What a shame that Nicolas Winding Refn’s “Her Private Hell,” distributed by NEON, had a very weak domestic opening, earning an estimated $530,000 from 675 theaters for a dismal per-theater average of just $785.
And I’m saying this as someone who called “Her Private Hell” a “damn-near unwatchable” experience at Cannes. For a specialty distributor like NEON, the release was unusually wide for such an unconventional film, but it still struggled to attract audiences.
You want to see auteur cinema thrive at the multiplex, but too many moviegoers were turned off by the toxic reviews, including a 43% on RT, a 44 on MC, and a 4.9/10 on IMDb. If the film had been eligible for a CinemaScore, it could have received an F.
NEON had financed “Her Private Hell,” no doubt believing that Refn would return to Cannes the following year. And he did, but not in his usual Competition slot—instead, he was relegated to an out-of-competition premiere, which was already a sign that this might not be up to the standard of his previous work.
But honestly, as someone who has defended Refn for years—especially “Drive” and “The Neon Demon”—this latest film is borderline unwatchable. There’s only so far gorgeous visuals and an incredible score can carry a movie before you realize there’s barely any story to hold onto, and you completely disengage.
Refn’s highly atmospheric, nontraditional storytelling has become increasingly inaccessible. Sure, the film does have a narrative, but it massively prioritizes mood over storytelling. This is basically Nicolas Winding Refn making a film for Nicolas Winding Refn, and we’re just caught in the crossfire.
Up next for Refn? MUBI is taking the risk by backing his “Maniac Cop” remake, which is supposed to begin shooting in early 2027.
I’m not sure how this is going to turn out, but Michael Mann “secretly recut” his ‘Miami Vice’ movie, which has now led to the 4k restoration, a “Director’s Fina Cut,” to world premiere on October 3.