Arthouse Audit: ‘The Man Who Knew Infinity’ Tops Mid-Level Openers
Arthouse Audit: ‘The Man Who Knew Infinity’ Tops Mid-Level Openers
Arthouse Audit: ‘The Man Who Knew Infinity’ Tops Mid-Level Openers
Arthouse Audit: National Audiences Sample Michael Moore’s ‘Where to Invade Next,’ Avoid Oscar-Nominated ‘A War’
Arthouse Audit: ‘The Club’ and ‘Rams’ Reveal Weakness in Subtitled Film Market
Arthouse Audit: Natalie Portman Indie ‘Jane Got a Gun’ Flops, Oscar Shorts and ‘Ip Man 3’ Soar
Art House Convergence: Why Critics Matter and Oscars Are So White
Arthouse Audit: Oscar Contenders Get Nominations Boost, Led by ‘Brooklyn’
Arthouse Audit: New Year, Same Awards Candidates as ‘Anomalisa’ and ‘Carol’ Expand
Arthouse Audit: ‘Anomalisa’ Shows Promise, ‘The Revenant’ Still Strong
Christmas Arthouse Audit: ‘The Revenant’ and ‘The Hateful Eight’ Soar, ’45 Years’ Starts Well
Arthouse Audit: Oscar Frontrunner ‘Son of Saul’ Debuts as Sole New Specialty Non-VOD Entry
Arthouse Audit: ‘The Danish Girl’ Scores at Holiday Box Office as ‘Carol’ Stays Strong
6 European Art House Films to Prepare You for ‘By the Sea’