Beyoncé’s ‘Renaissance’ is No. 1 at Box Office with $21 Million Debut

Beyonce accepts the award for Best Dance/Electronic Music Album for "Renaissance" during the 65th Annual Grammy Awards in Los Angeles, California, US, February 5, 2023. REUTERS/Mario Anzuoni/File Photo
Beyonce accepts the award for Best Dance/Electronic Music Album for "Renaissance" during the 65th Annual Grammy Awards in Los Angeles, California, US, February 5, 2023. REUTERS/Mario Anzuoni/File Photo
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Beyoncé’s ‘Renaissance’ is No. 1 at Box Office with $21 Million Debut

Beyonce accepts the award for Best Dance/Electronic Music Album for "Renaissance" during the 65th Annual Grammy Awards in Los Angeles, California, US, February 5, 2023. REUTERS/Mario Anzuoni/File Photo
Beyonce accepts the award for Best Dance/Electronic Music Album for "Renaissance" during the 65th Annual Grammy Awards in Los Angeles, California, US, February 5, 2023. REUTERS/Mario Anzuoni/File Photo

Beyoncé ruled the box office this weekend.
Her concert picture, “ Renaissance: A Film by Beyoncé,” opened in first place with $21 million in North American ticket sales, according to estimates from AMC Theatres Sunday.
The post-Thanksgiving, early December box office is notoriously slow, but “Renaissance" defied the odds. Not accounting for inflation, it's the first time a film has opened over $20 million on this weekend in 20 years (since “The Last Samurai”).
Beyoncé wrote, directed and produced “Renaissance,” which is focused on the tour for her Grammy-winning album. It debuted in 2,539 theaters in the US and Canada, as well as 94 international territories, where it earned $6.4 million from 2,621 theaters, The Associated Press reported.
“On behalf of AMC Theatres Distribution and the entire theatrical industry, we thank Beyoncé for bringing this incredible film directly to her fans,” said Elizabeth Frank, AMC Theatres executive vice president of worldwide programming, in a statement. “To see it resonate with fans and with film critics on a weekend that many in the industry typically neglect is a testament to her immense talent, not just as a performer, but as a producer and director."
Though “Renaissance” did not come close to matching the $92.8 million debut of “Taylor Swift: The Eras Tour” in October, it’s still a very good start for a concert film. No one expected “Renaissance” to match “The Eras Tour,” which is wrapping up its theatrical run soon with over $250 million globally. Prior to Swift, the biggest concert film debuts (titles held by Miley Cyrus and Justin Bieber for their 2008 and 2011 films) had not surpassed the unadjusted sum of $32 million.
The 39-city, 56-show “Renaissance” tour, which kicked off in Stockholm, Sweden in May and ended in Kansas City, Missouri in the fall, made over $500 million and attracted over 2.7 million concertgoers. Swift’s ongoing “Eras Tour,” with 151 dates, is expected to gross some $1.4 billion.
Both Beyoncé and Swift chose to partner with AMC Theatres to distribute their films, as opposed to a traditional studio. Both superstars have been supportive of one another, making splashy appearances at the other’s premieres. Both had previously released films on Netflix (“Miss Americana” and “Homecoming”). And both are reported to be receiving at least 50% of ticket sales.
Movie tickets to the show were more expensive than average, around $23.32 versus Swift's $20.78, according to data firm EntTelligence.
Critics and audiences gave "Renaissance" glowing reviews – it’s sitting at 100% on Rotten Tomatoes and got a coveted A+ CinemaScore from opening weekend audiences who were polled. EntTelligence also estimates that the audience, around 900,000 strong, skewed a little older than Swift's.
Lionsgate's “ The Hunger Games: The Ballad of Songbirds & Snakes ” fell to second place in its third weekend with an estimated $14.5 million. The prequel has now earned over $121 million domestically.
“Godzilla Minus One " is expected to take third place on the North American charts. The well-reviewed Japanese blockbuster distributed by Toho International cost only $15 million to produce and has already earned $23 million in Japan. Toho's 33rd Godzilla film is set in the aftermath of World War II, stars Ryunosuke Kamiki and was directed by Takashi Yamazaki.



'Daddio' Eschews Glitz for Deep Conversation between Sean Penn, Dakota Johnson

Dakota Johnson and Sean Penn. Reuters
Dakota Johnson and Sean Penn. Reuters
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'Daddio' Eschews Glitz for Deep Conversation between Sean Penn, Dakota Johnson

Dakota Johnson and Sean Penn. Reuters
Dakota Johnson and Sean Penn. Reuters

Dakota Johnson knew two-time Academy Winner Sean Penn was exactly who she wanted to star in the film “Daddio” as the male lead, but at first, she was not sure how to make it happen.
"The first and only person that I was like, 'Oh he'd be really perfect', was Sean and we kind of thought he would never do it because it's such a small movie with a first-time filmmaker and newer producers,” she said.
However, living close to Penn and occasionally hanging out gave her the chance to ask him if he would read the script for “Daddio.”
“He did it quite quickly, and that was surprising, and then we went for a walk, and he loved it (the script),” Johnson added.
Johnson acquired the "Daddio" screenplay from writer and director Christy Hall, Reuters reported. In the film, she plays a young woman who takes a cab driven by a man named Clark, played by Penn, who calls her "Girlie." The character's real name is never stated in the film.
"Girlie" takes the yellow cab back to her apartment in Manhattan after landing at John F. Kennedy Airport. She and Clark, the cab driver, have a shockingly earnest conversation about a range of topics, including relationships, loss and vulnerability.
“Daddio” arrives in theaters on Friday.
The majority of the film involves Clark and 'Girlie' talking about their lives and experiences while in the cab.
Penn believes the film defies the "razzle dazzle" that people are often told they must look for in a film.
For him, a glitzy film is not necessarily the key to crafting impressive cinema.
Instead, what struck him about "Daddio" was the quality of the script and the rawness of Johnson’s performance as "Girlie."
“She has such a beautiful vulnerability ... that never gets in the way of strength,” he said.
“It’s vulnerability in the most relevant ways,” he added.