UK distributor Entertainment Films are following the same release strategy that worked for Brokeback Mountain, which debuted with £49,029 from the same single-cinema showcase, opening exactly six years ago on Friday December 30 2005.
They showed Prometheus to 30,000 people, right from the same date it was in cinemas (by the end of the run it accounted for more than 3% of the UK box office).
Away from the Netflix publicity machine, online-only film releases are rarely advertised or visibly scheduled in the same way cinema releases or even DVDs are.
Their literature, their cinema, all sings from the same hymn sheet.
Harnessing Magnani's eruptive melodramatic energy, he shows the life of the cinema to arise from the same root as the theatre — not merely the love of show and spectacle, but also the urgent real-life performances arising from real-life dramas and conflicts — but with the added distortion of money, which is also the source of its allure.
The same might be said for Roman Polanski's Venus in Fur, which grossed an unspectacular £13,800 from 11 cinemas, and Hany Abu-Assad's Omar, which managed £8,300 from the same number of venues.
He gets his coffee from the same Puerto Rican coffee house on Park Slope, Brooklyn, every morning, and gives money to his favourite downtown cinema, Film Forum.
Hackers from the same group which has released emails and data stolen from Sony Pictures have threatened to attack US cinemas showing the studio's film.
Heavy metal and horror cinema, which have now enjoyed a mutually beneficial partnership for half a century, seem to be cut from the same unholy, blackened cloth.
We see the same thing in cinema, in a film.
