#1 of 2 #1 documentary movie of Week 47, 2011
Eames: The Architect & The Painter (2011)
2011 · Biography, Documentary
$163.4K worldwide · 92% of the chart's total
$153.1K US & Canada · 94% $10.3K elsewhere · 6%
Documentary box office · Week 47 · Nov 13–19, 2011
Documentary Box Office, Week 47 of 2011: Documentary Releases of Nov 13–19
Eames: The Architect & The Painter (2011) is the highest-grossing documentary movie released in week 47 of 2011 (Nov 13–19), with $163.4K worldwide, ahead of The Libertines: There Are No Innocent Bystanders (2011) at $14.6K. 2 documentary films released that week report a worldwide gross, $177.9K in all, 86% of it from the US & Canada.
- week 47 releases with a gross
- 2
- combined worldwide
- $177.9K
- Eames: The Architect & The Painter (2011), the #1
- $163.4K
- earned in the US & Canada
- 86%
#1 of 2 The chart
Every Documentary Release of Week 47 of 2011, Ranked by Worldwide Gross
Lifetime worldwide grosses in US dollars, not adjusted for inflation; domestic means the US & Canada. Films are grouped by their release date in week 47 of 2011 (Nov 13–19).
- 1 Eames: The Architect & The Painter (2011)Nov 18, 2011 US and Canada: $153.1K Rest of the world: $10.3K Worldwide: $163.4K
Nov 18, 2011 · English · Biography, Documentary $163.4K worldwide - 2
The Libertines: There Are No Innocent Bystanders (2011)Nov 15, 2011 US and Canada: – Rest of the world: – Worldwide: $14.6K Nov 15, 2011 · English · Music, Documentary $14.6K worldwide
Archive
Documentary Box Office in 2011, Week by Week
48 weeks of 2011 with reported grosses; the biggest is week 7 (Feb 6–12) with $99.3M, led by Justin Bieber: Never Say Never (2011).
- Week 1 No grosses
- Week 2 $263.7K
- Week 3 No grosses
- Week 4 $46.6K
- Week 5 $131
- Week 6 $1.8M
- Week 7 $99.3M
- Week 8 $889.8K
- Week 9 $62.2K
- Week 10 No grosses
- Week 11 $1.8M
- Week 12 $2.6M
- Week 13 $1M
- Week 14 $162.1K
- Week 15 $55.7M
- Week 16 $2M
- Week 17 $34.6M
- Week 18 $8.4M
- Week 19 $11.6M
- Week 20 $874.1K
- Week 21 $805.3K
- Week 22 No grosses
- Week 23 $275.9K
- Week 24 $674.3K
- Week 25 $5.9M
- Week 26 $475.1K
- Week 27 $114.1K
- Week 28 $2.8M
- Week 29 $848.3K
- Week 30 $579.7K
- Week 31 $1.3M
- Week 32 $310K
- Week 33 $12.8M
- Week 34 $722.8K
- Week 35 $157.6K
- Week 36 $14.2M
- Week 37 $601.9K
- Week 38 $253.6K
- Week 39 $952.6K
- Week 40 $423.2K
- Week 41 $14.4K
- Week 42 $1.1M
- Week 43 $1.2M
- Week 44 $135.2K
- Week 45 $136.9K
- Week 46 $409.2K
- Week 47 $177.9K
- Week 48 $867.3K
- Week 49 $440.7K
- Week 50 $59.4K
- Week 51 $57.6K
- Week 52 $18.9M
- Week 53 No grosses
FAQ
Documentary Box Office Week 47 of 2011: Questions & Answers
The chart's numbers in short: the #1 film, the total, the billion-dollar hits and the US & Canada share, answered from the same 2 films as the chart.
What is the highest-grossing documentary movie in week 47 of 2011 (Nov 13–19)?
Eames: The Architect & The Painter (2011) leads with $163.4K worldwide, $153.1K of it in the US & Canada. Next come The Libertines: There Are No Innocent Bystanders (2011) at $14.6K.
How much did documentary movies released in week 47 of 2011 (Nov 13–19) earn?
2 documentary films released in week 47 of 2011 (Nov 13–19) report a worldwide gross, $177.9K in all, or $89K per film on average.
How many documentary movies released in week 47 of 2011 (Nov 13–19) made $1 billion?
None. The biggest, Eames: The Architect & The Painter (2011), earned $163.4K.
How is the week 47, 2011 documentary box office chart ranked and where do the numbers come from?
Films are ranked by lifetime worldwide gross in US dollars, not adjusted for inflation, and grouped by their release date in week 47 of 2011 (Nov 13–19). The figures are the reported box office grosses in our database. A gross that looks misattributed, such as one figure shared by two unrelated films or a blockbuster total on an obscure title, is left out rather than shown as a fact.
How often is the week 47, 2011 documentary box office chart updated?
Grosses change while films are in theaters and whenever a new figure is reported; this chart reads the latest numbers in our database, so an older film can still move after a re-release.