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Chapter 1181: Trending Event

Early morning in New York, the air still carried a biting chill. Yet, the festive warmth of Christmas managed to soften the edge, filling the streets with red and green decorations and tourists flocking to the Big Apple to savor the holiday season. It was a rare cheerful time in the midst of winter’s cold.

However, some people had to work—

Vacation? What’s that?

Ripley-Flowers tightened her scarf slightly as she exited the subway station, heading along Houston Street toward Hudson Avenue.

She wasn’t alone. Manhattan’s SoHo district had already sprung into work mode, with streams of professionals in suits briskly striding past.

Every time Ripley saw this scene, she couldn’t help but feel grateful. Despite her busy schedule and the universal disdain for work, at least she was doing her dream job.

Cinema Manager.

And not just any cinema manager.

Managers of chain theaters were similar to project managers at other companies. They monitored box office trends and adjusted screening strategies, focusing more on marketing than films themselves.

Ripley’s role, however, was different. She worked for New York’s Angelika Film Center.

Established in 1989, the Angelika Film Center has become a landmark for New York's art enthusiasts.

From the beginning, the cinema positioned itself as a haven for films that struggled to find a place in mainstream chains. It screened independent films, hosted film festivals, special screenings, and director meet-and-greets, making it a hub for cinephiles, particularly fans of independent and artistic films.

In North America, Landmark Theatres are well-known for their independent and arthouse film focus. As one of the rare independent cinema chains, they have a presence in various cities.

While Landmark focuses on indie and art films, their screening operations mirror large chains, differing mainly in target demographics and market positioning.

The Angelika Film Center, however, stands apart. Its operations eschew the conventional release schedules and cycles, centering entirely on the films and the audience.

Recently, the Angelika hosted a classic horror retrospective, showcasing 20 legendary titles over two weeks.

Earlier, it had held an Eastern European masterworks series, exclusively featuring films by directors from that region.

Of course, Angelika also screens new releases, including awards-season contenders. Yet, unlike major chains, it limits their screenings to ensure such films don’t overshadow its mission—

Ripley never forgot Angelika’s founding principle: giving a platform to independent art films that would otherwise miss out on the big screen.

As part of her job, Ripley watched an extensive range of films—new, old, and niche genres—to curate the perfect viewing experience for dedicated film enthusiasts.

Even though she was still a cinema manager, her work was uniquely fulfilling.

It was this distinction that made her daily routine feel less like a chore.

Picking up her pace, Ripley headed to a meeting to discuss January’s schedule. Awards season didn’t impact them as heavily as others, but it did have some influence.

Angelika aimed to showcase works from the New York Film Festival and Gotham Independent Film Awards. While these films might not launch Oscar campaigns, they deserved to be seen.

Ripley anticipated a stack of tasks awaiting her at her desk.

As she rounded the corner, a familiar building came into view—but something seemed off.

Huh?

A massive line stretched outside the Angelika Film Center, winding like a dragon, weaving back and forth in an orderly yet overwhelming sprawl.

Occasionally, the Angelika drew long queues.

In October, during a French New Wave retrospective, lines formed because the theater lacked online ticketing, requiring in-person purchases—a race against time.

But Ripley couldn’t recall a turnout of this magnitude.

Not even the Stanley Kubrick retrospective had rivaled this.

What was happening?

Following the queue, Ripley spotted familiar faces—Angelika regulars. Overhearing snippets of conversation, she pieced together the buzz.

“Elephant!”

This year’s Palme d’Or winner was set to premiere today.

In New York, Elephant was screening in just two locations:

One was IFC Center, an arthouse theater affiliated with the Independent Film Channel, specializing in documentaries, indie, and art films.

The other was Angelika Film Center.

Ripley knew Elephant was a hot topic and anticipated decent attendance. However, for indie and art films, a “decent turnout” typically meant exceeding 50% occupancy. The sight before her shattered all expectations.

Had she missed some industry intel? What was going on?

“Excuse me…” A voice from behind stopped Ripley. Turning, she saw two young women, perplexed by the scene.

“Is this the line for the Elephant screening?”

Ripley hesitated. “This is the entry line for Angelika Film Center. Elephant premieres here today, so that’s accurate. But there isn’t a separate queue just for Elephant.”

After a brief explanation, Ripley hurried into the building. The staff inside was already prepped, with less than five minutes until doors opened.

Yet after inquiring, no one had answers.

It was safe to assume many were here for Elephant, but they couldn’t be certain everyone was. Angelika had eight other films screening that weekend—

Including a slate of understated awards-season contenders like In the Bedroom, The House of Sand and Fog, and Calendar Girls.

These films still drew audiences eager for the cinematic experience.

Ripley composed herself. “Let’s open the doors first. We’ll assess the situation after.”

Whatever the case, welcoming guests was the priority.

(End of Chapter)  

*Chapter 1182: Breaking Perceptions*

"Ripley…"

The office door was wide open. Someone knocked briefly to announce their presence and then spoke directly.

Ripley paused her work, looked up, and raised an inquiring eyebrow, signaling she was listening.

"'Elephant' is almost sold out. Should we make some adjustments?"

Ripley’s eyes widened. "All of it?"

The Angelika Film Center has six screening rooms, each showing different films throughout the day.

Ripley’s team had already noted the buzz surrounding Elephant and anticipated it would draw significant attention. With only two cinemas in all of New York showcasing it, and none in nearby New Jersey, the enthusiasm among cinephiles was expected. Their current schedule reflected this: six out of eight daily screenings across three screens were allocated to Elephant.

Such a heavy commitment was virtually unheard of for an independent or arthouse film.

Here, the center didn’t just cater to long-beloved classics but also newer artistic works. However, even the most acclaimed films, like award-winners from Cannes, often struggled to attract audiences.

Take The Barbarian Invasions—a Canadian film that bagged Best Screenplay and Best Actress at Cannes. The Angelika Film Center had recently screened it twice a day for two consecutive weeks.

The result? An average attendance rate of less than 30%.

This was New York City—home to a vibrant community of arthouse cinema enthusiasts. And yet, even here, contemporary arthouse films faced immense challenges.

Why?

*First*, the center operates year-round, offering a treasure trove of films from across the globe. With an ever-changing lineup, viewers are never rushed to grab tickets.

*Second*, the rise of the DVD market allowed avid film lovers to explore their interests freely at home, making a curated cinema lineup feel restrictive.

*Third*, people often gravitate towards familiar titles—timeless classics over obscure new releases. Only a small fraction of cinephiles are willing to dive into unknown territory without prior reviews or word-of-mouth recommendations.

Ultimately, marketing and promotion for independent and arthouse films remain uncharted waters.

Even so, 30% average attendance for The Barbarian Invasions was considered a success, driven in part by the film’s Cannes accolades.

Ripley had even contemplated scheduling additional screenings, betting on word-of-mouth to attract more viewers.

With Elephant, her team had already gone all out, banking on its Palme d’Or win and Gus Van Sant’s reputation among New York cinephiles.

But despite their calculated optimism, there was always an underlying uncertainty.

Six screenings a day across three screens—what if the average attendance didn’t exceed 20%?

This wasn’t unusual for the Angelika Film Center. Ripley had grown accustomed to taking such risks.

But now?

Sold out? Elephant?  

An indie film released this year was on the verge of selling out its first limited screenings?

When was the last time something like this happened?

Ripley couldn’t recall any precedent during her tenure.

No wonder she was so taken aback.

In an instant, this defied all her expectations. Despite The Butterfly Effect being a major success and Anson Paul being at the peak of his fame, Elephant’s reception was still beyond belief.

The only comparable frenzy Ripley could think of was the premiere of Star Wars: The Phantom Menace.

Clearly, while Hollywood debated Anson’s marketability as a leading man, the public was casting their vote with their wallets.

Ripley had to confirm again. "We’re talking about Elephant, right? Almost sold out?"

Upon receiving a resounding affirmative, Ripley stood abruptly and headed toward the ticket counter.

The lobby was bustling, filled with an orderly but substantial crowd.

She rushed to the box office. "Elephant is selling out?"

The Angelika Film Center had only been open for thirty minutes.

"Yes, all daytime screenings in three theaters are sold out. Only two evening shows remain, but tickets are selling fast."

Ripley glanced at the sea of people. She stepped away from the counter and into the crowd. "Excuse me, are you all here for Elephant?"

One after another, people raised their hands.

Ripley’s eyes scanned the excited crowd.

"Isn’t Anson supposed to attend a post-screening Q&A today?" someone asked.

Ripley froze. "No! Absolutely not! That’s not happening!"

Laughter erupted.

"Just kidding!"

"Although last year’s Catch Me If You Can surprise Q&A was fun!"

"I’m just curious why Anson chose to be part of a film like this."

"Same here!"

"Hey, don’t underestimate him. Remember when Keanu Reeves surprised everyone with a decent performance in Gus Van Sant’s My Own Private Idaho?"

Amid playful banter and laughter, Ripley pieced together the puzzle.

Many were here because of Anson—not necessarily as fans, but out of sheer curiosity.

Just like the unexpected success of The Butterfly Effect, Elephant had found itself in the spotlight.

Ripley moved further down the line, speaking to various groups. Eventually, she reached an astonishing conclusion:

Over 90% of the crowd was here for Elephant.

Yes, a handful of regular Angelika patrons had come for other films, oblivious to the commotion. But overwhelmingly, Elephant was the draw.

The question now was: what should Ripley do with this opportunity?

(End of Chapter)  

Chapter 1183: Sold-Out Shows

99% of theater managers wouldn’t suddenly change the day’s screening schedule and disrupt their carefully planned programming.

What happens if someone misses a show because they couldn’t get a ticket?

They watch it another day—or perhaps at a different theater.

After all, it’s just a movie, not some rare art exhibition. Audiences can usually find a way to fulfill their wishes by adjusting the time or location.

But the key point is that 99% of theater managers rarely face a situation where all tickets for the day are sold out, whether at a large chain or a small independent cinema.

And what if that really happens?

Theater managers would give the same answer, without exception: they’d adjust the schedule. Only a fool would leave money on the table. If they witness such high demand and don’t add more screenings or open additional screens, they might lose their jobs.

However, different theaters handle this differently.

Large chain cinemas would act without hesitation. If occupancy surpasses 50%, managers will increase screenings the next day or even the days after. Profit is their top priority. Independent arthouse cinemas, however, operate differently.

Their mission is to give more exposure to artistic and independent films. Arbitrarily adjusting the schedule might squeeze out other films’ screening opportunities, which somewhat goes against their original intent.

Thus, balancing profit and principle becomes a challenge.

Today, Angelika Film Center is facing this dilemma.

Ripley stood in the ticket hall, visibly conflicted as a whirlwind of thoughts raced through her mind. Finally, she took a deep breath, clenched her fists, and made her decision.

Art has its principles, but if art hopes to reach a broader audience, opportunities must be seized when they arise.

Without hesitation, she sprang into action. Though busy and exhausted, her spirits were high as she sprinted through the Angelika Film Center.

Before long, news spread:

“Elephant” would gain an additional screening room, with eight more showings added throughout the day. Additionally, the three original screening rooms showing “Elephant” would each add two more sessions.

The Angelika Film Center tried to capitalize on this opportunity, increasing showings as much as possible. Yet, they didn’t go overboard, maintaining two screens for the originally scheduled films.

Moreover, the center announced that the same lineup would be extended through the weekend, ensuring that audiences could choose showtimes freely.

Clearly, the Angelika Film Center understood that within the entire New York metropolitan area, only two theaters were screening “Elephant”. This surge of interest wasn’t going to fade anytime soon, and they were doing everything they could to meet demand.

The theater buzzed with excitement. The lingering festive atmosphere of Christmas seemed to ignite again, turning Angelika into a veritable carnival.

Much like last year when “Catch Me If You Can” took over Christmas, this year’s holiday season was once again accompanied by the magic of cinema.

After a whirlwind of effort, Ripley finally had a moment to catch her breath. She grabbed her now-cold coffee, took a big sip, and just as she was about to swallow, her office phone rang.

Ring-ring. Ring-ring.

Startled, her heart raced. Still, she answered briskly.

“Angelika Film Center.”

“Hey, Ripley? Is this Ripley? It’s Hugh Jockman from the Music Box Theatre in Chicago. I’m not sure if you remember me.”

The voice on the other end sounded slightly unfamiliar, but Ripley’s memory was jogged immediately.

“‘Not Hugh Jackman’!” she exclaimed.

Because of his name’s resemblance to the famous actor, he often joked, calling himself “Not Hugh Jackman.” Clearly, the humor left a lasting impression.

Jockman was the manager of Chicago’s Music Box Theatre, a venue quite similar to Angelika and equally beloved by cinephiles. Its specialty? Regularly screening foreign films.

Don’t underestimate this.

In the history of North American cinema, only one non-English film has surpassed $100 million at the domestic box office: “Crouching Tiger, Hidden Dragon.”

That record remained unbroken for 20 years. Few films even come close.

The second-highest grossing non-English film is 2019’s “Parasite,” which made just $50 million. Third is “Life is Beautiful,” followed by another Chinese film, “Hero.”

Due to this, foreign films often struggle to secure screenings in North America. Distribution companies hesitate, and theaters rarely prioritize them. The Music Box Theatre, however, serves as a vital gateway for cinephiles to access these treasures.

Ripley herself occasionally made the trek to Chicago to catch screenings there.

“Ahem,” Jockman cleared his throat. “Yes, that’s me.”

“I’m calling because I heard the news from New York. Is it true that ‘Elephant’ is sold out today?”

Chicago is one hour behind New York.

Ripley glanced at the wall clock. “Ah, you’re about to open, right?”

“Right. The queue outside is a bit intimidating. And the news from New York is spreading westward fast. I just wanted to confirm.”

Ripley replied, “I’m not sure about IFC’s situation, but Angelika is basically sold out. We initially scheduled three screens with six showings, but it wasn’t nearly enough. Now we’ve increased it to four screens and eight showings. I just checked—daytime tickets are sold out, and evening ones are selling quickly. I’d give it another 15 minutes at most.”

Theater managers know: Friday evenings—still a workday—always draw bigger crowds than daytime.

Jockman gasped. “Oh, my God.”

Ripley chuckled. “I know. It’s surreal. I expected good turnout but never imagined such a frenzy. This film had zero promotion! Just last week, I was complaining to our PR department. HBO didn’t invest a cent in marketing, leaving us independents scrambling.”

Jockman exhaled heavily. “Anson. It must be Anson. People are curious about the chemistry between him and Gus. After all, even Keanu Reeves and Ben Affleck managed some decent acting in Gus’s films.”

Ripley laughed. “Poor Anson, taking all the blame.”

Jockman chuckled. “Sorry, I need to adjust our schedule. No matter what, if Anson’s the reason, we might just see the highest-grossing Christmas season ever. For that, we owe him thanks.”

Ripley added, “I wonder how things are in Denver, Dallas, and Seattle. But I’m certain Los Angeles is buzzing.”

A storm was brewing in New York, rolling westward with the sun’s ascent, sweeping toward the West Coast with unstoppable force.

(End of Chapter)

*Chapter 1184: Trailblazer*

The Christmas atmosphere still lingered in the air.

During this week, the North American film market often experiences a holiday effect, with box office numbers across the board rebounding. Movies remain one of the top choices for families gathering over the holidays.

This year was no exception—

The Lord of the Rings, The Butterfly Effect, The Matrix Revolutions, among others, continued to dominate theaters. Meanwhile, new releases like Cheaper by the Dozen, Cold Mountain, Peter Pan, and Paycheck made their debuts this week.

The variety was dazzling and overwhelming.

Amid this wave of activity, a subtle current began flowing from the East Coast to the West Coast. Independent art house cinemas started catching wind of something special, one after another taking action and drawing the attention of hardcore cinephiles.

The general public had their fun during Christmas, but dedicated movie enthusiasts had their own parties to attend, creating a parallel but non-conflicting holiday celebration.

Houston. Dallas. Seattle. San Francisco. And, of course, Los Angeles.

All of them—no exceptions—kicked into high gear.

And it was all because of Elephant.

Undeniably, the limited screenings of Elephant had no direct impact on the weekend box office rankings. The sheer disparity in theater counts ensured that this film would not share the headlines with box office juggernauts.

Yet this did nothing to dampen the cinephiles’ enthusiasm for the event—

Regardless of their motives, even skeptics and critics who attended screenings with the intention of nitpicking found themselves swept up in the tide, unknowingly becoming part of this year’s unique Christmas spectacle.

*Sold out! Sold out! Sold out!*

It all began at New York’s Angelika Film Center and IFC Center, where unexpectedly long lines and unprecedented sold-out showings shocked the independent film community.

And it spread quickly. Though theaters in other cities scrambled to adjust their schedules, they couldn’t prevent every Friday show from selling out.

"Gold Palm-winning film 'Elephant' sells out every screening across North America!"  

Major outlets like The New York Times and The Los Angeles Times were quick to update their websites with this headline, spreading the news far and wide—

*The nation was stunned.*

Even though this was a Palme d’Or-winning film, even though it was Anson starring, even though audiences were still buzzing about The Butterfly Effect’s shocking North American box office success, seeing this news left everyone’s heads spinning.

Especially in cities like Los Angeles, San Francisco, and Seattle, where theaters had already added extra screens and showtimes but still couldn’t meet the overwhelming demand.

"In the end, there simply aren’t enough theaters," Vanity Fair stated bluntly.

With only two theaters showing the film in Los Angeles and New York respectively, and just one theater in other cities, no amount of screens or showtimes could satisfy audience demand.

"If this is a case of artificial scarcity, then without a doubt, it’s a massive success. But the more likely scenario is that even HBO didn’t see this coming."  

"So the question is, how long can this wave last? What will the occupancy rates look like on Saturday and Sunday? After the initial curiosity wears off, what will the film’s lasting reputation be? And how should the rollout strategy be adjusted going forward?"  

"These are the biggest unknowns."  

"But one thing is clear: before these questions are answered, Elephant has already won. With a production budget of just $3 million, it has already recouped its costs and might even become one of HBO’s rare profitable film investments in recent years. They’re already winners."  

Buzz, attention, focus.

During the fiercely competitive holiday season, where other films were battling tooth and nail—including The Butterfly Effect—no one expected Elephant to quietly steal the spotlight, sparking curiosity about its next steps.

As Vanity Fair noted, Friday was just the beginning. What about Saturday and Sunday? What about the second, third week, and beyond?

Even HBO’s focus had shifted—

Initially, HBO had no expectations or targets for Elephant’s box office performance. The plan was to create buzz on the big screen to promote the film and draw audiences back to their TV screens to subscribe to HBO.

After all, HBO had no awards season ambitions for Elephant. Originally, it was conceived as an experimental TV movie, and its current success had already far exceeded expectations.

But with every Friday screening sold out across the nation, everything had changed.

In this whirlwind, Elephant’s critical and audience scores became crucial, drawing countless eyes to its performance.

A friendly reminder: Elephant received a score of just 2.1 out of 4 from the official Cannes jury.

That’s a failing grade.

Clearly, Friday’s sold-out status was an unintended result of accidental scarcity marketing. If Elephant’s reviews failed to impress, curiosity would quickly dissipate, and the film’s momentum could plummet.

Unlike The Butterfly Effect, Elephant couldn’t rely on controversy to attract casual viewers or generate widespread debate.

For films like this, critical reception is indeed pivotal.

Enter Roger Ebert.

Ebert wasted no time making his stance clear, unequivocally supporting Elephant.

Previously, at Cannes, Ebert had awarded Elephant a perfect 4/4 score. Now back in North America, he reiterated his praise in the Chicago Sun-Times, lavishing the film with glowing reviews.

*100%.*

"If I had to recommend just one must-see film from this year’s awards season, it would be Elephant. Not because it’s flawless, but because its imperfections make it real and leave a lasting resonance after the credits roll."  

"In our pursuit of artistic perfection—better scripts, better character arcs, better performances, better thematic clarity—we’ve gradually lost the rawness and grit rooted in reality that once defined great art."  

"Until Elephant."  

"It reminds us why we create art—not for awards, not for box office success, but to explore ourselves, society, and life."  

This was unprecedented.

For the same film, Ebert had written two reviews, both awarding perfect scores, each from a different perspective, showering it with the highest praise.

This small gesture made his affection for the film unmistakable.

Following The Butterfly Effect, this marked the second time in a short period that Ebert had praised a film starring Anson. Such recognition was rare in Hollywood.

No wonder people joked that Anson’s brilliant appearance at Cannes not only captivated fans and French audiences but also won over Roger Ebert.

Who would’ve thought that the Pulitzer Prize-winning critic would become Anson’s biggest fan?

(End of Chapter)  

Chapter 1185: The Comeback of the Underdog

December 26th, the day after Christmas, a bustling Friday.

First, tickets for the limited preview screenings of Elephant sold out completely, sparking a small-scale sensation. Who would have thought an independent art film could stir up such waves during the holiday season?

Then, Roger Ebert stepped up as the trailblazer, giving Elephant his full endorsement with glowing praise, turning countless heads. Could this be the moment for the film to reverse its fortunes and reshape its critical reception in North America?

The answer... is a resounding yes.

  Mixed Reviews Persist

Criticism, however, still looms. Some reviews were harsher than those it faced at Cannes:

- *10/100*: "A pretentious but utterly hollow display of formalism."

- *25/100*: "Looking skyward at a 45-degree angle and feigning sadness doesn't automatically make something art."

- *20/100*: "This film's very existence feels like a practice in frustration."

The critics held nothing back, lambasting the film with mockery and disdain.

These professional reviewers don’t pull punches. Winning the Palme d’Or won’t earn a movie any automatic respect, and neither will Ebert’s glowing review. Good films are good; bad films are bad. Every critic is entitled to their own opinion, and no filmmaker, actor, or producer gets a pass—not even Steven Spielberg, whose track record of consistently delivering high-quality films has endured for decades.

This principle applies universally.

At Cannes, no film gets special treatment simply because it competes in the main competition. Watching a movie is a personal experience, and everyone is entitled to their own perspective—even if it’s unpopular.

  A Different Media Landscape

What makes North America different is the centralized aggregation of critical opinions. Cannes compiles scores from a handful of critics in its official publications, leaving many divergent views scattered across various outlets. In contrast, North America’s media review platforms provide a centralized stage for critics to freely express their opinions, ultimately producing an average score that offers a more comprehensive snapshot of the film's reception.

Criticism? Yes.

Praise? Also yes—this time, with overwhelming force and startling intensity.

- *“Premiere” – 100/100*: "I’ve never been a fan of Gus Van Sant’s work, but this is a masterpiece. An unparalleled masterpiece."

- *“Empire” – 100/100*: "You’ll feel anxiety, worry, fear, dread, and most importantly, you’ll think. That’s what sets this film apart."

- *“Variety” – 100/100*: "The atmosphere of the film is so serene yet so real, it carries an unnerving power that seeps under your skin."

- *“Hollywood Reporter” – 100/100*: "For much of the runtime, I couldn’t decide whether this was a documentary or an artistic creation. Then it hit me—it’s intentional. From that moment, I was gripped by fear and despair."

- *“The New Yorker” – 100/100*: "Some may dismiss this as a crude attempt to turn news reports into visuals, but Gus Van Sant achieves so much more. The most important parts of the film aren’t what you see—it’s what you don’t."

- *“Wall Street Journal” – 100/100*: "The cinematography and sound design exhibit mastery of the craft."

The response? Jaw-dropping.

  A Complete Turnaround

Elephant faced scathing reviews at Cannes, culminating in a disappointingly low official competition score. Yet now, upon its North American release, the tide has turned dramatically.

What happened in between?

According to a feature by the Hollywood Reporter, the disparity lies in the subject matter.

In North America, school shootings are a recurring tragedy, fueling heated debates over gun control without any resolution in sight. This has evolved into a societal crisis.

Parents envision schools as sanctuaries, places where their children are safe. Yet today, sending kids to school feels like a gamble, with no one knowing when or where the next tragedy will strike.

This grim reality amplifies the impact of Elephant. The film portrays a school environment that parents are blind to, a reality students fail to grasp, but one that undeniably exists. Long before guns appear, invisible violence permeates every corner of school culture.

  Frenzy Ensues

This stark portrayal struck a chord with North American critics, sparking a wave of acclaim that even included the more reserved voices in the industry. While some reviews offered moderate scores (70 or 75 out of 100), the sheer volume of perfect ratings stole the spotlight.

Compared to its polarizing reception at Cannes, Elephant has made a remarkable turnaround in North America.

  Box Office Buzz

Even without a major promotional campaign, Elephant drew attention simply for being the first American film to win the Palme d’Or in ten years since Pulp Fiction. Over 50 media outlets rushed to cover it, helping to generate significant box office momentum.

The film’s media score? *77/100*.

With this, Elephant shed its image as an aloof art film, instead becoming a holiday sensation that captivated both critics and audiences.

As TMZ exclaimed:

“Elephant stole Christmas!”