Australia Box Office for Fire At Sea (2016)

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Theatrical Performance (US$)
Australia Box Office $2,101Details
Worldwide Box Office $1,144,549Details
Home Market Performance
North America DVD Sales $93,779 Details
North America Blu-ray Sales $19,762 Details
Total North America Video Sales $113,541
Further financial details...

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

Synopsis

Samuele is twelve and lives on an island in the Mediterranean, far away from the mainland. Like all boys of his age he does not always enjoy going to school. He would much rather climb the rocks by the shore, play with his slingshot or mooch about the port. But his home is not like other islands. For years, it has been the destination of men, women and children trying to make the crossing from Africa in boats that are far too small and decrepit. The island is Lampedusa which has become a metaphor for the flight of refugees to Europe, the hopes, hardship and fate of hundreds of thousands of emigrants. These people long for peace, freedom and happiness and yet so often only their dead bodies are pulled out of the water. Thus, every day the inhabitants of Lampedusa are bearing witness to the greatest humanitarian tragedy of our times.

Metrics

Movie Details

Australia Releases: May 19th, 2017 (Wide), released as Fire At Sea
Video Release: March 21st, 2017 by Kino Lorber
MPAA Rating: Not Rated
Running Time: 108 minutes
Keywords: On a Boat, Refugee, Agitprop, Set in Italy, Set in Mediterranean Sea, Civil War
Source:Based on Real Life Events
Genre:Documentary
Production Method:Live Action
Creative Type:Factual
Production/Financing Companies: 21 Uno Film, Istituto Luce Cinecitta, Stemal Entertainment, RAI Cinema, Les Films d'Ici, ARTE France
Production Countries: France, Italy
Languages: Italian

Home Market Releases for March 21st, 2017

March 21st, 2017

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2016 - Awards Season - And the Oscar Goes to... La La Land Moonlight!

February 26th, 2017

Moonlight

It’s Oscar night and we were live blogging the show. Read on the the highlights of what turned out to be a crazy night. More...

2016 - Awards Season: Oscars - Nominations - Final Look

February 26th, 2017

La La Land

It’s Oscar night and we will be live blogging the show. Before that, let’s take a last look at the nominations with a few annotations. Nominees in italics are those that have received the most votes from our readers so far in our Oscar contest (which is open to new entries until noon, Pacific, today—enter now!). Bold films are those films I think will win. Meanwhile, those that are Underlined are those I want to win. Not all categories have underlined nominees, because not all categories have someone I’m cheering for, or because there are two nominees I couldn’t pick between. More...

2016 Awards Season: Oscar Highlight: Best Feature-Length Documentary

February 9th, 2017

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With our annual Oscar Prediction contest underway, now is the best time to look at the nominees and try and figure out who the favorites are and which films should just feel honored to be nominated. Today we look at Best Feature-Length Documentary. Like last year, this category has an overwhelming favorite, despite it not being a Feature-Length Documentary. More...

2016 Awards Season: Oscar Nominations

January 24th, 2017

La La Land

The Oscar nominations were announced starting at 5:18 am Pacific time. Nothing is good that early in the morning. Worse still, it’s a boring year for nominations with very few surprises worth talking about, especially in the biggest categories. Leading the way was La La Land with 14 nominations, tying the record. More...

Theater Averages: Moonlight Shines Bright With $100,519

October 25th, 2016

Moonlight

Moonlight not only earned the best theater average of the weekend at $100,519 in four theaters, but it had the best average for any film that opened in 2016. It wasn’t the only film to do well this week, as Michael Moore in TrumpLand earned an average of $25,100 in two theaters. The Handmaiden pulled in an average of $18,426 in five theaters, while the re-release of Tanpopo earned $16,410 in one. We are still not done, as the overall number one film, Tyler Perry’s Boo! A Madea Halloween, earned an average of $12,611. More...

Limited and VOD Releases: Handmade Limited Releases

October 21st, 2016

The Handmaiden

Several films coming out this week are earning nearly unanimously positive reviews. This includes a few documentaries, but also a couple of narrative films that have a shot at some box office success. Moonlight is clearly aiming to win awards and it might do so. The Handmaiden should help grow Chan-wook Park’s fanbase here. 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
2017/05/19 - $787   3 $262   $787 1
2017/06/23 - $828   4 $207   $2,101 6

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 8/12/2016 $5,064 7 7 16 $11,506 11/30/2018
Australia 5/19/2017 $787 3 4 7 $2,101 3/19/2019
Brazil 4/29/2016 $8,752 0 0 0 $8,752 11/15/2018
France 9/30/2016 $108,902 0 0 0 $108,902 8/17/2018
Italy 2/19/2016 $90,523 47 83 257 $772,498 11/9/2018
Netherlands 10/6/2016 $21,869 27 27 51 $52,996 10/18/2016
North America 10/21/2016 $11,906 2 7 21 $120,933
Portugal 10/14/2016 $1,801 2 3 6 $6,332 4/7/2017
Russia (CIS) 7/15/2016 $9,432 20 20 48 $14,968 11/14/2018
Spain 10/14/2016 $12,784 30 30 48 $24,117 10/27/2016
Turkey 7/8/2016 $741 0 0 0 $2,636 1/1/2019
United Kingdom 6/10/2016 $18,808 15 15 15 $18,808 6/23/2016
 
Worldwide Total$1,144,549 3/19/2019

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.

Documentary Subject(s)

Pietro Bartolo    Himself
Samuele Puccilo    Himself

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

Production and Technical Credits

Gianfranco Rosi    Director
Gianfranco Rosi    Screenwriter
Donatella Palermo    Producer
Gianfranco Rosi    Producer
Serge Lalou    Producer
Camille Laemle    Producer
Roberto Ciccutto    Producer
Paolo Del Brocco    Producer
Martine Saada    Producer
Olivier Pere    Producer
Jacopo Quadri    Editor
Gianfranco Rosi    Director of Photography
Stefano Grosso    Sound Designer
Giuseppe Del Volgo    Assistant Director
Fabrizio Federico    Production Manager