Three Heists and a Hamster was the most successful Danish film of 2017
- Despite this positive result, the 2017 Danish box office did see a sharp decline in total admissions and the national market share
The Danish Film Institute, the agency responsible for supporting and fostering national film and cinema culture, has recently published the 2017 figures for the local box office. Pole position is held by the sci-fi blockbuster Star Wars: The Last Jedi, which accounted for 478,000 admissions, followed by the international hits Beauty and the Beast (398,000), Despicable Me (384,000) and Fifty Shades Darker (332,000).
The most successful Danish film of the year was Three Heists and a Hamster [+see also:
film profile], which ranked fifth and racked up 325,000 admissions. Directed by Rasmus Heide, the film focuses on the crazy heist planned by Timo (Rasmus Bjerg) and his younger brother Ralf (Mick Øgendahl). When their alcoholic father dies, he leaves his expensive motorcycle to his firstborn, who turns out to be someone named Kim (Sonja Richter), who lives in Italy. Timo refuses to accept his new place in the family hierarchy and brings Ralf along to Tuscany to steal the motorbike.
The top ten is rounded off by Moana (307,000 admissions), Dunkirk [+see also:
film profile] (304,000), The Fate of the Furious (276,000), The Boss Baby (266,000) and the domestic crime-comedy Small Town Killers [+see also:
film profile] (256,000), winner of the Silver Méliès for Best European Film at the 2017 Brussels International Fantastic Film Festival. Other well-performing local features included Martin Miehe-Renard’s family film Father of Four – At the Top (233,000 admissions) and Nordisk Film Production's animated film The Incredible Story of the Giant Pear [+see also:
film profile] (224,000).
The national box office has seen a sharp decline in total admissions in the last two years (12.4 million for 2017, down 11.1% compared to 2015’s figures) and a dramatic decrease in the number of admissions for domestic films (2.5 million, down 39% on 2015). These figures may be related to a number of factors, primarily the fall in the average Danish Film Institute subsidy allocation for domestic features (down 16% on 2015), the stagnation of local film production (a 10% drop in the national market share compared to 2015) and a lack of domestic hits capable of driving local demand.