Crossing $500M worldwide this weekend and $200M in China, Steven Spielberg’s sci-fi pop culture ode took in $23M during the frame on 14,750 screens in 67 markets. The international cume through Sunday is just shy of $400M at $395.8M. Globally, the Warner Bros/Amblin/Village Roadshow pic has grossed $521.9M.
The final market for RP1, Japan, opened this session and delivered $4.4M on 745 screens. The results are 20% above Kong: Skull Island, 28% better than Pacific Rim: Uprising, 39% bigger than Jumanji and more than triple the first Hunger Games.

RP1 fell to No. 3 this weekend in China as local picture 21 Karat took the silver. Although the studio recoups just 25%, the Middle Kingdom run has been spectacular with a total now of $207.4M and a spot on the charts as the No. 10 biggest Hollywood grosser in the market. It is also by far the biggest U.S. movie of the year there.

The Top 5 hubs are China ($207.4M), the UK ($21.6M), Korea ($18.3M), France ($17.3M) and Russia ($12.4M).

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.