Spanish films continue their love affair with local audiences
by Sergio Rios Pérez
- Torrente 5: Operación Eurovegas, El niño and Marshland boosted the market share of Spanish films up to an impressive 67% over the weekend
Spanish film production, which is still rubbing its eyes in astonishment following the colossal success racked up by the comedy Spanish Affair [+see also:
film profile] a few months ago, is continuing its unusual love affair with local audiences as the industry sees a resurgence of activity after the summer holidays. This is mainly down to the success of three movies that are very different from one another, but which certainly complement each other, boosting the market share of Spanish films up to an impressive 67%.
By now, no one should be surprised by the mainstream success experienced by the Torrente saga, which has now reached its fifth instalment with Torrente 5: Operación Eurovegas, directed by and starring the inimitable Santiago Segura, as always. Although its box-office results have turned out to be a little less impressive than expected, bearing in mind the excellent performance of its predecessor, they have been enough to turn it into the strongest release of the year, with it taking €3.71 million and enticing 574,000 viewers.
There were more reserved predictions about the audience-enticing ability of the two crime thrillers El niño [+see also:
interview: Daniel Monzón
film profile], by Daniel Monzón, and Marshland [+see also:
interview: Alberto Rodríguez
film profile], by Alberto Rodríguez. Of course, this was not due to the quality of the titles, which have been garnering praise from critics and the general public alike, but rather because until very recently, Spanish-produced thrillers tended to come up against the constant and widespread indifference of local audiences.
El niño, released at the end of August, has raked in €523,000 this week, amassing total takings of €14.4 million, and has sold almost 2.4 million tickets. Thus Monzón has managed to raise the already impressively high bar set by his previous work, Cell 211 [+see also:
interview: Daniel Monzón
film profile] (2009), a similar offering that took €13.14 million and successfully won much acclaim from the public, critics and the Spanish Film Academy (it was the big winner at the Goya Awards).
For his part, Rodríguez, who now delves deeper into the same setting (the recent past in Andalucía) as his previous work, Unit 7 [+see also:
film profile] (2012), has found the missing piece of the puzzle that was needed in order for his 2012 effort to really take off, with his latest title managing to rake in the same amount of money (€2.16 million) in just two weeks of release. The very slight drop in the figures between the first and second weeks show that word of mouth and the excellent reviews have had quite an impact, so the film still has a great deal of potential to do well at the box office over the next few weeks.
(Translated from Spanish)
Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox.