Slovakian cinemas enjoy another triumphant, record-breaking year
by Martin Kudláč
- Last year was also the most successful yet for domestic productions
Domestic cinema stepped up a gear in local theatres during 2017 (read the news). Genre productions such as All or Nothing by Mara Ferencová, The Line [+see also:
interview: Andrey Yermak
interview: Peter Bebjak
film profile] by Peter Bebjak, Kidnapping [+see also:
film profile] by Marianna Čengel Solčanská and Cuky Luky Film [+see also:
film profile] by Karel Janák proved instrumental in pushing audience figures to unprecedented heights, setting an all-time record in the history of the autonomous Slovak Republic (ie, since 1993). The total number of admissions rocketed to 6,692,871, thus marking a steep increase of 18.1% compared to the previous, also record-breaking, year (read the news). Gross box-office earnings rose by 19% to €34.5 million (for a total of 191,773 screenings).
As usual, the list of the ten most-viewed films bears its usual structure of hinging on big-budget US imports and titles predominantly aimed at children’s audiences; however, the major change this year is the proportion of domestic productions in the rankings, as they make up almost half. The most-visited film was an adaptation of the “chick lit” bestseller All or Nothing, a Slovak-Czech co-production (340,535 admissions), while second place belongs to the thriller The Line (329,349), followed by the US animated title Despicable Me 3 (296,178). A thriller recreating a domestic political controversy, Kidnapping, ended up in fourth place (278,763), followed by another US animated film, The Boss Baby (195,362).
Furthermore, All or Nothing, The Line, Kidnapping and even the comedy Cuky Luky Film, a spin-off of a television sketch show, entered the all-time top ten chart of the autonomous Slovak Republic (covering the period 1993-2017), which is still dominated by Juraj Jakubisko’s 2008 period drama Bathory [+see also:
film profile] (432,300 admissions). Respectively, these new titles occupy the third, fourth, fifth and eighth position in said chart. In terms of earnings, The Line became the highest-grossing film, with €1,749,425 at the box office, followed by the most-viewed film, All or Nothing, which earned €1,734,924 – dizzy heights usually reserved for US blockbusters, such as Avatar (€2.185 million) and Despicable Me (€1.88 million).
The domestic films released last year were visited by 1,414,132 theatregoers, thus enabling them to secure a 21.13% market share. The feature-length fiction debut Filthy [+see also:
interview: Tereza Nvotová
film profile] by Tereza Nvotová, an arthouse film crowned recently at the Czech Film Critics’ Awards (read the news), was viewed by 50,564 moviegoers, becoming the most successful Slovak minority co-production, while the most-watched documentary in cinemas was her sophomore feature-length doc, The Lust for Power [+see also:
film profile], a portrayal of an infamous politician (directly linked to the events depicted in Kidnapping), which was seen by 15,621 viewers.
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