executive Producer
Ben Browning    Executive Producer
Alison Cohen    Executive Producer
Jim Everett    Associate Producer
Amanda Crittenden    Line Producer
Radek Ladczuk    Director of Photography
Simon Njoo    Editor
Alex Holmes    Production Designer
Margot Wilson    Costume Designer
Robert Mackenzie    Sound Designer
Jed Kurzel    Composer
Marty Pepper    Visual Effects Supervisor
Nikki Barrett    Casting Director
Steven Thibault    Co-Executive Producer
Anjay Nagpal    Co-Executive Producer