'Torrente' gives Spanish cinema hope in box office anemia.

Having previously been successful at the box office in 1998, the Atlético police officer is now returning.

Since the release of ‘Torrente 5: Operación Eurovegas’ ten years ago, Santiago Segura has made the decision to bring his most well-known work back to theaters for a second time. In an effort to promote his picture “Padre no hay más than uno 4,” he made the announcement on the show “El Hormiguero.” ‘Torrente presidente’ is the name that will be given to this next chapter, and he claims that he has been working on it for the past two and a half years.

box office sales for Torrente. More than one exhibitor, in addition to Segura’s normal collaborators in production and distribution, will have clenched their fists with delight upon hearing the news. Torrente’s first five films have all been smash hits at the movie office, so it should come as no surprise. Take a look at the numbers, shall we?

Here we can see that although the latest installment had a noticeable drop in box office performance, being the least successful of the series, and possibly the reason why Segura decided to put the character on hold, that does not mean that the overall figures are not impressive: a total taking of 115 million euros (adjusted for inflation) and more than 18 million spectators in total, in cinemas alone.

Then, after that. Afterwards, Segura took some timid steps into adult comedy with pictures that did not fully gel (although Segura remained to enjoy the public’s favour as an actor, an activity that he never completely gave up in films as diverse as ‘Isi/Disi’ or ‘El great Vázquez’). That was until he came upon a new direction: family films, which frequently drew inspiration from original works from other countries. This approach has proven to be rather successful for directors such as his close buddy Álex de la Iglesia.

This is how the series “Padre no hay más que uno” came into existence (it is based on an Argentine original), which is currently publishing its fourth installment, and which has been, in an unusual manner for what are typically the sequels of any franchise, raising more and more money:

Some other blockbusters are in the same vein, such as the series “A todo tren. Destino Asturias,” of which Segura directed the first and produced the second installment, or seasonal films like “Vacaciones de verano.” Both of these examples are examples of blockbusters.

It is the influence of Torrente. There is no question that the work of Santiago Segura is without a doubt one of the most well-known and lucrative films in the annals of Spanish cinematic history. Its second chapter, titled “Misión en Marbella,” has garnered a total of 22 million euros, placing it in eighth place among the ten highest-grossing Spanish films of that year. Its earnings are almost on par with those of “Ágora” or “Mortadelo y Filemón: Misión salvar la Tierra.” However, this is not the only story; the first picture was also released in 1998, which was a significant year for the box office in Spain.

Reviving the box office with new life. Juan Herbera writes in the RTVE blog ‘Desde la taquilla’ that the year 1998 is significant for the Spanish box office because “almost 120 million people went to the cinemas in Spain, marking a very important turning point in the recovery of the habit of “going to the cinema” (…) with an increase of almost 12% compared to the previous year.” This is a significant year for the Spanish box office. According to Herbera, this is due to the fact that “multi-screen cinemas have been proliferating throughout the world, with many of them being integrated into shopping centers.” It is also the time when the first megaplexes, which are complexes that have more than twenty screens, were introduced. However, it is also obvious that the impact of highly popular films like “Torrente” in terms of drawing people back to the theaters is irrefutable. Films from that year, such as “La niña de tus ojos,” also had a significant impact on this matter.

A pivotal moment in the course of Spanish cinema. It is peculiar that Torrente has always had such a poor reputation, especially considering that it coincides with a period of commercial effervescence in Spanish cinema, of which he is one of the protagonists (or perhaps it is precisely for that reason that he has a poor reputation, given his tendency toward vulgar and vulgar humour that differentiates him from other directors).

It was during the Torrentes era that Almodóvar achieved international recognition with films such as “All About My Mother” and “Talk to Her.” These films opened the door to a modernization that was unimaginable a few years earlier, when films of a completely exportable production such as “Pan’s Labyrinth” started to arrive on the scene. The fact that José Luis Torrente, a guy who is obviously of Hispanic descent, may be considered one of the driving forces behind this international takeoff is of the utmost importance.

The box office was a living hell. Although it is uncertain whether the Spanish box office will have recovered from the anno horribilis it has experienced by the time this sixth Torrente is released, it is undeniable that it is in dire need of a good breath of fresh air at this point. During the month of May, the box office experienced one of the worst weekends ever recorded due to the failure of the film “Furiasa.” This occurred in a year that was not particularly brilliant, as the Spanish box office in May was significantly lower than it was the previous year, which was 25.5% higher at that time (and this was before the film “Barberheimer” was released).

‘Torrente’ gives Spanish cinema hope in box office anemia.

By triji

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