The triumph of madly at the Italian box office continues. Paolo Genovese’s comedy, also thanks to word of mouth, continues its race and in the last weekend (i.e. that of 7 and 9 March) exceeds 12 million euros of collection, becoming one of the cases of the film season that has just begun. Nothing was able to Mickey 17 by Bong Joon-Ho with the superstar Robert Pattinson, stopped at 813,514 euros. The five Oscars – including the best film and the best leading actress – return to the ranking of Sean Baker’s annex, who brings home 525,641 euros for a total of 1,515,227 of recesses at the Italian box office. In the last week, therefore, ANORA creates a third of his total collection in Italy.

Because madly likes the public

If there was a perfect formula to predict the proceeds of a film, the life of productions, distributions and the tenure of the rooms would be fine. There is no magic formula and not even a cast of star guarantees good results. In fact, there are no number of flops both Italian and foreign, due in part to the streaming of the films that occur more and more close to the releases in the room. However, it is important to emphasize also those successes that, evidently, have been able to intercept the tastes of the public enough to push people to leave the house, look for parking or take the means, and buy one or more tickets at the cinema. Which, in times of recession and galloping inflation, is not so obvious. People who, once out of the cinema, trigger a positive word of mouth that brings friends, relatives and colleagues to do the same thing on the first available opportunity.

Madly: a man, a woman and the (hilarious) emotions of the first appointment

Folly, he seems to have found a right key in the meantime in the cast, which involves faces of the small screen (Pilars Fogliati, Maria Chiara Giannetta, Vittoria Puccini and Maurizio Lastrico) and interpreters who is more frequent to see in the films in the room such as Edoardo Leo and Rocco Papaleo. Then there is the reference to something that the general public already knows, that is, Inside out. It will also be true that the idea to Genoese came many years before the release of the film Pixar, but this adult and very Roman version of the film must not be sorry to the public. On the contrary.
As happened with there is still tomorrow by Paola Cortellesi – unprecedented success with 32 million euros of collection – here too the fundamental element of the public is trust. We also saw it with Diamonds by Ferzan Ozpetek and Partenope of Paolo Sorrentino: people trust not only the cast, but also to the authors. And Paolo Genovese is the director of perfect strangers, a film that entered the heart of the general public. But this, for cinema, is not necessarily a positive factor.

Where to look for the “Paolo Genovese” of tomorrow

Trust, cast of well -known faces and light tones (without expiring in the bitter humor from cinepanettone) seem to be appreciated elements to the Italian public. It is easy to imagine that producers will increasingly focus on this type of film even if the public, in the long run, could get tired. One wonders where the space for experimentation remains and to grow the “Paolo Genovese” and the “Paola Cortellesi” of tomorrow. The box office data relating to 2024 (when still there is still tomorrow it was in theaters and ground recessed) tell us that the audience that goes to the cinema is changing. As highlighted by the “Cinexpert” data, the weekly monitoring commissioned by Cinetel to the company Ergo Research on the socio-demographic characteristics of the public in the room, the 2024 was characterized in particular by the growth of the younger segments, the 3-14 years (+31% compared to 2023) and 15-24 years (+13%) of which it also benefited from national production. The latter band, the most important in terms of tickets sold (25% of the total), has also grown compared to the average of the pre-plating three-year period (+26%) also thanks to the screenings dedicated to school groups such as the boy with pink trousers, the most viewed film also in the room also thanks to the numerous screenings organized for schools. After the publication of these data, many and many have argued that the cinema “will be saved by young people” and this is partly true. But schoolchildren are not enough to save the cinema, but the right combination of films designed for the general public and titles of authors and above all even emerging authors. In addition to, of course, a reasoned reform on the time that must intervene between the exit in the room and the streaming one. The appeals of the stars are not enough, precise political choices must be made and do it quickly, before others rooms close their doors forever.

https://www.youtube.com/watch?v=opqtehu_j4u