International Cumulative Box Office Records Muse Productions, Rabbit Bandini Productions, Radar Pictures Spring Break, Gangs, Narcotics, Hitmen, Religious, Voiceover/Narration, Hip Hop and Rap, Non-Chronological, Set in Florida, Set in Miami, Hood Film, Crime Thriller R for strong sexual content, language, nudity, drug use and violence throughout. July 9th, 2013 by Lionsgate Home Entertainment See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records. Latest Ranking on Cumulative Box Office ListsĪll Time Domestic Box Office (Rank 4,401-4,500)Īll Time International Box Office (Rank 3,501-3,600)Īll Time Worldwide Box Office (Rank 3,901-4,000)Īll Time Domestic Box Office for R Movies (Rank 1,501-1,600)Īll Time International Box Office for R Movies (Rank 901-1,000)Īll Time Worldwide Box Office for R Movies (Rank 1,201-1,300) theaters, 3.2 weeks average run per theater $5,000,000 (worldwide box office is 6.2 times production budget)ģ opening theaters/1,379 max. Rough on the outside but with a soft spot inside, Alien wins over the hearts of the young Spring Breakers, and leads them on a Spring Break they never could have imagined.Ģ.91 (domestic box office/biggest weekend)
Hungover and clad only in bikinis, the girls appear before a judge but are bailed out unexpectedly by Alien, an infamous local thug who takes them under his wing and leads them on the wildest Spring Break trip in history. During a night of partying, the girls hit a roadblock when they are arrested on drug charges. It’s too easy to judge people and condemn people.Four sexy college girls plan to fund their spring break getaway by burglarizing a fast food shack. What they know or come up with their own feelings or forge their ownĬonnections? People get pissed when it’s not all one way, when
People so scared of going to places where they’re forced to reconcile What to think all the time? Why can’t you just dream on it? Why are People get pissed at the film and stuff, and it’s like why doesĮverybody need it to deliver a message about really obvious things …ĭon’t you know that killing is bad? Why do you need me to tell you The trap houses, that kind of beach noir, the violence, theĭilapidated rotting yachts in the backyards of these houses in What I most wanted to explore was Alien’s world. Kind of thought of spring break as a metaphor for what happens in the Started to like that there was this kind of coded inner vernacular. Innocent, childlike details … like in the nail polish, in the bookīags, the bikinis, in the beer bongs, on the Mountain Dew bottles. Was all this hyper-violent and hyper-sexualized imagery with all these See it as a completely base and vile rite of passage for young people.īut while I was collecting imagery and photographs of that time, there I liked that it was kind of over the top … and that people would I like it as a backdrop for the beginning of theįilm. But I was never interested in being ironic or making So once I started to figure that out, it kind Thisįilm that was closer to a sort of drug trip, more hallucinatory, withĪ kind of peak, a transcendence, you just disappear for a little while It - the movie had this really liquid narrative and this energy. So once we got into the edit room - as I started to develop It was more of this idea of something that was moreĮxperiential, like a ride or a video game that was more manic and Was meant to be kind of a pop poem, or an impressionistic Yeah, I mean … it was never meant to be a documentary or an essay. It’s connected to the culture, and maybe there’s a zeitgeist in some World but pushed into something more kind of - I don’t know.
It’s something that’s more like a pop poem, or almost like the real And it is more like a reinterpretation of those things. it was never meant to be a kind of documentary or an exposé on Very rarely are things so clearly defined. Things and bad people do good things, and there's beauty in horror and I purposefully try to make films in that grey area, where You hope that it has something that is emotionally confusing to "But this one is just amped up to ten." GQīut that's why you make films to provoke some kind of discourse. Says Korine, sucking on a strawberry in the London office of theįilm's PR agency. "I make films so there is a reaction and the reactions are extreme," From interviews with writer/director Harmony Korine about *Spring Breaker*s, it appears ambiguity and reaction were the goals rather than the delivery of a message: