1346-1350

*Chapter 1346: Another Blockbuster*

Curiosity killed the cat, and the same goes for people.

At the core, humans are curious creatures who often can't control their curiosity or their eagerness to follow the crowd.

You can see this phenomenon in everyday life.

A plain, even rundown store suddenly has a long line outside its entrance. Curiosity sparks, and before you know it, the line grows longer and longer.

That's exactly what's happening at the Angelica Film Center.

A massive crowd stretches endlessly, drawing the attention of passersby.

Finally, someone can't resist stepping forward to ask, "What's going on?"

Blair responds matter-of-factly, "Eternal Sunshine of the Spotless Mind."

The bystander is momentarily speechless. "Of course, I know Eternal Sunshine of the Spotless Mind. What I’m asking is, why? Is this movie really that good? Worth standing in line for?"

Blair shrugs lightly. "I don’t know your taste, so I can’t say for sure; but for me, personally, it’s the best film of the millennium so far."

"We spent the entire night here discussing it and still couldn’t get enough. So we came first thing this morning to watch it again."

Before the bystander can respond, Karen chimes in, "I don’t think it’s for everyone because it’s a very complex film. Not everyone can fully understand it. If you go in expecting a romantic comedy and end up completely lost, won’t that hurt its reputation?"

"This movie has a viewing threshold."

Hearing this, the bystander straightens up. "A mind-bending movie? I love those! That means I have to see it."

Blair and Karen exchange a knowing glance, filled with excitement.

The next time someone asks, Blair switches up the response.

"I cried. I never expected to see my own story play out on the big screen—it hit me so hard."

"Honestly, I didn’t fully understand it. The story is a bit complicated, but the emotional impact was overwhelming. It completely broke me."

Beside her, Karen plays the fangirl. "Anson is just so ridiculously attractive! How is it possible for someone to be that good-looking? Ugh, Anson really needs to do more romance films to fuel our fantasies."

The bystander gasps. "Wow, really? That handsome?"

Blair nods. "I don’t know about you, but Anson’s mature charm this time around is absolutely mesmerizing. We spent the entire night here fangirling over him."

As soon as the bystander clutches their chest in excitement and runs to join the end of the line, Blair and Karen high-five in celebration. Everything is going smoothly.

And that’s not all.

"I don’t think the general public will like it. This is a film for indie art lovers—very niche, very personal, very artsy. You probably shouldn’t bother."

"No, it’s not romantic at all. It completely shattered my heart."

"Surprisingly, Anson fits the role of an art-house leading man incredibly well. He’s always had a refined aura, and it really shines this time."

"Honestly, I think it’ll flop at the box office. It’s too complex and too artsy, so I made sure to drag my friends here to support it. We watched for free yesterday, so we’re buying tickets today to show our appreciation."

"I have no idea. I’m just here for the hype. My friend said it’s her favorite film of the last ten years, so I rushed over first thing in the morning."

"Oh my God, oh my God, it’s amazing! I don’t even have the words to describe it—I just know it’s incredible!"

Blair and Karen are like chameleons—

Every time someone asks, they switch up their responses.

Karen doesn’t fully understand why. Blair explains that people’s expectations influence their movie experience, which in turn affects word-of-mouth. Their goal is to create intrigue while keeping expectations unpredictable. That way, they pique curiosity without setting the film up for disappointment.

Otherwise, if they just kept saying "must-watch," "instant classic," or "unmissable," not only would people build unnecessary expectations, but their responses would also start sounding robotic—devoid of real emotion.

Karen doesn’t entirely grasp the strategy, but she doesn’t need to. She just follows Blair’s lead and plays along.

And then, something extraordinary happens—

The crowd swells.

A seemingly endless line wraps around the Angelica Film Center, snaking through the plaza and even spilling onto the staircase. The sheer number of people is overwhelming.

An unprecedented spectacle.

This scene stirs a sense of déjà vu. Just like with The Butterfly Effect and Elephant, Anson Wood's latest film is once again creating a frenzy.

It’s the same story, the same formula playing out.

But upon closer inspection, it’s not quite the same.

The Butterfly Effect had a wide release and used multiple alternate endings as a marketing gimmick to generate buzz.

Elephant had a limited release, maximizing demand by capitalizing on its Palme d'Or prestige.

Eternal Sunshine of the Spotless Mind is getting a small-scale release, relying purely on organic conversation and word-of-mouth.

Yet, all three have one common denominator: Anson.

It’s now clear—step by step, film by film, Anson is cementing his influence and star power. He’s not just shedding the "pretty boy" label; he’s proving his versatility as an actor.

And more importantly, the equation "Anson Wood = Quality Guarantee" is taking root in people’s minds.

Despite controversies and skepticism, Anson has scored a hat-trick—three consecutive hits. He’s showcasing both his acting skills and his ability to draw audiences, extending his success beyond mainstream hits like The Princess Diaries, Spider-Man, and Catch Me If You Can.

These three films have become defining moments in Anson’s career.

But none of that matters. The only thing that truly matters is—

The crowds.

Once again, another blockbuster is born.

With all these factors converging, the momentum builds, and all eyes turn toward Eternal Sunshine of the Spotless Mind. The flood of people rushes into theaters.

Three months ago, Elephant had a limited release that became the hottest ticket in town, with every showing sold out. It even set records for the highest per-screen average box office.

Now, history is repeating itself.

But this time, audiences quickly realize they don’t need to fight for a seat at Eternal Sunshine of the Spotless Mind.

Despite its limited release, theaters in major cities like Los Angeles and New York are showing the film frequently, ensuring that moviegoers won’t struggle to find seats.

Moreover, Focus Features is handling the rollout with precision. They aren’t choosing random suburban theaters or major chain cinemas in bustling city centers. Instead, they’re strategically placing the film in independent theaters and art-house cinemas—ensuring that its core audience can easily find it.

As for the general public?

Focus Features doesn’t particularly care.

In the face of all this hype and excitement, Focus Features remains calm and collected. They know that while viral buzz can seem overwhelming, it’s not necessarily a good thing for Eternal Sunshine of the Spotless Mind. Instead, they are sticking to their plan—targeting the right audience and building the film’s reputation from the ground up.

No greed, no recklessness, no impulsiveness.

Even though the film’s preview screenings have sparked massive interest, Focus Features isn’t letting the excitement cloud their judgment.

Once again, another cultural moment is unfolding right before our eyes.

(End of chapter)

Chapter 1347: Interwoven Fates

As always, Focus Features remained calm and rational.

No matter how turbulent Hollywood became or how much the media stirred up excitement, Focus Features stayed clear-headed, never letting the heat of the moment cloud its judgment:

Eternal Sunshine of the Spotless Mind was only screening in 300 theaters—less than one-tenth of Dawn of the Dead's reach.

Of course, this didn’t mean that Eternal Sunshine of the Spotless Mind couldn’t achieve great success. But if Focus Features misplaced its priorities, wasting energy to create unnecessary waves, or worse, attempting to overthrow Dawn of the Dead, wouldn’t that be missing the point entirely?

Besides, the cost of such an endeavor might be far greater than imagined.

So, the focus wasn’t on Dawn of the Dead, but rather on Eternal Sunshine of the Spotless Mind itself. Focus Features kept its eyes on its own path, sticking to the plan and advancing step by step.

The buzz quietly spread across major cities.

New York was at the forefront. The Angelika Film Center, in particular, stole the spotlight. Following the success of Elephant, it once again found itself at the eye of the storm, overwhelmed by the surging crowds.

In recent years, Hollywood Boulevard in northern Los Angeles had been becoming the center of the film industry. With landmarks like the TCL Chinese Theatre, El Capitan Theatre, and the Kodak Theatre drawing more attention—not just for premieres but also for award ceremonies—Hollywood’s top brass had been actively shaping the area into a new entertainment hub.

Along with the Hollywood Walk of Fame, Madame Tussauds Wax Museum, and other attractions, this transformation aimed to establish a fresh landmark, attracting millions of tourists in the future.

Behind the creation of such a landmark was more than just a multibillion-dollar industry; inevitably, it also meant losing the city’s organically developed cultural atmosphere. There were pros and cons—an unavoidable tradeoff.

Meanwhile, on the other side of North America, the Angelika Film Center was rising in a different way—becoming a hub for independent films, artistic cinema, and niche productions. This identity aligned perfectly with New York’s cultural image, ensuring that more filmmakers would take notice in the future.

This was supposed to be a good thing, right?

When Ripley arrived at the Angelika Film Center, she was utterly baffled.

She felt completely out of sync with the younger generation’s way of thinking. The fact that people were coming to the Angelika just to "check in" was already bizarre—but what happened next was even more absurd.

After inquiring about the situation, Ripley finally understood:

They were there for Eternal Sunshine of the Spotless Mind.

That wasn’t surprising. Given the excitement of last night’s preview screening and the celebratory frenzy that followed, Ripley had expected today’s official release to generate some buzz.

So, Ripley kindly advised the crowd:

The Angelika Film Center had limited seating and couldn’t accommodate so many people.

Furthermore, not all of the center’s screening rooms were showing Eternal Sunshine of the Spotless Mind—they still had their own scheduled programming.

After experiencing the overwhelming sellout screenings of Elephant, Ripley had learned her lesson. But considering that Eternal Sunshine of the Spotless Mind had a significant number of theaters showing it—New York being the biggest market—Focus Features had arranged for at least 40 screens across the city. In terms of both theater count and screen availability, it was ranked at the top.

Because of this, the Angelika didn’t allocate too many screens to the film. While trying to maintain its regular programming, Ripley had made an unprecedented decision—dedicating three theaters to Eternal Sunshine of the Spotless Mind.

And yet—

This was the result.

Ripley, in all sincerity, advised the audience: Go to other theaters. There were plenty of seats available, and they might not even have to wait in line.

It wasn’t that Ripley was being selfless or unwilling to generate revenue for the Angelika Film Center. It was that she didn’t want the venue to become just another profit-driven corporate chain.

Profit was important—extremely important. Without profit, the Angelika Film Center wouldn’t exist, and their dream of supporting independent films would have no platform.

However, Ripley wasn’t about to lose sight of their core mission.

The entire purpose of pursuing profits was to give independent films, artistic works, and movies rejected by the mainstream market a chance to be seen.

If they started prioritizing profit above all else—like the major theater chains—squeezing out space for niche films and denying opportunities to projects that struggled for visibility, then what was the point of everything they had fought for?

Profit had to be considered, but it could not be the sole standard for programming decisions at the Angelika Film Center.

Last time, during the Elephant craze, the Angelika held its ground. This time was no different.

So, Ripley offered her honest suggestion, hoping the audience could see the movie they loved—just as she deeply respected their passion for cinema.

But they refused.

Ripley: ???

The audience members explained that they didn’t care whether they actually got to see Eternal Sunshine of the Spotless Mind. The important thing was seeing it at the Angelika Film Center.

So, even if they had to wait in line for hours—even if there were no available showtimes—it didn’t matter. They were willing to buy tickets for the next day or even the day after. Some didn’t even need tickets—they just wanted to experience the atmosphere of standing in line.

"In New York, chances to queue up like this don’t come often."

Ripley was utterly dumbfounded.

She completely failed to understand. Did these young people even hear what she was saying? Their logic made no sense!

How could they "not care about watching the movie" but insist on "only watching it at the Angelika"? What kind of nonsense was that?

After unsuccessfully trying to persuade them, Ripley, still full of questions, turned and left. In the end, she decided not to argue further—

After all, the Angelika Film Center wasn’t losing anything.

And so, this scene unfolded.

Led by Fox News, three TV stations and over a dozen newspapers arrived to broadcast the event live.

Last time, during the Elephant screenings, the massive lines had caught everyone off guard. No one had anticipated such a frenzy, and the media had missed their chance to capture it.

This time, they weren’t going to make the same mistake.

As a result, the Angelika Film Center went viral. More and more people showed up to line up—many of whom had no idea what was going on. They were just there for the spectacle.

Meanwhile, the Dawn of the Dead team was left bewildered:

"Wait… this is a thing?"

Lead actor Anson and his co-stars hadn’t even attended the preview screening. They had only joined via an audio call. There had been no official premiere, no coordinated marketing push.

Yet somehow, this wave of momentum had effortlessly taken over the conversation, seizing all the attention.

As for Dawn of the Dead?

It was completely sidelined.

Its grand premiere had made a splash for only a few hours before fading into oblivion. It was as if the movie had never even had a premiere the night before.

Vanished without a trace.

(End of Chapter)

*Chapter 1348: Kindred Spirits*

Zack Snyder: "Hey! Come on! We make niche films too, okay? Horror movies are stigmatized and marginalized. Every time we release one, we face countless challenges. Compared to Eternal Sunshine of the Spotless Mind, we're the real underdogs. So why doesn’t the Angelika Film Center support us?"

Heartbroken, frustrated, aggrieved, furious.

Yet, it was all in vain.

Netizens: "What are you talking about? Didn’t Dawn of the Dead have a grand premiere at the Chinese Theatre? With all those resources, you’re still complaining? Be careful, or you’ll get struck by lightning."

Zack Snyder: "..."

Big thunder, little rain—this perfectly described Dawn of the Dead's predicament. It made a grand entrance, with Universal Pictures seemingly ready to roll up its sleeves and go all in. But before the lightning even struck, the rain had already started drizzling, and in the blink of an eye, the skies cleared.

The speed at which everything fizzled out was astonishing.

And this was only Friday—Friday! The day after the premiere and preview screenings, the official release day for both Eternal Sunshine of the Spotless Mind and Dawn of the Dead. And yet?

All eyes were fixated on the Angelika Film Center in New York. Meanwhile, Dawn of the Dead, playing in over 3,000 theaters across North America, barely made a ripple.

This... this...

But reality is often harsh.

As the first morning screening began, television stations and print media didn’t rush off. They remained stationed at the Angelika Film Center, patiently waiting for the first batch of moviegoers to exit.

The moment the screening ended, reporters swarmed in like a tidal wave, eagerly interviewing the audience.

Most of these viewers had already attended the preview screening the night before. They had come back specifically for a second viewing. Naturally, the media was eager to hear their thoughts.

Some were moved to tears. Some were visibly enlightened. Some were lost in deep thought. Others gathered in small groups, passionately discussing the film.

A single glance at the scene made it clear—the film’s impact was rippling outward.

Blair was deep in thought, emotions and logic colliding in her mind, leaving her momentarily speechless.

It wasn’t until a microphone appeared in front of her that Karen gently pulled her back to reality.

"Excuse me, you seem completely lost in thought. Is it because of the movie?"

Blair: ...Or because of my ex?

She held back her sarcasm, instead seriously considering the question before responding.

"This is my second viewing."

"I watched it last night here at the Angelika Film Center. But the film is dense, with a nonlinear timeline that’s quite thought-provoking. I couldn’t fully process it after just one viewing, so I came back this morning."

"I thought that on my second watch, being prepared, it would be easier to grasp. But I was wrong. Not only did I notice more details, but I also reevaluated the entire story, and it resonated even more deeply."

"I don’t think this is a movie for everyone. It’s a film meant for kindred spirits."

Karen: "..."

Reporter: "..."

Passersby queuing up nearby felt as if they had just been struck by arrows to the back.

The reporter hesitated. "So... you don’t like the movie?"

Blair shook her head. "Quite the opposite. It’s my favorite film of the past three years. I’m planning to see it a third time tonight."

Reporter: "But you just said—"

Blair: "This isn’t a simple love story. It doesn’t fit the expectations most people have. But for those who have experienced similar emotions, struggles, and pain, they’ll see their own reflections in it. And then..."

She took a deep breath and slowly exhaled.

"They’ll become obsessed."

Reporter: "Like you are now."

Blair: "Like I am now. I need time to process everything... or maybe find some like-minded friends to discuss it with."

Reporter: "???"

These people had already spent the entire night discussing the movie after the preview screening, and now, after a second watch, they still weren’t done? Were they insane?

It wasn’t an unusual thought.

In fact, the general public likely felt the same way.

Yet, this was really happening—

Not just with Blair.

One could see groups of audience members naturally gathering to share their newfound insights, passionately debating every little detail.

Meanwhile, those who had just watched it for the first time stood off to the side, overwhelmed by the sheer volume of information, lost in thought and confusion.

How exactly should the timeline be arranged? How did Joel and Clementine come together? What happened between Joel and Naomi?

How should one interpret the relationship between the doctor and Mary? What roles do Stan and Patrick play in the story? How do they connect to the main plot?

What was the significance of the most absurd and comedic scenes? What did those dreamlike, time-warping sequences mean? Where did they originate from?

And the ending—why did Joel change his mind? Why did Clementine stop arguing? What did that final smile represent?

Clementine’s hair color, Joel’s tie, the layout of the apartment...

The sheer amount of detail was overwhelming!

They had thought a second viewing would make everything clear. Instead, it only raised more questions, leaving them eager for a third watch to uncover even more hidden intricacies.

And of course, there was more—

Jim Carrey’s performance. Kate Winslet’s charm. The experience of watching the film on an open-air screen.

Everything about it was endlessly captivating.

Gradually, Blair’s words began to spread—

This was a true celebration for the artistic and intellectual crowd.

It also aligned perfectly with Focus Features’ marketing strategy. Eternal Sunshine of the Spotless Mind was rapidly becoming the must-see film for urban intellectuals, its influence expanding with each passing moment.

For the general public, this was even more intriguing than the film’s 95% critic rating—

"Intellectual crowd? A must-watch?"

Some scoffed, dismissing "artsy intellectuals" as pretentious and melodramatic. The term "art-house film buff" had practically become an insult.

Some were intrigued, drawn to the idea that this was a film with a higher artistic standard, something worth experiencing.

Some were simply curious. They needed to see it for themselves to form an opinion. And if they didn’t like it, all the more reason to criticize it with confidence.

That’s human nature.

When a film gets labeled as "mind-bending," "artistic," or "profound," and when moviegoers like Blair insist that "only kindred spirits will appreciate it," the general audience feels provoked—

"Why? Does understanding this movie make you superior?"

Some outright refused to watch it. Some became even more curious. And some decided to rebel, determined to see it just to prove the so-called intellectuals wrong.

And so—

A wave, similar to those sparked by The Butterfly Effect and Elephant, but distinct in its own way, quietly built momentum.

Then, like a tsunami, it swept through select circles, growing ever stronger.

(End of Chapter)

*Chapter 1349: A Private Frenzy*

A wave surged, spreading quietly yet forcefully within a small circle.

By "small circle," we mean major cities like New York and Los Angeles, specifically the niche groups within these cities that closely follow films.

For them, the frenzy around Eternal Sunshine of the Spotless Mind was a major event—everyone was talking about it. But for the general public? It didn’t mean much.

In other words, for the average moviegoer…

If they felt like going to the theater for some entertainment during the slow box office season of March, Dawn of the Dead was the obvious choice.

That’s not a criticism—it’s just reality.

Because of this, professionals within Hollywood remained calm and shared a common understanding:

Eternal Sunshine of the Spotless Mind was a critical sensation, igniting excitement among film critics and making a strong impression early in the awards season cycle.

Barring any surprises, the film was expected to make some waves during awards season—just like Charlie Kaufman’s last film, Adaptation.

However, it was only March. The previous Oscars had wrapped up barely two weeks ago, and people were still talking about The Lord of the Rings: The Return of the King’s complete sweep. There were still more than six months before the next awards season kicked off, and countless excellent films could emerge in the meantime. Whether Eternal Sunshine could maintain its momentum until the end of the year was an open question—it was far too early to be discussing awards.

At the moment, Eternal Sunshine was positioned as the frontrunner for next year’s Oscars, but what about ten months from now?

And given Charlie Kaufman’s track record, it was unlikely the Academy would give him special treatment. His wildly imaginative, unconventional storytelling was simply too outlandish for the traditionalists—elderly, conservative voters who couldn’t keep up with his genius but refused to admit it.

That’s why films like Being John Malkovich and Adaptation had earned Kaufman widespread critical acclaim in Hollywood but struggled to find a clear market position.

They were somewhat artistic but not fully arthouse. They were humorous but not quite comedies. They had commercial elements but didn’t appeal to mainstream audiences. They had awards potential but didn’t fit traditional Oscar sensibilities.

Each aspect was present in some way, yet none fully defined the films, leaving Kaufman in an awkward, unclassifiable position within Hollywood.

Judging by early reviews and word-of-mouth, Eternal Sunshine was another mind-bending triumph—pure, unfiltered Charlie Kaufman.

As for box office potential?

Ha! Let’s not kid ourselves.

If even Hollywood insiders—people who watch and make movies for a living—struggled to embrace Kaufman’s style, how could the general public be expected to?

Most moviegoers craved action-packed spectacles like Mission: Impossible, Terminator 2, and Jurassic Park—not a high-concept film about a fragile, heartbroken man navigating his own memories to salvage a failed relationship.

Even Focus Features understood this reality. The film’s release strategy and marketing followed the independent arthouse model, avoiding any risky commercial plays.

The current frenzy, then, was an illusion—self-indulgent excitement confined to a niche group of cinephiles.

For the broader market, Dawn of the Dead was far more appealing.

In fact, from another perspective, Eternal Sunshine might actually be boosting Dawn of the Dead’s success.

March was typically a slow season. With the Oscars moving up a month for the first time in history, major studios had shifted their focus to April, using it as a launchpad for the summer blockbuster season. As a result, March had been left in an uncertain state, with lackluster marketing and a general lack of audience interest in going to the movies.

Now, Eternal Sunshine had unexpectedly ignited conversation, drawing public attention and rekindling some enthusiasm for theaters during an otherwise dull March.

But since Eternal Sunshine wasn’t exactly a mainstream crowd-pleaser, many moviegoers—already in theaters with a “well, since we’re here” mindset—might naturally opt for Dawn of the Dead instead.

Who knows? Maybe Eternal Sunshine would generate all the buzz, but Dawn of the Dead would walk away with the box office success.

Amid the overwhelming praise for Eternal Sunshine, people shouldn’t forget that Dawn of the Dead was also a high-profile remake of a cult classic. It didn’t even need aggressive marketing—audiences already recognized the title. A mediocre 59% critic score? That hardly mattered.

And so far, the numbers seemed to be proving this theory.

*Friday.*

While art-house and independent theaters across New York had massive lines for Eternal Sunshine, the city’s major multiplexes were just as crowded.

No, there weren’t long queues—but the steady stream of moviegoers suggested a warming market, a break from winter’s cold, and the arrival of spring.

On one hand, The Return of the King was still benefitting from the Oscars effect. On the other, Eternal Sunshine had sparked rare March excitement.

For the North American box office, this was an unusual sight.

Was the Academy’s decision to move the Oscars already having an impact?

Media outlets rushed to cover the phenomenon. Excitement buzzed in the air, rivaling the anticipation before a Star Wars prequel release.

And at the center of it all?

“Dawn of the Dead!”

“Romero forever!”

“Of course, zombies! Spring is the season for the undead to rise, right?”

These voices—often overlooked, dismissed, or even ridiculed—belonged to die-hard fans of niche subcultures.

And because their passions had long been sidelined by mainstream Hollywood, their devotion was only stronger. Whenever the rare opportunity arose to support their interests, they would rally with everything they had.

In a way, their enthusiasm mirrored the mission of indie theaters like the Angelika Film Center.

For them, the fact that Dawn of the Dead was even getting a remake was a victory.

Did this mean that other cult classics could finally get Hollywood’s attention and a chance at a reboot?

Quality? Reviews? Those could wait. For now, blind support was the priority. Who knew when the next zombie movie would come around?

As for whether the film was actually good or not?

They could tear it apart after watching it.

If the movie turned out to be awful, they’d be the first to criticize it—loudly and mercilessly. The deeper the love, the harsher the disappointment.

But that wouldn’t stop them from showing up at the box office. Supporting the film was a way of proving to Hollywood that zombie films—and niche subcultures—had an audience, too.

And so, in March, theaters presented a fascinating contrast.

Two very different yet equally passionate crowds, fueling an unexpectedly lively box office season.

(End of Chapter)

Chapter 1350: A Small Explosion

March 2004, later hailed as the "First Year of the New Summer Box Office Season," saw the spring movie season in March and April gain momentum due to a chain reaction.

Every year, as spring brings warmer weather and blooming flowers, the movie theaters also undergo a transformation.

Of course, this shift comes with a gradual decline in the market potential of August, the final stretch of the summer movie season—once again proving the law of conservation of energy.

But that’s another story. This March, as Hollywood continued to explore new strategies, the North American film market delivered some unexpected surprises and talking points.

On one side, Dawn of the Dead called out to zombie movie subculture enthusiasts. This long-awaited remake attempted to reignite the fervor for zombie films.

Unexpectedly, long-dormant zombie movie fans emerged from the shadows. As their enthusiasm grew, it generated a small but significant buzz. Although a niche genre, Hollywood quickly realized why genre films could maintain enduring success in the home video rental market.

Subculture aside, zombie movies still fall under the horror genre—

And in Hollywood, no one underestimates the deep and loyal fanbase of horror films. Every so often, a horror movie breaks through and becomes a major hit.

Could Dawn of the Dead be the next one?

Meanwhile, Eternal Sunshine of the Spotless Mind was making waves in arthouse and independent theaters.

Charlie Kaufman’s name alone might not have been enough to draw audiences, but the collaboration between Jim Carrey and Kate Winslet successfully brought the film into the public eye.

Especially Jim Carrey.

Coming off The Butterfly Effect and Elephant, which subtly reshaped the public’s perception of him—

Expanding his influence through the Grammys—

Skipping the Oscars to focus on filming, reinforcing his professional image—

And reigniting discussion with the special deluxe edition of Midnight in Summer.

Step by step.

For the past three months, discussions about Jim Carrey have never cooled down. The steady stream of public interest has converged like tributaries flowing into the ocean, all focusing on Eternal Sunshine of the Spotless Mind, pushing it into the spotlight.

And once again, under that spotlight, Jim Carrey has succeeded.

The film’s stellar reputation spread rapidly—from audiences to critics, from devoted cinephiles to industry professionals. Word of mouth generated immense attention:

Just as Roger Ebert had observed, three films, three leaps, from gradual buildup to breakthrough—Eternal Sunshine of the Spotless Mind arrived at the perfect moment.

Yes, Charlie Kaufman’s films traditionally struggle at the box office.

Yes, independent arthouse films still face significant marketing challenges.

But let’s not forget—movies like When Harry Met Sally always manage to find a dedicated, albeit small, group of loyal supporters.

In a way, their following is similar to that of zombie movie enthusiasts.

Two films.

Two genres.

Two market positions.

Yet somehow, they complemented each other, pulling attention away from Oscar-winning films and back onto new releases, igniting a modest moviegoing craze in early March’s lingering chill.

This was good news—

Absolutely good news—

An unexpected but welcome surprise.

In fact, even before the release of Dawn of the Dead and Eternal Sunshine of the Spotless Mind, the North American film market had already experienced one of the year’s most sensational events:

The final week of February—the same weekend as the Oscars and the special deluxe release of Midnight in Summer—saw the premiere of one of the most controversial and scrutinized films from production to release.

The Passion of the Christ.

Directed by Mel Gibson, this film had been at the center of controversy since its inception. As more trailers were revealed, the debates surrounding it only intensified.

Why?

The title says it all.

Mel Gibson’s graphic portrayal of Jesus’ betrayal and suffering ignited an unprecedented cultural war in Hollywood.

Despite holding private screenings for religious leaders before its release—ensuring the film was faithful to the Bible and did not violate doctrine—the controversy within religious communities erupted like a bombshell.

The most extreme backlash came on IMDb, where, three months before its release, countless devout believers had already declared the film flawed, calling for its ban and urging audiences to boycott it.

Yet, controversy is the best fuel for publicity—

The more backlash, the more attention.

Due to its violent and graphic content, the film received an R rating, restricting its audience to those 17 and older. This naturally limited its market potential.

But that didn’t stop it from becoming a massive phenomenon.

The film opened wide on a Wednesday, and after two days in theaters, it delivered a mind-blowing opening weekend—$83 million in just three days.

Shocking. Staggering.

The Passion of the Christ smashed every existing box office record for R-rated films. By the end of its first five days, it had grossed $125 million.

It was an undeniable sensation.

The scale of its explosive success was comparable to Spider-Man, which had taken the summer box office by storm two years prior. Yet The Passion of the Christ wasn’t a summer blockbuster—it was a late winter/early spring release. Despite this, it shattered expectations and completely reshaped industry perceptions.

Of course, Hollywood understood that this film was an anomaly. Its record-breaking box office numbers stemmed from a complex set of factors.

Even so, The Passion of the Christ ultimately grossed $370 million in North America and an astonishing $611 million worldwide—securing its place as the highest-grossing R-rated film in history.

Not just among R-rated films—

Even in the all-time rankings, it held its ground.

By the time Dawn of the Dead and Eternal Sunshine of the Spotless Mind hit theaters, The Passion of the Christ had just secured its third consecutive weekend at the top of the box office. The controversy surrounding it had not subsided—

On the contrary, it had only intensified.

It was against this backdrop that these two films premiered.

In a way, The Passion of the Christ had already drawn attention to the spring movie season, warming up the market. The bustling crowds in theaters were unlike anything typically seen in March—a promising sign.

And then—good news arrived.

On Friday, Dawn of the Dead grossed $10.8 million in a single day!

A small explosion!

For a film with a production budget of just $26 million, such an opening was a pleasant surprise—especially considering the negative critical reception. The strong market response sent a positive signal: audiences were showing their support for zombie films with their wallets.

The Dawn of the Dead production team was ecstatic.

Zack Snyder clenched his fist and cheered:

"Oh yeah! I knew it! I knew it!

Forget A Beautiful Mind! Forget Eternal Sunshine! Get out of my way!"

(End of Chapter)