The Intouchables registers an almost 30% drop in box office in the United States (Weinstein Co.) compared to the previous week, with takings of $595,000 for an unchanged 194-print run. At the end of its 12th week on screens, it has already generated $6.5 million, being around 830,000 admissions. Argentina (Gussi) is the first Latin American country to welcome the film in theaters. The first results are very encouraging, with 46,000 spectators for 25 prints in two weeks. At the end of August, the film is slated for release in the zone's other major territories, in particular Mexico (Gussi), Venezuela (Cines Unidos) and Brazil (Gussi). The Intouchables has now accumulated 22.5 million admissions internationally.
HOUBA! On the Trail of the Marsupiliami's run has been reduced by half in Russia (Volga) from 389 to 180 prints. It nevertheless attracted 70,000 supplementary spectators, being a total of 310,000 admissions during its three weeks on screen. As of next week, the film should impose itself as the best French performance of 2012, ahead of The Artist (Volga) and its 322,000 admissions. A total of 700,000 admissions abroad has now been recorded for the film.
Also in Russia (Daro Film), Happiness Never Comes Alone struggled to find its public during its opening weekend. It attracted 36,000 admissions in four days, despite its large 152-print release. We recall that Hellphone (Luxor), by the same director (James Huth) garnered 358,000 admissions in Russia in 2007. The film is doing better elsewhere: now out on release for seven weeks in French-speaking European territories, the film has performed well, with 92,000 admissions in Belgium (Alternative Films) and 33,000 admissions in French-speaking Switzerland (Pathé Films).
What's in a Name? continues its career in Belgium (Alternative Films), where it has clocked up 170,000 admissions after 16 weeks in the theaters, being the 2nd best performance recorded by a French film released in 2012, behind HOUBA! On the Trail of the Marsupiliami (Alternative Films - 248,000 admissions in 11 weeks). In Italy (Eagle Pictures), it has reached 87,000 admissions in 6 weeks and should soon become the 8th French film to pass the barrier of 100,000 Italian spectators since the beginning of 2012. In Germany (Warner Bros.), where the film is out on a140-print run, the film has attracted a modest 62,000 admissions in 3 weeks.