August 27 at 8:27am

What Do The Top Grossing INDIE Films Of 2000s Reveal?

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I think I may have posted this before.  I just recently came across it again.  This list was compiled by the good folks at Indiewire.  I stare at it and think it must reveal some greater truth.

What does it say about our culture, about what people want to see?  What does it say about the mainstream industry and what they will buy or promote?

Top Grossing Independent Films of the 2000s

1. The Passion of the Christ, 2004 (Newmarket)  $370,274,604
2. My Big Fat Greek Wedding, 2003 (IFC Films)  $241,438,208
3. Juno, 2007 (Fox Searchlight)  $143,395,265
4. Slumdog Millionaire, 2008 (Fox Searchlight)  $141,319,928
5. Crouching Tiger, Hidden Dragon, 2000 (Sony Pictures Classics) $128,078,872
6. Traffic, 2000 (USA) $124,115,725
7. Fahrenheit 9/11, 2004 (Lionsgate) $119,194,771
8. Paranormal Activity, 2009 (Paramount)  $107,753,000
9. Brokeback Mountain, 2005 (Focus Features)  $83,043,761
10. March of the Penguins, 2005 (Warner Independent) $77,437,223
11. Coraline, 2009 (Focus Features)  $75,286,229
12. Sideways, 2004 (Fox Searchlight)  $71,503,593
13. Burn After Reading, 2008 (Focus Features)  $60,355,347
14. Little Miss Sunshine, 2006 (Fox Searchlight)  $59,891,098
15. Hero, 2004 (Miramax) $53,710,019
16. Atonement, 2007 (Focus Features) $50,927,067
17. 28 Days Later, 2003 (Fox Searchlight)  $45,064,915
18. Lost In Translation, 2003 (Focus Features)  $44,585,453
19. Napoleon Dynamite, 2004 (Fox Searchlight)  $44,540,956
20. Precious: Based on the novel ‘Push’ by Sapphire, 2009 (Lionsgate)  $42,004,270

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  • Razcunningham
    I think the most obvious things about these films, at least from my perspective, is that they were mostly "word of mouth" films. And that word of mouth was mostly about the Story and the Characters, not "a star's bankability," which yes, while is losing its strength, is still important to some systems.

    That's the one thing we need to remember; that there is no "one thing" to remember. every film is different, there is no standard. i'm sorry but i truly believe that.
  • I want to think there's some eureka moment to be gleaned from this list but, from what I can tell, there's really no pattern. If there was, it would be the formula for indie box office success, which, as we all know, does not exist
  • Celebrity preferred but most important...GREAT stories that are well told.
  • GirlPaint
    I have to disagree. Some have good stories, some don't. I'm with Josh -- there's seemingly no pattern. What I'd like to see is how much $ (along with what percentage of the total budget) was spent on marketing and promotions vs. indies that don't fall into the top 20 grossing. That might give a better picture.
  • Guest
    I see distinct stories here. I see cinematic ventures away from commitments to make 'safe' movies for 'everyone' resulting in discoveries that these films also resonated with crossover audiences and communities of engagement.

    I also see impressive market campaigns for these titles in most if not all cases. I'm curious to know what the average P&A budget is for the films listed. This list may also suggest niche films can perform better if afforded more exposure--something most of us already know.
  • Kevincollins_1
    All were perceived by their markets as something new, unconventional, daring and/or hip.
  • Bludotz
    ... this list proves that randomness rules - i'm off to buy a quija board ...
  • All I can tell from this list is that indie filmmakers don't make 3-D cartoons yet.
  • Never mind. I missed Coraline at first.
  • What it says to me is that independent film, in this case, is being defined solely on the basis of financing. All have established traditional distributors. What are they independent from? Most of the financing for studio films are done outside of the studios. As Danielleus has stated "what constitutes an independent film here?"
  • Why would the top grossing films saying anything about our culture? The bigger question is, what does our culture have to do with the top grossing films of the 2000s? These films are products of a highly restrictive process that churns out movies based on the financail motivations of a miniscule number of persons in our world. A few decision makers decide to make these films and that's suppose to indicate what our culture is about? I don't think so. Who sets this agenda?

    45,000 people die every year for lack of health care in a country with the greatest health care technology in the world, but slave to a for-profit health insurance industry. Our forclosure and unemployment rates continue to skyrocket along with the profit margins of the health care industry that continues to raise it rates. We spend trillions on war to decimate millions of innocent people in a land where the so called "terrorists" don't even exist, while our education system languishes and America's culture decays. If you want an indication of what is being said about our culture, take a look at that shit.
  • Danielleus
    Just curious, and I should probably shoot over to Indiewire to see what they're basing this on, but what constitutes an independent film here?
  • There are no greater truths to be found here, just a bunch of riddles. Why is Burn After Reading on here when it's the worst of all the Coen Brothers films? Why Atonement and not any of the other high-brow British schlock? Why is Hero on here, is the Chinese government considered "indie"? Shouldn't Twilight be on here - it made 69M on its opening weekend? Why did Bush get re-elected? Why are we in Iraq? Why is a mosque at the WTC site an issue? Why are silly bands so popular? Why do Americans pour cheese product on everything? There's no logic to what the American people will buy.
  • f you notice, all these movies have either taken their genre in a new direction, or had a hint of controversy before its release. Also, in the cases of slumdog, lost in translation, napoleon dynamite, march of the penguins, even My bg fat greek wedding, they take us into world we have never seen before. Or like Napoleon and MBFGW, they fully dive into worlds that we know but don't truly "know", you know? lol
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