“I’m aware of what happened to Zhao, but I don’t think something like this would happen to me, because the politics in my film are about relationships, about making people empathize with others with whom they wouldn't normally sympathize."
As censorship tightens in the mainland, the "Moneyboys" model of a China-born director with foreign citizenship making a China-set film shot outside the country with foreign funding and crew may become an increasingly common avenue for cinematic explorations of otherwise taboo Chinese subjects.
“I was told, 'It’s better when your first movie is about China. If there are two people, an Austrian director and you, both first-time directors trying to make a film about relationships between Austrians, of course they would rather give it to the other guy than you,'” he says.
He elaborates: “Film is not really politics: it has some politics, of course, but not the kind of outside politics where you go to a demonstration. I just want the best actors to play the characters; to forbid anything or to question that minimizes the artistic work.” Everything in film is there to tell a story, but the stories have political messages and issues packed within them.
Yi still has family in China, and uses a pseudonym to keep his work separated from his private life and avoid the risk of being unable to return. He hopes that his future films will be able to screen there, and acknowledges the political tightrope that may force him to walk — particularly when other China-born artists like Chloe Zhao have been unofficially banned on nationalist grounds even for making work completely unrelated to the country.
At the last minute, however, he moved production to Taiwan, which required a rush to adjust the story but also cut costs and brought in financing from the Taipei Film Commission. First-time director Yi waited nearly ten years for the chance to shoot “Moneyboys,” intending all along to do so in China. He doesn't attribute the shift to censorship, saying that the choice was made for budgetary reasons before he submitted the script to China to get approved for a shooting permit, and because it was easier to work with Taiwan's more Westernized production system.
Yi’s Un Certain Regard title “Moneyboys” is a moving exploration of Chinese rural-to-urban migration that feels authentically emotional despite being peppered with incongruous moments and details. C.B.
China decriminalized homosexuality in 1997 and declassified it as a mental disorder in 2001, and while mores are slowly changing, gay content is still regularly censored in film, TV and online media — most recently via the mass deletion of social media accounts for LGBTQ student groups and research associations at most major universities just last week.
For a director who has spun such an intimate portrait of gay love, Yi at times appears less versed than one might expect on the politics of its representation or the state of LGBTQ issues in China and Taiwan, the latter of which in 2019 became the first in Asia to legalize same-sex marriage.
When he realizes that they accept his money but not his homosexuality, their relationship breaks down. Linguistic inconsistencies also rear their head unexpectedly to jar viewers otherwise immersed in the film’s melancholic mood, with Beijing accents mingling with lilting Taiwanese intonations in the same village where neither should be at home. Although set in China, "Moneyboys" was filmed entirely in Taiwan. The film follows Fei (Kai Ko), who moves from the countryside to different Chinese megacities to support his family as a hustler. And while leading man Kai Ko delivers a nuanced, heart-rending portrayal of the hustler Fei and real chemistry with his male love interests Long (Bai Yufan) and Xiaolai (JC Lin), none of them publicly identify as homosexual.
"Many heterosexual actors wanted to be part of the project because they were touched by the story and wanted to support the LGBT community, and that empathy…is a [positive way] of spreading more understanding of LGBT issues worldwide," Yi says. "I also think playing a homosexual role gives heterosexual male and female actors the opportunity to fulfil their curiosity and satisfy their subconscious desires to live [the experiences] of LGBT people."
The third film will be set in the ’60s and shuttle between Paris and other non-China international locales. Yi envisions “Moneyboys” as the first installment of a thematically linked trilogy of films, each pulling further away from China than the last. Yi also has scripts written for two bigger-budget sci-fi films that zoom even further out from the sticky realities of the present. He’s finished the script for the next title: Paris-set “Purelands,” which centers on a French-Austrian student involved in protecting a group of female prostitutes from northern China.
Equal Opportunities?
Shooting in China, he admits, would have yielded a “totally different” film, but he’s satisfied with the final results.
Bai, who adroitly plays a young villager who follows Fei into the world of prostitution, is a rising commercial star in China who also appeared this month in a very different sort of film: the historical propaganda film “1921,” a tribute to the Chinese Communist Party. While he is on screen at Cannes learning to turn tricks, Bai is in theaters in China as the staunch military leader Ye Ting, who joins the Communists after leaving the Kuomintang, the party that has since become one of Taiwan's most powerful factions.
I want to do the right things and respect everyone there, but I’m also an artist, and want to do the right thing as an artist,” he says. “I feel for my country.
Yi first planned a documentary about money boys, but later morphed it into a fiction over concerns that it might put subjects at risk in a country where prostitution remains illegal and there are few legal rights for LGBTQ citizens.
“I think homosexuality in China is not a big issue, because it’s common. In the 1990s, they already said it’s not a disease, or something like that.” Yi wasn’t sure if an actor could openly identify as gay in China, but notes that while in Beijing he saw many women holding hands in the streets.
In Hollywood, the question of whether straight or cisgender actors should play gay or trans characters is an ever-evolving hot-button issue. Although Yi hadn’t considered the topic, when pressed he says that while the intention behind the idea of reserving gay roles for gay people was a good one, “it also leads to problems" by being too reductive.
“I didn’t make a film of total realism. If I wanted to have a realistic film, I would have done direct cinema or documentary. I made this with an artistic mindset and with the situation I was given, which forced me to adapt,” Yi says.
“I think there should be equal opportunities to take on roles no matter what your identity, as long as you’re good at your craft and willing to take on the challenge.” “The character is what the director chooses him to be…Homosexuals should also play straight men, and so on, as long as the actor develops the character well,” adds Ko. His stars both concur. Lin says what matters most is how convinced the audience is.
His first project was a coming-of-age story set in Austria with European main characters, but it was abruptly killed two years in after certain backers pulled out without explanation. Yi didn’t initially set out to make a film about China at all.
He explains: “I don’t want to be reduced to my Chinese origins as a filmmaker.”” />
Times have changed, but not drastically so.
'Reduced to My Chinese Origin'
There is past precedent for Chinese actors playing controversial gay roles pushing on unabated to mainland stardom. For instance, Chen Sicheng and Qin Hao, the leads of Lou Ye’s 2009 Cannes competition title “Spring Fever,” are now top industry figures even though that film resulted in Lou receiving a five-year ban from filmmaking.
“I went through all that, but I realized it really was better to do my first film in my homeland, where I had travelled many times and knew people better.” Yi has made his peace with that setback.
Yi was born in China but immigrated to Austria as a teen, and is most comfortable in German. A Sinology major, he first encountered the topic of gay prostitution nearly two decades ago while studying abroad to improve his language skills at the Beijing Film Academy, where he discovered that a classmate was hustling on the side to help his ill mother.

Leading Italian sales company True Colors has closed a slew of sales at the Cannes Market and landed North American deals on horror pic “In The Trap” and gay-themed comedy “An Almost Ordinary Summer,” acquired respectively by MPI Media Group and Wolfe Releasing.
The English-language "In The Trap" (pictured) directed by Italy's Alessio Liguori as his feature-film debut, and produced by Italian shingles Dreamworld Movies and Mad Rocket Entertainment generated a flurry of deals, confirming the growing global appetite for horror titles and the resurgence of Italy's capability to churn out chillers that can travel.
Another recent Italian release by a young director, Leonardo D'Agostini's "The Champion," about a young star football player's conflicted rapport with his private tutor, has been acquired by Sublime Media for China, AV-JET for Taiwan, Bulgaria Film Vision for Bulgaria and Palace Films for Australia/New Zealand.
Additionally, True Colors in Cannes pre-sold Ferzan Ozpetek's "The Fortune Goddess," which is currently shooting, to Taiwan's Swallow Wings which had also released "Naples in Veils," the previous title by the Turkish/Italian director.
Mocking Bird will release the pic in Vietnam, while Suraya Filmes took the rights for Malaysia, Indonesia, Philippines and Brunei. Besides the U.S. and Canada, "Trap" also went to Russia (Cinema Prestige), South Korea (Aone) and Taiwan (Movie Cloud). "In The Trap," which features an international cast comprising South Africa's David Bailie ("Pirates of the Caribbean: At World's End"), and Sonya Cullingford ("The Mummy"), is about a solitary proof reader trapped by fear in his apartment where he is tortured by an unknown evil force.
 ” />
Capping a busy Cannes, True Colors chief Catia Rossi also closed deals on Valeria Golino’s "Euforia," which screened at the fest last year and went to Missing Films (Germany) and to Il Sorpasso (Brazil), and sold musical "Forever You" to France's Koba Films and to Hungary's Cinenuovo, and also action/thriller "Ride" to Picture Works for India.
Several other pre-sales were closed on Mario Martone's upcoming “The Mayor of Rione Sanità” a contemporary adaptation of the eponymous play by late Neapolitan playwright Eduardo De Filippo which went to Andrews Film for Taiwan and Stars Media for former Yugoslavia territories.
Pic was recently released in Italy by Warner Bros. "An Almost Ordinary Summer" which Wolfe Releasing will release in the U.S. and Canada, is directed by second-timer Simone Godano and toplines Italian A-listers Alessandro Gassman and Fabrizio Bentivoglio as two middle-aged patriarchs who after having been in heterosexual marriages and fathered children announce their plans to get married, wreaking havoc.
Neapolitan helmer Guido Lombardi's upcoming new feature "Stolen Days" went to Bulgaria Film Vision for Bulgaria and Leonardo Da Vinci’s "Amazing Leonardo" was pre-sold to Pilotkino (Russia) and to Il Sorpasso (Brazil).

What Asian shows are currently working?
It took us a few years before we started getting into original content in HBO Asia because we were nervous about language and how it all works. But then we did a couple of things in other languages and we discovered they have worked for us as well, if not better. We started producing principally in English originally with our first couple of series.
Is the recent unbundling/re-bundling, downloadable HBO GO app, and price cut strategy in Singapore to be followed elsewhere?
We are working with Singtel (another pay-TV operator), and Toggle (part of MediaCorp), which has great access to the Singapore market. But it also now means that we are able to offer our services to a wider public in Singapore. HBO GO is now also in the Apple and Google Play stores. The millions of people who have downloaded the Toggle app can now access HBO GO. We are still very pleased to be able to continue our relationship with StarHub and allow our existing customers at StarHub to benefit from all our HBO platforms, including HBO GO.
Is Mandarin-language production in Taiwan an ersatz Mainland China strategy?
This coming-of-age Chinese-language series worked well across all our markets. More recently, “Folklore” has generated hugely good reviews across different countries. The anthology horror series was in six different languages, with six different directors, about six different stories from across the region. We are taking this concept slightly further, as we will announce at FilMart. It was carried in the U.S., where it generated a lot of interest. The recent shows we’ve produced, like “The Teenage Psychic,” worked exceptionally well ratings-wise. And it has also been screened at various film festivals around the world.
How does a legacy pay-TV channels group respond to the digital transformation?
We are rolling out HBO GO across the region and we will be making more announcements soon. We have also gone to a realistic price, which we have always wished to do, and have reached a level we think is comparative against the market. We think that is positive. This essentially means that anybody in Singapore can access HBO GO any time that they want and pay for the service.
We have been working on getting all the necessary rights to be able to deliver that content across different platforms. Spink: The pay-TV business has been transforming digitally for many years. In our instance, that means the development of HBO GO and the ability to roll out content to a greater audience, and for it to be accessible pretty much anywhere by anybody. The issue now is the ease of access and the ability for customers to access your content anywhere. HBO, like other services and other companies, has been working hard on developing the ability to do this.
We are producing shows because Taiwan has a great history of television production and there are some great stories there. We are now talking about producing shows in Hong Kong. Same as in Indonesia. It just happens that these two or three shows have all come around at the same time, and it is just more coincidence rather than anything else.” />
And whether that is from America, Europe or other countries in Asia, it has been perfectly acceptable. Our shows produced in one country have worked very well in other countries, so we would expect that to continue. People like good content. What has happened in the last seven years has been our involvement in local production across Asia. Customers and viewers across Asia are used to watching programming with subtitles.
Producing shows in Taiwan that have worked in the Philippines and Malaysia, and producing shows in Indonesia that worked in Singapore and Thailand, has been very gratifying. We wish to produce more original content, as there are great opportunities and a lot of great stories in Asia. We have been enormously pleased with how the content has travelled.
We have always been known as an English-language channel, providing quality HBO original content and the best Hollywood has to offer. In HBO Asia’s 23-territory footprint, it is a bit of a misnomer to say we have to please and deliver something to each territory. Asian audiences are very happy to watch content produced in different countries. Localization has been a trend for many years and we recognize the significance and importance of locally produced programs.
Singapore has been an interesting case for us. We have been exclusive with StarHub for many years, but with their new strategy, they did not wish to continue on an exclusive basis.
He joins Variety on Monday in a keynote presentation at Hong Kong’s FilMart, and is expected to unveil an expanded slate of local productions. CEO of HBO Asia since 2003, Jonathan Spink has seen the growth of pay-TV in Asia, the moves towards content localization and original production, and has faced up to the challenge of internet-based streaming services.
“The Teenage Psychic” is a series that did not get carried in China, which has some restrictions on supernatural shows. The series was produced because we thought it was a great show — and it really is. We are producing in Taiwan because the language of Taiwan is largely Mandarin. It is an absolute benefit to us if our shows work in China. But we are not available to domestic households, so it is part of the China hotel strategy. China is one of our markets.
How does original content work at HBO Asia?
When localization has been the trend for the past five to 10 years, is a 23-territory Asia footprint a realistic business model?

"Fantastic Beasts: The Crimes of Grindelwald" hasn't been able to conjure up much magic in the States, but that might not matter given its magical showing at the international box office.
In fourth, Sony's "Venom" brought in another $13 million for an overseas tally of $631.7 million. "Venom" has made $844 million to date. The Marvel antihero adventure continues to perform well in China, generating $12.2 million in its fourth weekend of release in the Middle Kingdom.
The Dr. Benedict Cumberbatch’s take on the green grouch who loathes Christmas has picked up a sizable $268 million worldwide, including $64 million from overseas markets. Seuss adaptation launched this weekend in Germany ($3.7 million), France ($3.7 million), Australia ($2.9 million), Italy ($2.1 million), and Spain ($2 million). Illumination and Universal's "The Grinch" stole third place and earned $27.1 million from 54 territories.
Another holdover, Disney's "Ralph Breaks the Internet," nabbed second place with $33.7 million from 27 markets. The animated sequel hit a notable milestone, passing $200 million globally in its second week of release. The sequel to "Wreck-It Ralph" opened in the United Kingdom with $5.2 million, as well as Taiwan with $1.4 million and Thailand with $800,000.
"Crimes of Grindelwald" has now crossed $500 million globally, with $385.3 million of that haul coming from foreign territories. The second "Fantastic Beasts" installment dominated overseas for the third weekend straight, generating another $40.2 million from 80 territories. "Fantastic Beasts 2" saw an especially strong showing in Japan ($7.4 million), Germany ($4.5 million), and France ($3.5 million). Warner Bros., the studio behind the "Harry Potter" movies, has always considered the prequel series to be more of an international play, and the sequel is proving no exception.
More to come…” />

Ethnography and entertainment are neatly mixed in “Long Time No Sea,” an uplifting drama set among the indigenous Tao community from Orchid Island in Taiwan. Following a successful local release in June, this family-friendly film deserves to attract further festival attention in the wake of its international premiere in the Asian Future competition at Tokyo. Based on life experiences of first-time feature writer-director Heather Tsui (also known as Tsui Yung-hui), this tale of a newbie teacher from the city who prepares students for a dance competition is sweet without ever getting sticky, and sends strong but never-didactic messages about the need to preserve traditional cultures and languages.
Like many of his friends, Manawei rarely sees his father (Ou Lu), who left Orchid Island to work in Kaohsiung, a big city on the main island. The young star of the show is Zhong Jia-jin as Manawei, a motherless young boy who lives with his doting grandmother (Feng Ying-li). Zhong is terrific as the youngster whose high spirits mask the sadness of being separated from his dad and the embarrassment of being so poor he’s forced to wear sandals instead of shoes to school.
Featuring a cast comprised almost exclusively of non-professionals from the Tao community, “Long Time” has an unforced authenticity that will connect with viewers everywhere. Tsui’s impressive feature is deftly structured to inform audiences outside Taiwan about the challenges facing an indigenous people while also spinning a thoroughly entertaining and accessible “let’s put on a show” yarn.
Things begin to change when the school principal (Zhu Zhi-sheng) offers bonus points for teachers who’ll take charge of organizing a team of students to compete at a national indigenous dance competition in Kaohsiung. Without knowing the first thing about Tao dance or culture, Chung-hsun takes up the challenge.
The sole professional actor here is Shang He-huang, cast most effectively as Chung-hsun, a thirtysomething teacher who’s just arrived from the city. Far from having noble ideals or even much interest in Orchid Island and its inhabitants, Chung-hsun is looking to stay just long enough to earn the career-boosting status that comes with accepting such a remote posting.
Especially nice is an underwater sequence in which Manawei plunges into Love River in Kaohsiung and is magically transported to Orchid Island, where he dives joyfully with his loving and happy father. Also of note in the fine technical package is a lovely score by multi award-winning composer Cincin Lee and a sprinkling of traditional Tao songs, the lyrics of which are emotionally powerful and highly informative.” /> Without ever looking like a travelog, Liao Jing-yao’s photography shows the beauty of a place the Tao have called home for 800 years.
Best of all is Chung-hsun’s bonding with Manawei, whose occasional bad behavior in the classroom is seen in a new light by the teacher once he becomes aware of the lad’s difficult circumstances. As he gradually warms to the task, Chung-hsun finds a friend and potential romantic interest in Chin-yi (Zhang Ling), a kind-hearted local radio announcer who joins a community-wide effort to teach the kids about their culture and take pride in their performance.
Tsui’s screenplay balances gentle humor and non-melodramatic heartache wonderfully well en route to a climax on the big stage at Kaohsiung. Manawei and his pals want none of this until their teacher and respected community leaders speak about the importance of upholding such a tradition. A surprise visit from Manawei’s dad delivers initial joy, only to end in bitter disappointment that brings home the harsh reality of financially driven family separations. Tao men and boys wear thongs while dancing. Among many amusing and illuminating scenes is a discussion about appropriate attire. Sensitive photography and the beaming smiles of the lads do the rest. The story’s only real shortcoming is superficial treatment given to girls’ roles in the performance.

There is a little more exposition than usual in the director’s work, and far less unsaid, which could make “Family Tour” his most successful film to date even though at times the need for explication feels almost gratuitous — “almost” because the film’s ability to capture the unnerving feeling of exile, of belonging and yet not, is superbly realized. This is Ying’s first film without the credited collaboration of his wife Peng Shan, though her influence, given the parallels between reality and fiction, can’t be casual. Ying also brings out the acute differences between those who stay and those who leave, the resignation of compromise versus the exhausting battle for justice.
Yang Shu can’t disguise her distress at finding her mother thinner than expected and using a cane, and this awkward reunion under the watchful gaze of the tour manager, combined with the film festival, provides a roller-coaster of emotions as she’s forced to confront the meaning of exile and the psychological distance between herself and her mother. The meeting is awkward: Mother and daughter video-call frequently, mostly so Mrs. Chen can see her 3-year-old grandson Yue-Yue (Tham Xin Yue), but that’s a stilted substitute for real contact.
Genteel Ka-ming is old Hong Kong, though how sustainable that is in the long run isn’t addressed. That description may seem melancholy, but Ying uses humor and tenderness to leaven the film and make it more human. Peng and her over-cheery sidekick Pai (Yu Siao Bai) are hilarious yet also scathing caricatures of the new China, insufferably bossy, not-so-passive agents of the state who are friendly only if kick-backs are involved. Each person in “Family Tour” represents an element of the region and its fractured history, from Mrs. Chen’s old guard who suffered silently for so long, to Yang Shu’s exhausted activism to Peng’s self-serving Party employee. A memorable scene between mother and daughter in an otherwise empty tour bus is beautifully discreet and emotionally satisfying.
While the hardships her mother endured over the decades become clearer, so too does Yang Shu’s exasperation with her mother’s acquiescent behavior. His unwavering support for both women allows Yang Shu to process new information her mother brings, including a recording from five years earlier, when the authorities tried to put pressure on Mrs. Bridging that gap is Ka-ming, whose warmth and good nature somehow manage to be utterly genuine even when he seems almost impossibly kind. Exile in Hong Kong has made the filmmaker ever more intolerant of Chinese state control, forgetting that in order to live on the mainland, compliance is a learned necessity. Chen to make her daughter change her film.
Dating back to his powerful 2006 debut “Taking Father Home,” the dissident director has been casting a sharp, unflattering light on Chinese society deformed by decades of Party rule. Perhaps it’s because “The Family Tour” is semi-autobiographical that this intelligently affecting story of exile and displacement is Ying Liang’s most highly polished film to date. Or more likely, it’s because the five years since his previous feature, “When Night Falls,” have matured his already well-honed aesthetic. Sensitive and surprisingly intimate given Ying’s fondness for long shots, “Family Tour” should travel widely via festival bookings. Currently in exile himself after running afoul of the government, Ying has externalized his conflicted feelings of disconnection in this story of an independent mainland filmmaker living in Hong Kong who can only meet up with her mother in Taiwan, where she has booked her on a strictly monitored tour of the island.
Chen on a tour to Taiwan and arranges with the hilariously abrasive tour manager Peng (the numerically named “3 3,” also co-writer) to let him and Yang Shu trail the group, pretending to be old family friends. Knowing that the authorities will be watching, Ka-Ming books Mrs. Chen returns to the mainland. When the Formosa Film Festival in Taipei invites Yang Shu (Gong Zhe) for a screening of the film she made five years earlier, the Hong Kong resident sees it as an opportunity to catch up with her mother Chen Xiaolin (Nai An, so moving in Ying’s “When Night Falls”), living in Sichuan. Organizing the visas is the province of Yang Shu’s husband Cheung Ka-Ming (Pete Teo), whose Hong Kong birth gives him a freedom that neither his wife, with her temporary Hong Kong residency card, nor his mainland mother-in-law possess. That way fewer questions will be asked, and Peng can keep an eye on everything to make sure Mrs.
The invented Formosa Film Festival’s slogan, “No One Can Stay an Outsider,” may seem like too easy a catchphrase in this instance, and yet its multiple meanings intersect with the film’s themes in ways worth pondering.” /> Digital quality is also significantly higher than in Ying’s earlier work. Stylistically Ying’s fondness for establishing shots remains something of a calling card, fixing his characters in their environment while using sound and his performers’ charisma to reinforce their individuality within a mass.

It has become the highest grossing Pixar release of all time in New Zealand and Taiwan. Another Disney title, Pixar's "Incredibles 2," picked up another $19 million in 42 overseas markets for an international tally of $463.9 million. The animated superhero sequel has pocketed over $1 billion worldwide, including a mighty $583 million in North America. "Incredibles 2" debuted in Japan with a five-day total of $7.7 million, along with $4.5 million in Spain.
The superhero tentpole starring Paul Rudd and Evangeline Lilly has generated $426.3 million to date, including $230.8 million from overseas. Disney-Marvel's "Ant-Man and the Wasp" made $11.2 million from 47 international territories, along with $6.2 million in North America for a global weekend of $17.4 million.
In three weeks, it has made $79.8 million in North America. It stayed in the top five domestically with $8.7 million. Sony's "The Equalizer 2" took in $940,000 in 11 markets for an international total of $7.7 million.
"Christopher Robin" bows next in Belgium, Netherlands, and Thailand. Mexico had the best launch with a four-day total of $1.4 million, followed by Russia with $1.2 million. It will not open in China. The live-action adaptation starring Ewan McGregor debuted in North America with $25 million for a global start of $29.8 million. Among new offerings, Disney's "Christopher Robin" opened with $4.8 million in 18 international territories.
Here We Go Again" brought in $19.3 million where it played in 53 markets. Universal's jukebox musical made $9.1 million in North America, taking its global total to $230 million. Meanwhile, "Mamma Mia!
with $2 million in its second outing, and Germany with $1.5 million. 17. Globally, the animated threequel has made $338.8 million. Elsewhere, "Hotel Transylvania 3: Summer Vacation" pocketed another $18 million, taking its international total to a strong $202.3 million. Major markets include France, where it picked up another $2.8 million this weekend, followed by the U.K. It opens in China on Aug.
In North America, the animated family flick has made $20.8 million to date.” /> To the Movies" earned $1.1 million from 13 international territories, bringing its overseas cume to $2.4 million. New openings this weekend included the U.K. Finally, Warner Bros.' "Teen Titans Go! with $525,000.
Six films in, and Ethan Hunt shows no signs of slowing down.
Billionaire," which generated a massive $64.5 million. Following close behind is China's "Hello Mr. To date, the comedy has made $289.9 million.
Among holdovers, "Mamma Mia 2" picked up $5.6 million in the United Kingdom and Ireland, along with $1.8 million in Australia, and $1.6 million in Germany. The sequel opened in Brazil with $1.2 million and Taiwan with $390,000. Other top premieres include China ($323,000) and India ($133,000).
It pocketed $35 million in North America, bringing its domestic earnings to $124.5 million. Tom Cruise's "Mission: Impossible – Fallout" scaled the international box office yet again, amassing $76 million from 56 markets abroad for an overseas total of $205 million.