'Dune 2' might be the one that unlocks the door to the future of cinema.

‘Oppenheimer’ and ‘Godzilla and Kong’ are two examples of films that have been extremely successful because to the format.

The amount of debt that Hollywood owes to IMAX is growing. It was made abundantly evident by Emma Thomas, the producer of “Oppenheimer,” when she expressed her appreciation for the prize for Best Picture by saying, “I want to thank Rich Gelfond at Imax and everyone else at IMAX for believing in this film when perhaps I didn’t have faith in it.” There is a lot of logic behind carrying it out. Without a shadow of a doubt, Gekfond has emerged as one of the most important names in the knowledge of contemporary Hollywood.

A new record is set by IMAX. Rich Gelfond provided a staggering statistic in the podcast The Town. He stated that IMAX format was responsible for collecting 669 million dollars, which is equivalent to 22 percent of the total collection of “Dune: Part Two.” There are only 1,700 IMAX screens in the world, with 417 of them located in the United States.

However, the most remarkable thing is that just one percent of the screens on which the film is projected are capable of displaying it in this format. Contrasts like as these are what have contributed to IMAX breaking its own box office record: in 2023, it topped its mark with 1,060 million dollars gathered, and ‘Oppenheimer’ herself was the one who championed this achievement.

Other formats that are huge. Although IMAX is a proprietary format (which is shot on its own cameras), there has been an unexpected boom in what North Americans refer to as PLF (premium large format). These are giant-sized screens with improved sound quality (and a much higher entry price, approximately fifty percent more). Some examples of these screens include the XD from Cinemark, the RDX from Regal, and the 4DX, which includes effects such as water, wind, moving seats, and other similar effects. ‘Oppenheimer’ garnered 48% of its first weekend box revenue in these formats, ‘Mission: Impossible – Deadly Sentence. Part One’ collected 42%, ‘Indiana Jones and the Dial of Destiny‘ took 37%, and ‘Fast & Furious X’ collected 32%. The PLF has become an essential component for major movies.”The”

The effect of Warner. The major , which has been chaining an absolutely fantastic sequence of hits since ‘ Barbie ‘ owing to films like ‘Wonka’, ‘Dune: Part Two’ or ‘Godzilla and Kong’, also likely owes part of this success to IMAX. For instance, 48 percent of the latter’s collection in the United States has been in this format, which explains, as revealed to us by The Hollywood Reporter, why it grossed significantly more than was anticipated in the country in which it was initially released. Something else that occurred with ‘Dune: Part Two’ was that it began slowly, which led to concerns that it would be unsuccessful at the box office. However, in truth, many were waiting to see it in IMAX theaters. At this very moment, it has received 134 million dollars alone through the use of that format.

It’s Cruise versus Nolan. The indignation that Tom Cruise felt when he saw that “Oppenheimer” was taking over all of the IMAX screens and that his most recent film, “Mission: Impossible,” was consigned to the surplus rooms is all that is required to give us a notion of the magnitude of the power that the IMAX brand is accumulating. Having filmed using IMAX cameras, Nolan had priority throughout his first three weeks, and Cruise was forced to abandon the format after only one week (that fantastic first week we mentioned earlier).

There was nothing that Cruise could do about it. All of this commotion and activity might be one of the reasons why its medium-term collection is relatively disappointing, and it is surely one of the reasons, as stated by Gelfond in The Town, why the actor and Chris McQuarrie are collaborating closely with IMAX to produce the film. The subject is not brought up again.

When it comes to independent films, IMAX. With a budget of two hundred million dollars, “Joker 2” is not exactly an independent production. However, it is not the traditional film that we would identify with the spectacular character of debuts in the format. It has been confirmed by Gelfond that several scenes from the film “Joker 2” have been shot in IMAX format.

Now is the time for everyone to jump on this bandwagon. One of the latest cases: ‘Civil War’, the film that has sent A24 to the front row of Hollywood production companies and that has led the box office this week in the United States with more than 25 million grossed, undoubtedly owes these surprising results (16% of the total has been in IMAX cinemas) to the fact that the format has become an essential player in the exhibition landscape in the United States.

The second installment of the Dune series will go into the legendary adventure of Paul Atreides, who joins forces with Chani and the Fremen while he is on a mission of vengeance against the individuals who were responsible for the destruction of his family. On the verge of making a decision between the love of his life and the destiny of the entire known universe, he makes an effort to avert a horrific future that he alone is able to predict.

The big-screen epic continues the adaptation of Frank Herbert’s acclaimed bestseller DUNE with returning and new stars, including Oscar nominee Timothée Chalamet, Zendaya, Rebecca Ferguson, Oscar nominee Josh Brolin, Oscar nominee Austin Butler, Oscar nominee Florence Pugh, Dave Bautista, Oscar winner Christopher Walken, Stephen McKinley Henderson, Léa Seydoux, with Stellan Skarsgård , with Oscar nominee Charlotte Rampling, and Oscar winner Javier Bardem.

Villeneuve is once again working with his DUNE creatives, which include Greig Fraser, an Oscar-winning director of photography; Patrice Vermette, an Oscar-winning production designer; Joe Walker, an Oscar-winning editor; Paul Lambert, an Oscar-winning visual effects supervisor; and Jacqueline West, a costume designer who has been nominated for an Oscar. The composer Hans Zimmer, who has won an Academy Award, is once again present to compose the score.

When it comes to movies like “Oppenheimer” and “Dune: Part 2,” consumers are demonstrating that they are prepared to spend a significant amount of money to watch films in premium formats such as IMAX. Or will theaters continue to operate in the same manner?

There is no need to be concerned because you are not the only one who is considering desert vistas, sandworms, and spices. As the science fiction epic “Dune: Part 2” continues to dominate the box office, it is getting closer and closer to the $500 million milestone. Since its release on March 1, the film has already surpassed the total amount of money that its predecessor, “Dune: Part 1,” made at the box office.

An adaptation of Frank Herbert’s iconic novel, directed by Denis Villeneuve, has emerged as the first film of 2024 that it is absolutely necessary to watch. According to Steve Granelli, an associate teaching professor of communication studies at Northeastern University, it also provides a prospective peek of where Hollywood and movie theaters might be headed in the future.

“Dune: Part 2” is more evidence that “a lot of the death knell pieces about the industry that were written a few years ago were a little shortsighted,” according to Granelli. This comes on the heels of the box office explosion that Barbenheimer was responsible for in 2023.

“Dune: Part 1” was released on the same day in theaters and on the streaming network that was known as HBO Max at the time (now simply Max). This was a popular technique during the pandemic era that hindered the film’s potential at the box office while also insuring that more people were able to watch it. During that time period, that tactic was responsible for a great deal of fear regarding the future of movie theaters, according to Granelli.

The dread and despair that engulfed Hollywood during the COVID-19 pandemic has, to some extent, subsided at this point. The domestic box office in the United States could reach $10 billion by the year 2026, as reported by CNBC. This is a milestone that the industry has not reached since 2019.

In the wake of films such as “Avatar: The Way of Water,” “Top Gun: Maverick,” “Barbie,” and “Oppenheimer,” a success story such as “Dune: Part 2” demonstrates once more that consumers continue to have a strong desire to attend movies in motion picture theaters. In order to persuade people to sit in their seats, it is necessary to have a specific kind of movie.

“If theaters are going to keep driving people to the theater, then it has to be for an experience that they’re only going to be getting at the theater at that time at that date as soon as possible, not two months down the road,” Granelli says.

The concept of turning a movie into an anticipated event is not a novel one. However, studios have profited on the established reputations of their auteur directors with films such as “Oppenheimer” and “Dune: Part 2.” Additionally, the spectacle of the films themselves, as well as more recently, upgraded screening formats such as IMAX, have also contributed to their success.

For many years, IMAX has been recognized as a screening option that is considered to be of the highest quality due to its taller aspect ratio and greater resolution. This results in a significantly increased cost for the tickets. On the other hand, enhanced formats such as IMAX are increasingly attracting a larger number of people to the theater.

2023 was the second-highest grossing year for IMAX in the history of the corporation, and a big part of the credit for this achievement goes to the success of “Oppenheimer,” won an Academy Award. According to Variety, the company made a total of $1.06 billion from the proceeds of movies that were shown on its large format screens around the world.

“Dune Part 2,” which, like “Oppenheimer,” has been billed as a theatrical event that should not be missed, has likewise profited from this audience enthusiasm through its marketing. A little over one hundred million dollars of the more than five hundred million dollars that “Dune Part 2” has made comes from IMAX screenings. Nevertheless, crowds are being drawn to IMAX theaters for films such as “The Super Mario Bros. Movie,” which are not being marketed as must-see theatrical experiences. According to Universal Pictures, around 35 percent of the twenty-four and a half million dollars that the animated feature made in its first five days of release came from the large-screen and three-dimensional formats.

According to Granelli, the films “Oppenheimer” and “Dune: Part 2” demonstrate how IMAX has become about the fandom associated with the film as much as it is about the picture and sound quality of the film.

“Perhaps at this moment… The fact that I not only saw it on opening weekend but also saw it in the best format conceivable, in IMAX theaters on opening weekend, and that I also got the souvenir bucket is a significant element of my fandom, as Granelli explains. “Eventizing the film is analogous to reifying the true fans, as it provides fans with an additional means by which they can demonstrate their fandom.”

At a time when spectacle appears to be the driving force for moviegoers, has the introduction of IMAX made it possible for movie theaters to move forward? It is very evident that audiences, studios, and filmmakers are all in need of this. Granelli, however, suggests that the true question may be whether or not they will come if they construct it. If theaters were to install additional IMAX screens, which would be an expensive proposition for any theater chain due to the massive size and stringent technical requirements required to do so, would audiences be able to satisfy the demand?

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