In the cinematic landscape, Martin Scorsese unveils his latest opus, Killers of the Flower Moon, joining forces with Leonardo DiCaprio, Robert De Niro, and Lily Gladstone. This film unravels the chilling true story of 1920s Oklahoma murders, igniting a fierce struggle within the Osage Nation for mineral and oil rights. Apple, the driving force behind “Barbenheimer,” takes on the roles of both producer and distributor.
Later, the film will find its digital abode on the Apple TV+ platform, but not before it graces the grandeur of the silver screen. In a conversation with the Hindustan Times, Scorsese expressed his delight at the triumph of these films, especially since he shares creative connections with members of their respective teams.
“I haven’t had the chance to view these films yet. I have great admiration for Chris Nolan‘s body of work,” he revealed. “Margot Robbie, I must note, made her start with me in ‘The Wolf of Wall Street.’ Rodrigo Prieto, our cinematographer for ‘Killers of the Flower Moon,’ went on to shoot ‘Barbie.’ It’s all part of the same creative family.”
The phenomenon of “Barbenheimer,” as it came to be known, propelled the global box office to unprecedented heights. The simultaneous release of both movies proved serendipitous, with Barbie reigning as the highest-grossing film of the year, raking in an astounding $1.4 billion.
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Meanwhile, Oppenheimer‘s impressive $939 million worldwide earnings are a testament to its bleak, nihilistic tone and formidable runtime.
Much like other observers, Scorsese perceives the divergence in tone between the films as a fortuitous element, not a drawback. The sense of belonging to a shared experience on the expansive canvas of the cinema was the paramount catalyst for why these films became a windfall for exhibitors.
