From Paramount and Platinum Dunes, the John Krasinski-helmed silent horror pic had another scary good hold overseas in the third session. It dipped just 37% from last weekend, which itself had dropped by just 25%. Speaking volumes in 57 markets, it added $15M for an offshore cume of $74.8M and a worldwide tally of $207.16M including its stellar domestic run. It still has France, Japan and China to come.

For all markets in release, the Krasinski/Emily Blunt-starrer is now 87% above Don’t Breathe, 61% above Get Out, 58% over Lights Out, 5% above The Conjuring and 9% below Split. (The latter last year finaled at $140M overseas.)

In new openings, Spain bowed No. 2 with $891K at 287 locations and Vietnam kicked off with $302K at 139 locations for No. 3.

The UK is the top play so far with $11.7M after a 47% dip from the sophomore frame. The best 3rd weekend hold was in Australia with a 26% drop for a $6.7M cume. Rounding out the Top 5 market cumes are Mexico ($6.6M/3rd weekend), Brazil ($5.3M/3rd weekend) and Russia ($4.1M/2nd weekend).

Art buyers find few investment masterpieces

It was only when Jussi Pylkk√§nen was climbing down from the auctioneer’s rostrum that he realised the scale of what had just happened.

Having presided over the sale of a ravishing nude by Amedeo Modigliani for $170m, it struck him that this surpassed any previous auction figure achieved for the Italian artist’s work — by a staggering $100m.

“I knew the record would be broken, but not by how much. When you get a work that suddenly makes $100m more, that is the greatest single leap,” says the global president of Christie’s.

Since that New York sale in November 2015, auction records for individual artists have continued to tumble, underlining the appetite of super-rich collectors for the most desirable works of art. The global caravan of auctions, gallery shows and art fairs, which this week pauses in London for the annual Frieze fair, rumbles on in anticipation of the next masterwork to be offered for sale.

Many of those buying high-value art argue that the money involved is less important than gaining possession of a unique object of unimpeachable beauty or artistic value (and, perhaps, the chance to stand out from the gilded crowd). The idea of art as an investment is a secondary function, if at all. “You’re supposed to buy art because you like it. It’s a terribly corny phrase, but you get a ‘dividend of pleasure’,” says Bendor Grosvenor, a broadcaster and former art dealer.